What Was the Role of Propaganda in Roman Art
| Augustan Rome | |
|---|---|
| 27BC–14AD | |
 Augustus | |
| Leader(s) | Augustus |
The article highlights the forms of propaganda Roman Emperor Augustus employed as he ascended to power.
Augustus employed several forms of artwork and literature to boast the image of the enforcer of the Pax Romana (Roman Peace), alternatively called Pax Augusta. He tin can be perceived equally a historically of import figure who effectively utilised propaganda in creating and maintaining his principate.[1] Augustus' wide range of propaganda targeted all aspects of Roman society, art and architecture to appeal to the population, coinage to represent himself to the masses, and finally literature such as poetry and history for the wealthy upperclass in gild to exert power and to maintain peace and prosperity.[2]
The propaganda didn't only exist equally a course of media, only Augustus' family, the women especially played a pivotal part in helping to maintain the principate. His family was essential in acting every bit examples of the ideal Roman citizen, this attribute is clearly enunciated through the responsibility of his wife.[iii] Moreover, ane of his daughters, Julia the Elder was indispensable in solidifying Augustus' bloodline in future ruling generation, ensuring the continuation of Augustus' successful legacy.[3]
Thus, Augustus' multi-faceted approach allowed for him to dominate public and private sectors of daily Roman life. Archaeological evidence and scholarly interpretations demonstrate the effectiveness of Augustus' propaganda.
The images that Augustus desired to project aimed to idolise him in all Roman aspects, from a military with successful triumphs, to a reliable religious leader through reinforcing his divine Julian beginnings.[four] However about importantly, Augustus aimed to stabilise Rome from ceremonious strife as the city had been plagued past fight for ability.
Literature [edit]
History [edit]
Res Gestae [edit]
The virtually common piece of Augustan literature is the Res Gestae, a documentation written past Augustus soon earlier his decease, list out the accomplishments and recognitions he gained in his life.[5] Thus the text, despite influencing petty of his reign, was crucial in etching the image of Augustus that was to remain afterwards his passing. Augustus' intentions are clearly outlined in his first line:
A copy below of the deeds of the divine Augustus, by which he subjected the whole wide earth to the rile of the Roman people, and of the money which he spent for the state and Roman people...
Immediately Augustus establishes his religious ability through the link of the title 'divine'.[vi] His importance and actions for the state are constantly referred to throughout the Res Gestae. Augustus demonstrates his military strength through anecdotes of his conquests, edifice upon how he had heroically avenged his father Julius Caesar by defeating his assassins.[6] It is said Augustus intended the Res Gestae to be located on the external wall of his mausoleum however archaeologists have found copies in Galatia in Asia Minor and Antioch in Pisidia, reinforcing the thought the emperor had intended to glorify non just his lifetime achievements but Rome every bit a whole[two]
Though all events written in the Res Gestae can be corroborated, Augustus has chosen to omit information, for example such as Mark Antony's name.[6]
Poetry [edit]
Aeneid [edit]
The about famous piece of verse in Augustus' time was Virgil'south Aeneid, essentially narrating the birth of Rome through their founder Aeneas, a surviving Trojan warrior. The poem is symbolic of the origin of the Roman people, and thus linking Augustus every bit a descendant of Aeneas, Virgil illustrated how Augustus had created a new thriving Rome and how integral he is to Roman civilisation.[vi] Furthermore Virgil provided credibility and reinforced the divinity in Augustus, representing the emperor every bit written:
Time and over again you've heard his coming promised-Caesar Augustus! Son of a god [Julius Caesar], he will bring dorsum the Historic period of Aureate to the Latian fields where Saturn once held sway, expand his empire by Garamants [North African tribe] and the Indians to a land beyond the stars, across the wheel of the year, the form of the dominicus itself , where Atlas bears the skies and turns on his shoulder the heavens studded with flaming stars. Even now the Caspian and Maeotic kingdoms quake at his coming, oracles sound the alarm and the seven mouths of the Nile churn with fright. Not even Hercules himself could cross such a vast expanse of earth…[7]
Metamorphoses [edit]
Additionally, another Roman author Ovid wrote a slice titled Metamorphoses, detailing the history until the deification of Caesar, which surprisingly includes a short section on Augustus. Ovid's slice strengthened the contributions Augustus provided for the principate.[8]
Seeing his son's [Augustus] good works, Caesar [Julius] acknowledges they are greater than his own and delights at being surpassed by him.[nine]
This similarly alludes to Augustus' divine and religious ancestry, and one time once more refers to how Augustus managed to bring peace and prosperity to Rome. There are likewise similar references of Augustus' leadership was hinted in the Sibylline Books, Ovid undoubtedly accepting this fact.[8] The fourth book particularly, dedicated to Venus, a goddess Julius Caesar claimed he was a descendant of emphasised heavily on Augustus' divine heritage once over again solidifying his position every bit the rightful ruler of Rome.
Art [edit]
Artworks of Augustus also served as propaganda, and though there are non many of the paintings the sculptures of Augustus gave insight to how he wanted himself portrayed.
Sculptures [edit]
Type B - Early portraits[ten] [edit]
- Classic Greek influence
- Portrays a young homo with dignity
- Wavy neat hair, bony only fifty-fifty features, controlled expression reflects firm authorisation
Actium/Octavian Type Statues[10] [edit]
- Bronze
- Depicted as a youthful ruler
- Modified hellenistic features
- Roman tradition seen in small optics, pointed chin, knit brows, sparse pressed lips
- Wrinkled forehead suggests serious concern for Rome
Prima Porta Type[10] [edit]
- Egyptian type
- Youthful leader
- Majority of portraits institute in this mode
- Sense of timelessness - removed from life only not deified
- Fuller face, no wrinkles
- Style consolidated his status equally imperator Caesar divi filius
Forbes Blazon[ten] [edit]
- Portrait
- Lifelike, less abstract
- Hair less styled
- Proportions of the face more naturally created
- Signs of bones and wrinkles
- Portrays Augustus as princeps and pater patriae
Architecture and building programs [edit]
Through restoring Rome using his building programme, Augustus could physically demonstrate the prosperity he created and thereby ensure loyalty from Roman citizens. Augustus mentions in the Res Gestae that he restored lxxx-two temples and repaired bridges and aqueducts, including the Theatre of Pompey. In this way, Augustus could prove with these monuments that 'Rome was rising again'.[11] Furthermore, Augustus finer used his edifice programme to be perceived equally an omnipotent restorer of a flourishing Rome. Through securing the city, by extension Augustus was reinforcing his image of the saviour of Rome and the bringer of prosperity and peace. Suetonius and Dio believe this entrapped the back up of the Senatorial and Equites classes every bit they were also encouraged to create monuments under their own names, garnering respect and unquestioning loyalty to Augustus.
Notable buildings [edit]
- Ara Pacis
- Temple of Actian Apollo
- Temple of Mars Ultor
- Augustan Forum
Coins [edit]
Wallace-Hadrill explains that there are ii ways to interpret the use of Augustan coins. He uses the terms legalistic and charismatic to categorise the types of coins produced to consolidate Augustus' authority. Considering a majority of the Roman population was illiterate, the delineation of Augustus was paramount, especially since it would reach all corners of the empire. The coins were likewise another method to remind the citizens of their loyalty and service to the principate.[2]
Legalistic [edit]
As an officially recognised coin provided by the principate, Augustus' idealised image of himself was imbued throughout the currency. These were also known equally imperial coins which have been used equally a method to judge how the emperor intended to encounter themselves.[12] In this way, the emperor decided how he would be portrayed in contrast to the "biased representation of the historian".[12] His nigh notable money, Augustus continuing with his image equally the avenging son, designed his coins with the phrase DIVI FILIUS, also known as son of the divine to pay homage to his adoptive father Julius Caesar.[xiii]
Charismatic [edit]
These coin types of not every bit significant equally legalistic coinage however they did take some result in creating and maintaining the emperor'due south prototype.
An instance of this is through Augustus' money in celebration of his conquest of Egypt. The symbolic win over the and so-called barbarian East was an establishment of Augustus' might and force as he was able to eliminate the civil strife that had continually plagued Rome afterwards Caesar's decease. This was a feature worth perpetuating through architect, poesy and coins which would be distributed to every function of the empire.[12]
Imperial family and women [edit]
The role of the purple family-in regards to the women, was to decorate and avowal Augustus'southward image and virtue. This is axiomatic in Livia's carry. She was an idealistic portrayal of a traditional Roman woman due to her morals and ethics.[3] Existence a bourgeois traditionalist, Augustus proposed a series of moral reforms that reinforced the values of a woman existence subservient and chaste.[3] Portrayals of Livia in statues conceal her skin, representing a modest and bourgeois woman. It tin can be concluded that Livia's chief contribution was to help Augustus uphold his moral reforms.[3]
Julia was similarly essential in emphasising the importance of kid-begetting and matrimony, just used every bit a tool for Augustus to accelerate his moral campaign. Past extension, other majestic women were besides expected to showroom the same behaviour of Livia and Julia.[3] Nevertheless after a serial of marriages and divorces, Julia became known for her adulterous behaviour, clashing with Augustus' morals and was subsequently banished as she no longer conformed to the emperor's values.
References [edit]
- ^ Eck, Werner (2007). Age of Augustus. Blackwell Publishing Ltd.
- ^ a b c Jeffries, Kevin (2006). "The Propaganda of Augustus Caesar" (PDF).
- ^ a b c d e f Bauman, Richard (1992). Women and Politics in Ancient Rome. London: Routledge.
- ^ Zanker, Paul (1988). The Ability of Images in the Age of Augustus. Michigan: University of Michigan Press.
- ^ Brunt, P.; Augustus; Moore, J. (1995). Res gestae Divi Augusti. Oxford: Oxford Univ. Press.
- ^ a b c d Pollok, Alexander. "Roman Propaganda in the Age of Augustus".
- ^ Virgil. Aeneid.
- ^ a b Allen, Katharine (1922). "The Fasti of Ovid and the Augustan Propaganda". The American Periodical of Philology. 43 (3): 250–266. doi:ten.2307/289371. JSTOR 289371.
- ^ Ovid's Metamorphoses. ovid.lib.virginia.edu. Translated by Anthony S. Kline.
- ^ a b c d Geracitano, Thousand. "Images of Augustus".
- ^ Shotter, David (1991). Augustus Caesar. London: Routledge.
- ^ a b c Wallace-Hadrill, Andrew (1986). Epitome and Authority in the Coinage of Augustus. pp. 66–87.
- ^ Kleiner, Diana (1992). Roman Sculpture. Yale University Printing. p. 61.
Source: https://en.wikipedia.org/wiki/Propaganda_in_Augustan_Rome
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