The Alexander Mosaic and Hellenistic scenes of violence

Abstract

The Alexander Mosaic from the House of Faun in Pompeii is explored.
The story line and composition of the work are analyzed. The symbolism of its
individual details, as well as the philosophy of visualizing of individual characters
(the protagonist, his assistant, symmetrical figures of archers, etc.) are clarified.
It is proved that the work is an example of Hellenistic art, which indicates the
connection with the general Hellenistic principles of the image of the battle that
are preserved in Roman and late Iranian art. Attention is paid to the eschatological
context of the mosaics. It should be pointed out that the majority of the scenes of
the mounted triumph are associated with the funeral context.
An attempt to interpret the mosaic taking into account the plots used in other
works of art is made. Based on the comparative analysis of works of the Hellenistic,
Roman, Sassanian, Neo-Hittite and Mesopotamian art, it is established that fixed
iconographic formulas of the work are organically combined with an individual,
unique character.
Keywords: mosaic, art, battle, Alexander the Great, visual formulas,
horseman