Marisia - Maros Megyei Múzeum Évkönyve 31/1. (2011)
Articles
274 I. BoDA-Cs. Szabó interpretation and visual message raising problems in interpreting the scene, but also in regarding the role and nature of the sanctuary. The aim of this study is reinterpreting the iconography of the relief, with the aid of analogies in the context of Roman religious syncretism. First manifestations of Iuppiter Dolichenus in the Roman Empire appeared in Pannonia Superior and in Africa, in dated inscriptions in the year 125, during the reign of Emperor Hadrian, and then in the Severan dynasty this cult sees an astounding spread amongst civilian and military spheres (Speidel 1978,4-12). Iuppiter Dolichenus is a syncretic god (Floca 1935,204- 239). The worship of Iuppiter came to syncretic contact with an ancient eastern deity of cosmic aspect, known as Baal, from the city of Doliche (today Dülük in Turkey), former Commagene kingdom. The wide spreading of the synergetic god in Roman environment starts with annexing the kingdom of Commagene to the Syrian province during the reign of Vespasian (72 BC). The association of these two deities gave the syncretic god numerous qualities, such as cosmic character, universal power, being considered universal saviour. Soldiers worshiped him as god of victory, merchants as god of success, common people adored him as god of salvation, political leaders as a god who orders and manages the world. He assumed the following epithets: Optimus and Maximus, praestantissimus, exuperantissimus, exibitor, nutritor, invictus, sanctus, Augustus, aeternus, conservator totius poli, conservator totius mundi (Nemeti 2005, 226.) It is considered that Dolichenus was one of the widest spread oriental divinities amid soldiers, called protector god by them, and then he became official god of the Roman army, who benefited official support in the Severan dynasty (193-235). There is no information regarding the myth of this god (Carbó García 2010, 185-187; Isac 1971a, 571-576). We don’t know his autochthonous name, not one literary source mentions him, except for this formula: nato ubi ferrum exoritur (Nemeti 2005, 225), Dolichenus is thus a god: “where the iron is born” (CIL VI 30947 = ILS 4302), or “born where iron is forming”(CIL III 11927 = ILS 4301; CIL III 1128 = ILS 4303).2 This expression appears on one of the most well known Dolichenian inscriptions in Dacia, at Apulum. Interesting considerations were born regarding different interpretations. Belgian scientist F. Cumont assumes that the formula comes from a ritual of the Commagenian cult, Baal of Doliche being to his followers “born where iron is forming” (Sanie 1981, 38). S. Sanie reminds of the existence of a population that in their believes linked the birth of a god with the birth of a metal. It is thought that the divinity was not only governing genius of a source, but also a replica of the mithraic rupe natus. The expression isn’t referring to the place where the inscription was discovered, or to the iron mines, but to the “native country of iron”. At Doliche the expression nato ubi ferrum nascitur in primitive form was not only of local origin, but probably applied to a Hittite-Hurrite divinity.3 Commagenian concept of a god who is divinity of storm and mountain at the same time might have existed in populations remaining loyal to Hittite culture. T. Mommsen completed the inscription: [Genio loci] / nato ubi ferrum exo[ritur... to which “the birth of the god of fortunate” results is also added. The historian considers that the dating of the dedication is linked to the opening of the iron mines around Apulum, during the reign of Antonius Pius. The iconography of the cult gives us more information. The god appears dressed in a Persian costume or as a Roman soldier. On his head he wears a tiara or a Phrygian cap. On his legs he wore sandals or short boots. He holds a double hatchet in a hand and a bundle of lightings in 2 S. Sanie (1981, 37-39) analyzed in detail problems regarding this formula. 3 See also the role of iron in Hittite-Mesopotamian mythology and Nergal’s iconography.
