This book, titled "Propaganda and 'Art' in Roman State Reliefs," examines the propaganda power of the Roman state through reliefs that have survived to us in their original state from the period in which they were created. Ideological perception management is constructed through concepts of the enemy ('barbarian'), their defeat in battle, and victory, thus legitimizing the emperors' existence. While the primary purpose of Roman historical reliefs is to 'communicate' with the public and engage in propaganda, honoring the gods also constitutes another important objective. The presence of emperors on the same stage as the gods enhances their credibility and prestige in the eyes of the people. Thus, national consciousness develops among Romans, and the belief that victories, territories captured, and captives glorify the Roman nation naturally arises.
This book covers the period from Emperor Augustus (27 BC-AD 14) to the end of the reign of Theodosius I (AD 379-395), which falls within the Early Christian Period. The reliefs depict the emperors' battles, triumphal processions, families, and deities, along with their Scenes such as their participation in processions or sacrificial rituals, their addressing the people, and their aid to the poor are evaluated in chronological order. At the same time, the impact these scenes had on the viewer and their intended propaganda were examined. The greatest strength of Roman reliefs lies in their ability to convey the excitement of events to the viewer. By adding color to the narrative by using accurate light and shadow effects and perspective (a sense of depth), the reader of this book, like the relief's contemporary viewers, will experience the events simultaneously.
İÇİNDEKİLER
ÖNSÖZ ................................................................................................ 7
I) ROMA’NIN RUHU: PROPAGANDA, ‘SANAT’ VE
‘ROMALILAŞTIRMA’ ................................................................... 9
II) ÖNCÜ ÖRNEKLERIN ANLATTIKLARI ..................................... 18
1) Delphi, Aemilius Paulus Anıtı ................................................. 18
2) Domitius Ahenobarbus Sunağı ............................................... 20
III) IULIUS – CLAUDIUS SÜLALESİ ve GEÇMİŞE SAYGI ........... 24
1) Bazilika Aemilia ...................................................................... 24
2) Augustus ve Ara Pacis Augustae. Bir Barış Anıtı? ................. 27
3) Ara Pietatis Augustae ............................................................. 57
4) Suovetaurilia .......................................................................... 65
5) Ravenna Kabartması ............................................................ 67
IV) FLAVIUS SÜLALESİ’NİN YENİ DÜNYASI ................................ 71
1) Titus Takı’nda Yahudi Yenilgisi ............................................... 73
2) Palazzo della Cancelleria Kabartması ................................... 80
V) TRAIANUS’UN SAVAŞLARI VE BAŞARILARI ........................ 88
1) Extispicium Kabartması ......................................................... 90
2) Constantinus Takı’nda ‘Büyük Traianus Frizi’ ......................... 95
3) Traianus Sütun’u .................................................................. 102
4) Beneventum Takı ..................................................................119
5) ‘Anaglypha Traiani’ ............................................................... 138
VI) HADRIANUS: BİR ENTELEKTÜEL ........................................ 143
1) Hadrianeum’da Eyaletler Propagandası ............................. 146
2) Constantinus Takı Üzerindeki Tondolar ................................ 153
3) Arco di Portogallo’dan İki Panel ........................................... 161
6
VII) ANTONINLER VE SEVERUSLAR SÜLALELERİ:
ANTONINUS PIUS, MARCUS AURELIUS VE SEPTIMIUS
SEVERUS İLE PARLAK DÖNEM VE SONU .......................... 166
1) Antoninus Pius Sütün Kaidesi Üzerindeki Kabartma ............ 167
2) Marcus Aurelius Panelleri ..................................................... 179
3) Marcus Aurelius Sütun’u ...................................................... 199
4) Septimius Severus’un Roma Takı ........................................ 207
VIII) CONTANTINUS’UN BAŞARISI. ÖNCESİ VE SONRASI ........ 221
1) Galerius Takı ........................................................................ 224
2) Decennalia Diocletiani Pedestal Kabartmaları ..................... 235
3) Contantinus Takı .................................................................. 241
4) I. Theodosius’un Kaide Kabartmaları ................................... 256
SONUÇ ............................................................................................ 266
EXKURS: EPHESOS ‘PARTH ANITI’ (‘BÜYÜK ANTONINLER
SUNAĞI’) ....................................................................................... 280
SÖZLÜK .......................................................................................... 296
SEÇİLMİŞ KAYNAKÇA .................................................................. 312
Resimler Listesi ............................................................................. 328
Yazarın Özgeçmişi ......................................................................... 342
Ürünün ağırlığı: 0,782 gram
This book, titled "Propaganda and 'Art' in Roman State Reliefs," examines the propaganda power of the Roman state through reliefs that have survived to us in their original state from the period in which they were created. Ideological perception management is constructed through concepts of the enemy ('barbarian'), their defeat in battle, and victory, thus legitimizing the emperors' existence. While the primary purpose of Roman historical reliefs is to 'communicate' with the public and engage in propaganda, honoring the gods also constitutes another important objective. The presence of emperors on the same stage as the gods enhances their credibility and prestige in the eyes of the people. Thus, national consciousness develops among Romans, and the belief that victories, territories captured, and captives glorify the Roman nation naturally arises.
This book covers the period from Emperor Augustus (27 BC-AD 14) to the end of the reign of Theodosius I (AD 379-395), which falls within the Early Christian Period. The reliefs depict the emperors' battles, triumphal processions, families, and deities, along with their Scenes such as their participation in processions or sacrificial rituals, their addressing the people, and their aid to the poor are evaluated in chronological order. At the same time, the impact these scenes had on the viewer and their intended propaganda were examined. The greatest strength of Roman reliefs lies in their ability to convey the excitement of events to the viewer. By adding color to the narrative by using accurate light and shadow effects and perspective (a sense of depth), the reader of this book, like the relief's contemporary viewers, will experience the events simultaneously.
İÇİNDEKİLER
ÖNSÖZ ................................................................................................ 7
I) ROMA’NIN RUHU: PROPAGANDA, ‘SANAT’ VE
‘ROMALILAŞTIRMA’ ................................................................... 9
II) ÖNCÜ ÖRNEKLERIN ANLATTIKLARI ..................................... 18
1) Delphi, Aemilius Paulus Anıtı ................................................. 18
2) Domitius Ahenobarbus Sunağı ............................................... 20
III) IULIUS – CLAUDIUS SÜLALESİ ve GEÇMİŞE SAYGI ........... 24
1) Bazilika Aemilia ...................................................................... 24
2) Augustus ve Ara Pacis Augustae. Bir Barış Anıtı? ................. 27
3) Ara Pietatis Augustae ............................................................. 57
4) Suovetaurilia .......................................................................... 65
5) Ravenna Kabartması ............................................................ 67
IV) FLAVIUS SÜLALESİ’NİN YENİ DÜNYASI ................................ 71
1) Titus Takı’nda Yahudi Yenilgisi ............................................... 73
2) Palazzo della Cancelleria Kabartması ................................... 80
V) TRAIANUS’UN SAVAŞLARI VE BAŞARILARI ........................ 88
1) Extispicium Kabartması ......................................................... 90
2) Constantinus Takı’nda ‘Büyük Traianus Frizi’ ......................... 95
3) Traianus Sütun’u .................................................................. 102
4) Beneventum Takı ..................................................................119
5) ‘Anaglypha Traiani’ ............................................................... 138
VI) HADRIANUS: BİR ENTELEKTÜEL ........................................ 143
1) Hadrianeum’da Eyaletler Propagandası ............................. 146
2) Constantinus Takı Üzerindeki Tondolar ................................ 153
3) Arco di Portogallo’dan İki Panel ........................................... 161
6
VII) ANTONINLER VE SEVERUSLAR SÜLALELERİ:
ANTONINUS PIUS, MARCUS AURELIUS VE SEPTIMIUS
SEVERUS İLE PARLAK DÖNEM VE SONU .......................... 166
1) Antoninus Pius Sütün Kaidesi Üzerindeki Kabartma ............ 167
2) Marcus Aurelius Panelleri ..................................................... 179
3) Marcus Aurelius Sütun’u ...................................................... 199
4) Septimius Severus’un Roma Takı ........................................ 207
VIII) CONTANTINUS’UN BAŞARISI. ÖNCESİ VE SONRASI ........ 221
1) Galerius Takı ........................................................................ 224
2) Decennalia Diocletiani Pedestal Kabartmaları ..................... 235
3) Contantinus Takı .................................................................. 241
4) I. Theodosius’un Kaide Kabartmaları ................................... 256
SONUÇ ............................................................................................ 266
EXKURS: EPHESOS ‘PARTH ANITI’ (‘BÜYÜK ANTONINLER
SUNAĞI’) ....................................................................................... 280
SÖZLÜK .......................................................................................... 296
SEÇİLMİŞ KAYNAKÇA .................................................................. 312
Resimler Listesi ............................................................................. 328
Yazarın Özgeçmişi ......................................................................... 342
Ürünün ağırlığı: 0,782 gram