Drunken Faun

Drunken Faun
Drunken Faun
Anonim

This Roman sculpture has an uncertain date between the 1st and 2nd century BC. But it is not necessary to refine its execution date to classify it as a good example of how the villas and houses of the we althiest Romans always had endless ornamental details of interest, whether in the form of mosaics, sculptures, paintings or furniture, regardless of where they lived in the empire, and no matter how far the colony was from the great city of Rome.

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Drunk Faun

In this case it is a piece of white marble that was found in an urban village in the Hispanic colony of Caesaraugusta. The excavation has not made it possible to find it in its entirety, but a good percentage of it has survived to this day, and it has also been possible to recreate the place it could have occupied in the decoration of the house. The figure of this faun would be integrated into a fountain in the courtyard of the house. In fact, his position of being drunk would be simulated by placing his head on a skin from which water flowed from the fountain.

This mythological character of the satyr or faun we see already sleeping after drunkenness, in a most relaxed posture, without modesty. We see him lying on a bed of rock, with one leg bent and his right arm serving as a pillow for his head. By the way in his head, more specifically in the waves and curls of his hair so wellworked you can appreciate the quality of the work.

Although it must be said that it would not be a completely original work. It is well known that many of the works of Roman sculpture are copies or reinterpretations of creations from Ancient Greece, and here we are before a figure of Drunken Fauninspired by Hellenistic art. In fact, there are other sites both in Spain and Portugal where similar figures have appeared, and all of them have links with the recumbent statues that appear in the Mausoleum of Attalus I, fromPergamon and which is one of the most emblematic works of monumental sculpture from the Hellenistic period more ornate and baroque.

However, it must be said that it is not a simple copy, but rather a reinterpretation, with subtle variations and of course adaptations for its new location, function and tastes of the commissioners.

In short, this is one of the most interesting works of Roman sculpture kept in the Archeology section of the Museo de Zaragoza. A high-relief made by a highly qualified artist of the time who was used by the richest in the city and who did not hesitate to work with expensive and coveted materials, since it is a piece of considerable dimensions made of white dolomitic marble from Thassos.

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