This article examines the evidence for the use of portrait sculpture on sarcophagi belonging to members of the Jewish community of Rome. The use of the “learned figure” motif, commonly employed in Roman sarcophagus portraiture and by Jewish patrons, is highlighted, and possible creative appropriations of the trope in Jewish contexts are raised. It is further argued that, among Jewish sarcophagus patrons, the decision to include funerary portraiture went hand in hand with the decision to adopt popular and conventional Roman styles and motifs, and to engage Roman cultural and visual resources. In other words, Jewish patrons who chose sarcophagi with portraits also seem to have been the readiest to make use of the visual resources of Roman funerary culture to orchestrate self-narratives on their sarcophagi. Finally, it is cautioned that while the limited examples (five) suggest a mastery of Roman culture and a correspondingly high degree of acculturation among certain Jewish patrons, we should be wary of reading such sarcophagi as evidence of certain Jews abandoning a Jewish identity in favor of a Roman one—or the Jewish community in favor of the Roman polis and its civic structures—as narratives of funerary art never capture the totality of the deceased’s identity.

中文翻译：

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一个犹太儿童的肖像？蒙特维多的克莱恩石棺和罗马的犹太葬礼肖像画

本文研究了在属于罗马犹太社区成员的石棺上使用肖像雕塑的证据。突出了罗马石棺肖像画和犹太赞助人常用的“博学人物”主题的使用，并提出了在犹太语境中可能对这一比喻的创造性挪用。还有人认为，在犹太石棺的赞助人中，包括葬礼肖像画的决定与采用流行和传统的罗马风格和图案以及利用罗马文化和视觉资源的决定齐头并进。换句话说，选择带有肖像的石棺的犹太赞助人似乎也最愿意利用罗马丧葬文化的视觉资源在他们的石棺上编排自我叙述。最后，