The Freedman in Roman Art and Art History罗马艺术及艺术史上的自由民 阿里云 kindle 下载 pdf chm 百度云 azw3 umd

From monumental tombs and domestic decoration, to acts of benefaction and portraits of ancestors, Roman freed slaves, or freedmen, were prodigious patrons of art and architecture. Traditionally, however, the history of Roman art has been told primarily through the monumental remains of the emperors and ancient writers who worked in their circles. In this study, Lauren Petersen critically investigates the notion of 'freedman art' in scholarship, dependent as it is on elite-authored texts that are filled with hyperbole and stereotype of freedmen, such as the memorable fictional character Trimalchio, a boorish ex-slave in Petronius' Satyricon. She emphasizes integrated visual ensembles within defined historical and social contexts and aims to show how material culture can reflect preoccupations that were prevalent throughout Roman society. Interdisciplinary in scope, this book explores the many ways that monuments and artistic commissions by freedmen spoke to a much more complex reality than that presented in literature.

COLOR PLATES

　I. Priest wearing the mask of Anubis, from the Temple of Isis at Pompeii

　II. Isis and Io, from the Temple of Isis at Pompeii

　III. House of the Fruit Orchard, room 8, Pompeii

　IV. Monument of Eurysaces, south facade, Rome

　V. House of the Marine Venus, peristyle garden, Pompeii

　VI. Casa dell'Ara Massima, pinax of Narcissus, Pompeii

　VII. House of the Caecilii, drawing of the south wall of the tablinum, Pompeii

　VIII. Tomb of the Varii, no. 87, Isola Sacra

FIGURES

　1　House of the Vettii, room p, Pompeii

2　Priapus, House of the Vettii,fauces

3　Frieze of Cupids and Pysches, House of the Vettii, room q

4 House of the Vettii, room q

5　Plan of Pompeii

6　Plan of the Civic Forum at Pompeii

7 Temple of Isis, Pompeii

8　Entrance to the Temple of Isis

9　G.B. and E Piranesi, view of the Temple of Isis at Pompeii, eighteenth century

1O　Re-creation of an lsiac ceremony at the Temple of Isis at Pompeii eighteenth century

11　Isiac worship, fresco from Herculaneum

12 Plan of the Temple of Isis

13　Temple of Isis, back side with niche

14　Bacchus, from the Temple of Isis

15 Basilica, Pompeii

16　Reconstruction of the Temple of Isis at Pompeii

17　Temple of Isis, enclosure above the subterranean room (purgatorium), north side

　18　Temple of Isis, enclosure above the subterranean room (purgatorium), east side

　19　Reconstruction of the north and west wails of the portico, Temple of Isis

　20　Reconstruction of the east wall of the portico, north section, Ten,ple of Isis

　21　Reconstruction of the north wall of the Ekklesiasterion, Temple of Isis

　22　Naw[gium Isidis or inventio Osit'idis, froln the north wall of the sacrarium, Temple of Isis

　23　Osiris enthroned, from the west wall of the sacrarium, Temple of Isis

　24 Isis, from the Temple of Isis

　25　Venus, from the Temple of Isis

　26　Drawing ofa lararium frompistrinum IX.3.io-12, Pompeii

　27　Lararium, House of the Vettii

　28　Shrine of Isis, Serapis, Harpocrates, and Anubis, House of the Gilded Cupids, Pompeii

　29 House of Octavius Quartio, room f, Pompeii

　30 Egyptianizing frieze from the Villa of the Mysteries, Black Tablinum, Pompeii

　31　G.B. and E Piranesi, inscriptions from the Temple of Isis at Pompeii

　32　Herin portrait ofC. Norbanus Sorex, from the Temple of Isis

　33　Monuments ofC. Calventius Quietus and C. Munatius Faustus, Herculaneum Gate, Pompeii

　34　Plan of the necropolis at the Herculaneum Gate

　35 Tomb of C. Calventius Quietus

　36　Corona civica, tomb ofC. Calventius Quietus

　37　Bisellium, monument of C. Munatius Faustus

　38　Scene of grain distribution, monument ofC. Muuafius Faustus

　39　Ship at sail, monument ofC. Munatius Faustus

　40　Tomb ofC. Vestorius Priscus, Vesuvius Gate, Pompeii

　41　Tomb group at the Herculanemn Gate, north, nos. 35-43

　42　Tomb ofM. Cerrinius Restitutus, Herculaneum Gate

　43　Stele, from the tomb ofM. Cerrinius Restitutus

　44　Tombs ofA. Veius Atticus and C. Munatius Faustus, Nuceria Gate, Pompeii

　45　Eumachia's tomb, Nuceria Gate

　……

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书籍介绍

From monumental tombs and domestic decoration, to acts of benefaction and portraits of ancestors, Roman freed slaves, or freedmen, were prodigious patrons of art and architecture. Traditionally, however, the history of Roman art has been told primarily through the monumental remains of the emperors and ancient writers who worked in their circles. In this study, Lauren Petersen critically investigates the notion of 'freedman art' in scholarship, dependent as it is on elite-authored texts that are filled with hyperbole and stereotypes of freedmen, such as the memorable fictional character Trimalchio, a boorish ex-slave in Petronius' Satyricon. She emphasizes integrated visual ensembles within defined historical and social contexts and aims to show how material culture can reflect preoccupations that were prevalent throughout Roman society. Interdisciplinary in scope, this book explores the many ways that monuments and artistic commissions by freedmen spoke to a much more complex reality than that presented in literature.