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Journal articles on the topic 'Diana (Roman deity) in art'

Author: Grafiati

Published: 25 July 2024

Last updated: 27 July 2025

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1

Vacinová, Lenka. "Vzácná varianta republikánského denáru typu RRC 222/1 / A rare variety of the Roman Republican denarius of the RRC 222/1 type." Numismatické listy 73, no. 3-4 (2019): 130–38. http://dx.doi.org/10.37520/nl.2018.014.

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An extremely rare variety of the Roman Republican denarius of the RRC 222/1 type has been identified recently in the numismatic collection of the National Museum in Prague. The article analyses its iconography in a broader context of the Greek and Roman coinages as well as other visual art styles emphasising importance of consistent differentiation between the goddesses Diana and Luna that are frequently confused one with another even in the scholarly literature.

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2

Lusher, Andrew. "Greek Statues, Roman Cults and European Aristocracy: Examining the Progression of Ancient Sculpture Interpretation." Journal of Arts and Humanities 6, no. 12 (2017): 25. http://dx.doi.org/10.18533/journal.v6i12.1313.

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<p>In 1747 Frederick II of Prussia acquired a rare and highly valuable statue from antiquity and gave it the description of Antinous (the ill-fated lover of the Roman Emperor Hadrian). Although the bronze statue had always been accepted as an original from ancient Greece, the statue eventually assumed the identity of the Roman Antinous. How could Frederick II, an accomplished collector, ignore the blatant style and chronological discrepancies to interpret a Greek statue as a later Roman deity? This article will use the portraiture of Antinous to facilitate an examination of the progressi

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3

Spivey, Nigel. "Art and Archaeology." Greece and Rome 63, no. 1 (2016): 140–43. http://dx.doi.org/10.1017/s0017383515000327.

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In 1830 a hoard of Roman silver weighing some 25 kilograms was recovered from farmland near Berthouville, between Rouen and Caen. The silver was mostly worked into drinking vessels and associated items such as jugs, ladles, and bowls. Two statuettes of the god Mercury confirmed this as a votive deposit, as indicated by various dedications from Romano-Gallic pilgrims, notably on nine pieces left by Quintus Domitius Tutus (‘Mr Safe’) in the mid-first century ad. Restored by conservation experts at the Getty Museum, the cache – along with several other treasures from Gaul – has served as witness

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4

Jacoby, Thomas. "ROMAN SCULPTURE (Yale Publications in the History of Art). Diana E. E. Kleiner." Art Documentation: Journal of the Art Libraries Society of North America 12, no. 2 (1993): 91. http://dx.doi.org/10.1086/adx.12.2.27948546.

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5

Kulakov, Vladimir. "Origin of Symmetrical Composition in Decorative Art of the Viking Age." Izvestia of Smolensk State University, no. 1(57) (July 3, 2022): 178–86. http://dx.doi.org/10.35785/2072-9464-2022-57-1-178-186.

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For the first time, a symmetrical composition with figures of a deity standing on the godsof carnivorous animals appeared in the Middle Eastern art of the III–II millennium B.C. In the Mycenaean era, this composition became known to adherents of Hellenic art, who realized it both in painting and sculpture. This composition realizes the idea of their authors striving to convey to recipients the concept of the power of the depicted deity and his power over the animal world. A symmetrical composition with standing predatory animals, which is a clear oriental innovation in the art of ancient

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6

Mshvildadze, Marika. "Diety Nike-Victoria of the late Antique period on the territory of Georgia." Pro Georgia 33, no. 1 (2023): 161–68. http://dx.doi.org/10.61097/12301604/pg33/2023/161-168.

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The states on the territory of Georgia were part of the Classical antiquity ecumene. Accordingly, both Iberia and Colchis had close trade-economic and cultural relations with the Roman Empire, from where the deities popular in the empire spread to the territory of Georgia. Among them, a special place is occupied by the ancient god of victory, Nike (Ancient Greek: Νίκη). The name Nike is believed to date back to the pre- Greek period. In Greek mythology, Nike appears as a companion of Zeus and Athena. In Greek art, the deity is mainly depicted with symbols of victory – wings, a crown and a palm

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7

Smith, Tyler Jo. "Highland gods: rock-cut votive reliefs from the Pisidian Survey." Anatolian Studies 61 (December 2011): 133–50. http://dx.doi.org/10.1017/s0066154600008814.

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AbstractBetween 1982 and 1996 a group of rock-cut votive reliefs was discovered during archaeological survey in Pisidia under the direction of Stephen Mitchell and the sponsorship of the British Institute (of Archaeology) at Ankara. The types represented include a horseman deity, perhaps Kakasbos, the Dioscuri with ‘goddess’ and the moon-god Men. The reliefs are discussed according to their cults and iconography, and their contribution to art and religion both locally and beyond. As a religious phenomenon, they are further considered in relation to both regional traditions and empire-wide prac

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8

Dowling, Melissa Barden. "A Time to Regender: The Transformation of Roman Time." KronoScope 3, no. 2 (2003): 169–83. http://dx.doi.org/10.1163/156852403322849224.

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AbstractAt the end of the first century A.D., at the height of the Roman empire, a new abstract deity of eternal time, Aeternitas, appeared. This first discrete personification of abstract time was initially a female image represented on official coins and monuments, but in A.D. 121, a new male personification of eternal time appeared in imperial, state sponsored art. Both male and female depictions of eternal time were accompanied by a rich array of attributes that connected eternity, immortality, and earthly prosperity. This change in the image of time occurred simultaneously with tremendous

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9

Hirniak, Mariana. "Symbol of light in “Paternal lantern” by Roman Fedoriv." Слово і Час, no. 6 (November 26, 2020): 31–46. http://dx.doi.org/10.33608/0236-1477.2020.06.31-46.

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The paper deals with the novel “Paternal Lantern” by Roman Fedoriv, namely with the symbolic meanings the light acquires according to its material representation in the work. The writer interprets this symbol, common for the cultures of the whole world, in a rather original way. In the novel, the sunlight is associated with the human internal strength and power of nature; it is a precondition for life as well as evidence of righteous existence on earth. The sunset symbolizes approaching death and thereby manifests the man’s need to rethink his way of life. The fire is a source of light and hea

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10

Ormand, Kirk. "OVID'S HERMAPHRODITUS AND THE MOLLIS MALE." Ramus 51, no. 1 (2022): 74–104. http://dx.doi.org/10.1017/rmu.2022.4.

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Figures of intersexed individuals perhaps representing the minor Greek deity Hermaphroditus became, for reasons that are not entirely clear, strikingly popular in Roman sculpture and wall painting in the latter half of the first century CE. Depicting a fully bisexed human body, these figures have resulted in competing interpretations regarding their purpose, meaning, and effect. As it happens, we also have a text from the Augustan period that purports to explain not only the origin of the intersexed Hermaphroditus, but the production of future bisexed individuals, in Ovid's Metamorphoses Book

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11

Trofimova, Anna A. "Pan as a Character in Ancient Art from the 6th Century BC to the 3rd Century AD: Semantics of the Image in Historical Contexts." Actual Problems of Theory and History of Art 14 (October 11, 2024): 25–40. https://doi.org/10.18688/aa2414-1-2.

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The article examines the history of the image of Pan in ancient art, from the 6th century BC to the 3rd century AD. The evolution of the image has been traced in the historical context: in connection with political circumstances, religious ideas and myth-making of poets. The change in the semantics and role of the character is analyzed. Particular attention is paid to a previously unexplored topic — the significance of Pan in the art and religion of the Northern Black Sea region, where Pan acquires the function of the guide of the soul of the deceased to the afterlife. The specificity of Pan,

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12

Bérešová, Jana. "BOOK REVIEW Maria-Ionela Neagu (Ed.), Voyage and Emotions across Genres. Berlin: Peter Lang GmbH, 2020, 276 pp, ISBN: 978-3-631-81001-9." JOURNAL OF LINGUISTIC AND INTERCULTURAL EDUCATION 17, no. 2 (2024): 153–56. https://doi.org/10.29302/jolie.2024.17.2.10.

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BOOK REVIEW Maria-Ionela Neagu (Ed.), Voyage and Emotions across Genres. Berlin: Peter Lang GmbH, 2020, 276 pp, ISBN: 978-3-631-81001-9. Reviewed by Jana Bérešová, Trnava University, Slovakia The book, entitled Voyage and Emotions across Genres, brings together papers that are framed within two main subjects: literary studies representing voyage and discursive approaches to space and emotions. As stated in the introductory article (pp. 9-15) by Maria-Ionela Neagu and Sky Marsen, this work aims to emphasise that locations in which people live are not stable entities. Rather, they are dynamic sp

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13

Hansen, Jesper. "Offertradition og religion i ældre jernalder i Sydskandinavien – med særlig henblik på bebyggelsesofringer." Kuml 55, no. 55 (2006): 117–75. http://dx.doi.org/10.7146/kuml.v55i55.24692.

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Sacrificial Tradition and Religion during the Early Iron Age in South Scandinavia – with Special Reference to Settlement SacrificesSacrificial customs and religion during the Early Iron Age (500 BC–400 AD) has occupied archaeologists from the infancy of archaeology. Most would probably agree that the religion was primarily fertility related, originating as it was in the existing peasant society. The literature does not reflect any disagreement about the religion of the Early Iron Age being polytheistic and consequently concerned a variety of gods. However, it is still unknown how the religion

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14

Bijađija, Bruno. "Rimska religija i kultovi u Epidauru." Archaeologia Adriatica 6, no. 1 (2012). http://dx.doi.org/10.15291/archeo.984.

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The Roman colony of Epidaurum (modern-day Cavtat) has been poorly excavated, which represents the main problem in a study of any aspect of Roman life in the area of present-day Dubrovnik. however, thanks to epigraphic holdings, material remains, certain traditions and other indicators, it is possible to say something about Roman religion and cults in Epidaurum in the period of Roman rule over the Croatian coastal region. So far, we have succeeded in identifying the following worshipped deities and cults: Jupiter, Minerva, Diana, Aesculapius, the imperial cult and Mithra. Jupiter, Diana and an

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15

Motti, Riccardo, Massimo Ricciardi, and Paolo Giulierini. "Human-nature relationships in the collections of the National Archaeological Museum of Naples: a botanical perspective." Thaiszia – Journal of Botany, 2022. http://dx.doi.org/10.33542/tjb2022-2-02.

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The portrayal of plants depicted in works of art in antiquity can provide insights into human–nature relationships. We have identified the botanical species sculpted on marble and stone and depicted on wall paintings, vases, mosaics, and furnishings in the National Archaeological Museum of Naples, which houses the greatest collection of Greco-Roman antiquities in the world. In detail, the main objectives of the present study were to analyse and discuss the symbolic role of some plants more strongly linked to a deity or involved in other aspects of Greco-Roman life and customs. The attention wa

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16

Riccardo, Motti, Ricciardi Massimo, and Giulierini Paolo. "Human-nature relationships in the collections of the National Archaeological Museum of Naples: a botanical perspective." Thaiszia – Journal of Botany 32/2022, no. 2 (2022). https://doi.org/10.33542/TJB2022-2-02.

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The portrayal of plants depicted in works of art in antiquity can provide insights into human–nature relationships. We have identified the botanical species sculpted on marble and stone and depicted on wall paintings, vases, mosaics, and furnishings in the National Archaeological Museum of Naples, which houses the greatest collection of Greco-Roman antiquities in the world. In detail, the main objectives of the present study were to analyse and discuss the symbolic role of some plants more strongly linked to a deity or involved in other aspects of Greco-Roman life and customs. The attent

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17

Hedreen, Guy. "On the Magnitude of the Gods in Materialist Theology and Greek Art." Journal of Hellenic Studies, August 24, 2021, 1–23. http://dx.doi.org/10.1017/s0075426921000021.

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Abstract In this paper, I address one characteristic of Classical Greek votive reliefs that has troubled scholars: the size of the gods. The reliefs depict mortal worshippers approaching gods and goddesses who are, almost invariably, larger in stature than the mortals. Scholars have generally explained the difference in scale to be art historical, rather than theological, in significance. Either the larger scale is a visual expression of the hierarchical superiority of the gods or the images of the gods represent over-life-size statues. In addition, it is widely accepted that votive reliefs ar

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18

"Diana E. E. Kleiner. Roman Sculpture. (Yale Publications in the History of Art.) New Haven: Yale University Press. 1992. Pp. xii, 477. $55.00." American Historical Review, February 1994. http://dx.doi.org/10.1086/ahr/99.1.208.

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19

Dyl, Mikołaj. ""Człowiek i jego Priap". Analiza Priapejów pod kątem relacji między Priapem, a "chłopami"." Facta Ficta. Journal of Theory, Narrative & Media 2 (14) 2024 (December 18, 2024). https://doi.org/10.5281/zenodo.14517256.

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<strong>"The man and his Priapus". Analysis of Priapea in terms of the relationship between Priapus and the "peasants"</strong> An anonymous collection of Roman epigrams titled Priapea dating back to the first century AD has become the subject of much research. The extremely rubbishy poems tell the story of the Priapus, a Greek fertility god characterized by a disproportionately large phallus, with the use of which he protects the village vegetable garden from intruders. These works provide valuable material for the study of issues such as Roman morality and humor. Almost all works devoted to

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