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The multiethnic environment of Ptolemaic Alexandria resulted in cross-cultural transmission of funerary practices and associated material culture that introduced many traditions to Egypt from the Mediterranean world. Along with an influx of mercenaries serving in the Ptolemaic army came cultural and artistic knowledge from their places of origin, which they (or their families) incorporated into their burials. One motif, which appears on late 4th&ndash ; 3rd-century painted funerary monuments from Alexandria, is that of a soldier on horseback, alluding to images of the heroic hunter or warrior on horseback found in tombs in the regions of northern Greece. These Alexandrian monuments commemorated members of the Ptolemaic cavalry, some of whom are identified as Macedonian or Thessalian by accompanying Greek inscriptions. The image of a soldier astride his rearing horse not only emphasized the deceased&rsquo ; s military status, but also established a link with Macedonian and Ptolemaic royal iconography. This type of self-representation served a number of purposes: to signal the deceased&rsquo ; s cultural and geographic origins, demonstrate his elite role in Ptolemaic society and imply connections to the Ptolemaic court, all of which were important to the immigrant inhabitants of early Alexandria as they sought to express their identity in a new geographical, cultural, and political setting.

The purpose of this paper is not to shed a measure of light on Greek, but rather on Roman stonemasonry, and the latter only within the context of the production of funerary monuments in Dalmatia. The first funerary monuments in Dalmatia were stelai. A particular kind of simple, architectural stele developed in Greek towns. Something seen most commonly in Narona, as well as in Salona and elsewhere on occasion, is that the Greek type of stele was accepted before there was any strong influence from Italy. These stelai obviously belonged to wealthy families, which commissioned burial monuments that would cost an entire fortune on their own. Accompanying the soldiers that served in Dalmatia, who were stationed in legion camps (Burnum and Tilurium) at the start of the 1st century, came monumental and richly decorated monuments, which often featured military symbolism and tools. The sarcophagus began its life in Dalmatia around the middle of the 2nd century, except for isolated examples from the 1st century. The largest source of locally made sarcophagi matches a period within the 3rd century, when the standard became the three-piece front face (a central inscription field with two empty fields on its sides or a tabula for reliefs, usually in the form of erotes with a reversed torch). Military inscriptions regarding the quarries at Trogir and on Brač are clear evidence that the trade was not in the hands of private enterprise. Soldiers were not available to other private and civil institutions, as they were paid directly by the emperor, and were thus tasked with jobs that they were trained to do in the army. This is why none of these city-like settlements had an actual civil government with municipal functionaries.

Commemorating the Roman child -- The iconography of childhood -- Nuclear notions -- Fluid families -- Portraits in context

Ancient funerary reliefs are full of representations of writing materials and instruments, the interpretation of which can help us better understand the phenomenon of ancient literacy. The eight studies in this volume enrich our knowledge of Roman writing with many new aspects and detailed observations

Untersuchungen bildlicher Darstellungen von Musikinstrumenten sowie Musikantinnen und Musikanten haben ergeben, dass sie in Grabkontexten benutzt wurden, um auf den Wohlstand sowie den politischen oder sozialen Status der verstorbenen Person oder ihrer Familie hinzuweisen. Dieser Beitrag gibt einen Überblick über die Ergebnisse der Analyse, basierend auf Beispielen aus republikanischen, imperialen und spätantiken Kontexten. Ziel des Beitrags ist, Veränderungen zu untersuchen, die sich sowohl auf die Bedeutung der für die Grabmäler gewählten Themen als auch auf die Rolle der Musikantinnen und Musikanten im Alltag auswirkten.

Рассматривается проблема изучения характеристик элитных погребальных памятников сюнну (хунну), расположенных на территории Забайкалья и Северной Монголии. Анализ показателей внешних параметров, а также особенностей инвентарного комплекса погребений сюннуской элиты позволяет сформировать совокупность определенных признаков, маркирующих элитные группы в данный период времени. Погребальные памятники элиты сюнну отличаются особенностями внешней и внутренней конструкции. В частности используется подквадратная в планировке насыпь кургана в сочетании с дромосом. Внутренняя конструкция в большинстве случаев представляет собой двойной сруб в сочетании с гробом. Для погребальной практики элиты сюнну характерна традиция ритуального человеческого жертвоприношения, соумирания с правителем, что находит выражение в многочисленных находках в погребениях человеческих кос. Установлено, что в составе инвентаря погребальных памятников элиты сюнну представлены многочисленные предметы импорта, которые являются важным маркирующих признаком. Согласно проведенному обобщающему анализу показано, что комплекс импортных предметов включал в себя различные типы шелковой материи, лаковых изделий, нефрит. Существенной чертой погребальной практики элиты является также наличие китайских колесниц в составе погребального инвентаря. Китайский импорт был важным инструментом внешней политики сюнну, что объясняет его накопление в элитной группе, хотя он получает определенное распространение и в других социальных слоях. Таким образом, социально-политическое развитие империи сюнну отразилось в формировании признаков элитного погребального обряда, отличных от предшествующего скифо-сакского периода.DOI 10.14258/izvasu(2016)2-35 ; The article is devoted to the study of the characteristics of elite funerary monuments of Sünnu (Huns), located on the territory of Transbaikalia and Northern Mongolia. The analysis of indicators of external parameters and characteristics of complex inventory of the Sünnu elite burials allows the authors to form a set of specific signs marking an elite group of a given period of time. Funerary monuments of the Sünnu elites have specific features of external and internal design, in particular, the use of sub-quadratic in the layout of the mound in conjunction with the dromos. The internal construction in most cases is a double frame in combination with the coffin. The burial practices of the nomadic elite are characterized with tradition of ritual human sacrifice, dying with the ruler which is proved by numerous finds of human braids in the burials. It is established that in the inventory of the burial monuments of the elite Sünnu includes numerous items of import which are an important marking sign. The conducted analyses shows that the complex of imported objects includes various types of silk cloth, lacquer objects, jade. A significant feature of the funerary practices of the elite is the presence of Chinese chariot in the burial inventory. Chinese import was an important instrument of Sünnu foreign policy, which explains its accumulation in the elite group, although it receives certain distribution in other social layers. Thus, the socio- political development of the nomadic empire was reflected in the formation of the signs of an elite burial rite, distinct from the preceding Scythian- Saka period.DOI 10.14258/izvasu(2016)2-35

The proposed study is based on a multidisciplinary approach combining archeology, history, art history and epigraphy. It defines funerary monuments as sculptures signaling the location of graves and / or celebrating the dead's memory. The sarcophagi, as well as roughly hewn blocks that sometimes mark the medieval burials, as undecorated items, are therefore excluded from this classification. In the diocese of Limoges, the medieval funerary monuments include a heterogeneous set of shapes (slabs, recumbent, saddleback tombstones, steles.) and materials (stone, metal). The corpus analyzed includes 148 elements dated with certainty from the eleventh to the thirteenth century, and 135 that can potentially be attributed to that period. The first chapter is devoted to methodological aspects. It opens with a typological description, put in perspective by a reflection on the hazards of conservation. The biological phenomenons are quickly reviewed to dwell specifically on human destruction, most particularly during the two historical periods generally incriminated: the Wars of Religion and the French Revolution. Alongside the logic at work within the destruction, one can not overlook the major role in the transmission of reused gravestones. As for heritage safeguard measures, they are not limited to material conservation of objects, but also extend to different inventory work. This is an opportunity to highlight a rich regional historiography on the subject, but also to remind the unrecognized government missions in the field. The inventory implementation strategy, data collection, computer processing and structuring in the catalog records regarding this particular study are then detailled. Against common habits, a special effort was made on the analysis of the dating methods, those being a major issue in the analysis of medieval tombstones. Finally, the criticism of the sources once completed, a historiographical overview on medieval funerary monuments puts into perspective the problems developed for the Limousin's ...

The proposed study is based on a multidisciplinary approach combining archeology, history, art history and epigraphy. It defines funerary monuments as sculptures signaling the location of graves and / or celebrating the dead's memory. The sarcophagi, as well as roughly hewn blocks that sometimes mark the medieval burials, as undecorated items, are therefore excluded from this classification. In the diocese of Limoges, the medieval funerary monuments include a heterogeneous set of shapes (slabs, recumbent, saddleback tombstones, steles.) and materials (stone, metal). The corpus analyzed includes 148 elements dated with certainty from the eleventh to the thirteenth century, and 135 that can potentially be attributed to that period. The first chapter is devoted to methodological aspects. It opens with a typological description, put in perspective by a reflection on the hazards of conservation. The biological phenomenons are quickly reviewed to dwell specifically on human destruction, most particularly during the two historical periods generally incriminated: the Wars of Religion and the French Revolution. Alongside the logic at work within the destruction, one can not overlook the major role in the transmission of reused gravestones. As for heritage safeguard measures, they are not limited to material conservation of objects, but also extend to different inventory work. This is an opportunity to highlight a rich regional historiography on the subject, but also to remind the unrecognized government missions in the field. The inventory implementation strategy, data collection, computer processing and structuring in the catalog records regarding this particular study are then detailled. Against common habits, a special effort was made on the analysis of the dating methods, those being a major issue in the analysis of medieval tombstones. Finally, the criticism of the sources once completed, a historiographical overview on medieval funerary monuments puts into perspective the problems developed for the Limousin's corpus.The second chapter focuses on the mechanisms at work during the production of the monuments. A sociological analysis of the deads represented on the monuments provides first answers by highlighting, not only the expected time lag between clergy and laity, but also differences between the secular clergy and regular clergy. The recipients are sometimes responsible for purchasing their funerary sculpture, but the order and cost of the monument is more often supported by family, whether carnal or spiritual. Little is known regarding the work of craftsmen, but it nevertheless deserves to be presented. After two chapters contextualizing the object of study, a third chapter summarizes the interpretation of the subject, from symbolic to practical aspects. The funerary monuments of the diocese of Limoges give to see the dead through the prism of their devotion and their integration in medieval society. Such memorial choices go along with a new form of spiritualization, that culminates through the use of architectural metaphors to represent some faithful as the "living stones of the Church." The ones most directly mentioned are represented by a portrait that does not stop with their earthly life, and extends to the afterlife. By the location of their grave, they are both present here and beyond. The funeral monument can therefore be considered as a staging that transforms the memory associated with the dead and the devotion of the living. Limousin's corpus indeed implies all the members of the Christian community, united in the caritas that is the dogma of the communion of saints. The mechanisms of the heavenly intercession and prayers of the passer-by, but also what they should get away with pious education. ; L'étude proposée repose sur une approche pluridisciplinaire associant archéologie, histoire, histoire de l'art et épigraphie. Elle définit les monuments funéraires comme des sculptures signalant l'emplacement de tombes et/ou célébrant la mémoire de défunts. Les sarcophages, de même que les blocs plus ou moins équarris qui marquent parfois les sépultures médiévales sont donc exclus de cette classification, car il s'agit d'éléments non décorés. Dans le diocèse de Limoges, les monuments funéraires médiévaux regroupent un ensemble hétérogène de formes (dalles funéraires, gisants, pierres tombales en bâtière, stèles…) et de matériaux (pierres, métaux). Le corpus analysé compte 148 éléments datés avec certitude des XIe-XIIIe siècle, et 135 potentiellement attribuables à cette période. Le premier chapitre est consacré aux aspects méthodologiques. Il s'ouvre par une description typologique, immédiatement mise en perspective par une réflexion sur les biais de conservation. Les causes biologiques sont rapidement passées en revue pour s'attarder plus précisément sur les destructions humaines, avec une réflexion sur les deux périodes historiques généralement incriminées : les guerres de Religion et la Révolution française. Parallèlement aux logiques à l'œuvre dans les destructions, on ne saurait négliger le rôle majeur des remplois dans la transmission des pierres tombales. Quant aux mesures de sauvegarde du patrimoine, elles ne se limitent pas à la préservation matérielle des objets, mais s'étendent également aux différents travaux d'inventaire. C'est l'occasion de mettre en lumière une riche historiographie régionale sur le sujet, mais aussi de rappeler les missions méconnues de l'État en la matière. Le propos est ensuite resserré sur la présente étude : il explicite la stratégie d'inventaire mise en place, la collecte des données, leur traitement informatique et leur structuration dans les notices du catalogue. À rebours des habitudes, un effort particulier est également porté sur l'analyse des méthodes de datation car elles constituent un enjeu majeur – tant par sa difficulté que par son importance – de l'analyse des monuments funéraires médiévaux. Enfin, une fois la critique des sources achevée, un bilan historiographique sur les monuments funéraires médiévaux met en perspectives les problématiques développées pour le corpus limousin. Le deuxième chapitre est centré sur les mécanismes à l'œuvre lors de la production. L'analyse sociologique des défunts représentés sur les monuments funéraires offre déjà de premiers éléments de réponse en mettant en évidence non seulement un décalage chronologique attendu entre clercs et laïcs, mais aussi des différences entre clergé séculier et clergé régulier. Ces destinataires sont parfois à l'origine de l'achat de leur sculpture funéraire, mais celle-ci est plus fréquemment prise en charge par la famille, qu'elle soit charnelle ou spirituelle. Du travail des artisans, on ne sait que peu de choses mais elles méritent toutefois d'être présentées. Après deux chapitres contextualisant l'objet d'étude, le troisième synthétise l'interprétation du sujet en partant de la symbolique pour cheminer jusqu'à la pratique. Les monuments funéraires du diocèse de Limoges donnent à voir les défunts par le prisme de leur dévotion et de leur intégration dans la société médiévale. On voit avec ces choix mémoriels s'amorcer une spiritualisation qui culmine avec le recours à des métaphores architecturales pour représenter certains fidèles en « pierres vivantes de l'Église ». Ceux qui sont évoqués plus directement sont également sublimés par un portrait qui ne s'arrête pas à leur vie terrestre et qui se prolonge au contraire pour intégrer leur devenir céleste. Par la localisation de leur tombe, ils sont à la fois présents ici-bas et au-delà. Cette mise en scène par les monuments funéraires transforme à la fois le souvenir associé aux défunts concernés et la dévotion des vivants. Le corpus limousin implique en effet l'ensemble des membres de la communauté chrétienne, unie dans la caritas qu'est le dogme de la communion des saints. Les mécanismes de l'intercession céleste et des prières des passants, mais aussi ce que ces derniers devaient en tirer comme pieux enseignement.

"We are publishing here two fragmentary funerary monuments discovered during the archaeological monitoring for the development works in and around the fortress of the Legion V Macedonica at Potaissa in 2021. The two monuments discovered in and near the fortress probably come from a necropolis located nearby and document the existence of large funerary constructions in ancient Potaissa. The first monument, a fragment of a rectangular coping, belongs to the so-called ""pilaster-type funerary constructions"", while the second, the pediment fragment, must be linked to the aedicula-type funerary constructions. We have tried to identify other disparate elements in the sculptural production of Potaissa that document the existence of these types of monuments in order to complete the picture of the architectural-sculptural production for funerary purposes in this provincial city. The findspots of these monuments indicate the distribution of the funerary areas on Fortress Hill near the legionary fortress. Some large monuments that are found in situ, indicate two funerary areas on Fortress Hill pertaining to the canabae civilian settlement: the Szindivölgy-tető point and Fodor Domokos' vineyard (on Rákos utca) in the Közep-mál area. Keywords: funerary monuments, pilaster, aedicula, necropolis, Potaissa "