The Psyche with Angel Wings on a Mosaic from Antioch

Year 2020, Issue: 13, 171 - 189, 02.11.2020

Delphine Laurıtzen

https://doi.org/10.26658/jmr.782357

Abstract

The aim of this article is to propose a new interpretation of a fragmentary mosaic pavement from Antioch depicting Psyche (Antakya, Mus. Hatay 892). Using the “Tale of Cupid and Psyche” in Apuleius’ Metamorphoses (IV, 28-VI, 24), we argue that Psyche is represented at the key moment of the story. For the light of the lamp she is holding has just revealed to her the identity of her mysterious husband as being Cupid himself.
Two main iconographical features differentiate this mosaic from other, standard representations of Psyche: she is neither naked nor wrapped in loose veils, but she appears entirely covered in light colour clothing, and she does not bear butterfly-wings but ones made of feathers. The mosaic has been dated of Trajan’s reign on the base of archaeological evidence. If this date is correct, then it cannot relate to Apuleius himself, as his novel was written in AD 160s. The mosaic would therefore be an early example of the iconographical fortune of the original tale, known in the Greek of Aristides of Miletus or in a Latin translation. One can otherwise hypothesize a later date for the mosaic, which would then make Apuleius stand as a possible terminus post quem.

Keywords

Antioch, House of the aqueduct of Trajan, mosaic, Psyche, Apuleius

Antakya’dan Bir Mozaik Üzerinde Melek Kanatlı Psykhe

Abstract

Bu makalenin amacı, Antakya’da (Antakya Müz. Hatay 892) bulunan parçalı mozaik bir döşemede Psykhe’yi tasvir eden sahne için yeni bir yorumu önermektir. Apuleius’un Metamorfozları’ndaki (IV, 28-VI, 24) “Cupid ve Psykhe Masalı” nı kullanarak Psykhe’nin hikâyenin kilit bir anında temsil edildiğini ileri sürüyoruz. Elinde tuttuğu lambanın ışığı, ona gizemli kocasının aşk tanrısı Cupid kimliğini açıklamıştır.
İki ikonografik özellik Psykhe’yi diğer standart temsillerden ayırır: Ne çıplak ne de dağınık perdelere sarılmıştır. Ama tamamen açık renkli kıyafetlerle sarmalanmıştır ve kelebek kanatları değil, tüylerden yapılmış kanatlar taşımaktadır. Mozaik, arkeolojik kanıtlar temelinde Traianus’un saltanatına tarihlendirilmiştir. Bu tarih doğruysa, romanı İS 160’larda yazıldığı için Apuleius’un kendisi ile ilgili olamaz. Bu nedenle mozaik, Milet Aristides Yunancası veya Latince çevirisi ile bilinen orijinal masalın ikonografik servetinin erken bir örneği olacaktır. Aksi takdirde mozaik için daha sonraki bir tarih varsayılır, bu da Apuleius’un olası bir terminus post quem olarak durmasını sağlar.

Keywords

Antakya, Traianus su kemeri evi, mozaik, Psykhe, Apuleius

La Psyché aux ailes d’ange d’une mosaïque d’Antioche

Abstract

The aim of this article is to propose a new interpretation of a fragmentary mosaic pavement from Antioch depicting Psyche (Antakya, Mus. Hatay 892). Using the “Tale of Cupid and Psyche” in Apuleius’ Metamorphoses (IV, 28-VI, 24), we argue that Psyche is represented at the key moment of the story. For the light of the lamp she is holding has just revealed to her the identity of her mysterious husband as being Cupid himself.
Two main iconographical features differentiate this mosaic from other, standard representations of Psyche: she is neither naked nor wrapped in loose veils, but she appears entirely covered in light colour clothing, and she does not bear butterfly-wings but ones made of feathers. The mosaic has been dated of Trajan’s reign on the base of archaeological evidence. If this date is correct, then it cannot relate to Apuleius himself, as his novel was written in AD 160s. The mosaic would therefore be an early example of the iconographical fortune of the original tale, known in the Greek of Aristides of Miletus or in a Latin translation. One can otherwise hypothesize a later date for the mosaic, which would then make Apuleius stand as a possible terminus post quem.

Keywords

Antioch, House of the aqueduct of Trajan, mosaic, Psyche, Apuleius

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