To browse Academia. As a matter of fact, never in lychnological history a single small excavation delivered so many motifs from so many different manufactures and adorning productions framed in only 60 years of history 70 to AD , and the different social, economic, productive and merely lychnological topics to be covered in the monograph abound.
Here, we would like to propose a discussion on the micro-and macro-regional trade roads and their influences on lamp iconography. As a matter of fact, the corpus is made of artifacts brought to Arles from the most remote parts of the Mediterranean as well as from the nearest Gallic workshops, exactly during the apex of creativity of the Roman workshops in terms of quantity and variety of discus themes.
This flourishing lamp decoration vogue started with Tiberius' reign and will slowly end with Trajan's one, our garbage is hence covering the second half of this momentum. There we can guess some partial answers on important questions such as: which motifs remained at the level of individual imports? Which ones seduced the local manufactures? Which ones were also produced by the flourishing manufactures of one or both ends of the Western Empire the Rhine Valley and Africa?
Which ones belong to Gallic lamp-makers' own creativity? The short comparison tables will indicate that there are a lot of hypothesis to study further in this domain. As a matter of fact, never, in lychnological history, a single small excavation delivered so many motifs from so many different manufactures and adorning productions framed in only 60 years of history 70 to AD , and the different social, economic This paper aims to examine models by which symbolism of light and lamp in the Mediterranean region was manifested in the early Christian visual culture, i.
Lamps with Early Christian representations are considered in the context of transculturality of Late Antiquity, as well as political and religious changes that marked the period. By means of their function, decoration and context of findings, the lamps from Central Balkans fit into the currents of the Mediterranean world. Lamp decoration illustrates the general phenomena and tendencies present in the visual culture of Late Antiquity. The lamps display a gradual disappearance of pagan and secular themes in favour of Christian themes.
