Zeus and Antiope. Considerations on the topic depicted in a mosaic of villa of Torre de Benagalbón (Rincón de la Victoria, Málaga)
DOI:
https://doi.org/10.24310/BAETICA.2009.v0i31.174Keywords:
Roman villa, Mosaics, satyr, Antiope, Rincón de la Victoria (Málaga)Abstract
A mosaic of the Roman villa of Torre de Benagalbón (Rincón de la Victoria, Málaga) represents the myth of Zeus transformed in to Satyr trying to seduce the beautiful Antiope, accompanied of corresponding explanatory legend SATYR and ANTIOPA. In this article we study this mosaic and similar ones in different cities of the Roman Empire.Downloads
Metrics
References
ABADIE-REYNAL, C (2002), “Les maisons à décors mosaïqués de Zeugma”, Communication devant l’Académie des Inscriptions et Belles-Lettres (juin 2002), CRAI avril-juin.
ABADIE-REYNAL, C; DARMON, J. P (2003), “La maison et la mosaïque des Synaristôsai”, JRA. Supplementary Series 51.
ABADIE-REYNAL, C; ERGEC, R; GABORIT, J; LERICHE, P (1998), “Deux sites condamnés dans la vallée de l’Euphrate, Séleucie-Zeugma et Apamée”, Archéologia, Mars.
BASGELEN, N; ERGEC, R (2000), Belkis/Zeugma. Halfeti. Rumkale. A last look at history, Estambu.
BIEBER, M (1961), Sculpture of the Hellenistic Age, reed. Nueva York.
BLANCO FREIJEIRO, A (1978), Mosaicos romanos de Italica (I). Corpus de mosaicos romanos de España fasc. III, Madrid.
BLÁZQUEZ MARTÍNEZ, J.M; LÓPEZ MONTEAGUDO, G; SAN NICOLÁS PEDRAZ, M.P (2004), “Representaciones mitológicas, leyendas de héroes y retratos de escritores
en los mosaicos de época imperial en Siria, Fenicia, Palestina, Arabia, Chipre, Grecia y Asia Menor”, Antigüedad y Cristianismo XXI.
BOESELAGER, D. Von (1983), Antiken Mosaiken in Sizilien. Hellenismus und römische Kaiserzeit 3. Jahrhundert v. Chr.-3. Jahrhundert n. Chr., Roma.
BRINKERHOFF, D. M (1965), “New Examples of the Hellenistic Statue Group «The Invitation to the Dance» and their Significance”, AJA 69.
CAMERATO- SCOVAZZO, R (1975), “Nuove proposte sul grande mosaico di Piazza della Vittoria a Palermo”, Kokalos 21.
CAMERATO- SCOVAZZO, R (1992), Le case romane di piazza della Vittoria, Palermo.
CAPUTO, G (1948), Lo scultore del grande bassorilievo con le danza delle Menadi in Tolemaide di Cirenaica, Roma.
CHÉHAB, M (1958- 1959), “Mosaïques du Liban”, BullMusBeyrouth 14-15.
CHÉHAB, M (1965), “Les caracteristiques de la mosaïque du Liban”, CMGR I, Paris.
CHÉHAB, M (1968), Mosaïques du Liban, París.
COMSTOCK, M.B; VERMEULE, C.V (1976), Sculpture in Stone: The Greek, Roman, and Etruscan Collections of the Museum of Fine Arts Boston, Boston.
DARMON, J. P (2006), “Le programme idéologique du décor en mosaïque de la maison de la Télétè dionysiaque, dite aussi de Poséidon, à Zeugma (Belkis, Turquie)”, CMGR IX, Paris.
DOHRN, T (1965), “Crustae”, RM 72.
DUNBABIN, K. M. D (1978), The mosaics of roman North Africa. Studies in Iconography and Patronage, Oxford.
DURÁN, M I (1993), Iconografía de los mosaicos romanos en la Hispania alto-imperial, Barcelona.
DURÁN PENEDO, M (2008), “Dirce y Antíope: dos imágenes de valores contrapuestos del ciclo tebano en los mosaicos hispano-romanos”, L´Africa romana. Le ricchezze dell´Africa. Risorse, produzioni, scambi. Atti XVII convegno di studio (Sevilla, 2006), Roma.
FERNÁNDEZ- GALIANO, D (1982), “Nuevas interpretaciones iconográficas sobre mosaicos hispanorromanos”, Museos 1.
FOUCHER, L (1961), Découvertes archéologiques à Thysdrus en 1961, (Notes et documents. Nouv. sér., V), Túnez.
GARCÍA GUINEA, M. A (1982), Guía de la villa romana de Quintanilla de la Cueza, Palencia.
GARCÍA GUINEA, M. A (1986), Guía de la villa romana de Quintanilla de la Cueza, Palencia.
GARCÍA GUINEA, M. A (1990), Guía de la villa romana de Quintanilla de la Cueza, Palencia.
GARCÍA GUINEA, M. A (2000), La villa romana de Quintanilla de la Cueza (Palencia). Memoria de las excavaciones 1970-1981, Palencia.
GARCÍA Y BELLIDO, A (1951), “El puteal báquico del Museo del Prado”, AespA XXIV.
GEOMINY, W (1999), “Zur Komposition der Gruppe
«Aufforderung zum Tanz»”, en BOL, C.P. (Ed.): Hellenistische Gruppen. Gedenkschrift für Andreas Linfert, Mainz am Rheim.
GERMAIN, S (1973), Les Mosaïques de Timgad. Étude descriptive et analytique, Paris.
GRIMAL, P (1984), Diccionario de Mitología Griega y romana, Barcelona.
HAUSER, F (1889), Die neu-attischen Reliefs, Stuttgart.
KENNEDY, D. L (1994), “Zeugma. Une ville antique sur
l‘Euphrate”, Archéologia 306.
KENNEDY, D. L (1998), The twin towns of Zeugma on the Euphrates. Rescue work and historical studies, JRA. Supplementary Series 27.
KENNEDY, D. L; ERGEC, R; FREEMAN, P (1995), “Mining the mosaics of Roman Zeugma”, Archaeology 48.2.
KLEIN, W (1908- 1909), “Die Aufforderung zum Tanz: Eine wiedergewonnene Rokoko”, Zeitschrift für bildende Kunst 20.
LAVIN, I (1963), “Hunting Mosaics of Antioch and their sources”, Dumbarton Oaks Papers 17.
LÓPEZ CRUCES, J. L (2002), “Olimpiodoro (in Grg. 26.20) y la Antíope de Eurípides”, Cuadernos de Filología Clásica: Estudios griegos e indoeuropeos 12.
LÓPEZ MONTEAGUDO, G (1998), "El mito de Perseo en la musivaria romana. Particularidades hispanas”, Espacio, Tiempo y Forma II, 11.
LÓPEZ MONTEAGUDO, G (2003), “Representaciones de la ninfa Cirene en los mosaicos romanos”, Atti del Convengo Internazionale di Studio su Cirene e la Cirenaica nell’Antichità (Frascati 1996), Roma.
LUCA G. De (1975), “Der Satyr im Palazzo Corsini, Rom. Eine Replik der Gruppe «Aufforderung zum Tanz»”, Antike Plastik XV.
MANJÓN Y MERGELINA, R. Condesa de Lebrija (1915), “El mejor mosaico de Itálica”, BRAH 67.
MAÑAS ROMERO, I; VARGAS VÁZQUEZ, S (2007), “Nuevos mosaicos hallados en Málaga: las villas de la Estación y de la Torre de Benagalbón”, Mainake 29.
MEDIANERO SOTO, F. J; PÉREZ PLAZA, A; SERRANO RAMOS, E (1991), “Memoria de la excavación de urgencia en La Loma de Benagalbón (Rincón de la Victoria, Málaga), AnArqAnd 1989.
MINCHEV, A (2002), “The “House of Antiope”. A Late Roman Residential House with Mosaics at Marcianopolis (Devnya, Bulgaria)”, The Roman and Late Roman City. The International Conference (Veliko Turnovo 26–30 July 2000), Sofia.
NONNVS, Dionysiaca, VII; XVI; XXXI; XXXIII.
ÖNAL, M (2003), Mosaics of Zeugma, Estambul.
ÖNAL, M (2009), Zeugma Mosaics: A Corpus, Estambul.
PACHTÉRE, F. G. de (1911), Inventaire des mosaïques de la Gaule et de l´Afrique. III: Afrique Proconsulaire, Numidie, Mauretanie (Algérie), Paris.
PARLASKA, K (1959), Die römischen Mosaiken in Deutschland, Berlín.
RECIO RUÍZ, A; PERDIGUERO LÓPEZ, M (1986), “La Loma: un nuevo yacimiento arqueológico fenicio en la provincia de Málaga”, Mainake IV-V.
REINACH, S (1922), Répertoire de peintures grecques et romaines, Paris.
RIDGWAY, B. S (2001), Hellenistic sculpture I: the styles of ca. 331-200 B.C., Wisconsin.
RODRÍGUEZ OLIVA, P (2006), “Nuevos mosaicos romanos de la provincia de Málaga”, Anuario de la Real Academia de Bellas Artes de San Telmo 6.
RODRÍGUEZ OLIVA, P (2008), “Nuevos hallazgos escultóricos en uillae de los alrededores de Malaca y noticias sobre otras esculturas antiguas”, VI Reunión de Escultura romana en Hispania, Cuenca.
RODRÍGUEZ OLIVA, P; BELTRÁN FORTES, J (2008), “Arqueología de las villae romanas de la costa malacitana”, Habis 39.
RODRÍGUEZ OLIVA, P; BELTRÁN FORTES, J (2008), “Villae romanas de la costa malacitana frontera al África. Las villae de Torrox-costa y de la Torre de Benagalbón”, L´Africa romana. Le ricchezze dell´Africa. Risorse, produzioni, scambi. Atti XVII convegno di studio (Sevilla, 2006), Roma.
RUIZ DE ELVIRA, A (1982), Mitología clásica, Madrid, ss.vv.
SALADO ESCAÑO, J. B (2005), “La villa romana de la Torre de Benagalbón, Málaga. Primera descripción”, Mainake XXVII.
SAN NICOLÁS PEDRAZ, M. P (1999), “Leda y el cisne en la musivaria romana”, Espacio, Tiempo y Forma I, 12.
SAN NICOLÁS PEDRAZ, M. P (2006), “Iconografía de los Amores de Zeus. Análisis de los mosaicos hispanorromanos”, Boletín de la Asociación Española de Amigos de la Arqueología 44.
SCHEFOLD, K (1957), Die Wände Pompejis. Topographisches verzaichnis der Bildmotive, Berlin.
SERRANO RAMOS, E (1987), “Arqueología romana malagueña:Torre de Benagalbón”, Baetica 8.
VERMEULE, C.C; COMSTOCK, M.B; HERRMANN, A. et alii (1988), Sculpture in stone and bronze additions to the collections of Greek, Etruscan, and Roman art, 1971-1988, in the Museum of Fine Arts, Boston.
VOZA, G (1973), “I mosaici della villa del Tellaro”, en VOZA G; PELAGATTI, P.: Archeologia della Sicilia sud-orientale, Napoli-Siracusa.
VOZA, G (1980- 1981), “I mosaici della villa del Tellaro”, Kokalos XXVI-XXVII.
VOZA, G (1982), “Le ville romane del Tellaro e di Patti in Sicilia e il problema dei rapporti con l’Africa”, 150 Jahr-Feier Deutsches Archäologisches Instituts, (Rom, 4-7 Dezember 1979), Mainz am Rheim.
VOZA, G (1983), “Aspetti e problemi dei nuovi monumento d’arte musiva in Sicilia”, Il Mosaico Antico. Atti III Colloquio internazionale sul mosaico antico, Ravenna, 6–10 settembre 1980 (AIEMA), Ravenna.
VOZA, G (2003), I mosaici del Tellaro. Lusso e cultura nel Sud-est della Sicilia, Siracusa.
WAGNER, J (1976), Seleukia am Euphrat, Zeugma. Studien zur historischen Topographie und Geschichte, Wiesbaden.
WATTEL DE CROISSANT, O (1995), Les mosaïques représentant le mythe d’Europe (Ier-VIe siécles), Paris.
WATTEL DE CROIZANT, O (2001), “Les amours des dieux sur les mosaïques du Musée National de Beyrouth”, CMGR VIII, II, Lausanne.
Downloads
Published
How to Cite
Issue
Section
License
This journal provides immediate free access to its content on the principle of making research freely available to the public. All content published in Baetica. Modern and Contemporary History Studies are subject to the Creative Commons Acknowledgment-NoCommercial-ShareAlike 4.0 license, the full text of which can be found at <http://creativecommons.org/licenses/by-nc-sa/4.0>
They may be copied, used, disseminated, transmitted and publicly displayed, provided that:
The authorship and the original source of its publication (magazine, publisher and URL of the work) must be cited.
They are not used for commercial purposes.
The existence and specifications of this use license are mentioned.
Copyrights are of two kinds: moral and patrimonial. Moral rights are perpetual, inalienable, non-transferable, inalienable, unattachable and imprescriptible prerogatives. In accordance with copyright legislation, BAETICA. Estudios de Historia Moderna y Contemporánea recognizes and respects the moral right of the authors, as well as the ownership of the patrimonial right, which will be transferred to the University of Malaga for its open access dissemination. Economic rights refer to the benefits obtained from the use or disclosure of works. BAETICS. Estudios de Historia Moderna y Contemporánea is published in open access and is exclusively authorized to carry out or authorize by any means the use, distribution, disclosure, reproduction, adaptation, translation or transformation of the work.
It is the responsibility of the authors to obtain the necessary permissions of the images that are subject to copyright.
Authors whose contributions are accepted for publication in this journal will retain the non-exclusive right to use their contributions for academic, research, and educational purposes, including self-archiving or deposit in open access repositories of any kind.
The electronic edition of this magazine is edited by the Editorial of the University of Malaga (UmaEditorial), being necessary to cite the source in any partial or total reproduction.
2.png)
