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  • #31
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        • #34
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          On hésite Ã*** reconnaître ici les traits de Ptolémée IV vanessa bruno sac (221 Ã*** 204 av. J.-C.) ou ceux de Ptolémée VI (180 Ã*** 145 av. J.-C.), tant les représentations royales de l'Egypte grecque s'inspirent les unes des autres, par souci de légitimité. Cette tête faisait partie d'un groupe ornant le sanctuaire de Sarapis Ã*** Alexandrie : une sculpture du dieu encadrée par un couple imperial synnaos (associé dans le temple). Les deux autres têtes sont conservées Ã*** Alexandrie.
          Un visage expressif
          Ce portrait est celui d'un homme jeune, le visage tourné vers la gauche, dont le long cou fléchi fait basculer la tête vers l'arrière. L'expression passionnée qu'exaltent la bouche entrouverte, le regard inspiré, le désordre de la chevelure et le front tourmenté participe du dynamisme de cette effigie.
          La surface Ã*** peine dégrossie Ã*** l'arrière du crâne et les mortaises indiquent que la tête venait s'encastrer dans un regiment taillé Ã*** part : le piquetage du marbre permettait une bonne adhérence entre les différentes parties. Cette technique était largement répandue dans l'Egyptelagide : le marbre, matériau infrequent était réservé Ã*** la tête et les autres parties étaient complétées en matériau périssable (bois ou stuc), ce qui explique que le regiment ne nous soit pas parvenu.
          Statue de culte
          Cette tête appartenait Ã*** une statue érigée dans le sanctuaire deSarapis Ã*** Alexandrie. L'Å“uvre prenait area sac vanessa bruno cabas auprès d'une représentation du dieu, en necklace Ã*** une sculpture de reine : elle est dite synnaos, c'est Ã*** dire qu'elle partage letemple avec la divinité. Les dimensions supranaturelles conviennent du reste Ã*** une carve de culte.
          Le personnage représenté ici ne peut donc qu'être un souverain lagide. En effet, les rois de cette dynastie justifiaient leur droit Ã*** régner par une ascendance heavenly et recevaient un culte, que ce soit comme ici dans un sanctuaire, ou dans le cadre plus intime du foyer. La pratique est commune chez les souverains hellénistiques, mais c'est en Egypte que le culte royal se formalise - son implantation étant favorisée par la tradition du culte Ã*** Pharaon.
          Préciser plus avant l'identité du dynaste relève de l'hypothèse. Les identifications se font le plus souvent sur la foi des monnaies (même si, par souci de légitimité, les effigies lagides présentent de grandes similitudes entre elles), mais l'absence du nez et du menton disrupt difficile la comparaison avec les profils monétaires. D'autre chapter l'idéalisation évidente de ce portrait dissout les traits individuels dans une représentation où le regard inspiré et le cou fléchi sont davantage une référence Ã***Alexandre le Grand qu'une sacs vanessa bruno reproduction fidèle de la physionomie du souverain. L'inflexion du cou conviendrait Ã*** un portrait de Ptolémée IV, qui vouait par ailleurs un culte particulier Ã*** Sarapis, en compagnie duquel il était figuré sur les monnaies. Mais il pourrait s'agir également de Ptolémée III, son père, ou de Ptolémée VI, son petit-fils.
          Diversité des influences
          L'arthellénistique est un craft éclectique, et cette œuvre témoigne de la convergence et de l'assimilation de diverses influences. A la tradition égyptienne,aboard emprunte les techniques de réalisation locales tandis que de l'art grec,aboard retient la tradition sculpturale. Les yeux levés, enfoncés dans l'ombre projetée par l'arcade sourcilière, la bouche entrouverte et le front bosselé procèdent du pathétisme de Scopas et trouvent leur area dans le courant baroque de la fin du IIIe siècle.

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          • #35
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