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：从雅典运往提尔的雕刻希腊神话场景的巨大大理石盒子；到沙漠巴尔米拉的石灰岩雕塑，自豪地雕刻着几代祖先的半身像。我的研究旨在确立这一被忽视的近东艺术分支的重要性。受东方主义话语的影响，西方文化高于东方文化，叙利亚艺术通常被贴上“地方”的标签，被认为是希腊罗马风格的衍生品。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的当地社区。我的研究重点是制作和意义：-装饰石棺如何反映当地的艺术传统？-他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的过程，而赞助人有多大的个性化空间？-我们能否追踪叙利亚作坊之间的设计传播，以及从罗马进口的设计？像这样的全面研究尚未进行，因此我的研究有望对罗马叙利亚艺术的研究做出重大贡献，提高石棺收藏的可见度，并提高对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给该地区考古研究的未来留下了不确定性。文化遗产遭到破坏，迫切需要通过照亮幸存下来的物品来保护罗马叙利亚丰富的历史。我收集了大量的材料作为我研究的核心，这些材料来自博物馆收藏（大英博物馆；卢浮宫）和考古出版物（de Jong 2017; Pogoda 2018; Annan 2019）。我将根据贝里图斯、比布罗斯、特里波利斯、安提阿、西顿、马拉索斯、多利切、格拉萨以及上面提到的石棺遗址的数据，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，并确定车间之间的联系，首次为叙利亚石棺的整体情况而努力。基于对希腊和罗马世界死亡和纪念的广泛研究（Toynbee 1971; Alcock 2002; Zanker 2012），以及东部鲜为人知的帕提亚墓地，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。考虑到消费者需求对标准化设计的影响（Russell 2013），我将与可能在同一车间生产的其他系列雕塑（例如建筑装饰）进行比较。此外，我将通过参与现代雕塑工作坊，将实验考古学元素纳入其中。这种跨学科的经历将使我对支撑石棺生命的技术和社会过程有宝贵的见解，从委托到埋葬，从而增强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.