Una tal Normi

Ophelia

Author: Michael Goodman Category: Exterior, Hamlet (Play), Imperial Edition, Ophelia, Tragedy

Illustrator: A. Hughes

Carthaginian Art

The art of the Carthaginians was an eclectic mix of influences and styles, which included Egyptian motifs, Greek fashion, Phoenician gods, and Etruscan patterns. Precious metals, ivory, glass, terracotta, and stone were transformed into highly decorative objects ranging from everyday utensils to purely ornamental pieces. Just as the Carthaginians imported and exported all manner of trade goods, so too their art reflected their vast network of contacts across the ancient Mediterranean but they would eventually produce their own distinctive art which uniquely blended elements from other cultures. The distinctive qualities of Punic art can be best seen in their stelae, jewellery, sculpture, and masks.

Surviving examples of Carthaginian art are sadly few in comparison to contemporary cultures, and they are further limited in scope by the fact that the majority of artefacts come from a burial context and so are predominantly small in scale and of a religious nature. Secular art and objects produced exclusively for their aesthetic value are rare indeed. Nevertheless, enough examples survive of jewellery, figurines, ceramics, and stonework to hint that the Carthaginians were not as artistically impoverished as earlier historians saw fit to claim.

Influences

Carthage was founded in the 9th century BCE by colonists from the Phoenician city of Tyre. This fact and the city’s continued close ties with the mother country meant that art was heavily influenced by that of Phoenicia, at least in its formative years. Just as Phoenicia was itself a melting pot of diverse cultures, its wealth based as it was on maritime trade, so too Carthage would become a cosmopolitan city with visitors, residents, and artists from across the ancient Mediterranean. Egyptian art was particularly influential and many motifs are seen in Carthaginian art such as the goat with head looking backwards beneath a sacred tree or rigid standing female figures. Near Eastern art was another strong influence, seen especially in figurines of the god Melqart/Baal. The influence of Etruscan artists is seen especially in Carthaginian pottery decoration from the 4th century BCE.

Above all, though, Carthage’s art took inspiration from the Greek world from the 5th century BCE onwards. Not only were the Carthaginians appreciative collectors of Greek art, taking fine art as booty from their campaigns in Sicily, but they also produced imitative art. There was a large Greek community at Carthage, and many of these must have worked as skilled craftsmen in the workshops of the city. In turn, they would have taught local artists or the next generation. We know of at least one artist whose father was a Greek immigrant but who signed his work as ‘Boethus the Carthaginian’ and who became so appreciated that his work was dedicated at Olympia.

There is a general problem of identifying the exact origin of many art pieces which is exacerbated by the Punic habit of copying foreign motifs and styles. Traditionally, historians had favoured the view that, at least in general, finer pieces were imported and more rustic art was locally made. This unflattering view is steadily being revised following the discovery of large workshop areas in the city suggesting a healthy export trade and by new archaeological discoveries so that the position that all of the fine art was imported is becoming increasingly untenable.

a moment! 

Poetry Comics Month, Day 2: Three-dimensional