By Miguel John Versluys
This archaeological research investigates the that means of the Egyptian and egyptianising artefacts which have been preserved from the Roman international in numerous ways.
Its element of departure is a close research at the so-called Nilotic scenes or Nilotic landscapes. The ebook offers a complete and illustrated catalogue of the style that used to be 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 complete crew of Aegyptiaca Romana is hence studied. in line with a common review of this fabric within the Roman global and, additionally, a case-study of the Aegyptiaca from town of Rome the various meanings of this cultural phenomenon are mapped. including different Egyptian deities renowned 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 angle in the direction of and options on Egypt, Egyptian tradition and the East. The concluding a part of the publication illustrates and attempts to give an explanation for this Roman discourse on Egypt.
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Extra info for Aegyptiaca Romana: Nilotic Scenes and the Roman View of Egypt
Besides, it is known that a number of the statues used by Grenier were certainly not found near the Serapeum (for instance, the gigantic head of Isis-Demeter which Grenier places in the central recess at the far end), and at times the French scholar rather stretches the prevailing interpretation of the statues in order to fit them into his scheme 7l • For the time being a religiousltopographical interpretation cannot be sufficiently underpinned, but it will of course remain a hypothesis. Perhaps it is rather a question of the creation of an Egyptian ambience in a more general sense, in which for understandable reasons Antinous played a key role.
Therefore also in the presentation of the catalogue no comprehensiveness was aimed for. If a reliable, easily accessible description of the representation is available, then this is briefly indicated and the reader is referred to the relevant publication. As illustrations of nearly all Nilotic scenes described have been included, they form an integral part of the presentation; not every lotus flower or duck has been included in the description. A considerable number of Nilotic landscapes is often cited, referred to or depicted without the text giving any opinion in respect of the interpretation of the scene, genre or context.
I. Becher, Augustus und der Kult der agyptischen Gotter, Klio 67 (1985) 61-64 and Takacs 1995,75-76. The assumption of Lambrechts 1956, 3 "Dat keizer Augustus de Egyptische godsdienst vijandig gezind was, is een algemeen erkend feit" seems therefore untenable in this moral sense. 67 The presence of these motifs can probably partly also be explained by pointing at their meaning as victory symbols referring to Actium. For the Nile landscape in the Casa di Livia cf. cat. no. 0 17 . For the so-called house of Augustus cf.