Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • 5 - Roman Emperors, Conquest, and Violence

  • Edited by Amy Russell, Brown University, Rhode Island, Monica Hellström, University of Durham
  • Book:
    The Social Dynamics of Roman Imperial Imagery
    Published online:
    09 November 2020
    Print publication:
    12 November 2020, pp 100-127

  • Summary

    This chapter examines monuments and objects depicting the Roman emperor as a violent agent of conquest which were produced in the eastern provinces during the first and second centuries CE. Imagery of the emperor subjugating and enslaving peoples and provinces could be found on large public buildings, such as the Sebasteion at Aphrodisias, as well as on statues, coins, and terracotta votives. The creators and patrons of these imperial representations were influenced both by local (Greek, Egyptian) and by Roman concepts of rulership and artistic traditions. This desire to depict the violent treatment of foreign peoples by Roman emperors demonstrates that eastern patrons and artists sought to identify themselves with the civilised world of Rome, rather than with the subjugated barbarian ‘other’. The Roman emperor was thus envisioned as a protector of his people, and a guarantor of their safety and security. But it is probable that these images also carried a more sinister message, reminding the emperor’s subjects that he could punish them as well.