Friday, May 9, 2008

Rome : Museo Nazionale Romano

There were no Dionysian sarcophagi in the Museo Nazionale Romano, however there was an abundance of other mediums with Dionysian themes. These mostly included wall paintings, funerary altars and bases, as well as mosaics. Many of these artifacts came from Pompeii or Herculanum and date to around the same time of the figures I found in Naples. Wall Paintings 1.) Infancy and Education of Dionysus, from Ercolano, 45-79 AD. Sylanus is holding the baby Dionysus up to a grape (held by a Maenad) Hermes sits to the right with a Cithara. Pan and 2 Satyrs are present, as well as a donkey and panther. 2.) Dionysus and Ariadne, from Pompeii, 45-79 AD. This painting shows Dionysus finding Ariadne on the island of Naxos, sleeping. He is accompanied by Cupid, Satyrs, probably Pan, and Silenus. There are also Maenads, or cult followers in the distant background. 3.) Hermaphroditus and Silenus, from Pompeii, 45-79 AD. This scene displays Hermaphroditus (offspring of Hermes and Aphrodite who becomes a hermaphrodite) repulsing the approach of Silenus (Dionysus’ teacher). This was a common theme in Roman painting. 4.) Satyr and Maenad, 45-79 AD, Pompeii. Satyr and Maenad dancing, both are associated with Dionysus as members of his cult. While the last two paintings did not have scenes with ‘Dionysus in them they involved his associates, a similar theme I found in Naples, which would make sense as these paintings are from that time and place. The emphasis on Dionysian iconography seems to be an evident theme in any medium of this artwork. Funeral Altar/Base 1.) Funeral altar with Maenads and Muses. 1st Century B.C. 2.)Base with Maenads. Maenads shown dancing around the entire base. Statues of Dionysus 1.) Statue of Dionysus, 2nd. Cent. AD Young looking, vines in hair, standing in a feminine pose, wearing a wild cloak. 2.) Statue of Dionysus, 117-138 AD, Tivoli, same as above although he does not have grape vines in his hair and it is shorter, he does not look as feminine, but still very young. 3.) Bronze Statue of Dionysus, 117-138AD, Rome, Tevere Long hair with grape vines, holds a staff, still feminine looking but less so than the first statue. 4.) Statue of Dionysus-Sardanapalos, 117-138 AD. Head restored, from the Appian Way, Castle Gandolgo. This statue is extremely different from the past examples, although they were all made around the same time. He is very large, much older looking, long hair, wears a chiton, he gives the image of a god-like grandfather figure instead of a feminine boy. This interpretation of Dionysus comes from the version of the god Dionysus-Sobazius, from Asia Minor. He is a Dionysus in mature age with curly hair, a long bears, in a chiton. It is an oriental style, the image of the god looks very similar to the sarcophagus (1) in Naples. Mosaics 1.) Mosaic with Dionysus and Satyrs in the Center. 2nd C. AD, Rome, from Villa of Farnesina, taken from S. Giacomo in Settimiana. Dionysus in the center of a large mosaic dancing with two satyrs on the sides. This museum gave me a good idea of how Dionysus was interpreted depending on the form of art and time period. I found a few more themes present in wall painting that I have not seen in sarcophagi, such as the birth and education of Dionysus. There also seemed to be a presence of minor themes concentrating mainly on his associates, such as Silenus, Pan, Maenads, and Ariadne. Two themes I found present in at least 3 different mediums (wall paintings, mosaics, and sarcophagi) were the Indian Triumph and Dionysus with Ariadne. These themes seem to be more distinct from each other in paintings and mosaics, whereas in Sarcophagi the two themes often are combined. Another new interpretation I came across was the Sardanapolos Dionysus, from Asia Minor, in the form of a statue. This figure differs greatly from other figure I have found, although he looks very similar to the figure in the sarcophagus from Naples, perhaps there was eastern influence in that area, interestingly enough, this statue is one of the few pieces of work I found in the museum that DOES NOT date exactly to the time period of Pompeii, but shortly after.

Rome : Capitoline Museum

1.) Funerary urn of Julius Venustus. 2nd Century AD. 2 winged cupids on the sides hold grape vines and fruit. A griffon is on the top of the urn approaching a serpent. Eagles and birds are on the bottom. I thought the presence of an urn was interesting in relation to sarcophagi. It also depicts fertility scenes, such as cupids on the sides. 2.) This sarcophagus was difficult to photograph and is not in the best condition, however it shows a Shepard scene with little cupids, lambs on top. There is fluting for the main frieze. To the left is a veiled figure, perhaps an Orans figure, and to te right is a Shepard carrying sheep. Dionysus was a pastoral god who represented fertility, while he is not present this sarcophagus shows the importance of the growing trend in displaying pastoral scenes in funerary art. 3.) This is a sarcophagus of the 9 muses. The theatre mask is very evident to the right of the frieze. 2 people are to the right and a bearded man is to the very left who looks very similar to Silenus from other artwork I have seen.. A man stands at the center of the muses, perhaps Dionysus. Crosses are on the sides of the sarcophagus. If this is a Dionysian sarcophagus the presence of crosses on the sides is something new I have not seen before. If it is not the combination of Christian and pagan iconography is something to be noted. 4.) Torso of Dionysus 160-200 BC. The torso might have been half lying on a chariot, usually thought to be for the Indian triumph. Dionysus is shown with grape vines in his hair, in a very relaxed position. 5.) This Sarcophagus shows chubby cupids with vines in their hair as well as animals and flowers. It is a sign of fertility as well as usually interpreted with Dionysus. While the actual presence of Dionysus in the sarcophagi was hard to find in this museum there was a continual presence of fertility involving animals, shepards, cupids, and vines. All things that are directly related to the god.

Naples

I traveled down to Naples in order to find more Dionysian sarcophagi in the National Museum. I was surprised to find that Dionysus was interpreted in different ways through art. In one particular sarcophagus (1) the scene was much more wild than ones I found in the Louvre. It did not seem to relate directly to Dionysus as a fertility god but rather as a cult icon. Further more I started to look at different ways Dionysus was interpreted in other mediums, such as bowls, plates, statues, etc. In each medium the cult theme is present, in particular with the wall paintings in the Villa of Mysteries in Pompeii. 1.) Sarcophagus with Scene of Dionysian Cult, From the Farnese collection, during the Antonina age. This sarcophagus is situated directly outside the Chamber of Secrets, exotic room in the National Museum. It fits with this theme rather well. Dionysus is the central theme, shown very drunk and held up by young boys. To the right is a Maenad dancing, and to the far right is a rape/sex scene between two Satyrs, Phallic symbols are shown throughout the entire frieze. To the left of Dionysus is probably Ariadne, sleeping and a Satyr dancing on her left. The right side of the sarcophagus shows a man carrying a baby off while another is protesting. On the left side a woman is performing a type of ritual. As stated before, this sarcophagus is more exotic and sexual than any I have come across before. It does not seem to concentrate on the fertility of Dionysus (although the phallic symbols were a sign of fertility) instead it has a cultish theme, with women dancing, performing different rituals, and orgiastic acts. 2.) Independent friezes of Dionysian themes. , 1st. Century AD. There were two friezes that contains scenes with Dionysus. The first is of Dionysus and Ariadne. Again there is a wild overtone, Dionysus is drinking wine to the left and appears to be intoxicated, while Ariadne is lying down while a Maenad pours wine into her cup. The second frieze shows Ariadne being initiated into the cult of Dionysus. She is reclining in the center of the frieze with a Satyr approaching her and winged cupids at the sides. A woman is standing directly in front of her holding a spear. It is interesting to note that Dionysus is not present in this frieze and that it is strictly a scene of Ariadne being initiated into the cult. This again, carries the theme that the representation of the cult of Dionysus during this time, and place, was more important than the god himself. 3.) Vase, 1st Cent. AD This vase was found in a suburban villa in Pompeii, it shows Dionysian figures, such as cupids, Maenads, and animals. It was possibly used in a funerary context for the elite. 4.)This is a Sarcophagus with Centaurs and Maenads. Again Dionysus is not present but his associates are. They surround the patron of the sarcophagus. 5.) Sarcofogo a Ghirlande con Coperchio This Sarcophagus shows cupid figures with grape vines surrounding the patrons of the sarcophagus. Again Dionysus is not shown but his associates, the cupid figures, and signs of fertility are. It dates to the Mid. 3rd Century AD. 6.) Wall Painting in Pompeii. The Villa of Mysteries was a Villa situated outside of Pompeii. Within the Villa there is a a wall painting describing the cult that surrounds an entire room. From left to right the first figure shown is a young girl reading, perhaps a ritual. The second scene shows members of the cult giving a sacrifice and making a libation. The third is a pastoral scene with Silenus (the teacher of Dionysus) as a musician and goats and members of the cult. The fourth scene shows a woman looking terrified, The fifth shows Silenus again, this time offering drinks to satyrs. In the center of the painting is supposedly Dionysus reclining on Ariadne. The major part of the figures is missing but it would make sense in context. The 7th scene shows a flagellated girl and a phallus being unveiled. The 8th scene shows the same girl, still being flagellated and a bacchante, follower of Dionysus. She is dancing. The 9th scene shows a girl preparing for her wedding with Cupid at her side. And the last scene shows a woman reclining to the side, perhaps the mistress of the house. In this medium the main idea is the cult of Dionysus, while he is at the center of the painting the scenes involve rituals that the women of the cult must go through. It should also be noted that besides Silenus, the Satyrs, and Cupid, all of the figures are women. While the painting shows strong Dionysian iconography, such as the presence of his followers (the Maenads, Silenus, satyrs, Cupid, and pastoral animals) it also displays the importance of the cult through the rituals the members went through. Conclusion: While past trips have given me an idea of how Dionysus was interpreted as a fertility symbol in art, Naples had an entire different level for interpretation. First, this was the first time I saw an interpretation of Dionysus drunk on a sarcophagus, as well as associated with a wild frenzy of company. While they were the same mythological figures shown in other sarcophagi this theme of wild drunkenness was new. Secondly, the lack of Dionysus in some works, such as the frieze with Ariadne, and the sarcophagus of Satrys and Maenads gave me the idea that the followers of Dionysus played just as important of a role in his cult as the god did himself. This idea continues to the point that there was an entire room dedicated to the rituals of the cult, not necessarily directed towards the god, but perhaps more towards the society of worshippers.