Benjamin WillDecor und Memoria – Späthellenistische mythologische Gruppen als Teil der römischen Idealplastik

About this book deutschenglish

Visual repetitions and variances are well-known and frequently described phenomena of material culture in ancient societies. Especially in the visual arts of the Roman Empire, these forms of apparent analogy and discrepancy have long been at the center of archaeological research. They are mostly explained by the contrast between the creative original and its banal copies. Actual sculptures thus become, in scientific employment, carriers of a dematerialized origin, which predetermines all its future excesses within the narrowest conceptual boundaries.

In order to escape this rigidity and to appropriately honor centuries of visual wealth and cultural achievement, this work establishes a new scientific category: the corpus of knowledge. The decor and the memoria rest in its heart - developed from late Hellenistic written sources. In doing so, the decor is committed to the modern conditions of the respective context in order to unfold its effectiveness, while the memory serves the past. The corpus is the manifestation of decor and memoria, containing all the semantic spheres, retrospective references, and the connections between them. It connects the individual sculptures with their respective contexts into a network-like structure via diachronic instances.

Under this premise, the replica series of the so-called Pasquino, the satyr-hermaphrodite groups Dresden and the thornpuller Vatican are examined. The walk through the three series of works of art, with their replicas of the most diverse genres and times, proves the corpus of knowledge as a concept capable of adequately addressing such diverse findings. In this way he can give the monuments a piece of their meaning that they once possessed.

Ihr Werk im Verlag Dr. Kovač

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