Ancient wall painting

Under the main theme Ancient Painting between Local Style and Period Style the XIth international conference of AIPMA (Association Internationale pour la Peinture Murale Antique) took place from September 13-17, 2010 in Ephesus (Turkey). In a thematic, chronological and topographical diversified lecture program about 150 specialists from 16 nations dedicated themselves to the characteristics of period and/or local styles in ancient painting and to the relationship and influence of local styles and traditions. The publication at hand presents the 45 lectures regarding the general topic as well as 17 further contributions on novitates and 40 posters. The choice of the topic was directly oriented on the significant contribution of the Ephesian painting to the understanding of local traditions and workshop groups in painting, which can particularly be observed in the Terrace Houses. Especially Terrace House 2, which has been opened for the public only recently, offers diverse and informative insights into the development of the Roman wall painting of the often not so well documented 2nd and 3rd centuries AD and therefore provides valuable impulses. In light of the Ephesian paintings, the contributions focus particularly on those findings that offer a rich stock of materials in a well dateable archaeological context. In these, influences such as special temporary trends, local workshop traditions and the personal influence of the client can especially be worked out. Chronologically, the contributions reach from the Hellenistic period to late Antiquity, whereby this time, apart from Pompeii, the focus lay on paintings of the later Roman Imperial period as well as late Antiquity, with studies on central monuments and important new findings. Topographically, all areas of the Roman Empire are covered, from the Vesuvian cities and Italy to Asia Minor (as host), followed by the northwestern and eastern provinces, the Orient and Africa. In general, it becomes apparent that up to the mid-Imperial era the terms period style and local style can almost be used identically which can be traced to the centralistic structure of the Roman Empire and the role model of Rome. However, this changes majorly in later Imperial times and at first glance paintings from Rome (Ostia), North Africa and Ephesus are committed to different traditions, developments or local workshops with more variable possibilities of wall partitioning, color schemes and the use of décor elements and picture themes that cannot readily be explained by a joint conception of period style. The thematic contributions are complemented by several highly qualitative and significant new findings. The volume at hand documents that the research on ancient painting is currently in a productive and dynamic phase, in which the material basis is greatly enhanced by more refined excavation methods and new and abundant find spots. Thus a new basis for the evaluation of the phenomena of period style and local style can be developed.