The Iconography of Conastantine the Greatʼs Coinage
Апстракт
THE PERIOD BETWEEN Diocletian’s accession to
power in 284 and the death of Constantine the Great
in 337 was marked by a series of fundamental reforms
in all areas of social life, on which these two emperors
left a major imprint. The tetrarchic system of government,
established by Diocletian in 293, inaugurated a
new ideological-religious concept of supreme authority,
which promoted the idea of an omnipotent ruler rooted in the myth of the domus divina and the rulers
of divine origins, whose titular deities were Jupiter
and Hercules. This new agenda, which implied the
total equality of the tetrarchs, their concord (concordia)
and ideal similarity (similitudo), brought about
radical changes in the portraiture of this period. The
Augusti and Caesars were portrayed as if they were
of the same age and had identical facial features and
a uniform expression concentrated on specific parts
of the face. Their eyes, wide open, under accentuated
eyebrows and wrinkled forehead, exp...ressed commanding
earnestness, sternness and resolve. The basic
features of the new iconography can be observed on
coinage as a traditionally powerful propaganda medium,
which conveys a message about a charismatic
ruler through a combination of imperial portraits,
inscriptions and imagery.
Кључне речи:
Constantine the great / roman imperial coinage / IconographyИзвор:
Constantine the Great and the Edict of Milan 313. : The Birth of Christianity in the Roman Provinces on the soil of Serbia, 2013, 218-233Издавач:
- Belgrade : National muzeum in Belgrade
Институција/група
Археолошки институт / Institute of ArchaeologyTY - CHAP AU - Borić-Brešković, Bojana AU - Vojvoda, Mirjana PY - 2013 UR - http://rai.ai.ac.rs/handle/123456789/664 AB - THE PERIOD BETWEEN Diocletian’s accession to power in 284 and the death of Constantine the Great in 337 was marked by a series of fundamental reforms in all areas of social life, on which these two emperors left a major imprint. The tetrarchic system of government, established by Diocletian in 293, inaugurated a new ideological-religious concept of supreme authority, which promoted the idea of an omnipotent ruler rooted in the myth of the domus divina and the rulers of divine origins, whose titular deities were Jupiter and Hercules. This new agenda, which implied the total equality of the tetrarchs, their concord (concordia) and ideal similarity (similitudo), brought about radical changes in the portraiture of this period. The Augusti and Caesars were portrayed as if they were of the same age and had identical facial features and a uniform expression concentrated on specific parts of the face. Their eyes, wide open, under accentuated eyebrows and wrinkled forehead, expressed commanding earnestness, sternness and resolve. The basic features of the new iconography can be observed on coinage as a traditionally powerful propaganda medium, which conveys a message about a charismatic ruler through a combination of imperial portraits, inscriptions and imagery. PB - Belgrade : National muzeum in Belgrade T2 - Constantine the Great and the Edict of Milan 313. : The Birth of Christianity in the Roman Provinces on the soil of Serbia T1 - The Iconography of Conastantine the Greatʼs Coinage EP - 233 SP - 218 UR - https://hdl.handle.net/21.15107/rcub_rai_664 ER -
@inbook{ author = "Borić-Brešković, Bojana and Vojvoda, Mirjana", year = "2013", abstract = "THE PERIOD BETWEEN Diocletian’s accession to power in 284 and the death of Constantine the Great in 337 was marked by a series of fundamental reforms in all areas of social life, on which these two emperors left a major imprint. The tetrarchic system of government, established by Diocletian in 293, inaugurated a new ideological-religious concept of supreme authority, which promoted the idea of an omnipotent ruler rooted in the myth of the domus divina and the rulers of divine origins, whose titular deities were Jupiter and Hercules. This new agenda, which implied the total equality of the tetrarchs, their concord (concordia) and ideal similarity (similitudo), brought about radical changes in the portraiture of this period. The Augusti and Caesars were portrayed as if they were of the same age and had identical facial features and a uniform expression concentrated on specific parts of the face. Their eyes, wide open, under accentuated eyebrows and wrinkled forehead, expressed commanding earnestness, sternness and resolve. The basic features of the new iconography can be observed on coinage as a traditionally powerful propaganda medium, which conveys a message about a charismatic ruler through a combination of imperial portraits, inscriptions and imagery.", publisher = "Belgrade : National muzeum in Belgrade", journal = "Constantine the Great and the Edict of Milan 313. : The Birth of Christianity in the Roman Provinces on the soil of Serbia", booktitle = "The Iconography of Conastantine the Greatʼs Coinage", pages = "233-218", url = "https://hdl.handle.net/21.15107/rcub_rai_664" }
Borić-Brešković, B.,& Vojvoda, M.. (2013). The Iconography of Conastantine the Greatʼs Coinage. in Constantine the Great and the Edict of Milan 313. : The Birth of Christianity in the Roman Provinces on the soil of Serbia Belgrade : National muzeum in Belgrade., 218-233. https://hdl.handle.net/21.15107/rcub_rai_664
Borić-Brešković B, Vojvoda M. The Iconography of Conastantine the Greatʼs Coinage. in Constantine the Great and the Edict of Milan 313. : The Birth of Christianity in the Roman Provinces on the soil of Serbia. 2013;:218-233. https://hdl.handle.net/21.15107/rcub_rai_664 .
Borić-Brešković, Bojana, Vojvoda, Mirjana, "The Iconography of Conastantine the Greatʼs Coinage" in Constantine the Great and the Edict of Milan 313. : The Birth of Christianity in the Roman Provinces on the soil of Serbia (2013):218-233, https://hdl.handle.net/21.15107/rcub_rai_664 .