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Journal articles on the topic 'Mithraism in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Beck, Roger. "Ritual, Myth, Doctrine, and Initiation in the Mysteries of Mithras: New Evidence from a Cult Vessel." Journal of Roman Studies 90 (November 2000): 145–80. http://dx.doi.org/10.2307/300205.

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Despite the wealth of the cult's material remains, we still know relatively little about the ritual of the Mithraic mysteries. What was it, in the sense of liturgy performed, that Mithraists actually did in mithraea? How did it relate to myth, to the story of the god, which, by contrast, is singularly well documented on the monuments? Was it, in some way, a mimesis or re-enactment of that story? How, if at all, was it an expression of the initiate's progress, an actualization of his ‘salvation’, and thus of cult doctrine on these matters.There are three major pieces of this puzzle already in place. First, and most important, we know that the cult meal, shared by the initiates on the banquet benches of their mithraeum, replicated the feast of Mithras and the Sun god at a table draped with the hide of the newly slain bull. We know this primarily from representations on the Konjic relief and the Sa. Prisca frescoes, where we see the initiates participating in roles defined by their positions within the hierarchy of grades: the Father (Pater) and the Sun-Runner (Heliodromus) represented Mithras and Sol reclining at their feast, the remaining grades their ministers. It is worth noting that there is no known counterpart in ritual to the central mythic act which precedes the feast, the bull-killing itself. Nevertheless, since the bull-killing in some sense effected ‘salvation’, we may suppose that the feast of the initiates, replicating the feast of the gods, celebrated this salutary effect for mortals. That the divine feast follows, and follows from, the bull-killing is assured by (1) the fact that it was served on the hide of the slaughtered bull, and (2) its depiction on the reverse of tauroctony reliefs, at least some of which could be rotated at the appropriate ritual moment. Finally, the ubiquity of the mithraeum's distinctive banqueting benches implies the ubiquity of the cult meal as the ‘liturgie ordinaire’.

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2

Martin, Luther H. "Seeing the Mithraic Tauroctony." Numen 68, no. 4 (June 1, 2021): 357–81. http://dx.doi.org/10.1163/15685276-12341628.

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Abstract What might a Mithraic initiate have seen when he viewed the ubiquitous tauroctonous image? Rather than understanding the tauroctony as illustrating an episode in a presumed mythic life of Mithras or as exemplifying some conceptual principle, this article seeks to understand the tauroctony as image qua image. Insights from art historians, neurophysiologists, and neurocognitivists show that cultural expectations for seeing the tauroctony are as an image of sacrifice and, at the same time, as an astrologically configured star map, cultural perceptions that were subject to local interpretations. A conclusion briefly suggests how all Mithraic images might have been seen and how scientific methodologies might profitably be incorporated into a history of religions.

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Faraone, Christopher A. "The Amuletic Design of the Mithraic Bull-Wounding Scene." Journal of Roman Studies 103 (May 16, 2013): 96–116. http://dx.doi.org/10.1017/s0075435813000051.

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AbstractRecent research reveals that in the so-called Mithraic tauroctony, the god is, in fact, wounding a bull, not killing it. I argue that the scene combines the overall design of evil-eye amulets with the pose of the goddess Nike performing a militarysphagionand I suggest that the scene must have been understood by its creator and by some viewers, at least, to offer protective power in this world, as well as salvific assurance about the next, a dual focus that seems to have been especially strong in Mithraism.

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4

Noy, David. "R. Gordon: Image and Value in the Graeco-Roman World: Studies in Mithraism and Religious Art (Collected Studies Series). Pp. xii + 338. Aldershot: Variorum, 1996. £62.50. ISBN: 0-86078-608-0." Classical Review 49, no. 1 (April 1999): 278–79. http://dx.doi.org/10.1093/cr/49.1.278-a.

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5

BIVAR, A. D. H. "Mithraism." Iranica Antiqua 40 (May 21, 2005): 341–58. http://dx.doi.org/10.2143/ia.40.0.583215.

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6

Blakely, Sandra. "Social Mobility: Mithraism and Cosmography in the 2nd-5th Centuries CE." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 11–41. http://dx.doi.org/10.5617/acta.7798.

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Pragmatic cognitive science, rooted in Dewey's epistemology and models of distributed cognition, offers new hypotheses for the emergence and decline of the Mithraic rites. These models foreground the responsiveness of the rites to their economic and social environment, generating new form-meaning pairs through multimodal engagements inside the Mithraic caves. These moments of cognitive blending answered the needs of the early social catchment of the rites, which was predominantly freedmen and soldiers benefitting from the upward mobility of the thriving second century CE. Within the caves, multimodal engagements with the triumph of light over dark physical movement, imagery, gesture, role playing, and interaction with cult equipment - aligned the experience of the initiate with Mithras' cosmological triumph. The caves are also a confluence of mechanisms for social mobility that were broadly familiar in the imperial period, including patronage, symposia, engagement with exotic cultural forms and philosophical speculation. The decline of the rites was coincident with the dissolution of the economic opportunities that enabled the rise of the Roman middle class and of the social currency of these practices. The language of euergetism yielded to the language of service to the poor, and the cosmological imagery that characterized the caves shifted into the restricted spheres of exchange among competing princes. This model of the rites suggests dynamics with Christianity focused less on theology than on responsiveness to the economic and social transformations. Keywords: pragmatic cognitive science, cosmology, Mithras. On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

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7

McCarty, Matthew M., Mariana Egri, and Aurel Rustoiu. "The archaeology of ancient cult: from foundation deposits to religion in Roman Mithraism." Journal of Roman Archaeology 32 (2019): 279–312. http://dx.doi.org/10.1017/s1047759419000151.

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In the past two decades, the “archaeology of religion” has moved from the margins of scholarship to the center, led by the growth of postprocessual archaeological hermeneutics. 1 Such theoretical frames – whether the materiality of religion, objects as agents, the entanglement of humans and objects, or “thing theory” – demonstrate the centrality of the physical world and its archaeological correlates to religion. They offer new ways of posing questions about the construction of meanings for worshippers through materials.2

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8

Gardner, I. M. F., and S. N. C. Lieu. "From Narmouthis (Medinet Madi) to Kellis (Ismant El-Kharab): Manichaean Documents from Roman Egypt." Journal of Roman Studies 86 (November 1996): 146–69. http://dx.doi.org/10.2307/300427.

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In 1968, Peter Brown read at the Society's Annual General Meeting a paper entitled ‘The Diffusion of Manichaeism in the Roman Empire’. Delivered at a time when little research was being carried out by British scholars either on Manichaeism or on the cultural and religious relationship between the Roman and the Sassanian Empires, it was for many a complete revelation. With consummate skill and vast erudition Brown placed the history of the diffusion of the sect against a background of vigorous and dynamic interchange between the Roman and the Persian Empires. He also mounted a successful challenge on a number of popularly held views on the history of the religion in the Roman Empire. Manichaeism was not to be seen as part of the mirage orientale which fascinated the intellectuals of the High Empire. It was not an Iranian religion which appealed through its foreigness or quaintness. Rather, it was a highly organized and aggressively missionary religion founded by a prophet from South Babylonia who styled himself an ‘Apostle of Jesus Christ’. Brown reminded the audience that ‘the history of Manichaeism is to a large extent a history of the Syriac-speaking belt, that stretched along the Fertile Crescent without interruption from Antioch to Ctesiphon’. Its manner of diffusion bore little or no resemblance to that of Mithraism. It did not rely on a particular profession, as Mithraism did on the army, for its spread throughout the Empire. Instead it developed in the common Syriac culture astride the Romano-Persian frontier which was becoming increasingly Christianized consequent to the regular deportation of whole communities from cities of the Roman East like Antioch to Mesopotamia and adjacent Iran. Manichaeism which originally flourished in this Semitic milieu was not in the strict sense an Iranian religion in the way that Zoroastrianism was at the root of the culture and religion of pre-Islamic Iran. The Judaeo-Christian roots of the religion enabled it to be proclaimed as a new and decisive Christian revelation.

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9

Huggins, Ronald. "C.G. JUNG, J.J. HONEGGER, AND THE CASE OF EMIL SCHWYZER (THE ‘SOLAR PHALLUS’ MAN)." Phanês Journal For Jung History, no. 4 (December 4, 2021): 82–151. http://dx.doi.org/10.32724/phanes.2021.huggins.

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The case of Emil Schwyzer, a.k.a. the ‘Solar-Phallus Man’, was foundational in giving shape to Jung’s early reflections on the concept of the collective unconscious. In 1906 Schwyzer identified a tail of light coming off the sun as a phallus, which Jung interpreted as a particularly important example of ‘the fantasies or delusions of…patients…[being] paralleled in mythological material of which they knew nothing’ (Bennet 1985:69). This was because it represented not only a single mythological symbol or idea that Schwyzer could not have known but an entire passage from an ancient document known as the Mithras Liturgy. According to Jung, Schwyzer’s ‘vision’ also paralleled a rare theme in Medieval art. Jung’s student J.J. Honegger gave a paper on the Schwyzer case at the March 1910 Second Psychoanalytic Congress in Nuremberg. In it he again discussed Schwyzer’s description of the light tail on the sun but especially his concept of a Ptolemaic flat earth. Relying largely on archival material not previously discussed, the present article provides a history of the Schwyzer case along with a thoroughgoing evaluation of what Jung and Honegger made of it. KEYWORDS J.J. Honegger, Emil Schwyzer, ‘Solar-Phallus Man’, Mithras Liturgy, Collective unconscious, Inherited ideas, Hortus Conclusus.

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10

Bub, Stefan. "„Stierkampf in Bayonne“ – Corrida in Lissabon." arcadia 53, no. 1 (June 4, 2018): 18–38. http://dx.doi.org/10.1515/arcadia-2018-0001.

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AbstractTwo bold descriptions of bullfighting in German literature – a section of Kurt Tucholsky’s Ein Pyrenäenbuch and the final episode of Thomas Mann’s Bekenntnisse des Hochstaplers Felix Krull – can be read in the context of French authors who (about the 1920 s and 1930s) were fascinated by the corrida and the idea of abject sacredness and transgression. The comparison of striking motives (e. g., the art of the matador, the suffering of the horses) reveals how literary texts reflect the ritual character of bullfighting, represent its disgusting aspects, and deal with the taurobolic “scandalon” of death and eros. Whereas Tucholsky encounters a trivial spectacle and nevertheless feels the attraction of violence, Thomas Mann’s narrator is confronted with mythic thought (Mithras) and Dionysiac excess.

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11

Posèq, Avigdor W. G. "A ‘Mithraic Formula’ in Renaissance Images of the Christ Child." Konsthistorisk tidskrift/Journal of Art History 64, no. 4 (January 1995): 204–14. http://dx.doi.org/10.1080/00233609508604391.

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12

Beck, Roger. "The Mysteries of Mithras: A New Account of their Genesis." Journal of Roman Studies 88 (November 1998): 115–28. http://dx.doi.org/10.2307/300807.

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In 1896 Franz Cumont published, as the second volume of hisTextes et monuments figurés relatifs aux mystères de Mithra, the dossier of documents on the basis of which he was to render, three years later, the first truly historical account of the transformation of Mithra-worship from a branch of Iranian Mazdaism to a Roman mystery cult.This transformative process, as he envisaged it, was long and evolutionary. He used a geological metaphor to describe its stages, as theology and practice were passed down the ages and across the lands from Iran to Rome:Le fond de cette religion, sa couche inférieure et primordiale, est la foi de l'ancien Iran, d'où elle tire son origine. Au-dessus de ce substratum mazdéen, s'est déposé en Babylonie un sédiment épais de doctrines sémitiques, puis en Asie Mineure les croyances locales y ont ajouté quelques alluvions. Enfin, une végétation touffue d'idées helléniques a grandi sur ce sol fertile, et dérobe en partie à nos recherches sa véritable nature.Central to Cumont's scenario was Anatolia and the Mazdean diaspora that survived (and flourished) there after the fall of the Achaemenian empire. It was there during the Hellenistic Age that ‘Mithraism received approximately its definitive form’, although Cumont hesitated to pinpoint the precise time and area.

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13

Vollkommer, Rainer. "Mithras Tauroctonus. Studien zu einer Typologie der Stieropferszene auf Mithrasbildwerken." Mélanges de l’École française de Rome. Antiquité 103, no. 1 (1991): 265–81. http://dx.doi.org/10.3406/mefr.1991.1715.

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14

Beck, Roger. "The Mysteries of Mithras: A New Account of their Genesis." Journal of Roman Studies 88 (November 1998): 115–28. http://dx.doi.org/10.1017/s0075435800044130.

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15

Adrych, Philippa. "Judith Maitland Memorial Award: Finding Mithras in Rome and Ostia: sacred space and historiographic expectations." Papers of the British School at Rome 87 (October 2019): 364–65. http://dx.doi.org/10.1017/s0068246219000357.

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16

Tulloch, Janet. "The religion of the mithras cult in the roman empire mysteries of the unconquered sun Beck, Roger." Material Religion 5, no. 2 (July 2009): 242–43. http://dx.doi.org/10.2752/174322009x12448040552007.

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17

Hell, Julia. "On the Way to the London Mithraeum: Freud's Archaeo-Analysis and the Habsburg Empire's Neo-Roman Mimesis." American Imago 78, no. 2 (2021): 245–74. http://dx.doi.org/10.1353/aim.2021.0012.

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18

Gordon, Richard. "Mithraic ideas and reflections - ROBERT TURCAN, RECHERCHES MITHRIAQUES: QUARANTE ANS DE QUESTIONS ET D'INVESTIGATION (Les Belles Lettres, Paris 2016). Pp. 517, 62 ills. ISBN 978-2-251-42063-9. EUR. 65." Journal of Roman Archaeology 30 (2017): 666–69. http://dx.doi.org/10.1017/s1047759400074511.

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19

Beall, Christopher. "M. Clauss, The Roman Cult of Mithras: The God and his Mysteries (trans. Richard Gordon). Edinburgh: Edinburgh University Press, 2000. Pp. xxiv + 198, illus. ISBN 0-7486-1396-X. £14.99." Journal of Roman Studies 93 (November 2003): 314. http://dx.doi.org/10.2307/3184658.

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20

Lisdorf, Anders. "R. Beck, The Religion of the Mithras Cult in the Roman Empire — Mysteries of the Unconquered Sun. Oxford: Oxford University Press, 2006. Pp. xiii + 285. ISBN 0-19814-089-4. £50.00." Journal of Roman Studies 98 (November 1, 2008): 216–17. http://dx.doi.org/10.1017/s0075435800001994.

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21

Renn, Derek. "The Temple of Mithras, London: Excavations by W. F. Grimes and A. Williams at the Walbrook. By John D Shepherd. 295mm. Pp xx + 261, 256 figs, 46 tables. London: English Heritage, Archaeological Report 12, 1998. ISBN 1-85074-628-1. £20.00." Antiquaries Journal 79 (September 1999): 416. http://dx.doi.org/10.1017/s0003581500044747.

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22

Hinnells, John R. "R. Beck, Planetary gods and planetary orders in the mysteries of Mithras (Études préliminaires aux religions orientales dans l'empire romain cix). Leiden: Brill, 1988. Pp. xiv + 113, 7 pls, 5 figs, ISBN 90-04-08450-9." Journal of Roman Studies 80 (November 1990): 236–37. http://dx.doi.org/10.2307/300328.

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23

Dalglish, Dominic. "DAVID WALSH, THE CULT OF MITHRAS IN LATE ANTIQUITY: DEVELOPMENT, DECLINE, AND DEMISE CA. A.D. 270–430. (Late Antique archaeology, Supplementary series 2). Leiden: Brill, 2019. Pp. xii + 145, illus., maps. isbn 9789004380806. €110.00/US$132.00." Journal of Roman Studies 110 (June 29, 2020): 377–78. http://dx.doi.org/10.1017/s007543582000101x.

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24

Van Haeperen, Françoise. "Le culte de Mithra dans les provinces occidentales durant l‘Antiquité tardive - DAVID WALSH, THE CULT OF MITHRAS IN LATE ANTIQUITY. DEVELOPMENT, DECLINE AND DEMISE ca. A.D. 270-430 (Late Antique Archaeology, Supplementary Series vol. 2; Brill, Leiden2018). Pp. xii + 146. ISBN 978-90-04-38080-6. EUR 121." Journal of Roman Archaeology 33 (2020): 937–40. http://dx.doi.org/10.1017/s1047759420000768.

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25

Gordon, Richard. "P. ADRYCH, R. BRACEY, D. DALGLISH, S. LENK and R. WOOD, IMAGES OF MITHRA (Visual Conversations in Art and Archaeology 1). Oxford: Oxford University Press, 2017. Pp. xvii + 211, illus. isbn9780198792536. £30.00. - O. PANAGIOTIDOU with R. BECK, THE ROMAN MITHRAS CULT: A COGNITIVE APPROACH (Scientific Studies of Religion: Inquiry and Explanation). London/New York: Bloomsbury Academic, 2017. Pp. xi + 226, illus. isbn9781472567413 (bound); 97814725667406 (e-book). £85.00." Journal of Roman Studies 108 (August 30, 2018): 237–39. http://dx.doi.org/10.1017/s0075435818000655.

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26

Ladan, Abouali, and Jake Kaner. "Pre-Islamic religious motifs (550 BC to 651 AD) on Iranian minor art with focus on rug motifs." HTS Teologiese Studies / Theological Studies 79, no. 3 (March 24, 2023). http://dx.doi.org/10.4102/hts.v79i2.8341.

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This article reviewed the influence of pre-Islamic religions such as Mithraism and Zoroastrianism on decorative elements of ancient Persian rugs. The article then evaluated the effect of the Islamic religion on Persian rugs. This was examined through extant evidence from pre–Islamic empire artefacts and publications in Persian carpet history, iconography and religious studies. Using spiritual motifs on some ancient rugs results from the important position of rugs in ancient Iranians’ lives. Believing the existence of religious motifs on Persian carpets is because the first carpet in history (Pazyryk) was attributed to the ancient Achaemenians, decorated with symbolic motifs from Mithraism and Zoroastrianism. Pazyryk shows how rug-weaving evolved during the Achaemenids, and it represented spiritual foundations through visual concepts. This article reviewed the symbolic Persian rug motifs from ancient religions through Pazyryk, with support from museum collections. With the emergence of religions, these effects are seen in all aspects of life, including the production of rug design.Contribution: The main contribution of this research was that it investigated the effects of religion on Persian art focusing on the Persian rug. The findings showed that religion had directly influenced the decorative motifs of the Persian rug among high-class families that might have cascaded into visual elements found on commoners’ rugs.

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Darabimanesh, Fariba. "Sacred Circle: Symbol of Wholeness in Traditional Persian Art and Architecture." Journal of Analytical Psychology, September 27, 2023. http://dx.doi.org/10.1111/1468-5922.12954.

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AbstractJung wrote extensively about the archetypal mandala symbol as an expression in many cultures of the centrality and nature of the interplay between human consciousness and divine consciousness. This article investigates—how in Persia, for millennia—the archetypal symbol of the mandala has been widespread in many expressions of the sacred arts. My research outlines the importance of the archetypal mandala symbol in Persian religio‐aesthetic history from the first unearthed stone carvings of Persia's ancient foundations until the more recent, breathtakingly marvellous ceilings of traditional Persian architecture today. From the artistic expressions of first religious beliefs of ancient Persia—Mithraism—and through the development of the Zoroastrian faith until the subsequent rise of Christianity and then Islam, Persian sacred art illustrates the Jungian idea that wholeness sought in the journey of individuation is often expressed through archetypal symbols of circles that articulate basic truths about the divine interplay with humanity.

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28

Walsh, David. "Evangelicalism and empire: Rudyard Kipling on the Roman cult of Mithras and Christianization." Classical Receptions Journal, December 22, 2020. http://dx.doi.org/10.1093/crj/claa032.

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Abstract Among the works of Rudyard Kipling, there are several short stories set in the Roman World that feature characters who are members of the cult of Mithras. These stories also involve Christian characters, but while the Mithraic initiates are loyal servants of the Roman Empire, the Christians create and attract disorder. The aim of this article is to explore why Kipling chose to make the heroic characters of these stories Mithraic initiates, and present the Christians in a less positive light. It will be argued that Kipling was attacking Christian evangelicals, who he disliked due to his experiences at the hands of one as a child, and also because of the difficult relationship between Christian missionaries and British imperial administrators, especially in the aftermath of the 1857 Indian Mutiny. In contrast, Kipling’s Mithras cult acknowledges that there are ‘many ways to the light’, and, moreover, by inferring that there are many similarities between the cult of Mithras and Christianity, Kipling hoped to urge evangelical Christians to moderate their behaviour and use his depiction of the Mithras cult as an example of how to better approach religious diversity within the Empire.

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Walsh, David. "The transformation of Mithraea in the Late Roman period." Journal of Roman Archaeology, November 24, 2023, 1–23. http://dx.doi.org/10.1017/s1047759423000430.

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Abstract Discussions of mithraea tend to emphasize their uniformity. While it is true that many earlier mithraea do adhere to an established plan, there are a notable number of mithraea dating from the late 3rd c. onward that do not. This article discusses these various atypical mithraea, how such alterations to the standard mithraeum plan might have impacted on Mithraic rituals, and how this might have affected the experiences of the participants. It also explores why such changes occurred, observing that while in some instances this may have been to accommodate alterations to ritual practices, in others it was likely due to more mundane issues, such as limitations on space and environmental factors. The article concludes by reflecting on the implications this has for the identification of mithraea in the archaeological record.

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Coşkun, Aytaç, Fatma Durma, and E. deniz Oğuz Kırca. "LEJYONER KALESİ'NDE SANAT: ZERZEVAN'DA BULUNAN TİBİALAR ÜZERİNE DEĞERLENDİRMELER." Amisos, April 18, 2024. http://dx.doi.org/10.48122/amisos.1395717.

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Roma İmparatorluğu'nun doğu sınır garnizonu olan Zerzevan Kalesi'nin bulunduğu bölge, dönemin iki büyük gücü olan Roma ile Parth/Sasaniler arasındaki büyük çatışmalara tanıklık etmiştir. Bu anlaşmazlıklara ciddi şekilde maruz kalmış olan yerlerden biri de Diyarbakır'ın Çınar ilçesinin 13 km güneydoğusundaki Demirölçek Köyü sınırları içinde yer alan Zerzevan Kalesi'dir. Zerzevan Kalesi askeri yerleşiminde 2014 yılında başlayan kazı çalışmaları, bölgenin Asur, Pers, Parth ve özellikle Roma Dönemi’nin aydınlatılması açısından oldukça önemli bir rol üstlenmektedir. MS 2-3. yy’larda, antik yol ağına hâkim stratejik bir noktada, askeri ihtiyaçları karşılayacak düzende kurulan ve Roma lejyoner kalesi standartlarıyla asgari düzeyde uyum gösteren Zerzevan askeri yerleşimi, bugüne kadar pagan ve Hristiyan Roma unsurlarını yansıtan pek çok yapıya ev sahipliği yapmaktadır. Çalışmanın amacı, 2019 ve 2021 yıllarında Zerzevan (Lejyoner) Kalesi’nde başlatılan arkeolojik kazı çalışmaları esnasında gün ışığına çıkarılan ve literatürdeki tibia morfolojisini destekleyen buluntuların olası işlev(ler)ini sorgulamaktadır. Garnizonun kuzey sektöründeki Mithras Kutsal Alanı’nda bulunan tibialara ilişkin ana gözlem ve bulgular, söz konusu buluntuların ilişkili olduğu yapı ve malzemeler ışığında ele alınmaktadır. Tibiaların tarihlendirilmesi için aynı karelajda bulunan eserler ve kontekstlerinin yanı sıra farklı bölgelerden karşılaştırmalı örnekler temel alınmıştır. Sonuç olarak, Geç Roma Dönemi’ne (olasılıkla 3-4. yy’lar arasına) ait olması gereken tibiaların, öncelikli olarak bir tür skolion kapsamında veya olağan Mithraik ayinler sırasında kullanılmış olabileceği değerlendirilmektedir.

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Ognibene, Paolo. "Mithras—Miθra—Mitra: Der römische Gott Mithras aus der Perspektive der vergleichenden Religionsgeschichte. By Jaan Lahe." Journal of the American Oriental Society 142, no. 2 (June 21, 2022). http://dx.doi.org/10.7817/jaos.142.2.2022.br003.

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Mithras—Miθra—Mitra: Der römische Gott Mithras aus der Perspektive der vergleichenden Religionsgeschichte. By Jaan Lahe. Kasion, vol. 3. Münster: Zaphon, 2019. Pp. 271, 30 pls. €88.

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LICORDARI, Antonio, Francesca LICORDARI, and Angelo PELLEGRINO. "Some Aspects of Religiosity in Ostia Antica Through Mosaics." Journal of Mosaic Research, August 15, 2023. http://dx.doi.org/10.26658/jmr.1376824.

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While mythology is one of the most widespread themes in the mosaics of Ostia Antica (both floor and non-floor), some compositions have a marked importance from a religious and cultic point of view. We intend to examine the mosaic representations of aspects of the Ostian cults, among which that of Mithras stands out in a particular way for its diffusion and for the amplitude of its testimonies. The mosaic undoubtedly had the purpose of immediate visual communication of its contents, also because the religion of Mithras was accepted above all by low-level believers for whom communication through images was more suitable. However, in Ostia, among the followers of the cult, there is evidence of high-ranking personages, perhaps even belonging to the imperial family. Next to that of Mithras we want to highlight the cult of Sabazio, of other oriental divinities in the past traces have been found, sometimes rightly and sometimes wrongly, in the House of the Dioscures, in the House of the Fishes, in the Neptune’s baths and in the opus sectile building of the Marine Gate (4th century AD).

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Ljaljević Grbić, M., Ivica Dimkić, Tamara Janakiev, Janez Kosel, Črtomir Tavzes, Slađana Popović, Aleksandar Knežević, et al. "Uncovering the Role of Autochthonous Deteriogenic Biofilm Community: Rožanec Mithraeum Monument (Slovenia)." Microbial Ecology 87, no. 1 (June 28, 2024). http://dx.doi.org/10.1007/s00248-024-02404-0.

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AbstractThe primary purpose of the study, as part of the planned conservation work, was to uncover all aspects of autochthonous biofilm pertaining to the formation of numerous deterioration symptoms occurring on the limestone Rožanec Mithraeum monument in Slovenia. Using state-of-the-art sequencing technologies combining mycobiome data with observations made via numerous light and spectroscopic (FTIR and Raman) microscopy analyses pointed out to epilithic lichen Gyalecta jenensis and its photobiont, carotenoid-rich Trentepohlia aurea, as the origin of salmon-hued pigmented alterations of limestone surface. Furthermore, the development of the main deterioration symptom on the monument, i.e., biopitting, was instigated by the formation of typical endolithic thalli and ascomata of representative Verrucariaceae family (Verrucaria sp.) in conjunction with the oxalic acid-mediated dissolution of limestone. The domination of lichenized fungi, as the main deterioration agents, both on the relief and surrounding limestone, was additionally supported by the high relative abundance of lichenized and symbiotroph groups in FUNGuild analysis. Obtained results not only upgraded knowledge of this frequently occurring but often overlooked group of extremophilic stone heritage deteriogens but also provided a necessary groundwork for the development of efficient biocontrol formulation applicable in situ for the preservation of similarly affected limestone monuments.

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Drury, Lindsey. "The transhistorical, transcultural life of sausages: From medieval morescas to New Mexican Matachines with Aby Warburg." postmedieval, August 1, 2023. http://dx.doi.org/10.1057/s41280-023-00275-1.

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AbstractNew Mexican Matachines dances have long been discussed as descendent dances of medieval morescas. This article explores this ‘ancestral relation’, beginning on New Year’s Day in 1896 at the colonial outpost of Cubero, New Mexico. There, the German art historian Aby Warburg met a local shepherd who endeavoured to explain the pantomimic killing of a bull in the dance drama by saying the blood was ‘good for making sausages.’ Accordingly, this article investigates Warburg’s lifelong exploration of Matachines antecedents in the margins of his research on early Italian Renaissance images of medieval festive drama, and ‘headhuntress’ figures, such as Judith and Salome. Warburg’s thoughts on New Mexican Matachines meandered over the course of his life from Aztec sacrifice to medieval morescas, to the Mithras cult. Through these explorations, Warburg pursued a cultural evolutionary theory that would situate New Mexican Matachines as a descendent of antique pagan blood ceremony.

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Fernández Díaz, Alicia, Ana María Bejarano Osorio, Macarena Bustamante-Álvarez, Dolores Julia Yusá Marco, Sofía Vicente Palomino, and Gonzalo Castillo Alcántara. "Archaeometric analysis of a fragment of molded stucco cornice with rope from the House of the Mithraeum (Mérida, Spain)." Journal of Roman Archaeology, November 12, 2021, 1–22. http://dx.doi.org/10.1017/s1047759421000520.

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Abstract During the excavations carried out since 2017 in the House of the Mithraeum (Casa del Mitreo) in Mérida a collection of paintings was recovered from Room 11, which had been abandoned in the late 3rd c. CE after a fire. The remains included fragments of molded stucco cornices, with braided esparto grass ropes on the reverse that were used to attach them to the ceiling. This article presents the descriptive and technical study of the finds and their compositional analysis using scanning electron microscopy and X-ray diffraction. Data resulting from these analyses allow us to understand the fragments’ composition and technical execution, and even the possible circulation of workshops and raw materials.

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