ART/ARCHITECTURE; Reading a Civilization Through Its Ancient Shards - The New York Times - 0 views
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ENTERING the Worcester Art Museum, the first thing a visitor sees is a sixth-century late Roman mosaic, more than 20 feet square, set into the floor of the entrance hall.
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This spectacular and brutal scene paved the floor of a private house in Antioch, founded in 300 B.C. and one of the great cities of the classical world. Today ancient Antioch lies beneath the modern Turkish city of Antakya, near the Syrian border at the northeast elbow of the Mediterranean. The mosaic, along with other equally stunning and tantalizing glimmers of an almost mythical place, arrived in Worcester nearly 60 years ago.
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Four silver-gilt tyches on display -- female deities personifying the good fortune of a particular city -- representing Rome, Constantinople, Alexandria and Antioch attest to Antioch's status. Sculptures, mosaics, jewelry and intriguing inscriptions, most of them from the second to the sixth centuries A.D., bring to life a complex metropolis that thrived in an era whose economic, political and spiritual circumstances were in many ways similar to our own.
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Until the 1930's, Antioch's remains were almost entirely literary; its physical glories had been obliterated by earthquakes, floods and invasions from the east.
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Since then, however, as the study of history has focused as much on ordinary citizens as on their leaders, attention has shifted from throne rooms to dining rooms. Only 10 percent of Antioch's population was rich, according to the fourth-century pagan philosopher Libanios, and only 10 percent was poor. The remaining 80 percent lived remarkably well, and at its height, Antioch's population numbered more than 400,000 citizens and freedmen, not counting women, children and slaves.
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The exhibition focuses on their dining rooms, or triclinia, in order to recreate the city's great middle-class era, and for middle-class America at the beginning of the third millennium, those ancient houses reveal a familiar ostentation.
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Antioch: The Lost Ancient City'' reunites many of the artifacts and objects excavated by the expedition, including some of the most beautiful mosaics. During the five years of preparations for this show, scholars examined for the first time in decades some of the material from the excavations that had been in storage, and the show's catalog presents much of their new research.
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During the centuries of the Roman peace, Antioch flourished; its baths and wide arcaded streets were theaters where strangers -- Romans, Syrians, Jews, Christians, Persians, Greeks -- mingled and learned from one another. Its dining rooms set a more intimate stage upon which to continue the dialogue.
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The city's pivotal geography proved the source of both its vitality and its vulnerability. Persian emperors of the Sasanian dynasty coveted Antioch, sacked it twice -- in A.D. 256 and 540 -- and incorporated the phrase ''better than Antioch'' into the names of the cities they built closer to home. Sasanian stylized art, using birds and animals in patterned design -- a mosaic border of ram's heads, for instance -- found its way into Antioch's houses.
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Probably they discussed religion. The Pax Romana, of course, has found its modern parallel in the Pax Americana, in the worldwide exportation of American culture. Ideas, art, politics and religions circulate, blend and clash. The yearning for a spiritual haven was perhaps even more urgent in Roman Antioch than it is today.
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The expeditions of the 1930's dug up no pagan temples or synagogues, but they did uncover in Antioch's port remnants of a church whose ambulatory was paved with a mosaic of animals and birds. Elephants, flamingos, zebras, gazelles, peacocks, a lioness and her cubs: all creation circled the church in a docile parade.
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In this floor, pagan entertainment translated into a vision from Genesis: the bloody staged hunt has been converted to a peaceable kingdom.