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Acephalous sculpture of the goddess Fortuna; Rome, 2nd-3rd century AD.Limestone.It shows signs of
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Description
Acephalous sculpture of the goddess Fortuna; Rome, 2nd-3rd century AD.
Limestone.
It shows signs of damage caused by the passage of time.
Measurements: 28 x 30 x 9 cm.
Relief in which a very deep carving can be seen showing a female figure, dressed in a long tunic tied with the belt of Heracles. The figure, who is in contraposto, holds a large cornucopia in one of her hands, while two wineskins of vibo hang from the other. Roman sculpture representing the goddess Fortuna, dressed in a tunic and cloak. She is a deity who presided over all events and distributed, at her whim, good and evil. Following her most common iconography in Rome. In Rome, the goddess Fortuna was associated with luck, both good and bad, and fertility. In her positive aspect she was usually represented with a cornucopia, symbol of abundance, as we see here. Here she also carries a rudder, as she pilots the fate of mankind.
After the idealisation of the Augustan era, the realism of the Flavian era and the subsequent baroque style of the 2nd and 3rd centuries, Roman sculpture, marked by the presence of Christianity, tended to dehumanise, becoming more ideal and symbolic. The concern for realism was lost, and there was a tendency towards a schematisation that sought to capture the ideal, the soul or the divinity, rather than the human aspect of the figures. The carving, in keeping with this new aesthetic, acquired a great hardness, and the figures acquired a noble hieratism.
Limestone.
It shows signs of damage caused by the passage of time.
Measurements: 28 x 30 x 9 cm.
Relief in which a very deep carving can be seen showing a female figure, dressed in a long tunic tied with the belt of Heracles. The figure, who is in contraposto, holds a large cornucopia in one of her hands, while two wineskins of vibo hang from the other. Roman sculpture representing the goddess Fortuna, dressed in a tunic and cloak. She is a deity who presided over all events and distributed, at her whim, good and evil. Following her most common iconography in Rome. In Rome, the goddess Fortuna was associated with luck, both good and bad, and fertility. In her positive aspect she was usually represented with a cornucopia, symbol of abundance, as we see here. Here she also carries a rudder, as she pilots the fate of mankind.
After the idealisation of the Augustan era, the realism of the Flavian era and the subsequent baroque style of the 2nd and 3rd centuries, Roman sculpture, marked by the presence of Christianity, tended to dehumanise, becoming more ideal and symbolic. The concern for realism was lost, and there was a tendency towards a schematisation that sought to capture the ideal, the soul or the divinity, rather than the human aspect of the figures. The carving, in keeping with this new aesthetic, acquired a great hardness, and the figures acquired a noble hieratism.
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Acephalous sculpture of the goddess Fortuna; Rome, 2nd-3rd century AD.
Limestone.
It shows signs of damage caused by the passage of time.
Measurements: 28 x 30 x 9 cm.
Relief in which a very deep carving can be seen showing a female figure, dressed in a long tunic tied with the belt of Heracles. The figure, who is in contraposto, holds a large cornucopia in one of her hands, while two wineskins of vibo hang from the other. Roman sculpture representing the goddess Fortuna, dressed in a tunic and cloak. She is a deity who presided over all events and distributed, at her whim, good and evil. Following her most common iconography in Rome. In Rome, the goddess Fortuna was associated with luck, both good and bad, and fertility. In her positive aspect she was usually represented with a cornucopia, symbol of abundance, as we see here. Here she also carries a rudder, as she pilots the fate of mankind.
After the idealisation of the Augustan era, the realism of the Flavian era and the subsequent baroque style of the 2nd and 3rd centuries, Roman sculpture, marked by the presence of Christianity, tended to dehumanise, becoming more ideal and symbolic. The concern for realism was lost, and there was a tendency towards a schematisation that sought to capture the ideal, the soul or the divinity, rather than the human aspect of the figures. The carving, in keeping with this new aesthetic, acquired a great hardness, and the figures acquired a noble hieratism.
Limestone.
It shows signs of damage caused by the passage of time.
Measurements: 28 x 30 x 9 cm.
Relief in which a very deep carving can be seen showing a female figure, dressed in a long tunic tied with the belt of Heracles. The figure, who is in contraposto, holds a large cornucopia in one of her hands, while two wineskins of vibo hang from the other. Roman sculpture representing the goddess Fortuna, dressed in a tunic and cloak. She is a deity who presided over all events and distributed, at her whim, good and evil. Following her most common iconography in Rome. In Rome, the goddess Fortuna was associated with luck, both good and bad, and fertility. In her positive aspect she was usually represented with a cornucopia, symbol of abundance, as we see here. Here she also carries a rudder, as she pilots the fate of mankind.
After the idealisation of the Augustan era, the realism of the Flavian era and the subsequent baroque style of the 2nd and 3rd centuries, Roman sculpture, marked by the presence of Christianity, tended to dehumanise, becoming more ideal and symbolic. The concern for realism was lost, and there was a tendency towards a schematisation that sought to capture the ideal, the soul or the divinity, rather than the human aspect of the figures. The carving, in keeping with this new aesthetic, acquired a great hardness, and the figures acquired a noble hieratism.
29th September - Archaeology
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