Review: 'The World Between Empires' helps dismantle the myths of Rome
A bronze statue of a striding lion ridden by Eros or Child Dionysos from early 1st century B.C- mid-1st century A.D. By Philip Kennicott Philip Kennicott Art and architecture critic Email Bio Follow Art and architecture critic May 15 at 2:32 PM NEW YORK — In 1770, the 14-year-old Mozart premiered an opera called “Mitridate, re di Ponto,” about the historical king of Pontus, who fought desperately to keep the Roman empire at bay in the 1st century B.C.
Limestone relief with three Palmyrene gods from the 1st century. Rather like Mozart’s opera, the artistic residue of these lands is hiding in plain sight in any decent museum of art. The halos around the head of Christ and the saints one finds in medieval and Renaissance painting derive from the sun-ray crowns that once picked out the divinity of gods such as Malakbel and Aglibol, sun and moon gods worshiped in Palmyra, a cosmopolitan entrepôt in what is now Syria.
The Metropolitan exhibition is more about dismantling fundamental, reflexive ideas about the Roman world. Among these is the assumption that there was a single, pervasive Roman aesthetic, which radiated out from the capital to the peripheries of the empire. Rather, there was a complex world of both local and broader aesthetics, and these didn’t just flow from Rome to the provinces.
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