Visual Style and Constructing Identity in the Hellenistic World: Nemrud Dağ and Commagene under Antiochos I (Greek Culture in the Roman World)

Located in the small kingdom of Commagene at the upper Euphrates, the late Hellenistic monument of Nemrud Dağ (c.50 BC) has been undeservedly neglected by scholars. Qualified as a Greco-Persian hybrid instigated by a lunatic king, this fascinating project of bricolage has been written out of history. This volume redresses that imbalance, interpreting Nemrud Dağ as an attempt at canon building by Antiochos I in order to construct a dynastic ideology and social order, and proving the monument's importance for our understanding of a crucial transitional phase from Hellenistic to Roman. Hellenistic Commagene therefore holds a profound significance for a number of discussions, such as the functioning of the Hellenistic koine and the genesis of Roman "art", Hellenism and Persianism in antiquity, dynastic propaganda and the power of images, Romanisation in the East, the contextualising of the Augustan cultural revolution, and the role of Greek culture in the Roman world. List of Illustrations [page xi] Preface [xvii] 1 Approaching Nemrud Dağ [1] 1.1 Between Alexandria, Rome and Antioch [1] 1.2 Understanding Late Hellenistic Commagene [14] 1.2.1 A Global Hellenistic World [20] 1.2.2 An Archaeology of Intra-Cultural Connectivity [24] 1.2.3 Beyond Representation [29] 1.3 The Structure of the Book [33] 2 Commagene: A Historical Geography [38] 2.1 Earlier Research [41] 2.2 The Historical Background [46] 2.3 The Region and Its Archaeology [52] 2.3.1 Dynastic Monuments [52] 2.3.2 Cities [82] 2.3.3 Villages [91] 2.3.4 The Great Cult Inscription [101] 2.4 Evaluating the (Archaeological) Sources [104] 3 Identity [108] 3.1 An Analysis of the Bildprogramm: What Did Antiochos I Demonstrate? [111] 3.1.1 A Hilltop Sanctuary [111] 3.1.2 A Temple Tomb (Hierothesion) in the Form of a Tumulus [115] 3.1.3 Colossal Statues [120] 3.1.4 A Canonical Text: The Great Cult Inscription and the Nomos [124] 3.1.5 Dexiosis Reliefs and Other Sculptural Decorations [127] 3.1.6 Ancestor Galleries [130] 3.2 Monumentality, Visibility, Ideology and Eclecticism [135] 3.3 In Search for the Social Context [137] 3.4 Inventing Traditions in the Hellenistic World [141] 3.4.1 Ethnic Manoeuvring in Hellenistic Egypt [142] 3.4.2 Inventing Hasmonean Kingship [148] 3.4.3 “Client Kings”: Herod the Great and Juba II [151] 3.5 Structuring Identity [155] 3.5.1 Looking back: From Mausollos to the Seleucid Kings [160] 3.5.2 Looking Forward: A Friend of the Romans? [165] 3.6 Ideology, Social Order and Canon Building [168] 3.7 Questions [172] 3.7.1 The Elusive Ancestors [172] 3.7.2 Bricolage as Historical Evidence [178] 3.7.3 Beyond the Dynastic Mise en Scène [182] 4 Style [185] 4.1 “The Achievements of Hellenised Barbarians”: How to Describe the Antiochan Style [191] 4.1.1 Humann, Puchstein and the Four Topoi [191] 4.1.2 Twentieth-Century Explorers and Summarisers [193] 4.1.3 Archaeological Interpretation and the Antiochan Style [199] 4.1.4 Bricolage and the Juxtaposition of Discrete Elements [201] 4.2 What Is It That We Call Greek and Persian? [207] 4.2.1 Hellenisation, Hellenism and Diversities of Doing Greek [209] 4.2.2 Persianism in the Ancient World [213] 4.3 Three Case Studies on Bricolage in the First Century BC [219] 4.3.1 Mixtum Compositum: Material Culture in Late Republican and Augustan Rome [221] 4.3.2 Parthian Royal Ideology [229] 4.3.3 Religious Monumental Building in the Eastern Mediterranean [232] 4.4 Cultural Scenarios [241] 5 Postscript: Between East and West? [249] Appendix: Antiochos’ Nomos: Translation [255] References [261] Bibliography [263] Index [307] Cover 1 Half-title page 3 Series page 4 Title page 7 Copyright page 8 Epigraph 9 Contents 11 List of Illustrations 13 Preface 19 1 Approaching Nemrud Dağ 23 1.1 Between Alexandria, Rome and Antioch 23 1.2 Understanding Late Hellenistic Commagene 36 1.2.1 A Global Hellenistic World 42 1.2.2 An Archaeology of Intra-Cultural Connectivity 46 1.2.3 Beyond Representation 51 1.3 The Structure of the Book 55 2 Commagene: A Historical Geography 60 2.1 Earlier Research 63 2.2 The Historical Background 68 2.3 The Region and Its Archaeology 74 2.3.1 Dynastic Monuments 74 2.3.2 Cities 104 2.3.3 Villages 113 2.3.4 The Great Cult Inscription 123 2.4 Evaluating the (Archaeological) Sources 126 3 Identity 130 3.1 An Analysis of the Bildprogramm: What Did Antiochos I Demonstrate? 133 3.1.1 A Hilltop Sanctuary 133 3.1.2 A Temple Tomb (Hierothesion) in the Form of a Tumulus 137 3.1.3 Colossal Statues 142 3.1.4 A Canonical Text: The Great Cult Inscription and the Nomos 146 3.1.5 Dexiosis Reliefs and Other Sculptural Decorations 149 3.1.6 Ancestor Galleries 152 3.2 Monumentality, Visibility, Ideology and Eclecticism 157 3.3 In Search for the Social Context 159 3.4 Inventing Traditions in the Hellenistic World 163 3.4.1 Ethnic Manoeuvring in Hellenistic Egypt 164 3.4.2 Inventing Hasmonean Kingship 170 3.4.3 “Client Kings”: Herod the Great and Juba II 173 3.5 Structuring Identity 177 3.5.1 Looking back: From Mausollos to the Seleucid Kings 182 3.5.2 Looking Forward: A Friend of the Romans? 187 3.6 Ideology, Social Order and Canon Building 190 3.7 Questions 194 3.7.1 The Elusive Ancestors 194 3.7.2 Bricolage as Historical Evidence 200 3.7.3 Beyond the Dynastic Mise en Scène 204 4 Style 207 4.1 “The Achievements of Hellenised Barbarians”: How to Describe the Antiochan Style 213 4.1.1 Humann, Puchstein and the Four Topoi 213 4.1.2 Twentieth-Century Explorers and Summarisers 215 4.1.3 Archaeological Interpretation and the Antiochan Style 221 4.1.4 Bricolage and the Juxtaposition of Discrete Elements 223 4.2 What Is It That We Call Greek and Persian? 229 4.2.1 Hellenisation, Hellenism and Diversities of Doing Greek 231 4.2.2 Persianism in the Ancient World 235 4.3 Three Case Studies on Bricolage in the First Century BC 241 4.3.1 Mixtum Compositum: Material Culture in Late Republican and Augustan Rome 243 4.3.2 Parthian Royal Ideology 251 4.3.3 Religious Monumental Building in the Eastern Mediterranean 254 4.4 Cultural Scenarios 263 5 Postscript: Between East and West? 271 Appendix: Antiochos’ Nomos: Translation 277 References 283 Bibliography 285 Index 329 Located In The Small Kingdom Of Commagene At The Upper Euphrates, The Late Hellenistic Monument Of Nemrud Dag (c.50 Bc) Has Been Undeservedly Neglected By Scholars. Qualified As A Greco-persian Hybrid Instigated By A Lunatic King, This Fascinating Project Of Bricolage Has Been Written Out Of History. This Volume Redresses That Imbalance, Interpreting Nemrud Dag As An Attempt At Canon Building By Antiochos I In Order To Construct A Dynastic Ideology And Social Order, And Proving The Monument's Importance For Our Understanding Of A Crucial Transitional Phase From Hellenistic To Roman. Hellenistic Commagene Therefore Holds A Profound Significance For A Number Of Discussions, Such As The Functioning Of The Hellenistic Koine And The Genesis Of Roman 'art', Hellenism And Persianism In Antiquity, Dynastic Propaganda And The Power Of Images, Romanisation In The East, The Contextualising Of The Augustan Cultural Revolution, And The Role Of Greek Culture In The Roman World. Approaching Nemrud Dag -- Commagene: A Historical Geography -- Identity -- Style -- Postscript: Between East And West? Miguel John Versluys. Includes Bibliographical References (pages 263-306) And Index. "Located in the small kingdom of Commagene at the upper Euphrates, the late Hellenistic monument of Nemrud Dag (c.50 BC) has been undeservedly neglected by scholars. Qualified as a Greco-Persian hybrid instigated by a lunatic king, this fascinating project of bricolage has been written out of history. This volume redresses that imbalance, interpreting Nemrud Dag as an attempt at canon building by Antiochos I in order to construct a dynastic ideology and social order, and proving the monument's importance for our understanding of a crucial transitional phase from Hellenistic to Roman. Hellenistic Commagene therefore holds a profound significance for a number of discussions, such as the functioning of the Hellenistic koine and the genesis of Roman 'art', Hellenism and Persianism in antiquity, dynastic propaganda and the power of images, Romanisation in the East, the contextualising of the Augustan cultural revolution, and the role of Greek culture in the Roman world."-- Provided by publisher Located in the small kingdom of Commagene at the upper Euphrates, the late Hellenistic monument of Nemrud DaÄŸ (c.50 BC) has been undeservedly neglected by scholars. Qualified as a Greco-Persian hybrid instigated by a lunatic king, this fascinating project of bricolage has been written out of history. This volume redresses that imbalance, interpreting Nemrud DaÄŸ as an attempt at canon building by Antiochos I in order to construct a dynastic ideology and social order, and proving the monument's importance for our understanding of a crucial transitional phase from Hellenistic to Roman. Hellenistic Commagene therefore holds a profound significance for a number of discussions, such as the functioning of the Hellenistic koine and the genesis of Roman 'art', Hellenism and Persianism in antiquity, dynastic propaganda and the power of images, Romanisation in the East, the contextualising of the Augustan cultural revolution, and the role of Greek culture in the Roman world. This book provides a new interpretation of Nemrud Dag, a key Hellenistic monument with both Greek and Persian elements. It develops a novel approach to understanding relations between visual style and constructing identity in antiquity, and will be important for those interested in cultural dynamics, dynastic propaganda and ancient globalisation.