El presente trabajo tiene como objetivo realizar una puesta al dia de los catalogos del material relativo a los Misterios de Mitra en Hispania elaborados por Garcia y Bellido (1967) y Alvar Ezquerra (1981). La multiplicidad de hallazgos en las ultimas decadas y la revision de las teorias mas tradicionales en este campo de estudio, hacen obligado reexaminar material arqueologico. Para ello, nos hemos centrado en los monumentos figurativos, ya que la Iconografia mitraica ha sido considerada un mero vehiculo para la transmision de la escatologia del culto. De esta forma, el estudio de las imagenes quedaba relegado a un segundo plano, dado que se manifestaban como iconos repetitivos, monotonos, de dudosa calidad estetica. Sin embargo, el analisis de las fuentes literarias, el estudio de los modelos empleados, los diversos asuntos iconograficos y las semejanzas formales con otras imagenes de culto contemporaneas, revelan que los Misterios de Mitra se valieron del repertorio grecorromano para la conformacion de su propia iconografia.
Los primeros autores dedicados al estudio de los Misterios de Mitra, Cumont y Vermaseren, concebian este fenomeno como una serie de creencias procedentes de Persia que penetraron el Imperio romano gracias al contacto de las tropas y comerciantes con los territorios conquistados, a partir del s. I d. C. Mitra, dios de naturaleza solar, encarnaria los valores viriles de lealtad y triunfo militar, hecho que habria favorecido su difusion entre los soldados del Imperio. No obstante, el culto de Mitra en Oriente carecia de la estructura misterica que desarrollaria mas tarde en epoca imperial. La tauroctonia, el icono central de la liturgia mitraica, presenta al dios vestido con atuendo oriental dando muerte al toro con un punal, acompanado de un perro y una serpiente que lamen la sangre que mana de la herida y un escorpion que se situa en los genitales. En esta escena suelen aparecer tambien los bustos de Sol y Luna, junto a dos dadoforos. Si bien en la Betica se han localizado tres representaciones del sacrificio divino, el banquete entre Mitra y Sol procedente de Troia y los hallazgos del cerro de San Albin, ambos en Lusitania, constituyen la fuente de materiales mas importante para el estudio del culto a Mitra en territorio hispano. Los recientes descubrimientos en Lugo, Altafulla, Cabrera de Mar, Puente Genil, San Juan de la Isla, Barbate, Merida, junto a la revision de fondos del Museo Nacional de Arte Romano, han supuesto una gran aportacion para el estudio del Mitraismo en la Peninsula Iberica.
Sin embargo, los monumentos figurativos recuperados no ofrecen asuntos especificamente mitraicos, sino que se trata de representaciones de diversos elementos vegetales acompanados, en ocasiones, por la imagen de un toro o bucraneo. Estos motivos aparecen frecuentemente en el repertorio mitraico, aunque siempre se encuentran asociados a la imagen de Mitra o de los dadoforos. Gracias a la revision de los marmoles exhumados en San Albin hemos realizado una propuesta sobre el repertorio iconografico que habria decorado el mitreo emeritense, mientras que el analisis de otros monumentos sugiere que estos no pertenecerian al corpus mitraico hispano, como tradicionalmente se ha mantenido.

Iconografía mitraica en Hispania

Roman architecture is arguably the most enduring physical legacy of the classical world. A Companion to Roman Architecture presents a selective overview of the critical issues and approaches that have transformed scholarly understanding of this rich field of study in recent decades. This volume draws on new archaeological discoveries and theoretical approaches in order to provide an updated historical understanding of Roman architecture.

A companion to Roman architecture

Revell examines questions of Roman ethnic identity and explores Roman imperialism as a lived experience based around the paradox of similarity and difference. Her case studies of public architecture provide an understanding of how urbanism, the emperor and religion were part of the daily encounters of these communities. Revell applies the ideas of agency and practice in her examination of the structures that held the empire together and how they were implicated within repeated daily activities. Rather than offering a homogenized 'ideal type' description of Roman cultural identity, she uses these structures as a way to understand how encounters differed between communities, thus producing a more nuanced interpretation of what it was to be Roman. Bringing an innovative approach to the problem of Romanization, Revell breaks from traditional models, cutting across a number of entrenched debates such as arguments about the imposition of Roman culture or resistance to Roman rule.

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Roman imperialism and local identities

The relative sophistication of the three major 'Oriental cults' of the Roman Empire, combining unfamiliar myth with distinctive ritual, enabled them, like Early Christianity, to offer a properly ethical salvation in the Weberian sense.

Romanising oriental Gods

A companion to ancient history

All too often, museums throughout the world label their Roman sculpture and wall paintings as "Roman copy after a Greek original." In this book, Elaine K. Gazda and the contributors question the often too simplistic, deeply ingrained thinking that underlies this view of the relationship between Greek and Roman art. Examining the problems associated with such thinking by situating them within a broad chronological framework, The Ancient Art of Emulation calls attention to many of the sources underlying traditional ingrained prejudices. The essays in this book underscore the need, in the case of Roman art, to distinguish more clearly than we have done in the past what "originality"---or invention---meant to the Romans, and how those notions differ from what our Romanticist/modernist expectations have led us to expect in the present. This book builds upon revisionist scholarship of the past three decades, which redefines a number of the terms of discussion of "Roman copies" by reclassifying many of them as neoclassical or idealising works and treating them as legitimate expressions of Roman cultural concerns. The contributors extend that line of inquiry by considering recent discourse on copying and originality as well as on related issues such as imitation, artistic agency, influence, appropriation, and authenticity. The chapters are presented in an unorthodox reverse chronological sequence in order to emphasise how thought and tastes of recent centuries have conditioned our views of the classical past and how "the Roman copy" must be seen as an artificial construct, the product of modern prejudices and their intellectual sources. The Ancient Art of Emulation will appeal to a broad range of intellectual interests and humanistic disciplines. In addition to classical archaeologists and historians of ancient art, it will speak to art historians of later periods, practising artists, and art critics, as well as scholars and students who have an interest in the phenomenon of artistic imitation.

The ancient art of emulation : studies in artistic originality and tradition from the present to classical antiquity

"Roman Art in the Private Sphere" presents an impressive case for the social and art historical importance of the paintings, mosaics, and sculptures that filled the private houses of the Roman elite. The six essays in this volume range from the first century B.C.E. to the fourth century C.E., and from the Italian peninsula to the Eastern Empire and North African provinces.The essays treat works of art that belonged to every major Roman housing type: the single-family atrium houses and the insula apartment blocks in Italian cities, the dramatically sited villas of the Campanian coast and countryside, and the palatial mansions of late antique provincial aristocrats.In a complementary fashion the essays consider domestic art in relation to questions of decorum, status, wealth, social privilege, and obligation. Patrons emerge as actively interested in the character of their surroundings; artists appear as responsive to the desire of their patrons. The evidence in private art of homosexual conduct in high society is also set forth.Originality of subject matter, sophisticated appreciation of stylistic and compositional nuance, and philosophical perceptions of the relationship of humanity and nature are among the themes that the essays explore. Together they demonstrate that Roman domestic art must be viewed on its own terms."This is a stimulating book and should be compulsory reading for all students of Roman art."--Classical Review"For all the authors, attention to the ensemble, a sense of the relation between the formal and the iconographic, and the desire to historicize their material contribute to making this anthology unusual in its rigorous and creative attention to the way that art and architecture participate in the construction of the image of the Roman elite." --Art BulletinElaine K. Gazda is Director of the Kelsey Museum of Archaeology at the University of Michigan and Professor of Classical Art and Archaeology in the Department of the History of Art, University of Michigan.

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Roman art in the private sphere : new perspectives on the architecture and decor of the domus, villa, and insula

Introduction Elise A. Friedland and Melanie Grunow Sobocinski I. Collecting, Conservation, and Display 1.1 Collecting in pre-modern Europe, Elizabeth Bartman 1.2 Conservation and restoration, Jerry Podany 1.3 Collecting in early America, Hima Mallampati 1.4 Current trends in museum display, Jessica Powers 1.5 Three-dimensional scanning and modeling, Bernard Frischer II. Production and Distribution 2.1 Marble quarries: ancient imperial administration and modern scientific analyses, Patrizio Pensabene and Eleonora Gasparini 2.2 Marble carving techniques, workshops, and artisans, Amanda Claridge, 2.3 Reuse and recarving: technical evidence, Eric Varner 2.4 Bronzes, Carol Mattusch 2.5 Terracottas, Adi Erlich 2.6 Polychromy, Mark Abbe 2.7 Transport and distribution, Benjamin Russell III. Styles and Genres 3.1 Style: applications and limitations, Mark Fullerton 3.2 Etruscan connections, Nancy de Grummond 3.3 " and the Relationship between Greek and Roman sculpture, Anna Anguissola 3.4 Portraiture, Susan Wood 3.5 Monumental reliefs, Melanie Grunow Sobocinski and Elizabeth Wolfram Thill 3.6 Archaism and eclecticism, Lori-Ann Touchette 3.7 Egyptian-style monuments, Molly Swetnam-Burland 3.8 Late antique sculpture, Christian Witschel IV. Spatial and Social Contexts 4.1 Architectural settings, Brenda Longfellow 4.2 Religious dedications, Matthew McCarty 4.3 Domestic displays, Elaine Gazda 4.4 Funerary monuments, Bjoern Ewald 4.5 Epigraphy and patronage, Steven L. Tuck 4.6 Imperial messages, Barbara Kellum 4.7 Non-elite patronage, Lauren Petersen 4.8 Gender, Eve D'Ambra and Francesca Tronchin V. Regions and Provinces 5.1 Northern Gaul, Germany, and Britain, Kimberly Cassibry 5.2 Hispaniae and Narbonensis, Alicia Jimenez and Isabel Roda 5.3 North Africa, Francois Baratte and Nathalie de Chaisemartin 5.4 Greece, Mary Sturgeon 5.5 Asia Minor, Diana Ng 5.6 Egypt, Christina Riggs 5.7 Near East, Thomas Weber VI. Viewing and Reception 6.1 Aesthetics and Latin Literary Reception, Michael Squire 6.2 Reception theory, Jennifer Trimble 6.3 Ancient analogs of museums, Josephine Shaya 6.4 Images of statues in other media, Eric Moormann 6.5 Human interactions with statues, Ellen Perry 6.6 Iconoclasm, Troels Myrup Kristensen Art Credits Index

The Oxford handbook of Roman sculpture

Roman Art in the Private Sphere: New Perspectives on the Architecture and Decor of the Domus, Villa, and Insula

Kenchreai: Eastern Port of Corinth. Results of Investigations by the University of Chicago and Indiana University for the American School of Classical Studies at Athens. I. Topography and Architecture

Elaine K. Gazda

Papers

The ancient art of emulation : studies in artistic originality and tradition from the present to classical antiquity

Roman art in the private sphere : new perspectives on the architecture and decor of the domus, villa, and insula

The Oxford handbook of Roman sculpture

Roman Art in the Private Sphere: New Perspectives on the Architecture and Decor of the Domus, Villa, and Insula

Kenchreai: Eastern Port of Corinth. Results of Investigations by the University of Chicago and Indiana University for the American School of Classical Studies at Athens. I. Topography and Architecture