- Greek Sculpture, Archaeology of Roman Provinces, Greek coroplastic, Grek Pottery, Archaeolgy of Boeotia, Garland Sarcophagus, and 25 moreFunerary Stelai, Porfido, Salerno, Vasche Antiche, Sarcofagi, Funerary Archaeology, Sculpture, Greek Myth, Archeologia Classica, Roman Sculpture, Greek and Roman Sculpture, Roman Greece, Archaeology of Cyrenaica, Antiquaria e collezionismo, Storia Dell'Archeologia, Scultura greca e romana, Roman Imperial Portraits, Boiotia, Roman tombs and burial customs, Roman Archaeology, Greek Archaeology, Sarcófagos romanos, Herakles, Votive Reliefs, and Votive offeringsedit
... Sarcofagi di Ostia. Autores: Margherita Bonanno Aravantinos; Localización: Archeologia classica, ISSN 0391-8165, Vol. 59, Nº. 9, 2008 , págs. 147-182. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados... more
... Sarcofagi di Ostia. Autores: Margherita Bonanno Aravantinos; Localización: Archeologia classica, ISSN 0391-8165, Vol. 59, Nº. 9, 2008 , págs. 147-182. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. Mi Dialnet. ...
Research Interests:
A sarcophagus fragment in the Archaeological collection of the Johns Hopkins University is decorated with a man armed with a spear and figures arranged on two registers. In the catalog entry of the collection (1984) the representations... more
A sarcophagus fragment in the Archaeological collection of the Johns Hopkins University is decorated with a man armed with a spear and figures arranged on two registers. In the catalog entry of the collection (1984) the representations were judged difficult to identify and it was suggested to link the armed man to a mythological subject and the scenes on the two registers to an outdoor banquet scene. The
re-examination of the identified iconographies and the parallels now allow us to interpret the representations with certainty. The male figure with a spear participates in a realistic hunt and the figures arranged on the two registers are engaged in athletic competitions; in particular those on the upper register in the pancration. For the first time, scenes of athletic competitions appear arranged on two registers on the front of a sarcophagus decorated with a central figure pertaining to another theme.
The technical-stylistic performance of the figures and the hairstyle of the
woman, depicted between two tree trunks, allow us to date the fragment
to around the middle of the third century AD.
re-examination of the identified iconographies and the parallels now allow us to interpret the representations with certainty. The male figure with a spear participates in a realistic hunt and the figures arranged on the two registers are engaged in athletic competitions; in particular those on the upper register in the pancration. For the first time, scenes of athletic competitions appear arranged on two registers on the front of a sarcophagus decorated with a central figure pertaining to another theme.
The technical-stylistic performance of the figures and the hairstyle of the
woman, depicted between two tree trunks, allow us to date the fragment
to around the middle of the third century AD.
Research Interests:
The paper focuses on a male portrait in the Archaeological Museum of Thebes (inv. 1326). The head was discovered in 1970 in a rescue excavation carried out in the plot of Vassilios Tzápalis at Atalánti, the ancient Opous. The portrait,... more
The paper focuses on a male portrait in the Archaeological Museum of Thebes (inv. 1326). The head was discovered in 1970 in a rescue excavation carried out in the plot of Vassilios Tzápalis at Atalánti, the ancient Opous. The portrait, made of parian (?) marble, yet identified probably as Tiberius, follows at the front the hairstyle of the Alcudia type of Octavianus and is a “veristic” work from an Athenian workshop. The head, assigned in the last decades of the 1st century B.C. - first decade of the 1st century A.D., belongs to a statue erected in honor of an important man of the polis, probably represents a member of the Roman local élite who cannot be identified at the moment.
Research Interests:
Research Interests:
Research Interests:
The necropolises of Ostia and Porto have yielded a very great number of sarcophagi. Few of them are of Attic and Microasiatic production, while from the typological and decorative point of view the bulk belongs to the repertory of urban... more
The necropolises of Ostia and Porto have yielded a very great number of sarcophagi. Few of them are of Attic and Microasiatic production, while from the typological and decorative point of view the bulk belongs to the repertory of urban production covering a considerable chronological span, from the 1st to the late 4th century AD. On the evidence of the iconographic, technical and stylistic peculiarities many of the sarcophagi can be attributed to the production of the local workshop. Actually, the sarcophagi published in the series of volumes of the Corpus Die Antiken Sarkophagreliefs or in the later contributions offer a picture of the finds from Ostia and Porto that remains only partial. Illustrating the present state of knowledge of this class of material, the author presents a number of unpublished sarcophagi decorated with Dionysiac and marine themes, with hunting and grape-harvest scenes, with erotes, garlands and single myths. In particular, analysis is made of some unpublished fragments from sarcophagi depicting the myths of Penteus and the Seven against Thebes – subjects that are rare in Roman funerary sculpture, highlighting the preferences of the workshop and clients of Ostia.
Research Interests:
The paper considers archaeological findings related to oriental cults in ancient Boetia increasing the knowledge of their diffusion, till now mainly founded on literary and epigraphic sources. Particular attention has been paid to... more
The paper considers archaeological findings related to oriental cults in ancient Boetia increasing the knowledge of their diffusion, till now mainly founded on literary and epigraphic sources. Particular attention has been paid to evidences regarding the cults of ...
Research Interests:
Citazione: Bonanno, M., & Pisani, M.(2009). La tomba 10 del settore sud della necropoli nord-orientale di Tebe. In La tragedia greca e latina, le testimonianze archeologiche e iconografiche.(pp. 403-431). Roma: Università degli studi di... more
Citazione: Bonanno, M., & Pisani, M.(2009). La tomba 10 del settore sud della necropoli nord-orientale di Tebe. In La tragedia greca e latina, le testimonianze archeologiche e iconografiche.(pp. 403-431). Roma: Università degli studi di Roma Tre.
Research Interests:
... Sarcofagi di Ostia. Autores: Margherita Bonanno Aravantinos; Localización: Archeologia classica, ISSN 0391-8165, Vol. 59, Nº. 9, 2008 , págs. 147-182. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados... more
... Sarcofagi di Ostia. Autores: Margherita Bonanno Aravantinos; Localización: Archeologia classica, ISSN 0391-8165, Vol. 59, Nº. 9, 2008 , págs. 147-182. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. Mi Dialnet. ...
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Funerary sculpture of the Classical Period discovered so far in the ancient Boeotian town of Thespiae remains still only partially studied and published. This paper traces back the research status of this important class of funerary... more
Funerary sculpture of the Classical Period discovered so far in the ancient Boeotian town of Thespiae remains still only partially studied and published. This paper traces back the research status of this important class of funerary monuments. The almost exclusive use of local limestone for the working out of the stelai as well as their figurative repertory are examined. A piece of stele is published here, which as the Berlin one dedicated to Polyxena, represents a female figure holding a statuette in her hand. The significance of similar representations is finally discussed.
Research Interests:
Research Interests:
Terracotta Votive offerings in a rural Sanctuary of Orchomenos, Boeotia. A recent excavation at Orchomenos, between the River Kephisos and the rugged slope of mount Akontio, brought to light the remains of an unknown rural sanctuary, as... more
Terracotta Votive offerings in a rural Sanctuary of Orchomenos, Boeotia.
A recent excavation at Orchomenos, between the River Kephisos and the rugged slope of mount Akontio, brought to light the remains of an unknown rural sanctuary, as well as abundant terracotta objects and evidence for continuity of cult from the Archaic into the Hellenistic period (7th-3rd c. BC). From the votive offerings and the other excavation data, it is deduced that festivals were celebrated in honour of female deities of nature, fertility and fecundity, very possibly of the Graces (Chares) in combination perhaps with the Oceanids and nymphs, as well as with the thesmophorai goddesses Demeter and Kore. According to many ancient textual testimonies, the cult of the Graces was the oldest and most popular in Orchomenos, while the celebration of the thesmophoreia should be considered certain in a city so rich in cereal production and stock-raising.
Last, from the kind, the provenance and the alternation of the copious terracotta votive offerings(all kinds of figurines, miniature vases and lamps), the development of the rural sanctuary and its cult during the Archaic and especially the Classical period can be traced. Study of these finds sheds light on many new and unknown facets of the history of Orchomenos, from the founding of the sanctuary until is abandonment or rather its transfer to another place in the city, perhaps near the theatre, where inter alia contexts in music and poetry, known as the Charitesia, were held in Roman times.
A recent excavation at Orchomenos, between the River Kephisos and the rugged slope of mount Akontio, brought to light the remains of an unknown rural sanctuary, as well as abundant terracotta objects and evidence for continuity of cult from the Archaic into the Hellenistic period (7th-3rd c. BC). From the votive offerings and the other excavation data, it is deduced that festivals were celebrated in honour of female deities of nature, fertility and fecundity, very possibly of the Graces (Chares) in combination perhaps with the Oceanids and nymphs, as well as with the thesmophorai goddesses Demeter and Kore. According to many ancient textual testimonies, the cult of the Graces was the oldest and most popular in Orchomenos, while the celebration of the thesmophoreia should be considered certain in a city so rich in cereal production and stock-raising.
Last, from the kind, the provenance and the alternation of the copious terracotta votive offerings(all kinds of figurines, miniature vases and lamps), the development of the rural sanctuary and its cult during the Archaic and especially the Classical period can be traced. Study of these finds sheds light on many new and unknown facets of the history of Orchomenos, from the founding of the sanctuary until is abandonment or rather its transfer to another place in the city, perhaps near the theatre, where inter alia contexts in music and poetry, known as the Charitesia, were held in Roman times.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
A base decorated with Nikai crowning a trophy beneath which kneel two bound Eastern barbarians is kept at the Archaeological Museum of Chaironeia. The trophy was found in Levadeia in second use. The marble and the stylistic features of... more
A base decorated with Nikai crowning a trophy beneath which kneel two bound Eastern barbarians is kept at the Archaeological Museum of Chaironeia. The trophy was found in Levadeia in second use. The marble and the stylistic features of the figures may suggest that the base is a product of a local workshop and dates to the 1st century B.C. This chronological hypothesis endorses the possibility to link the base found in Levadeia to the glorious victories of Sulla in Chaironeia and Orchomenos (86 B.C.). The dedication of the base at Levadeia may be validated by a paragraph in Plutarch (Sulla,17) quoting the auspicious predictions of the oracle of Trophonius concerning Sulla’s victories in Boeotia.
Research Interests:
Research Interests:
THE FUNERARY STELAI OF ROMAN PERIOD FROM TANAGRA WITH REPRESENTATION OF PERSONS ASSOCIATED TO THE RELIGIOUS SPHERE A great number of funerary stelai, dating from the Hellenistic to the Roman times and bearing relief representations have... more
THE FUNERARY STELAI OF ROMAN PERIOD FROM TANAGRA WITH REPRESENTATION OF PERSONS ASSOCIATED TO THE RELIGIOUS SPHERE
A great number of funerary stelai, dating from the Hellenistic to the Roman times and bearing relief representations have been found in the area of ancient Boeotia.
The author, responsible for the publication of a Corpus of these stelai, presents in this paper six of them from Tanagra, stored in the Schimatari Museum. They are dated to the first and second centuries A.D. The inscriptions do not reveal the social status of the dead, but the funerary iconography reveals their religious beliefs. Neikaro (figs. 1-2) and Stratoneiki (figs. 4-5) are represented in the dress of Isis, Doro (figs. 8-9) and Zoso (fig. 10) as Mainads, while the male (fig. 11) and female figure (fig. 12) on the two other stelai are shown holding in their left hand a caduceus. The deceased wished thus to be preserved for posterity in association with the most important cults of the ancient city of Tanagra: egyptian gods, Dionysos and Hermes.
The funerary stelai of Nikaro and Stratoneiki were made in Athens, the rest by local workshops
A great number of funerary stelai, dating from the Hellenistic to the Roman times and bearing relief representations have been found in the area of ancient Boeotia.
The author, responsible for the publication of a Corpus of these stelai, presents in this paper six of them from Tanagra, stored in the Schimatari Museum. They are dated to the first and second centuries A.D. The inscriptions do not reveal the social status of the dead, but the funerary iconography reveals their religious beliefs. Neikaro (figs. 1-2) and Stratoneiki (figs. 4-5) are represented in the dress of Isis, Doro (figs. 8-9) and Zoso (fig. 10) as Mainads, while the male (fig. 11) and female figure (fig. 12) on the two other stelai are shown holding in their left hand a caduceus. The deceased wished thus to be preserved for posterity in association with the most important cults of the ancient city of Tanagra: egyptian gods, Dionysos and Hermes.
The funerary stelai of Nikaro and Stratoneiki were made in Athens, the rest by local workshops
"I ritratti di età romana della Cirenaica: lo stato degli studi. Considerazioni sui ritratti dal Tempio di Zeus Olimpio a Cirene", in Cirene e la Cirenaica nell'antichità. Atti del Convegno Internazionale di Studi, Roma-Frascati, 18-21 dicembre 1996, Roma 2007, pp. 87-104. ISBN 978-88- 88617-02-2.more
Research Interests:
Research Interests:
Research Interests:
"Due ritratti di età antonina nel Museo Archeologico di Tebe", in J. Bouzek, I. Ondrejova (edd.), Roman Portraits. Artistic and Literary. Acts of the Third International Conference on the Roman Portraits held in Prague and in the Beçhine Castle from 25 to 29 September 1989, Mainz 1997, pp. 57-61, tavv. 17-1 (ISBN 3-8053-2335-2).more
Research Interests:
"Alcuni ritratti giulio-claudi del Museo Archeologico di Mitilene", in Ritratto ufficiale e ritratto privato. Atti della II Conferenza Internazionale sul Ritratto Romano (Roma, 26-30 settembre 1984) , a cura di N. Bonacasa e G. Rizza (CNR. Quaderni della Ricerca Scientifica 116) , Roma 1988, pp. 165-173.more
Research Interests:
Research Interests:
Antichità di Villa Doria Pamphilj (a cura di R. Calza et alii), Roma 1977, nn. 129, 152, 155, 159, 160, 169, 170, 172, 178, 194, 198-200, 202-204, 211-213, 216, 218-231, 235-245, 247, 249-253, 255-262, 267, 269, 270, 274-276, 280-284, 286-288, 291, 292, 299, 302-304, 314, 316-322, 467. La storia della collezione è frutto della collaborazione collettiva degli autori.more