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O último banquete - A morte como convívio na Antiguidade Tardia em território português: a escultura e a arquitetura funerária em Tróia (Grândola, Portugal)
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O presente trabalho de investigação tem como principal objetivo compreender o conceito de Banquete Funerário na Antiguidade Clássica e Tardia. O objeto de estudo é a escultura e a arquitetura funerária provenientes de Troia (Grândola, Portugal) durante a Antiguidade Tardia, cujos testemunhos permitem a análise da noção de Banquete Funerário ou de morte como convívio, concretizada na celebração do que designamos por “Último Banquete.”
Para um entendimento do conceito de banquete associado à morte torna-se necessário compreender como era o banquete encarado em vida, começando por distinguir o symposium grego do convivium romano, tanto no seu significado, como na sua projeção na arquitetura e respetivas características. O banquete romano, à imagem do grego, era uma celebração social, e tinha, consequentemente que ter ao seu dispor um espaço apropriado à sua realização. Nesse sentido, analisámos a evolução da Arquitetura do Banquete desde o andron grego e triclinium romano comuns na Antiguidade Clássica até ao stibadium na Antiguidade Tardia. Esta análise levou-nos a compreender como a morte e o post mortem foram encarados na sociedade romana, clarificando a ideia de morte como um acontecimento suscetível à convivialidade.
O Banquete Funerário apesar de ter sido realizado em períodos históricos anteriores ao romano adquire com este um novo significado. Nos banquetes realizados nos túmulos interessava tanto a refeição como o convívio entre vivos e mortos. Não só os vestígios arqueológicos ou literários nos comprovam esta prática entre os romanos como, sobretudo, os vestígios artísticos nos conduzem à sua reflexão. Através do presente estudo observamos que as cenas de banquete estão em evidência na arte funerária romana, na Antiguidade Clássica e Tardia, de uma forma direta e indireta, em contextos pagãos e cristãos. No atual território português, a antiga localidade romana de Troia surge-nos como um exemplo em que o banquete aparece mais do que uma vez nos contextos artísticos, quer seja no baixo-relevo mitraico, na tampa de sarcófago com cena de banquete em stibadium ou nas sepulturas em mensae que são numerosas e que denunciam a prática do banquete funerário. Pretendemos, com o estudo das sepulturas em mensae encontradas em Troia, efetuar a sua contextualização e análise conceptual como arquitetura funerária, na perspetiva da História da Arte. Trata-se da incursão num conceito e práticas muito próprios da Antiguidade: o Banquete Funerário, ou como o classificámos, o “Último Banquete.”
The present research work has as main purpose perceive the idea of funerary banquet in Classical and Late Antiquity. This work had as main theme of study the sculpture and the funerary architecture of Troia (Grândola, Portugal) during Late Antiquity. Whose evidences allow the review of the notion of funerary banquet or death as a moment of conviviality materialized in the celebration of what we called as “ The Last Banquet”. For an understanding of the concept of the banquet associated with death, first of all, becomes necessary to understand how the banquet was seen in roman life. We started by differentiate the greek symposium from the roman convivium, both in the meaning and its the projection in the architecture and its features. The roman banquet, as in greek’s image, was a social celebration, and had consequently to have in its dispose an appropriate space for its accomplishment. In this sense, we analyzed the evolution of the banquet architecture from the greek ândron and the roman triclinium usual in Classical Antiquity to stibadium recurrent in Late Antiquity. This analysis led us to understand how death and afterdeath were seen in roman society, explaining the idea of death as a moment propitious to conviviality. The Funerary Banquet despite have been realized in previous historical periods, acquires a new meaning with the romans. In banquets held in the tombs interested both the meal as the conviviality between living and dead. Not only the archeological or literary remains prove this practice among the romans, as especially the artistic traces lead us to this reflection. Through the present study we can observe that the banquet scenes are in evidence in roman funerary art. Both in Classical and Late Antiquity, in a direct and indirect form and in pagans and christians contexts. On Portuguese territory, the ancient city of Troia comes to us, as an example, where the banquet appears more than once in the artistic contexts, either in mithraic bas-relief, in sarcophagus lid with a banquet scene with stibadium or in mensae-tombs that are abundant in this place and reveal the practice of the funerary feast. We intend with the study of mensae-tombs to make its contextualization and conceptual analysis as funerary architecture in the Art History perspective. It is a concept and practice particular to Antiquity: The Funerary Banquet or as we attributed – The “Last Banquet”
The present research work has as main purpose perceive the idea of funerary banquet in Classical and Late Antiquity. This work had as main theme of study the sculpture and the funerary architecture of Troia (Grândola, Portugal) during Late Antiquity. Whose evidences allow the review of the notion of funerary banquet or death as a moment of conviviality materialized in the celebration of what we called as “ The Last Banquet”. For an understanding of the concept of the banquet associated with death, first of all, becomes necessary to understand how the banquet was seen in roman life. We started by differentiate the greek symposium from the roman convivium, both in the meaning and its the projection in the architecture and its features. The roman banquet, as in greek’s image, was a social celebration, and had consequently to have in its dispose an appropriate space for its accomplishment. In this sense, we analyzed the evolution of the banquet architecture from the greek ândron and the roman triclinium usual in Classical Antiquity to stibadium recurrent in Late Antiquity. This analysis led us to understand how death and afterdeath were seen in roman society, explaining the idea of death as a moment propitious to conviviality. The Funerary Banquet despite have been realized in previous historical periods, acquires a new meaning with the romans. In banquets held in the tombs interested both the meal as the conviviality between living and dead. Not only the archeological or literary remains prove this practice among the romans, as especially the artistic traces lead us to this reflection. Through the present study we can observe that the banquet scenes are in evidence in roman funerary art. Both in Classical and Late Antiquity, in a direct and indirect form and in pagans and christians contexts. On Portuguese territory, the ancient city of Troia comes to us, as an example, where the banquet appears more than once in the artistic contexts, either in mithraic bas-relief, in sarcophagus lid with a banquet scene with stibadium or in mensae-tombs that are abundant in this place and reveal the practice of the funerary feast. We intend with the study of mensae-tombs to make its contextualization and conceptual analysis as funerary architecture in the Art History perspective. It is a concept and practice particular to Antiquity: The Funerary Banquet or as we attributed – The “Last Banquet”
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Troia Antiguidade Tardia; Sepulturas em mensae Banquete Banquete Funerário Funerary Banquet Troia Late Antiquity Mensae-tombs Banquet