Dynastic Commemoration and Imperial Portraiture in the Julio-Claudian Period

1999 ◽  
Vol 92 (3) ◽  
pp. 298
Author(s):  
Karl Galinsky ◽  
Charles Brian Rose
Keyword(s):  
Imperial Portraiture

Mutilation and Transformation: "Damnatio Memoriae" and Roman Imperial Portraiture

2006 ◽  
Vol 99 (4) ◽  
pp. 471
Author(s):  
Harriet I. Flower ◽  
Eric R. Varner
Keyword(s):  
Imperial Portraiture

The Imperial Arts

2021 ◽  
pp. 132-146
Author(s):  
Benjamin Anderson
Keyword(s):  
Social Dynamics ◽  
The State ◽  
Seventh Century ◽  
Two Dimensional ◽  
Late Antique ◽  
Historical Knowledge ◽  
Imperial Portraiture ◽  
Byzantine History

Images of Byzantine emperors served not only to glorify those depicted, but also as media through which subjects articulated their relationships both to individual sovereigns and to the state. The predominant materials, compositional strategies, and social dynamics that constrained such expressions changed substantially over the course of Byzantine history. After the Late Antique system of dedicating monumental bronze statues collapsed in the seventh century, a more flexible set of practices emerged, whose primary expressions were two-dimensional schemata. In the last empire’s last centuries, diplomatic considerations encouraged the production of scenic tableaux, while the closed series of portraits predominated after 1453. The transactional nature of imperial portraiture, the distinction between individual and office, and the representation of emperors as subjects of historical knowledge will repay further research.

Imagines in Imperial Portraiture

1923 ◽  
Vol 27 (3) ◽  
pp. 286
Author(s):  
Emerson H. Swift
Keyword(s):  
Imperial Portraiture

The Character of the Gallienic Renaissance

1943 ◽  
Vol 33 (1-2) ◽  
pp. 65-70 ◽  
Author(s):  
Gervase Mathew
Keyword(s):  
Social Structure ◽  
Acute Phase ◽  
Small Town ◽  
Third Century ◽  
The Third ◽  
The Future ◽  
Economic Collapse ◽  
Imperial Portraiture ◽  
Relationship Of ◽  
The Relationship

It is at least a tenable hypothesis that the acute phase of transition from classical to post-classic culture lies in the third century A.D. rather than in the fifth. The confused and tangled epoch between the accession of Septimius Severus and the accession of Diocletian seems either to foreshadow or to shape the future both for the Western Provinces and for the East. So much that had marked the civilisation of the Antonines, the sense of gravitas and the restraint of form, the tranquil acceptance of the interplay of individual privilege and obligation within a social structure conceived as effortlessly stable, the solid bourgeois standard of what was perhaps essentially a small-town culture, went down in the chaos of an economic collapse. The emergence of Neo-Platonism, the creation of the new conventions in Imperial portraiture and the triumph of the cult of Sol Invictus all seem to symbolise a change in the conception of the functions of personality and of the relationship of man with the Divine and of man with men.

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