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Hellenistic royal iconography in glyptics
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Title
Hellenistic royal iconography in glyptics
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Gross
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Robert Allen
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Robert Allen Gross
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Kenfield, III
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John
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John F Kenfield, III
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chair
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Thuno
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Erik
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Erik Thuno
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Marder
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Tod
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Advisory Committee
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Tod A Marder
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Cargill
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Jack
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Advisory Committee
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Jack L Cargill
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Rutgers University
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degree grantor
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Graduate School - New Brunswick
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theses
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DateCreated
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2008
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2008-01
Language
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English
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electronic
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application/pdf
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Extent
xxi, 217 pages
Abstract
The present thesis essays to ascertain and research problems that concern the social requirements and the iconography of Hellenistic royal portraiture in glyptics. Throughout I employ a methodology established by H. Kyrieleis and R. Fleischer that defined anew the study of the numismatic evidence, recognizing in the obverse typology programs of a dynastic iconography.
The analysis of the royal iconography is pursued in the second through the fourth chapters, which in their organization take account of the distribution of the material evidence. Leaving aside the late Ptolemaic dynasty, for which the numismatic evidence remains silent, over two-thirds of the portraits surveyed represent the types of the regnal emissions or are associated with them in iconography. For the complement of anonymous portraits the I attempt to establish a relative chronology based on correlations educed in the stylistic properties of the obverse types. Whereas some new attributions are proposed, the arguments are equally directed to an assessment of the stylistic idioms in which the iconography is couched. I submit that if judiciously applied against the numismatic criteria, this approach can at least suggest the probable dynastic affiliation or regional origin of a given portrait.
The first chapter addresses the social requirements of the glyptic portraiture in the courts. Principally, it introduces arguments that stand counter to the scholarly consensus. I mount a case to refute the judgement that portrait cameos may have functioned as the ornamental devices of crowns awarded to the priests attending the eponymous dynastic cults. The weight of the evidence presumes that medallions fulfilled this purpose. Further, I would contend that the extended relationship of the glyptic iconography to the obverse types contradicts the theory that the royal house or its commissioners imposed in the aulic environment an iconography of divinized kingship, ideologically separate from that sanctioned for the official, public representation of the dynasty.
The analysis of the royal iconography is pursued in the second through the fourth chapters, which in their organization take account of the distribution of the material evidence. Leaving aside the late Ptolemaic dynasty, for which the numismatic evidence remains silent, over two-thirds of the portraits surveyed represent the types of the regnal emissions or are associated with them in iconography. For the complement of anonymous portraits the I attempt to establish a relative chronology based on correlations educed in the stylistic properties of the obverse types. Whereas some new attributions are proposed, the arguments are equally directed to an assessment of the stylistic idioms in which the iconography is couched. I submit that if judiciously applied against the numismatic criteria, this approach can at least suggest the probable dynastic affiliation or regional origin of a given portrait.
The first chapter addresses the social requirements of the glyptic portraiture in the courts. Principally, it introduces arguments that stand counter to the scholarly consensus. I mount a case to refute the judgement that portrait cameos may have functioned as the ornamental devices of crowns awarded to the priests attending the eponymous dynastic cults. The weight of the evidence presumes that medallions fulfilled this purpose. Further, I would contend that the extended relationship of the glyptic iconography to the obverse types contradicts the theory that the royal house or its commissioners imposed in the aulic environment an iconography of divinized kingship, ideologically separate from that sanctioned for the official, public representation of the dynasty.
Note
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Ph.D.
Note
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Includes bibliographical references (p. 179-185).
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Art History
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Art
Subject
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Topic
Glyptics
Subject
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Topic
Portraits, Hellenistic
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Graduate School - New Brunswick Electronic Theses and Dissertations
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rucore19991600001
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http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.17135
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ETD_705
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doi:10.7282/T3NS0V8V
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ETD doctoral
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Rights
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The author owns the copyright to this work.
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Copyright protected
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Open
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Name
Robert Gross
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Affiliation
Rutgers University. Graduate School - New Brunswick
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Non-exclusive ETD license
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Author Agreement License
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I hereby grant to the Rutgers University Libraries and to my school the non-exclusive right to archive, reproduce and distribute my thesis or dissertation, in whole or in part, and/or my abstract, in whole or in part, in and from an electronic format, subject to the release date subsequently stipulated in this submittal form and approved by my school. I represent and stipulate that the thesis or dissertation and its abstract are my original work, that they do not infringe or violate any rights of others, and that I make these grants as the sole owner of the rights to my thesis or dissertation and its abstract. I represent that I have obtained written permissions, when necessary, from the owner(s) of each third party copyrighted matter to be included in my thesis or dissertation and will supply copies of such upon request by my school. I acknowledge that RU ETD and my school will not distribute my thesis or dissertation or its abstract if, in their reasonable judgment, they believe all such rights have not been secured. I acknowledge that I retain ownership rights to the copyright of my work. I also retain the right to use all or part of this thesis or dissertation in future works, such as articles or books.
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