By Miguel John Versluys
This archaeological learn investigates the that means of the Egyptian and egyptianising artefacts which were preserved from the Roman international in several ways.
Its element of departure is a close research at the so-called Nilotic scenes or Nilotic landscapes. The e-book offers a entire and illustrated catalogue of the style that was once well known all over the Mediterranean from the Hellenistic interval to the Christian period in addition to a contextualisation and interpretation.
Drawing at the conclusions hence reached the total crew of Aegyptiaca Romana is as a result studied. in response to a basic evaluation of this fabric within the Roman international and, in addition, a case-study of the Aegyptiaca from the town of Rome the various meanings of this cultural phenomenon are mapped. including different Egyptian deities well known within the Roman global, the goddess Isis performs a big position during this discussion.
Aegyptiaca Romana, between them the Nilotic scenes, are a part of the mirrored image of the Roman perspective in the direction of and strategies on Egypt, Egyptian tradition and the East. The concluding a part of the e-book illustrates and attempts to give an explanation for this Roman discourse on Egypt.
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Extra resources for Aegyptiaca Romana: Nilotic Scenes and the Roman View of Egypt
However, a critical examination of the available source material seems to suggest that none of the Roman emperors was personally a follower of Isis or was initiated into her mysteries. It can be said with certainty that Caligula was interested in Egypt, but that is all, in spite of Suetonius' mention of a nocturnal performance of a play set in the underworld performed by Egyptians and Ethiopians. Caligula's great interest in eastern affairs in general should probably be seen in the light of his admiration for and imitation of Alexander the Great.
Furthermore she sees Nilotic landscapes as part of the "Agyptenmode" 102. Most recently, to conclude, new discoveries of mosaic fragments in Madrid and Rome suggested the existence of parallels for the most famous of all Nilotic landscapes: the mosaic in Palestrina lO3 • 4 Set-up and aim qf the research The above overview shows that there are different opinions on the meaning of Nilotic scenes in the Roman world. What is noticeable first of all (l) is the fact that none of these conclusions was drawn on the basis of the study of a complete as possible set of data.
In fact this is so far still the best general introduction to the genre, which however unfortunately lacks a synthesis and a conclusion. 76 Rostovtzeff 1911, 7 I. E. Blake, Mosaics of the late Empire in Rome and vicinity, MAAR 17 (1940) 81-130, 119-120. 78 Cf. cat. no. 035; A. Maiuri, Le pitture delle casa di 'M. e. Teges (Reg. 1,7) (Monumenti della Pittura Antica, Pompeii II) (1938), 26 n. I. NIL OTIC LANDSCAPES 29 tions on Roman wall-painting 79 • He ascribes a religious meaning to the Nilotic landscapes; sometimes a direct one, sometimes an indirect one.
Aegyptiaca Romana: Nilotic Scenes and the Roman View of Egypt by Miguel John Versluys