Manufacturing miniaturisation: The making of miniature deities in the GrecoRoman world

“简化”一词意味着一个过程：简化的过程，而不是简单地制造小东西。通过集中在代表神的化身的作用，我将研究这一过程，因为它在希腊和罗马古代发挥，问关键的问题，如何和为什么这个过程发生，以及答案是否保持不变，随着时间的推移。在过去的十五年里，古代世界对微小物体的兴趣正在蓬勃发展，学者们建立在苏珊·斯图尔特（1992）的文学理论和阿尔弗雷德·盖尔（1998）的人类学理论基础上。值得注意的例子包括苏珊·阿尔科克关于“小东西”日益重要的注释（2006年），约翰·麦克关于“小东西的艺术”的世界研究（2007年），以及更专业的，以古代为重点的作品，如世界考古学特刊（2015年）探索“微型化”。我们仍然缺乏一个总体的概念装置来理解行动中的反腐败标本。此外，这种分析并没有充分地应用于古代复制的研究（例如，米兰达·马文（2008）和萨尔瓦多·塞蒂斯和安娜·安吉索拉（2015）），尤其重要的是，许多纪念性雕像只能通过它们的微缩复制品而闻名。在完全机械复制之前的时代，复制不仅是重复的问题，也是解释的问题。正如詹妮弗·特林布尔（2011）所探索的那样，没有必要让“复制品”看起来与他们所引用的对象完全相同;相反，雕塑家们使用一套“关系美学”来满足他们想要的目标。“可识别性”是我们的目标。经济复苏有什么不同吗？这个项目将通过观察神的框架来统一复制和复制的主题，研究是什么让复制如此令人愉快。从大不列颠到大夏，从古希腊时期到古代晚期，这个项目将执行Jas Elsner（2020）所说的“概念上的举重”，以全面处理神的缩影。利用物质文化和从Posidippus到Pliny的文学来源，我的目标是探索如何通过缩小的方式，将与神的形象相遇的焦点从顿悟转移到精致的喜悦。对于视觉资料，我开始于希腊化时期之前，将学到的经验应用于一切事物，从瑙克拉提斯的小型雪花石膏库罗伊到在亚历山大时代崭露头角并在庞贝的桌面上找到它们的家的青铜神像。这些微型神，无论是作为虔诚的文物，纪念品，或两者兼而有之，将历时探索，寻求发现是什么驱动了这种设备的需求。雕刻的宝石也提供了一个富有成效的途径来比较不同时间的微型代表的功能，从青铜时代开始使用，并参与复制。通过这一点，我的作品将探索理解微缩模型所需的文化背景，并试图动摇“微缩模型是出于必要性而不是意志”的观点。“（巴特曼，1992年，第147页）

The term "miniaturisation" implies a process: the process of reduction rather than of simply making small things. By focusing in on the role of miniaturisation in representing divine beings, I will study this process as it played out in Greek and Roman antiquity, asking crucial questions about how and why this process occurs, and whether the answers remain the same over time.There has been a burgeoning interest in tiny objects in the ancient world over the last fifteen years, with scholars building both on the literary theory of Susan Stewart (1992) and the anthropological theory of Alfred Gell (1998). Notable examples range from Susan Alcock's note on the growing importance of "small things" (2006), and John Mack's world study of "the art of small things" (2007), to more specialised, ancient-focused works, such as the World Archaeology special issue (2015) exploring 'Miniaturization'.For all that these case studies provide compelling snapshots, we still lack an overarching conceptual apparatus for understanding specimens of miniaturisation in action. Moreover, this analysis is insufficiently keyed into studies of replication in antiquity (e.g. Miranda Marvin (2008) and Salvatore Settis and Anna Anguissola (2015)) and, especially crucial as many monumental statues are only known through their miniature copies.In an age before fully mechanical reproduction, replication was as much a matter of interpretation as of repetition. As Jennifer Trimble (2011) has explored, there was no need for "copies" to look identical to the objects that they referenced; instead, sculptors worked with a set of "relational aesthetics" to meet their desired aims. "Recognisability" was the goal. Did miniaturisation make a difference?Unifying the themes of replication and miniaturisation through the framework of looking at the gods, this project will examine what makes miniaturisation so bonnes à penser. Spanning from Britannia to Bactria, from the Archaic period to Late Antiquity, this project will perform what Jas Elsner (2020) terms the "conceptual heavy-lifting" for a comprehensive treatment of the gods in miniature.Utilising both material culture, and literary sources ranging from Posidippus to Pliny, I aim to explore how the focus of an encounter with an image of a god shifts from epiphany to exquisite delight by means of shrinking. For visual data, I begin before the Hellenistic period, applying the lessons learned to everything from the miniature alabaster kouroi from Naucratis to the bronze statuettes of the gods which came to prominence in the age of Alexander and find their home on the table-tops of Pompeii. These miniature gods, whether they function as devotional artefacts, souvenirs, or both, will be explored diachronically, seeking to discover what drove the need for such devices. Engraved gemstones also provide a productive avenue to compare the function of miniature representations across time, having been in use from the Bronze Age onwards, and themselves participating in replication. Through this, my work will explore the cultural context required for understanding the miniature, and seek to destabilise the idea that the "miniature was born out of necessity rather than volition." (Bartman, 1992, p. 147)