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- W2765749738 abstract "recent studies into Roman domestic decoration have increasingly tied iconographical choices to social competition, those choices have come to be regarded as significant clues to the selfpresentation of their owners.1 Much might be made, then, of the observation that domestic art appears to have been ruled by Aphrodite and Dionysus.2 They dominate the iconography of domestic wall paintings, mosaics, and sculpture from the beginning to the end of the Roman Empire, from Rome and Italy to the farthest western and eastern provinces. However, the reasons for their ongoing popularity in Roman domestic art have never specifically been addressed. Discussions of their popularity tend to observe their association with sentiments of the good a prosperous paradise brought about by Aphrodite's sex and beauty and the gift of Dionysian wine and release.3 The idea that Aphrodite and Dionysus are not simply two discrete motifs sharing popularity by accident, but that they should be considered together as a cultural package, has already been demonstrated by Paul Zanker, who, in 1998, addressed the centrality of these two figures and their worlds to the art of the Hellenistic kingdoms, tracing the development of their iconography from the late classical innovations of Praxiteles. That artist's creation of the Resting Faun and the Aphrodite of Knidos reimagined the worlds of Dionysus and Aphrodite and foresaw a Hellenistic aesthetic.4 For Zanker, the erotic, drunken worlds of the two deities fulfilled an escapist ideology of tryphe, which saturated Hellenistic life and was perpetuated by many Hellenistic monarchs, particularly the Ptolemies. The final pages of the book turn attention precisely to the continued centrality of these images in the Roman world, where Aphrodite and Dionysus serve as role models to their Roman audience. Their popularity demonstrates the continuation of a love of tryphe as a living ideology in Roman domestic life, providing a long-running theme that, through the iconography of the putto and the vine, even manages to reinvent itself for a Christian audience.5 The tablinum of the House of Lucretius Fronto in Pompeii demonstrates just such a Hellenizing image of the triumph of Dionysus, an image that might well recall the Ptolemies' notorious festival processions as much as literary myth (fig. I).6 Meanwhile, the display of a Praxitelean Aphrodite in her Knidian temple at Hadrian's villa at Tivoli demonstrates a Roman emperor's own recall of Hellenistic public cult, sculptural aesthetic, and scandal (fig. 2).7" @default.
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- W2765749738 date "2008-01-01" @default.
- W2765749738 modified "2023-09-27" @default.
- W2765749738 title "Aphrodite and Dionysus: Greek Role Models For Roman Homes?" @default.
- W2765749738 hasPublicationYear "2008" @default.
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