The Roman rock-cut Tomb N22 at Cyrene, known also as Tomb of the Games (or Ludi), preserves a fresco painted frieze along all the four walls of its funerary chamber. The paintings (second half of the 2nd century AC), even if very damaged, show one of the most extensive example of agonistic representations in Antiquity. There are a venatio (entrance wall), a munus gladiatorium (left wall), a chariot race and athletic games (rear wall), theatrical and musical performances (right wall). This contribution examines three vases represented in the hunt scene and in the athletic one. The vases have different shapes and functions and play a significant role in the meaning of the scenes. The interpretation of them is problematic, because of the contextual polisemy of each iconographic sign, nevertheless proposals are advanced.
Il vaso nei ludi: schemi rappresentativi e funzioni narrative di un oggetto nel fregio dipinto della Tomba N22 di Cirene
Santucci Anna
2022
Abstract
The Roman rock-cut Tomb N22 at Cyrene, known also as Tomb of the Games (or Ludi), preserves a fresco painted frieze along all the four walls of its funerary chamber. The paintings (second half of the 2nd century AC), even if very damaged, show one of the most extensive example of agonistic representations in Antiquity. There are a venatio (entrance wall), a munus gladiatorium (left wall), a chariot race and athletic games (rear wall), theatrical and musical performances (right wall). This contribution examines three vases represented in the hunt scene and in the athletic one. The vases have different shapes and functions and play a significant role in the meaning of the scenes. The interpretation of them is problematic, because of the contextual polisemy of each iconographic sign, nevertheless proposals are advanced.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
