Publicación: El pedestal como símbolo: en torno a la imagen de los homenajes públicos surgidos de los talleres de "Tarraco"
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2020
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Atribución-NoComercial-SinDerivadas 4.0 Internacional
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Universidad Nacional de Educación a Distancia (España). Facultad de Geografía e Historia. Departamento de Prehistoria y Arqueología
Resumen
Entre la producción de los talleres epigráficos de Tarraco destaca la ingente serie de pedestales tripartitos exentos para las estatuas honoríficas de magistrados y sacerdotes provinciales. Se trata de un tipo de monumento tallado de manera uniforme y sistemática desde finales del siglo I hasta finales del II dC. El inicio de su producción coincidió con la reforma urbanística Flavia de la zona superior de la ciudad, que pasó a ser el área de representación del concilium Hispaniae citerioris (PHC). En ella se configuró también la imagen corporativa de la Tarraconense, una vez concedido el ius Latii, a través de la creación de una magnífica y uniforme galería con las estatuas de los flamines PHC a expensas del propio concilio. El texto inciso en sus pedestales perpetuaba la memoria de cada individuo y el honor de su flaminado, pero también mencionaban explícitamente su origo, que evocaba muchas comunidades repartidas por todo el territorio recientemente incorporadas de iure al estado romano. Muchas de ellas estaban muy alejadas de Tarraco y no necesariamente conocidas para la mayoría de la población, por lo que la exposición pública de los nombres de estas ciudades en los pedestales de conciudadanos ilustres contribuyó a aumentar el prestigio colectivo tan manifiestamente evocado en Tarraco en la mencionada galería de viri flaminales. Un elemento clave para la creación de esta imagen unificada fue el empleo del marmor local de gran calidad, la piedra de Santa Tecla, que pronto fue exportado e imitado para monumentos semejantes en otras ciudades de la Tarraconensis, lo que contribuyó a que este modelo de pedestal tripartito de Tarraco llegase a ser un símbolo de estatus para las élites locales, tal como demuestra su localización incluso en ciudades muy alejadas del inmediato entorno de la capital provincial, incluso en otros conventus.
Among the epigraphic production of the workshops in Tarraco, a huge series of freestanding tripartite honorific pedestals for provincial magistrates and priests stands out. These pedestals are a kind of monument carved uniformly and systematically from the late 1st century to the end 2nd century AD. Their production started with the urbanistic reform in Flavian times in the uppermost part of the city, area which evolved into the representation area of concilium Hispaniae citerioris (PHC). Also, once the ius Latii was given, a corporate image of Tarraconensis was conceived there. This image directly shaped a magnificent, uniform gallery of the statues of flamines PHC, created at the expense of the council itself. The text engraved in their pedestals perpetuated the memory of every individual and his flaminate honor, but also named explicitly his origo, which evoked communities spread throughout the territory and recently added de iure to Roman state. Most of them were far away from Tarraco, and not necessarily known by the rest of the peoples. So, the public exhibition of these city names in the honorific pedestals of renowned fellow citizens contributed to increase the collective prestige so clearly evoked in Tarraco in the aforementioned gallery. A key element on the creation of this unified image was the use of the high quality local marmor, the Santa Tecla stone. This material was quickly exported and imitated for similar monuments in other cities of the Tarraconensis, thus contributing to these pedestals from workshops of Tarraco becoming a status symbol for the local elites, as evidenced by the location of many of them in towns far away from the provincial capital, even in other conventus.
Among the epigraphic production of the workshops in Tarraco, a huge series of freestanding tripartite honorific pedestals for provincial magistrates and priests stands out. These pedestals are a kind of monument carved uniformly and systematically from the late 1st century to the end 2nd century AD. Their production started with the urbanistic reform in Flavian times in the uppermost part of the city, area which evolved into the representation area of concilium Hispaniae citerioris (PHC). Also, once the ius Latii was given, a corporate image of Tarraconensis was conceived there. This image directly shaped a magnificent, uniform gallery of the statues of flamines PHC, created at the expense of the council itself. The text engraved in their pedestals perpetuated the memory of every individual and his flaminate honor, but also named explicitly his origo, which evoked communities spread throughout the territory and recently added de iure to Roman state. Most of them were far away from Tarraco, and not necessarily known by the rest of the peoples. So, the public exhibition of these city names in the honorific pedestals of renowned fellow citizens contributed to increase the collective prestige so clearly evoked in Tarraco in the aforementioned gallery. A key element on the creation of this unified image was the use of the high quality local marmor, the Santa Tecla stone. This material was quickly exported and imitated for similar monuments in other cities of the Tarraconensis, thus contributing to these pedestals from workshops of Tarraco becoming a status symbol for the local elites, as evidenced by the location of many of them in towns far away from the provincial capital, even in other conventus.
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epigrafía honorífica, flamines provinciales, talleres lapídeos, piedra de Santa Tecla, Tarraco, Hispania Tarraconensis, honorary epigraphy, provincial flamine, stone-cutter workshops, Santa Tecla stone
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Facultades y escuelas::Facultad de Geografía e Historia
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Prehistoria y Arqueología