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拍品專文
The accession of Trajan in 53 A.D., marks a new phase in the history of Roman emperors, not only because he was the first emperor not to be of full Italian origin, but also because of the nature of his succession. Trajan was adopted as heir by Nerva because of his merits, rather than his lineage (Roman History, Epitome of Book 68, 4.2, vol. 8). This was a feature that would be implemented by most of the other second century emperors that followed him, giving Rome a period of stable government and prosperity that lasted over 80 years.
The Emperor Trajan was an outstanding military commander and his military exploits included successful campaigns against the Dacians and the Parthians, as well as holding command of several armies in Spain, the Danube and the Rhine. Because of these conquests, the Empire reached its greatest expansion during his reign. Trajan’s military achievements are celebrated in his art and he is often represented in his portraiture in military guise, as with this present example. Here, the Emperor wears a baldric and a paludamentum, a military cloak fastened at one shoulder, worn by senior commanders. His head is turned slightly to the left and he is depicted with a somewhat vacant expression, conveying an air of superiority and power.
In this portrait bust, Trajan displays his characteristic features; his forehead bulges under the hair, his eyes are narrow and there are deep lines etched from his nostrils to the corners of his tightly closed mouth. The bust corresponds to the last portrait type, the so-called Sacrifice type because of its frequent appearance on the Column of Trajan in many sacrifice scenes. D.E.E. Kleiner (Roman Sculpture, p.208), writes that the distinctions among the types are extremely subtle and are predominantly distinguished by the arrangement of the hair over the forehead and on the neck.
From the time of Trajan, portrait busts became increasingly popular and this is reflected not only in sculpture but also numismatic portraits. For a silver denarius with a bust of Trajan, see R.11712 at the British Museum. Jucker (op. cit.) proposes that the number of surviving under-life-sized busts of Trajan, such as the bronze cuirassed bust of the emperor in the Museum August Kestner, Hannover, acc. No. 1968.97, indicate that they were possibly erected in Roman private homes for the worship of the ruler or simply as a demonstration of loyalty.
The Emperor Trajan was an outstanding military commander and his military exploits included successful campaigns against the Dacians and the Parthians, as well as holding command of several armies in Spain, the Danube and the Rhine. Because of these conquests, the Empire reached its greatest expansion during his reign. Trajan’s military achievements are celebrated in his art and he is often represented in his portraiture in military guise, as with this present example. Here, the Emperor wears a baldric and a paludamentum, a military cloak fastened at one shoulder, worn by senior commanders. His head is turned slightly to the left and he is depicted with a somewhat vacant expression, conveying an air of superiority and power.
In this portrait bust, Trajan displays his characteristic features; his forehead bulges under the hair, his eyes are narrow and there are deep lines etched from his nostrils to the corners of his tightly closed mouth. The bust corresponds to the last portrait type, the so-called Sacrifice type because of its frequent appearance on the Column of Trajan in many sacrifice scenes. D.E.E. Kleiner (Roman Sculpture, p.208), writes that the distinctions among the types are extremely subtle and are predominantly distinguished by the arrangement of the hair over the forehead and on the neck.
From the time of Trajan, portrait busts became increasingly popular and this is reflected not only in sculpture but also numismatic portraits. For a silver denarius with a bust of Trajan, see R.11712 at the British Museum. Jucker (op. cit.) proposes that the number of surviving under-life-sized busts of Trajan, such as the bronze cuirassed bust of the emperor in the Museum August Kestner, Hannover, acc. No. 1968.97, indicate that they were possibly erected in Roman private homes for the worship of the ruler or simply as a demonstration of loyalty.