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

石棺是了解罗马叙利亚艺术传统和文化表达的重要来源：从雅典运往提尔的带有希腊神话雕塑场景的不朽大理石盒子，到沙漠帕尔米拉的石灰石制品，自豪地雕刻着几代祖先的半身像。我的研究旨在确定这一被忽视的近东艺术分支的重要性。叙利亚艺术受到东方主义话语的影响，认为西方文化高于东方文化，因此经常被贴上“乡下人”的标签，被认为是格雷科-罗马风格的衍生品。事实上，各种形式的叙利亚石棺是文化和艺术传统复杂融合的产物，被广泛使用，并巧妙地适应了该地区无数当地社区的需要。我的研究重点放在生产和意义上：-装饰石棺如何反映当地的艺术传统？-它们能告诉我们关于死亡、悲伤和来世的古代观念吗？-石棺在多大程度上经历了大规模生产过程，赞助人有多大的个性化空间？-我们能追踪到设计在叙利亚作坊之间的传播，以及从罗马进口的设计吗？这样的全面研究还没有进行，所以我的研究有望对罗马叙利亚艺术的研究做出重大贡献，提高石棺收藏的知名度，并加强对它们可以提供给该地区生死知识的欣赏。叙利亚目前的政治局势和内战的影响让该地区的考古研究前景充满不确定性。文化遗产的破坏产生了通过照亮幸存的物品来保护罗马叙利亚丰富历史的迫切需要。我从博物馆收藏品(大英博物馆；卢浮宫)和考古出版物(de Jong 2017；Pogoda 2018；Annan 2019)收集了大量材料作为我研究的核心。使用贝里图斯、比布鲁斯、的黎波利斯、安提阿、西顿、马拉托斯、多利切、格拉萨以及上述地点的数据，我将根据大小、形状、材料和装饰来组织石棺。这项初步工作将使我能够追踪当地和地区的差异，并确定研讨会之间的联系，首次致力于全面了解叙利亚石棺。在希腊和罗马世界(Toynbee 1971；Alcock 2002；Zanker 2012)以及以东鲜为人知的帕提亚墓地(Toynbee 1971；Alcock 2002；Zanker 2012)关于死亡和纪念活动的广泛学术研究的基础上，我将探索石棺对整个罗马叙利亚的个人和社区的社会文化意义。在考虑消费者需求对标准化设计的影响时(罗素2013)，我将与其他可能在同一工作室生产的系列雕塑(例如建筑装饰)进行比较。此外，我将通过与现代雕塑工作室的接触来融入实验考古学元素。这种跨学科的经历将使我对支撑石棺从委托到埋葬的技术和社会过程有价值的洞察，从而加深我对古代世界雕塑实践的理解。

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.