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The study of Roman sculpture is complicated by its relation to Greek sculpture. Many examples of even the most famous Greek sculptures, such as the Apollo Belvedere and Barberini Faun, are known only from Roman Imperial or Hellenistic "copies." At one time, this imitation was taken by art historians as indicating a narrowness of the Roman artistic imagination, but in the late 20th-century, Roman art began to be reevaluated on its own terms: some impressions of the nature of Greek sculpture may in fact be based on Roman artistry. The strengths of Roman sculpture are in portraiture, where they were less concerned with the ideal than the Greeks or Ancient Egyptians, and produced very characterful works, and in narrative relief scenes. Examples of Roman sculpture are abundantly preserved, in total contrast to Roman painting, which was very widely practiced but has almost all been lost. Latin and some Greek authors, particularly Pliny the Elder in Book 34 of his ''Natural History'', describe statues, and a few of these descriptions match extant works. While a great deal of Roman sculpture survives more or less intact, it is often damaged or fragmentary. ==Development== Early Roman art was influenced by the art of Greece and that of the neighbouring Etruscans, themselves greatly influenced by their Greek trading partners. An Etruscan speciality was near life size tomb effigies in terracotta, usually lying on top of a sarcophagus lid propped up on one elbow in the pose of a diner in that period. As the expanding Roman Republic began to conquer Greek territory, at first in Southern Italy and then the entire Hellenistic world except for the Parthian far east, official and patrician sculpture became largely an extension of the Hellenistic style, from which specifically Roman elements are hard to disentangle, especially as so much Greek sculpture survives only in copies of the Roman period.〔Strong, 58–63; Hennig, 66-69〕 By the 2nd century BCE, "most of the sculptors working at Rome" were Greek,〔Hennig, 24〕 often enslaved in conquests such as that of Corinth (146 BCE), and sculptors continued to be mostly Greeks, often slaves, whose names are very rarely recorded. Vast numbers of Greek statues were imported to Rome, whether as booty or the result of extortion or commerce, and temples were often decorated with re-used Greek works.〔Henig, 66–69; Strong, 36–39, 48; At the trial of Verres, former governor of Sicily, Cicero's prosecution details his depredations of art collections at great length.〕 A native Italian style can be seen in the tomb monuments of prosperous middle-class Romans, which very often featured portrait busts, and portraiture is arguably the main strength of Roman sculpture. There are no survivals from the tradition of masks of ancestors that were worn in processions at the funerals of the great families and otherwise displayed in the home, but many of the busts that survive must represent ancestral figures, perhaps from the large family tombs like the Tomb of the Scipios or the later mausolea outside the city. The famous bronze head supposedly of Lucius Junius Brutus is very variously dated, but taken as a very rare survival of Italic style under the Republic, in the preferred medium of bronze.〔Henig, 23–24〕 Similarly stern and forceful heads are seen in the coins of the consuls, and in the Imperial period coins as well as busts sent around the Empire to be placed in the basilicas of provincial cities were the main visual form of imperial propaganda; even Londinium had a near-colossal statue of Nero, though far smaller than the 30 metre high Colossus of Nero in Rome, now lost.〔Henig, 66–71〕 The Tomb of Eurysaces the Baker, a successful freedman (c. 50-20 BC) has a frieze that is an unusually large example of the "plebeian" style.〔Hennig, 66; Strong, 125〕 The Romans did not generally attempt to compete with free-standing Greek works of heroic exploits from history or mythology, but from early on produced historical works in relief, culminating in the great Roman triumphal columns with continuous narrative reliefs winding around them, of which those commemorating Trajan (CE 113) and Marcus Aurelius (by 193) survive in Rome, where the Ara Pacis ("Altar of Peace", 13 BCE) represents the official Greco-Roman style at its most classical and refined. Among other major examples are the earlier re-used reliefs on the Arch of Constantine and the base of the Column of Antoninus Pius (161),〔Henig, 73–82;Strong, 48–52, 80–83, 108–117, 128–132, 141–159, 177–182, 197–211〕 Campana reliefs were cheaper pottery versions of marble reliefs and the taste for relief was from the imperial period expanded to the sarcophagus. All forms of luxury small sculpture continued to be patronized, and quality could be extremely high, as in the silver Warren Cup, glass Lycurgus Cup, and large cameos like the Gemma Augustea, Gonzaga Cameo and the "Great Cameo of France".〔Henig, Chapter 6; Strong, 303–315〕 For a much wider section of the population, moulded relief decoration of pottery vessels and small figurines were produced in great quantity and often considerable quality.〔Henig, Chapter 8〕 After moving through a late 2nd century "baroque" phase,〔Strong, 171–176, 211–214〕 in the 3rd century, Roman art largely abandoned, or simply became unable to produce, sculpture in the classical tradition, a change whose causes remain much discussed. Even the most important imperial monuments now showed stumpy, large-eyed figures in a harsh frontal style, in simple compositions emphasizing power at the expense of grace. The contrast is famously illustrated in the Arch of Constantine of 315 in Rome, which combines sections in the new style with roundels in the earlier full Greco-Roman style taken from elsewhere, and the ''Four Tetrarchs'' (c. 305) from the new capital of Constantinople, now in Venice. Ernst Kitzinger found in both monuments the same "stubby proportions, angular movements, an ordering of parts through symmetry and repetition and a rendering of features and drapery folds through incisions rather than modelling... The hallmark of the style wherever it appears consists of an emphatic hardness, heaviness and angularity — in short, an almost complete rejection of the classical tradition".〔Kitzinger, 9 (both quotes), more generally his Ch 1; Strong, 250–257, 264–266, 272–280; also on the Arch of Constantine, Elsner, 98-101〕 This revolution in style shortly preceded the period in which Christianity was adopted by the Roman state and the great majority of the people, leading to the end of large religious sculpture, with large statues now only used for emperors, as in the famous fragments of a colossal acrolithic statue of Constantine, and the 4th or 5th century Colossus of Barletta. However rich Christians continued to commission reliefs for sarcophagi, as in the Sarcophagus of Junius Bassus, and very small sculpture, especially in ivory, was continued by Christians, building on the style of the consular diptych.〔Strong, 287–291, 305–308, 315–318; Henig, 234–240〕 File:Museo archeologico di Firenze, coperchio di sepolcro muliebre da Tuscania, terracotta con tracce di policromia III sec. d.c.JPG|Etruscan sarcophagus, 3rd century BCE File:Capitoline Brutus Musei Capitolini MC1183 02.jpg|The "Capitoline Brutus", dated to the 3rd or 1st century BCE Image:Statue-Augustus.jpg|''Augustus of Prima Porta'', statue of the emperor Augustus, 1st century CE. Vatican Museums File:Tomba dei decii, dalla via ostiense, 98-117 dc..JPG|Tomb relief of the Decii, 98–117 CE File:Claudius Pio-Clementino Inv243.jpg|Bust of Emperor Claudius, c. 50 CE, (reworked from a bust of emperor Caligula), It was found in the so-called Otricoli basilica in Lanuvium, Italy, Vatican Museums File:COMMODE HERCULE.jpg|Commodus dressed as Hercules, c. 191 CE, in the late imperial "baroque" style File:Venice – The Tetrarchs 03.jpg|''The Four Tetrarchs'', c. 305, showing the new anti-classical style, in porphyry, now San Marco, Venice File:Great Cameo of France CdM Paris Bab264 white background.jpg|The cameo gem known as the "Great Cameo of France", c. 23 CE, with an allegory of Augustus and his family Image:0 L'Enfant au Masque - Palazzo Nuovo - Musei Capitolini.JPG|The child covered with a theater mask, Palazzo Nuovo - Musei Capitolini, Rome. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Roman sculpture」の詳細全文を読む スポンサード リンク
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