Skip to main content

'Sarcophagus of Seianti Hanunia Tiesnasa', 150-140BC

As a three-dimensional, life size monument, the sarcophagus of Seianti Hanunia TIesnasa is immediately an eye-catching object. Now situated in the British Museum, it forms the paramount piece of the Etruscan collection. Both effigy, tomb and the skeleton within have been valuable for wider research on Etruscan artistic styles and methods, as well as the role of elite women in the society of Chiusi where the figure in question was originally from and buried. Though its paint work still remains, the tomb monument would have been more heavily decorated in its original form, now offering mere glimpses of the skilled hand of the artist(s) who designed and produced the structure. The maker was aware of the multiple functions of the tomb, not just for housing the dead but allowing the body to be recognisable in the afterlife and producing an accessible portrait for memorialisation, all tied together through the creation of an architectonic, three-dimensional structure that commanded the tomb chamber.

As a masterpiece of Etruscan art, the tomb and sculpture of Seianti is widely written on and thoroughly researched. The name is found inscribed on the sarcophagus itself, furthering the ideas of memorialisation and connecting this life to the next. From the skeleton, researchers have discerned a woman who died aged 50-55, so this portrait is not a likeness in death but an idealisation of youthful beauty. Her smooth skin, dark hair and graceful fingers that lift the veil from her face are contrasted with a monumental, strong body and thick, muscular arms. Etruscan women were known to be active and the skeleton of Seianti corroborates – her thighs were particularly toned, as was customary for horse riders. The folds of her dress, pinched at the shoulders, drape across her breasts and outline her body, expertly pulled around the raised, bent knees of the figure. Seianti is lifelike, pulling her veil back to more fully reveal her beauty, whilst she seems to be shifting her weight right in front of us or even uncurling herself ready to stand up before us in her full stature.

As mentioned, the sarcophagus and sculpture are painted, which is most prominent on the simple relief work that decorates the sarcophagus itself, producing a pseudo-triglyph design and floral motif. Seianti does not seem to just sit on a stone table but becomes part of an imaginary frieze that sits atop the entablature of a wider temple design, evoking Classical goddesses. Her lavish dress, crown and array of gold jewels furthers the connotations of divinity. Staring at her own reflection in a mirror painted with Egyptian blue – a highly sought-after pigment – again links to depictions of Venus. Scholars have speculated as to why she is veiled, perhaps a link to her marriage and suggesting a commission by a husband. Equally, confusion reins as to why such a grand portrait and sarcophagus were positioned in a tomb chamber that was devoid of decoration and offerings, with only simple silver objects to complement the magnificent effigy. Perhaps Seianti wished the focus to remain on her and her own memorialisation, instead of materialistic distraction in the form of offerings. This is the legacy of Seianti’s tomb, commanding the viewer’s attention even in its decontextualised museum form today. It presents a tantalising story of an Etruscan elite woman, cosmopolitan and active in society, almost as tantalising as the gaze of Seianti, who does not quite look to us but onward, in serene contemplation.  

Comments

Post a Comment

Popular posts from this blog

John Everett Millais, 'Peace Concluded', 1856

  My eye is drawn to the copy of The Times clutched in the hands of the officer. The white of the figurine on the man's knee and the white of his wife's sleeves all serve to make the white paper stand out even more on the canvas. As the title of the painting suggests, this is about the end of the Crimean War, seemingly depicting a soldier who has just returned home, surrounded by his family, but the mood is perhaps less euphoric than you might expect. The soldier seems somber and weary, and his wife has a look of concern. Although on the surface it seems to be quite a harmonious composition representing a close knit and traditional family, the positioning of the man is odd. It is his wife who takes her place at the apex of the triangular composition, the soldier is reduced to an emasculated role, perhaps an invalid, as suggested by the blanket over his legs. Her face is passive, but not exactly positive. With her arms draped around her husband, she looks posed, dutiful but not...
Post a Comment
Read more

Ernst Barlach, 'The Avenger', 1914

  On the advent of both the First World War and the artistic movement known as Futurism, Ersnt Barlach cast this work in bronze. The eye picks out an angular, horizontal form, a sense of hurried pace and strong facial features to this work by the German Expressionist artist. This piece is highly interesting when discussed in terms of the artist's oeuvre - Barlach entered the First World War with a clear attitude of patriotism. The sculpture reflects that, as the figure seemingly thrusts forward wielding a sizeable weapon above his head, leading the charge head on. Describing the sculpture as his 'raging Barbarian' it is clear that Barlach wanted to present an emotionally charged figure. Perhaps it is even a self portrait, with Barlach picturing himself as the hero. The artist did in fact serve briefly as an infantry officer. However realisation soon dawned and patriotism quickly dwindled. All of Barlach's sculptures from this point onward are influenced by the horror an...
Post a Comment
Read more

Mark Rothko, 'Light Red over Black', 1957

  My eye is not drawn to the painting itself but the title of the painting, 'Light Red Over Black'. We would automatically think that the black is on top of a red background, but Rothko has flipped this around, subverting the title just like he subverting the meaning of what it was to be an artist and what Art actually was. During this time, art was going through rapid changes, with abstract expressionism coming into full force (Rothko, Pollock). But Rothko showed that all this change was for the good, even if for him, it was short lived.  The colour red in this painting is searing and the black struggles to fully cover this velvety border, especially at the bottom of the canvas. Unlike the black squares which have a hazy quality to their edges, the red is clear and impregnable. It is hard to figure out what this represents - the Tate has suggested a window perhaps, but if it is a window then what are we looking out into? Perhaps it is night, or perhaps the viewer is catching ...
Post a Comment
Read more