Marisia - Maros Megyei Múzeum Évkönyve 32/2. (2012)
Articles
140 Cs. Szabó 2009, fig. 10) as a naked youth in front of Sol’s quadriga in the upper registry, in a secondary stance (PI. 1/5). Hesperus represented on several monuments (CIMRM 1216,1292,1359) always in the upper registry, also in secondary scenes. Indirectly the two figures are represented as stars. Out of over 30 monuments where stars appear, the relief from Tavalicavo, Moesia Inferior (CIMRM 2244) is worth mentioning, where in the upper part of the central registry appears Mithras on the back of the bull as a hero associated with a star to his right (Pi. 1/6). This representation is very similar to two examples from Dacia (CIMRM 1985, 2186; Nemeti-Nemeti 2005, 109), associated to the degree heliodromus. This degree in Mithras’ mysteries is poorly known, archaeological and literary sources being sporadic about this degree (CIMRM 419, 480; Alvar 2008, 366). The term in itself is probably an invention of the cult (Clauss 1990, 183; László et ál. 2005 II, 29) also known as OTepeóreq (CIMRM 60). The initiate of the 6Ih degree is governed by the Sun (Sol) and has as symbol the torch, the solar diadem and the whip. In the mithraeum from Santa Prisca it appears in the typical clothing of solar divinities (the short mantle on the shoulders, László et al. 2005 II, 28). Sometimes he appears as a follower in Sol and Mithras’ quadriga (Jobst 1992, 47, 57). A unique representation of the initiate heliodromus is on the pot from Mogontiacum (Merkelbach 1995, 2, 6), where he appears as a young, naked man with a whip in his hand and the solar diadem with other followers in an initiation process, evoking ritually the solar road (László et al. 2005 II, 30, 100). Following the interpretation of Reinhold Merkelbach the 5th degree initiate - perses - is prepared by the mystagogos of the second degree- nymphus - in the ritual of initiation, that is why we find sometimes together Amor-Cupidon, symbol of the second degree with Lucifer-Cautes, symbol of the sixth degree (CIMRM 186,1083, 784; Merkelbach 1984, 121). We also know representation of the newly initiated, represented in the mithraic iconography as a young, naked, virile man, similar to the description of initiates given by Apuleius (Metamorphoses, IX.23-26), symbol of spiritual rebirth (CIMRM 775). The interpretation of the mysterious character on the relief from Dragu and of the piece itself raises a highly disputed problem in classical archaeology but only recently adopted in mithraic studies. The relativism of religious art (Gordon 1996,5-8) present in Roman provincial art indicates the difficulty of transmitting the religious ‘message’: its essence changes not only in time, space and society but also through the process of its rendition. The follower from Dragu- even if he met the mysteries of Mithras in an urban environment - interpreted the mithraic theology and message in his own language, not all of the initiates being masters in astrology, studiosi astrologiae (CIMRM 708, Cumont 2010, 168), and the artist that made the relief knew partially and superficially the original message. As the latest research have proven this religious ‘message’ of the mithraic cult was not dogmatic, as Franz Cumont claims. The varied and rich manifestation of mithraic art in Roman provinces strongly disputes Cumont’s dogmatist program and based on some innovative studied today even the doctrinaire nature of the mysteries cults is disputed; we do not know for sure the universal existence of seven degrees of initiation, of highly intellectual, created theology of mysteries (Beck 2006, 39-64; Alvar 2008, 17-25). Using this relativist process the relief from Dragu is not an exception anymore but rather a usual example, often encountered in Roman provincial art that reflects the ‘customization’ of the sacred, lost message, transformed, combined or simplified in the process of transmission from the follower to the creation of the piece. A religious object is always determined by the sacred message, the personal interpretation of the follower, its financial state and by the artist who designs the object
