Sculpture, memory and meaning in the sarcophagi of Roman Syria.

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Sarcophagi are an important source for understanding artistic traditions and cultural expression in Roman Syria: from the monumental marble boxes with sculpted scenes from Greek mythology, shipped from Athens to Tyre; to the limestone creations of desert Palmyra, proudly bearing sculpted busts of generations of ancestors. My research aims to establish the importance of this overlooked branch of Near Eastern art. Impacted by Orientalist discourse that assumes western superiority over eastern cultures, Syrian art is often labelled 'provincial' and considered derivative of Graeco-Roman styles. In reality, Syrian sarcophagi in their many forms were products of a complex merging of cultures and artistic traditions, widely used and ingeniously adapted to suit myriad local communities across the region. My research focuses on production and significance: -How did decorated sarcophagi reflect local artistic traditions?-What can they tell us about ancient ideas on death, grief and the afterlife?-To what extent did sarcophagi undergo a process of mass-production and how much scope did the patron have for individualization?-Can we trace the spread of designs between Syrian workshops, and from Roman imports?A comprehensive study like this is yet to be undertaken and so my research promises to make a significant contribution to research on the art of Roman Syria, to increase the visibility of sarcophagus collections and enhance appreciation of the knowledge they can offer on life and death in the region. The current political situation in Syria and the impact of civil war have left the future of archaeological research in the area uncertain. The destruction of cultural heritage has created an urgent need to preserve the rich history of Roman Syria by illuminating the objects that have survived.I have gathered a corpus of material to serve as the core of my research, from museum collections (The British Museum; The Louvre) and archaeological publications (de Jong 2017; Pogoda 2018; Annan 2019). Using data from the sites of Berytus, Byblos, Tripolis, Antioch, Sidon, Marathos, Doliche, Gerasa, and those mentioned above, I will organise sarcophagi according to size, shape, and material, and decoration. This preliminary work will enable me to trace local and regional variations and identify contact between workshops, working for the first time towards a holistic picture of Syrian sarcophagi. Building on the extensive scholarship on death and commemoration in the Greek and Roman worlds (Toynbee 1971; Alcock 2002; Zanker 2012), and the lesser-known cemeteries of Parthia to the east, I will explore the socio-cultural significance of sarcophagi to individuals and communities throughout Roman Syria. In considering the influence of consumer demand on standardized designs (Russell 2013), I will compare with other serially produced sculpture likely produced in the same workshops (e.g.,architectural decoration). Additionally, I will incorporate an experimental archaeology element through engagement with a modern sculptural workshop. This interdisciplinary experience would give valuable insight into the technical and social processes that underpin the life of the sarcophagi, from commission to burial, thereby enhancing my understanding of sculptural practice in the ancient world.