Research Overview: Imperial Portraiture, Memory, and Political Ideology in the Roman Empire
Roman imperial portraiture is a key medium for exploring the relationship between visual representation, political ideology, and memory. Unlike modern portraiture, which often strives for realistic likeness, Roman portraits were intentionally manipulated to convey specific ideological messages, particularly about imperial authority. My research investigates how these portraits shaped the perception of power, identity, and legitimacy in the context of the third century CE, a period marked by political instability and transformation.
My dissertation, "What’s in a Face?: Representation and Ideology in Roman Imperial Portraiture, 193-284 CE," examines how imperial portraits were strategically crafted to negotiate memory and reinforce political narratives during a time of frequent power transitions and crisis. By focusing on the manipulation of facial features and the broader visual culture of the time, I explore how portraiture became a tool for constructing dynastic continuity, asserting authority, and shaping collective memory.
Memory, Identity, and the Face in Roman Portraiture
For the ancient Romans, the face was seen as the primary indicator of personal identity, reflecting both the inner character and outward persona of the individual. Cognitive neuroscience supports this view, emphasizing the importance of the face in human perception and identity formation. My research examines how imperial portrait physiognomies were deliberately altered to project images of power, legitimacy, and stability. Drawing on an interdisciplinary approach that integrates art history, archaeology, ancient rhetoric, philosophy, and neuro-cognitive studies, I explore the ways in which imperial portraiture functioned as a tool of visual rhetoric, shaping public perception of the emperor and the imperial institution.
Negotiating Political Legitimacy through Portraiture
The first part of my dissertation focuses on how third-century emperors used portraiture to negotiate their legitimacy in a time of political upheaval. With frequent changes in leadership and a culture of violent power transfers, many emperors sought to establish their rule by aligning themselves with previous, revered rulers. They did this by adopting the facial features and hairstyles of their predecessors, creating a visual narrative of dynastic continuity. By analyzing group displays of imperial portraits, I explore how emperors used portraiture to position themselves within broader historical and political narratives, shaping how they were perceived by their subjects and legitimizing their authority.
Emotive Expression and Memory in Portraiture
The second part of my dissertation shifts focus to the changing emotional expressions in third-century imperial portraiture. While earlier imperial portraits typically featured reserved, stoic expressions, portraits from the third century increasingly show more emotive and dramatic facial features. Scholars have often interpreted this shift as a response to political instability or a way to appeal to the military, but I argue that these expressive features were part of a broader strategy to engage with evolving Roman cultural values. Drawing on philosophical insights from thinkers like Plotinus, who emphasized the role of memory in shaping perception, and Philostratus, who highlighted the importance of motion and intensity in art, I argue that these emotive portraits were designed to foster empathy and connection with the emperor’s subjects, reinforcing his authority and preserving his memory for future generations.
The Role of Imperial Portraiture in Shaping Collective Memory
Ultimately, my research seeks to deepen our understanding of how imperial portraiture functioned as both a communicative and commemorative medium in Roman society. Roman portraiture was not concerned with presenting an objective likeness of the emperor but rather with constructing an image that conveyed political power, dynastic legitimacy, and ideological authority. These portraits were designed as visual tools that engaged with Roman theories of memory, where the act of seeing was intimately tied to the processes of remembering and legitimizing. By examining how imperial portraiture shaped the collective memory of the emperor and the imperial institution, my work reveals how these images helped sustain the ideological and political narratives that underpinned the Roman Empire.
