Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in American Museums
Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in American Museums
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《石头中的诅咒记忆》：美国博物馆中的两幅尼禄肖像重新剪辑成韦斯帕芗
DOI：
10.2307/504743
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发表时间：
1984
影响因子：
1.2
通讯作者：
J. Pollini
中科院分区：
文献类型：
--
作者：
J. Pollini
两幅高质量的罗马肖像，一幅在克利夫兰艺术博物馆，另一幅在巴尔的摩沃尔特斯艺术画廊，以前没有被认为是从一个人的形象重新切割成另一个人的肖像。比较肖像学和其他证据表明，这两个雕塑都是维斯帕先皇帝（公元69-79年）的肖像。c)从尼禄（Nero）的肖像重新制作而成，他实际上受到了悼念的惩罚。有足够的原始肖像的痕迹表明，克利夫兰的头像可能是从尼禄的最后一幅肖像中重新切割出来的，而沃尔特斯的头像似乎是根据尼禄在他的元首任期开始时使用的一幅肖像重新制作的。这些雕塑被重新切割的决定有助于解释它们在某些方面偏离了目前所代表的个人的既定形象。由于这个原因，也因为这种重新加工可能对我们对罗马肖像的理解有重要而广泛的影响，重新切割肖像的问题值得引起相当大的关注。
Two Roman portraits of good quality, one in the Cleveland Museum of Art and the other in the Walters Art Gallery, Baltimore, have not previously been recognized as having been recut from the image of one individual into the likeness of another. Comparative iconography and other evidence indicate that both sculptures are portraits of the Emperor Vespasian (69-79 A. C.) reworked from likenesses of Nero, who had suffered a de facto damnatio memoriae. There are sufficient traces of the original portrait to suggest that the Cleveland head was probably recut from the last portrait type of Nero, while the Walters head seems to have been reworked from a portrait type of Nero in use at the beginning of his Principate. The determination that these sculptures have been recut serves to explain certain ways in which they deviate from the established iconography of the individual presently represented. For this reason and because such reworking may have important and wide ranging implications for our understanding of Roman portraiture, the issue of recut portraits deserves considerable attention.