Palmyrene funerary reliefs

[2] The reliefs were carved into square pieces of limestone and depicted figures in a direct frontal pose cut off at mid-torso.

The names and lineage of the deceased are engraved in Palmyrene Aramaic above the shoulders, and in some cases, with Koine Greek[4] or Syriac.

Palmyrene funerary reliefs ceased to be produced after the city's sack by the Roman Empire in 273, which marked an end to its growth, development, wealth, and to its civilization altogether.

Aarhus University's Palmyra Portrait Project, led by Professor Rubina Raja, has digitised over 3,700 of the reliefs.

[5] It is believed that Palmyrene funerary busts were created as symbolic decoration rather than portrayals of physical likeness.

Some female figures are depicted with the left hand holding an attribute conveying domesticity, such as a spindle or distaff.

Persian and eastern influences are found in the large scaled eyes with two concentric circles to mark the pupils.

Some variation in gestures and attributes allude to the individual's profession, wealth, or family roles.

[12] Priests are identified by their modius, a cylinder shaped cap, and are usually portrayed holding objects such as a jug or vessel.

[14] Another common theme was depicting favored objects and/or events that brought joy to the deceased during their lifetime.

[17] Male figures began to be portrayed with beards, a trend brought into fashion by the Emperor Hadrian.

[19] Funerary sculpture becomes more naturalistic in style, beards continue to be shown on depictions of men [20] and are raised slightly from the face.