ࡱ> Y[X5@[bjbj22^XX" TTTvT26668nl2s+(" " " " " " *******),R{.J*" " *" " -+(((` " " *(*(((("  pbu6 &`(*C+0s+(.j'|.(22.(" Bdx(p:" " " **226'226Doc. dr. }eljko Mileti, Odjel za arheologiju Sveu iliata u Zadru, tel. 00385 (0)23 200-528 }eljko Mileti: Typology of Mithraic Cult Reliefs from Southeastern Europe The majority of scholars occupied by Mithraic studies rejected Cumontian theory of Persian cult origins, namely his transmission from East to Rome. However, place, time and mode of genesis of Roman Mithraism are still unexplained. Merkelbachs hypothesis, that Mithraism was engendered by group of intellectuals from imperial palatium, where it was created during 1st century AD seems very plausible. They created mysteries and inserted some elements from Iranian religion, Platonic philosophy and very popular contemporary astrological learning. According to this theory, it is most likely that artistic archetype of the Tauroctony, the most important mythical episode, was formed in same circumstances. Icons, showing Mithras killing the bull and some other characters, were placed in every sanctuary speleum. This article deals with three types of bull-slaying scenes: type I, V and VI. While defining the iconographical and compositional features of the Mithraic icons I have used Campbell's typology. He defined eight types of cult icons (in regard to composition as a whole) and five main subtypes (in regard to realization of Tauroctony scene). Starting from the revised views on the Mithraic genesis, itinerary and theology, it was established that Campbell did not define places of origin of individual types of bull-slaying scenes and, especially, of their subtypes quite correctly. His opinion is that various bull-slaying compositions emerged during the process of Mithraic expansion from the East through Greek world to the Roman West. Accordingly, the subtype A (Graeco-Phrygian) originates from Phrygia, subtype D (Hellenistic) from Cappadocia, subtype C (eastern Greek) which is characterized by a mixture of A and D elements from Cilicia, subtype E (Iranian) from Pontus, and subtype B from Rome. The fact that earliest monuments of the cult dated with certainty are known from Nida in Germania Superior, Novae in Moesia Inferior and Carnuntum in Pannonia has very strong implications for the expansion of the Mysteries However, it is not acceptable to discuss archetypes or their long-lasting existence in Asia Minor and some surrounding areas as long as specimens of some subtypes have not been attested there, whereas rare examples of others from the same region are later than the western ones. For example, reliefs of the subtype C were probably created in Rome and its surroundings, where they occurred from the end of the 1st century AD. Reliefs of the subtype C, as well as those of mixed ABC features spread from central Italy northwards in Raetia and Noricum, as well as eastwards in Dalmatia and Pannonia. Campbell's conclusion that type I occurs most frequently in the Mediterranean basin "where Greek influence is very strong" and less frequently in more distant provinces, is implausible and too generic. For instance, in the regions of Thrace and Macedonia that where under strong Greek influence type II is the dominant one and not the type I. It is hard to believe that type I emerged in the area of the Greek peninsula, Asia Minor or Magna Graecia: crucial elements determining type I probably were created in workshops of the city of Rome. Monuments of the type I were numerous (more than half of all Mithraic Tauroctony icons), very widespread, long-lasting and of different quality, thus, it is certain that, after first impulses from Italian peninsula, they were produced in a number of workshops in Italy and provinces. (Fig. 1.) Cult icons of the type I and the subtype C dominate in province Dalmatia. A combination of the type I and the subtype C occurs at the earliest cult icons in Dalmatia from the beginning of 2nd century, though its use continued up to the 3rd and 4th centuries. Main feature of type V is a circular composition of the Tauroctony surrounded by the ring of the leaves, or with the Zodiac ring. Campbell named it Upper Moesian, in spite of his own observations that it started spreading from Dalmatian capital Salona. In addition, specimens of type V are less frequent in Upper Moesia than in, for instance, Dalmatia or in Pannoniae. (Fig. 2.) Only two monuments, both from Salona, have entirely rounded plate. Other Tauroctonies of Campbell's type V were placed on reliefs plate of heterogeneous form. I emphasise that examples with ring of leaves were cut on plates with half circular upper part (which is common characteristic especially for types II and IV, which frequently occur in provinces Tracia, Dacia and Moesia). On the contrary, Tauroctonies surrounded with Zodiac were placed on rectangular plates.(Fig. 3.) Such combinations give us reason to suppose that each of two rings, which surrounded tauroctony, has its own origin and different significance. The Zodiac is not placed there because of its subject or decorative value; rather, it has theological and doctrinal value. Structurally and symbolically it is connected with the cosmological idea of vertical journey of the soul through seven planetary spheres up to the sphere of the fixed stars. Mithraic monuments with Zodiac are known from London to Sidon. Relief CIMRM 695/6 from Modena of high artistic value contains exceptionally reach symbolism, which points that origins of type V with tauroctony surrounded by Zodiac ring should be looked for in the Italian peninsula. It cannot be identified as the Upper Moesian simply because it has not been attested in that province. Monuments in which ring of leaves surrounds the Tauroctony are more similar to the type IV, or II, than to V. which is why they should be differentiated from the latter and considered as a variant of the former. Wreath of leaves (mostly olive, oaken, myrtle and laurel) standing as usual ornamentation on reliefs and free standing sculpture, doubtlessly signified some kind of victory, or excellence of individuals. Jupiter and deities are wreathed, Victoria honours triumphant general with corona, officers and athletes receive crown of leaves because of achievements on battlefield and sport race. Victorious Christogram inside of corona was depicted in early Christian art. In Roman funeral practice green wreath of leaves was symbol of victory over death and afterlife. Same motif was carved on sepulchral monument in the honour of ancestors. That is why some examples of Mithraic tauroctony - scene explaining Mithras cosmological role (starting genesis by the stroke of knife and making possible human life after bodily death) were represented within corona. In the provinces Pannonia, Dalmatia, Moesia, Thracia and Macedonia numerous sepulchral monuments contain ring of leaves, therefore it is quite possible that they served as inspiration for circular frame on tauroctony of diverse types. Some elements of sepulchral art evidently were incorporated into mithraic iconography. Round sepulchral portrait medallions encircled with leaves are common in Noricum and Pannonia, whether as a part of funeral monuments or, sometimes, even self-standing. Stelae with wreath without portrait, except in very few examples, were produced in Moesia. On small anepigraphic stela from Salona there is a portrait of a young man in medallion of leaves. Poor quality busts of Diocletian and his wife Prisca in oval ring of leaves are preserved in their mausoleum in Palast in Split. Type VI - so called "Asia Minor" type - occurs with the greatest frequency in provinces Pannonia, Dalmatia and Noricum, just sporadically in Moesia Superior, Dacia, Germania Superior and in Italy, and, until now, never in Asia Minor. Therefore, its origin should not be looked for where monuments are not attested, but rather in Pannonia and Dalmatia where it occurs very frequently. Due to such frequency and a fact that in these two provinces monuments of this type were made mostly of local stone (meaning in local workshops), it should be considered as the Pannonian-Dalmatian type. Some descriptive term would be even more appropriate, one that is connected with its main distinction: abundant use of architectonic elements (columns, beams, arcade), characteristic for late Roman sculptural arts.That is why Campbells statement that such elements were taken from Asia Minor sarcophagi should be rejected. After all, in Danube-Adriatic area there is only scarce evidence of import from Asia (mostly half fabricated sarcophagi from Prokonesos). It is more probable that local stonecutters were inspired with monumental buildings as Diocletian's Palace in Split and Galerius Palace in Gamzigrad (Romuliana). (Fig. 4.)  For the evolution of the critique of traditional Cumontian view of the mysteries of Mithras: R. Beck, Mithraism since Franz Cumont, ANRW II 17,4 (Berlin New York 1984) 2002 ff. - R. L. Gordon, Franz Cumont and the doctrines of Mithraism. In: J.-R. Hinnells (Hrsg.), Mithraic studies. Proceedings of the First International Congress of Mithraic Studies, (Manchester 1975) 215 ff. - R. Gordon, Who worshipped Mithras?. JRA 7, 1994, 459 ff.  R. Merkelbach, Mithras (Hain 1984) 153 ff.  L.-A. Campbell, Typology of Mithraic Tauroctones. Berytus 11, 1954, 1 ff. - L.-A. Campbell, Mithraic iconography and ideology (Leiden 1968). 1-3.  Merkelbach (Anm. 2) 146-153. - M. Clauss, Culthores Mithrae (Stuttgart 1992) 115 ff; 156 f; 224.  Campbell, Typology (Anm. 3) 21.  Campbell, Typology (Anm. 3) 13.  B. Gabri evi, Iconographie de Mithra tauroctone dans la province romaine de Dalmatie. Archaeologia Jugoslavica 1, 1954, 42-43 concluded that earliest Mthraic cult icons in Dalmatia were under the Italian influence. J. Medini, Mithriaca Jadertina. Radovi Filozofskog fakulteta u Zadru 24(11), 1975, 63-65. has the same opinion.  Campbell, Typology (Anm. 3) 13 ff.  CIMRM 1870, CIMRM 1861.  J. Medini, Mitri ki reljef iz Banjevaca. Diadora 8, 1975, 66-67.  Cosmic journey of the soul reconstructed: }. Mileti, Mitri ko putovanje duae. Diadora 18-19, 1997, 195 ff.  See examples of Christogram: G. Koch, Frhchristliche Sarkophage (Mnchen 2000) Abb. 5; 7; 57; 58; 66; 79; 89; 99; 100; 103; 106; 111; 114; 120; 171-175; 188; 196; 201; 206; 227; on sarcophagus from Ravenna (Abb. 102) triumphating Christ was offered by corona and Christogram.  }. Mileti, The Nymphus grade and the Reverse of the Mithraic Cult Icon from Konjic. In: Akten des internationalen Simposium  P4 R V > ?    < = s t u 9xyz  ()ԿԳԬԬԬԬ雕鏈uuhsh; 6CJ] hD3CJ] h; CJ] hD3CJ hCJ h9CCJh9CCJH*]aJ h9CCJ]hhU6CJ] hCJ]jhU0JCJU] hUCJ] h9C6CJ hU6CJ hUCJ hG0CJ hG0hG0hG0.R T DJ#?&+,,--.V.0 $dha$gdNP $dha$gdNP$d`a$gdNP $da$gdNP $da$gdG0dgd/$a$gdG0+[[)13678<BCKPY]e$.ACOPQm9C 35;=JɽɽɶɪɣɐɽɽɽɣɶɄɶɶjhU0JCJUjhQ}0JCJU h|CJ] hUCJ]jhy0JCJU hUCJH* hcwCJ h:CJ hUCJjh; 0JCJU] hD3CJ]hs6CJ] h; CJ]hsh; 6CJ]2JKGH  TsUV`aHM0Q] ! / 4 8 ? @ E F U Y i 뻵뻯 hqaCJ h `CJ hX>4CJ h[CJ h@CJ h#OCJ h CJ ho CJ h mCJjh Z0JCJU h^CJ h:CJ hcwCJjh^0JCJU hUCJ hUCJ] hU6CJ6 !!!:!%U%V%W%X%u%%%%%%%%%%%%%%%&&<&৛ԧԧԧqeYYh#YCJaJmHsHh=_CJaJmHsH#jh\0JCJUaJmHsHh\CJaJmHsHhEqCJaJmHsHh2CJaJmHsHh#rCJaJmHsH#jhb>0JCJUaJmHsHh:h:CJaJmHsHh:CJaJmHsHhb>CJaJmHsHh4CJaJmHsHh:CJaJ<&=&>&?&' ''')'*'@')1)b)m)))*+++*+m+++++++++++++, , ,,%,&,j,̴̨̜{t{{{{{{m{m{m hgKhs hn>hshs hNPhsjhNPhs0JUh/hUCJjhWr0JCJU hwQCJ hWrCJjhg0JCJU h:CJ h `CJ hUCJh2hUCJaJmHsHh\CJaJmHsH#jh)0JCJUaJmHsH)j,l,m,w,,,,,,,,,,,,,,,,,,, -"-#-*-=-?-@-D-K-M-o-p-v-------------------------....&.<.N.V.X.Z.\.`.b.t.x.//߿hNPhsmHsH h hs hH7hs hwhsjhNPhs0JU hNPhshshNPhs6K/"/$/tuj im roemischen Reich/Mithraskult und seine Zeit [Ptuj 1999] = Archaeologia Poetovionensis 2 (Ptuj 2001) 283-288. In the same edition: A. Tengely, Mithraic Connections of the Mythological Tombs in Pannonia, 303 ff.  A. Schober, Die rmischen Grabsteine von Noricum und Pannonien (Wien 1923) 144 154; No. 164 -166; 168 172. W. Boppert, Ein freistehendes Rundmedallion aus Worms. Akten des IV. Internationalen Kolloquiums ber Probleme des provinzialrmischen Kunstschaffens. Celje 1995 = Situla 36 (Ljubljana 1997), 53 ff.  M. Mirkovi, Inscriptions de la Msie Suprieure I (Beograd 1976) No 40; 56; 131.  M. Mirkovi, Inscriptions de la Msie Suprieure II (Beograd 1986) No 131; 174 .  N. Cambi, Imago animi. Anti ki portret u Hrvatskoj (Split 2000) 54; 327 Abb. 73.  Cambi, (Anm. 16) 80; 402 Abb. 128-129. N. Cambi, Dioklecijanova pala a i Dioklecijan (lik i li nost). In: Dioklecijanova pala a (Split 1994) 26.  Campbell, Typology (Anm. 3) 14 f; PPPPPQQ!Q"Q@QGQLQ(R*R,R4R6RHR`RbRfRhRlRnRpRrRxRzRRRRRRRRRRRRRS SSSSSSS S"S(S*S׶h7hs]h7hs]mHsHh7hsmHsH h7hsjh7hs0JUh89hsmHsHh7hsmHsHhNPhsmHsHhsmHsHh-ODhs]hs hNPhsjhNPhs0JU3*S6S8SS@SNS\S`SlStSvSxSzSSSSSSSSSTT T"T,T0TBTDT\T^TrTtTTTTT"U$UhsmHsH h?hsjhNPhs0JUhNPhsmHsHhsmHsHhNPhsmHsHhs hNPhs h7hsh7hs]mHsH941. Relief CIMRM 1893/4 from Vratnice near Lisi ii, donated by Lucius Antonius Menander Aphrodisieus does not correspond to type VI, as Campbell stated on page 41, but to type I.  Campbell, Typology (Anm. 3) 14. PAGE 4 PAGE 4 [[[[[[[[[[[[[[[[[[h/hUCJh6p0JmHnHuhshs0JmHnHu hs0Jjhs0JUh6p/ =!"#$%8@8 Normal_HmH sH tH>A@> Zadani font odlomkaZi@Z Obi na tablica :V 44 la .k@. 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