Natalie Rodgers
ART 201
Caratzola
11/26/2018
Greco-Egyptian Influence on Roman Art
Pax Romana, or “Roman Peace”, was a period of economic and political prosperity in Rome under Augustus’ rule. As the Roman Empire expanded over other territories, Rome’s art took heavy inspiration from those countries. One of the countries Roman art took inspiration from was Egypt. One of these adaptations are their burial customs. Faiyum portraits, like Portrait of the Boy Eutyches, show that the Roman Empire adapted the Egyptian mummification process. The Gold statuette of Zeus Serapis, shows how the Roman Empire took influence from both the Greco-Egyptian art and Mythology. The Roman Empire was also inspired by the Greek Columns, and they created columns like the Marble Column with Base and Capital. Columns like this are made by combining two or more aspects from two different columns (3).
Despite the fact that Ancient Greece is known for its columns, upon comparing the Egyptian, Composite Papyrus Capital, with the Greek Corinthian Order, the likeness between the two is quite notable. Both of these columns are heavily influenced on plants, and include them in its composition. Artworks like these show the fusion of cultures within the Roman Empire, exemplify how art forms are constantly adapting and changing, and that every work of art gets influence from another culture or artist.
Portrait of the Boy Eutyches was made during the Roman Period around 100- 150 A.D. It is an Encaustic painting on wood, painted in the Greco- Roman style. This painting is also known as Faiyum portraits. This painting shows how the Romans were heavily influenced by the Egyptian mummification process. These wood panels are placed on top of the face of the mummified body, under the lid of the sarcophagus. The encaustic painting technique was originated by the Greeks, in which artists would mix pigments with different materials, such as egg or beeswax, to give it its oil-painting like texture, and allows the artist to create depth within the painting (4).
For example, the differences in value and texture of the boy’s face and the background, make the boy’s face feel closer in space to the viewer. The directional strokes of the paint also create form within the boy’s face. Because this medium allows the artist to use the paint in an oil-like manner, the artist was able to layer the paint, and create highlights and shadows, further emphasizing the form of the face and creating more contrast between the model and the background. The boy is wearing a white Roman Tunic, and is poised in a three-quarter view. Although he is depicted in Roman clothes, the inscription under the boy is in Greek. The inscription states his name, “Eutyches, freedman of Kasanios” and under that, either "son of Herakleides Evandros" or "Herakleides, son of Evandros." (4).
Because Roman Egypt consisted of both Roman and Greek civilizations, many of the mummy portraits depict subjects dressed in Roman clothing, but have Greek Names, just like this piece. Incorporating this style of painting over mummified people, shows that they held the Egyptian beliefs of the afterlife. Therefore, this piece greatly shows how much of a melting-pot the Roman Empire was; not only was the art inspired by other cultures, but their beliefs in the afterlife and their burial process was heavily inspired as well.
One of the most popular gods that were worshipped in the Roman Empire was Serapis(). The Gold statuette of Zeus Serapis was made in 2nd century A.D. in Rome, and depicts this god. This piece survived antiquity, and is fully intact. This god is known as a mixture of both the Egyptian Gods, Osiris and Apis. Serapis also became the fusion of the Greek gods, Zeus, Helios, Dionysus, Hades and Asklepius, and held powers of each and every one of them. Serapis was seen as both the god of fertility and the afterlife. Unlike the common Egyptian deity, who usually ave a zoomorphic form, Serapis’ form was anthropomorphic, which is predominant in Greek Mythology. Another aspect of Hellenistic artwork is that Serapis is depicted with a Greek hairstyle, long beard, and greek robe. The statue depicts Serapis wearing the Egyptian Modius Headdress and is carrying a cornucopia, a Greek symbol of plentiful harvest. Serapis overall symbolizes the union between Greek and Egyptian philosophies. The cult of Serapis being popular amongst the Roman Empire, shows how the Romans adapted these Greco-Egyptian philosophies into their culture. Serapis is posed with his arms extended out to the sides, as if he is preaching, or the votive pose (5).
Marble Column with Base and Capital is a Roman Column, made between 117-138 A.D. This column combines two styles of columns, both which originated by the Greeks, and is known as a Roman Composite. The volutes are that of Ionic order and the rows below that depict the leaves of the plant, acanthus, are created using the Corinthian order. This column also incorporates the thin, vertical fluting of the Ionic order. Although ancient Greece was most known for its architecture, and they created the columns this composite is based directly on, they were not the first to use columns (3). The Greek columns can be seen as influenced by egyptian culture as well. For example, the capitals of the Corinthian Order, may be inspired by the Composite Papyrus Capital. This capital is a part of one of ten columns from the front of the temple of Amun Ra in Kharga Oasis (1). It was made in 380 B.C.E out of sandstone and paint. The capital depicts eight variations of papyrus plants. The way the Corinthian Order incorporates plants into its composition, just like the Papyrus Capital, shows that neither the Greeks or the Romans “invented the wheel”; each culture takes inspiration from each other and adapts each other’s art forms.
I would describe my experience at the MET to be surreal. My family and I have always had a personal connection to the MET, so I visit the museum about five times a year. It has always been a personal experience for my parents, and they passed that tradition down to me. My parents actually went to the MET right before my father proposed to my mother, and he accidentally left the ring in his coat pocket when he checked in his coat upon arriving. So the MET will always have this special yet funny story attached to it for my family. Each and every time I visit, I discover something different. Because I have learned a lot about the pieces in class, it really puts the artwork in perspective, that each is piece is much more than just a painting or a sculpture. The MET is an open opportunity to be face to face with work that famous artists slaved over, that they put their blood, sweat, and tears into. You get to experience work that took lifetimes to build. I find it humbling and amazing to see how much art has developed over time, and how the pieces structured the foundation of art that we still use today. I think the way the exhibitions were set up really created the humbling feeling that I get when walking through the exhibitions. For example, when you walk into the entrance of the Arts of Africa, Oceania, and the America’s exhibitions, there is a huge boat hanging from the ceiling, that you can walk under and look at all the detailed and decorated paneling. When you learn about artwork digitally, it’s easy to forget how large in scale the pieces are, and when you finally see them in person, it’s really awe inspiring how small they can make you feel in comparison. The next time I visit, I would love to go back and look at all the jewelry from different cultures and eras. My mother is a goldsmith, and although the artwork I do is more digital, I do have this connection and appreciation of jewelry from her. I would like to discover how jewelry has developed and changed over time, and maybe even get inspired by a style and create something of my own, or put my inspirations from that artwork into my own digital work. The MET also put great detail into the composition of each of the exhibitions, and how the pieces were placed throughout the exhibition. For example, through almost every exhibition, it would frame a large piece of artwork within the doorway. If you are standing in the middle of one exhibition, and you look into the next, you will be invited to venture into the room due to the attention put in to the composition of each room.
In conclusion, not only culture, but art itself is constantly adapting and taking inspiration from somewhere else. This is especially the case with the Roman Empire, which took great influence from the Egyptian and Greek culture and art. Portrait of the Boy Eutyches shows how they were inspired by how the Egyptians mummified the dead, and their philosophy about afterlife. The encaustic style, which originated in Greek culture, allowed the portrait to have depth, and stand out from the background. The Gold Statuette of Zeus Serapis exemplifies how the Romans took aspects only Egyptian and Greek deities and beliefs, and hellenistic art styles as well. Not only did they let the Greco-Egyptian deity, Serapis, inspire them artistically, but they adapted him into their culture, and made the cult of Serapis, on of the most popular cults within the Roman Empire at the time. Marble Column with Base and Capital took aspects of both the Ionic and Corinthian columns, and combined them to form one composite column. Although the Ionic and Corinthian orders originated in Ancient Greece, there is a notable resemblance between the Corinthian order and the Composite Papyrus Capital, more specifically, in the way both columns incorporate plants into their capitals. In conclusion, Rome truly wasn’t “built in a day”. Without thousands of years of art developing throughout different cultures, the Roman Empire wouldn’t have produced some one of the most influential art pieces known to this day.
Works Cited
"Composite Papyrus Capital." The Met, Metropolitan Museum of Art, www.metmuseum.org/art/collection/search/551898.
"Gold Statuette of Zeus Serapis." The Met, Metropolitan Museum of Art, www.metmuseum.org/art/collection/search/254785.
"Marble Column with Base and Capital." The Met, Metropolitan Museum of Art, www.metmuseum.org/art/collection/search/250646.
"Portrait of the Boy Eutyches." The Met, Metropolitan Museum of Art, www.metmuseum.org/toah/works-of-art/18.9.2/.
"Serapis: God of Fertility and the Afterlife That United Greeks and Egyptians." Ancient Romans,www.ancient-origins.net/myths-legends-africa/serapis-god-fertility-and-afterlife-united-greeks-and-egyptians-004084.
Portrait of Boy Eutyches- Gallery 138 Composite Papyrus Capital- Gallery 131 Date: 100-150 A.D. Date: 380- 343 BC
Location: Egypt Location: Egypt
Medium: Encaustic on wood, paint Medium: Sandstone and Paint
Gold Statuette of Zeus Serapis- Gallery 169
Date: 2nd Century A.D.
Culture: Roman
Medium: Gold
Marble Column with Base and Capital- Gallery 162
Date: 117- 138
Culture: Roman
Medium: Marble