Marisia - Maros Megyei Múzeum Évkönyve 32/2. (2012)

Articles

138 Cs. Szabó leg crossed, holding - according to Vermaseren (CIMRM 1919,273) - an axe. We believe that it is more likely to be a torch or a pedum, canonical symbols, but much too varied, of the torchbearer (Hinnells 1976, 43-44; László et al. 2005 I, 136-142; Beck 2006, 212). The character to the left sits on a base, wears unusual clothes, with a Phrygian cap and with his left hand raised to his chest holds the mantle coming down from both shoulders. In his right hand he holds, according to Vermaseren, a patera or a lamp, an unusual phenomenon in the iconography of torchbearer. The last and most interesting atypical element is the flying character in the main registry, to the right of Mithras (Pi. 1/3). The half-naked character is poorly elaborated, details are not shown clearly but we can notice that he is represented smaller than the other characters, wears on his shoulders a short mantle and probably a petasos or a Phrygian cap on his head. In his right hand he holds a raised object, according to Vermaseren a torch. The position, nature and role of the character represent a unique element in Roman provincial art, thus needing an ample analysis. Mithraic studies from the last decades have made a remarkable progress in deciphering the evolution and origin of Mithras, invented in Rome, 1st century AD, following a Hellenistic, preliminary stage in Asia Minor (Tóth 2003, 28-29; Beck 1998, 115-128; László et al. 2005 I, 70-81). In the archaeological material and the mithraic iconography we notice a series of secondary, divine figures, besides the typical ones, known especially from complex reliefs, with an important role in initiations and mithraic theology (CIMRM 1247, 1292, 1685, 1727, 2340). The role of these secondary divinities in the mithraic myth, the mystery and the ‘star-talk’ is hard to interpret, their presence reflecting a community that knew in small detail mithraic theology but also a tendency towards syncretism with other local or oriental cults. The secondary divine characters in the mithraic cult are: personifications of the seven planets that govern the initiation grades (Merkelbach 1984, 85; László et al. 2005 II, 5-37), Sol (CIMRM 1592; Nemeti 2005, 309-311), Mercurius (CIMRM 821), “Arimanius” or Mithras - Phanes - Chronos - Saturnus (CIMRM 543, 695, 777; László et al. 2005 I, 143-153), Saturnus - Serapis (CIMRM 479, 812 often interpreted as mithraic genius, Nemeti-Nemeti 2005, 92), Hekate (CIMRM 85; Merkelbach 1984, 234-235; László et al. 2005 I, 153-158), Venus (CIMRM 784), Minerva (CIMRM 1086), Oceanus (CIMRM 1247), Tellus (CIMRM 1247), Caelus (CIMRM 1247), Amor and Psyche (CIMRM 186, 2356; Merkelbach 1984, 314) and the twins Lucifer (Phosphorus) - Hesperus (Merkelbach 1984, 207-208). The divinity that appears on the relief from Dragu has the following defining attributes that can be used as a starting point towards its identification: he flies towards Mithras from the right, is half-naked with a mantle on his shoulders, he does not have a beard - probably a sigh of youth - and holds a torch in his hand. From the crowded ‘pantheon’ of the mithraic symbolic language only three divinities with these attributes can be found: Amor, Lucifer (Phosphorus) and Mercurius. Amor or Eros rarely appears in representations, most often in Italy, the origin place of Roman mysteries (CIMRM 186,2356; Merkelbach 1984,314). Son of Venus (CIMRM 480), the most powerful daimon in the Graeco-Roman mythology (Platon: Symposion, 23-25; Apuleius: Metamorphoses, IV, 28), Eros (Phanes in the orphic theogony, Kern 1922, 22-24; László et al. 2005 1,151) represents the essence and divine will of the world created by Mithras and his repre­sentation with Psyche in mithraic iconography symbolizes the holy commitment (covenant) of the initiate of the second grade (nymphus, Clauss 1990, 183) that becomes thus fiancé (sponsus, Firmicus Maternus: De errore, 19.1) of Eros. The soul and other celestial concepts presented in

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