The Orientalizing Period”: Focus on the Apollo Cult*
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Herakles Iconography on Tyrrhenian Amphorae
HERAKLES ICONOGRAPHY ON TYRRHENIAN AMPHORAE _____________________________________________ A Thesis presented to the Faculty of the Graduate School University of Missouri-Columbia _____________________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts ______________________________________________ by MEGAN LYNNE THOMSEN Dr. Susan Langdon, Thesis Supervisor DECEMBER 2005 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Susan Langdon, and the other members of my committee, Dr. Marcus Rautman and Dr. David Schenker, for their help during this process. Also, thanks must be given to my family and friends who were a constant support and listening ear this past year. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………ii LIST OF ILLUSTRATIONS……………………………………………………………..v Chapter 1. TYRRHENIAN AMPHORAE—A BRIEF STUDY…..……………………....1 Early Studies Characteristics of Decoration on Tyrrhenian Amphorae Attribution Studies: Identifying Painters and Workshops Market Considerations Recent Scholarship The Present Study 2. HERAKLES ON TYRRHENIAN AMPHORAE………………………….…30 Herakles in Vase-Painting Herakles and the Amazons Herakles, Nessos and Deianeira Other Myths of Herakles Etruscan Imitators and Contemporary Vase-Painting 3. HERAKLES AND THE FUNERARY CONTEXT………………………..…48 Herakles in Etruria Etruscan Concepts of Death and the Underworld Etruscan Funerary Banquets and Games 4. CONCLUSION………………………………………………………………..67 iii APPENDIX: Herakles Myths on Tyrrhenian Amphorae……………………………...…72 BIBLIOGRAPHY………………………………………………………………………..77 ILLUSTRATIONS………………………………………………………………………82 iv LIST OF ILLUSTRATIONS Figure Page 1. Tyrrhenian Amphora by Guglielmi Painter. Bloomington, IUAM 73.6. Herakles fights Nessos (Side A), Four youths on horseback (Side B). Photos taken by Megan Thomsen 82 2. Tyrrhenian Amphora (Beazley #310039) by Fallow Deer Painter. Munich, Antikensammlungen 1428. Photo CVA, MUNICH, MUSEUM ANTIKER KLEINKUNST 7, PL. 322.3 83 3. Tyrrhenian Amphora (Beazley #310045) by Timiades Painter (name vase). -
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou ACCHYLIDES 17, a Cean commission performed on Delos, has been the subject of extensive study and is Bmuch admired for its narrative artistry, elegance, and excellence. The ode was classified as a dithyramb by the Alex- andrians, but the Du-Stil address to Apollo in the closing lines renders this classification problematic and has rather baffled scholars. The solution to the thorny issue of the ode’s generic taxonomy is not yet conclusive, and the dilemma paean/ dithyramb is still alive.1 In fact, scholars now are more inclined to place the poem somewhere in the middle, on the premise that in antiquity the boundaries between dithyramb and paean were not so clear-cut as we tend to believe.2 Even though I am 1 Paean: R. Merkelbach, “Der Theseus des Bakchylides,” ZPE 12 (1973) 56–62; L. Käppel, Paian: Studien zur Geschichte einer Gattung (Berlin 1992) 156– 158, 184–189; H. Maehler, Die Lieder des Bakchylides II (Leiden 1997) 167– 168, and Bacchylides. A Selection (Cambridge 2004) 172–173; I. Rutherford, Pindar’s Paeans (Oxford 2001) 35–36, 73. Dithyramb: D. Gerber, “The Gifts of Aphrodite (Bacchylides 17.10),” Phoenix 19 (1965) 212–213; G. Pieper, “The Conflict of Character in Bacchylides 17,” TAPA 103 (1972) 393–404. D. Schmidt, “Bacchylides 17: Paean or Dithyramb?” Hermes 118 (1990) 18– 31, at 28–29, proposes that Ode 17 was actually an hyporcheme. 2 B. Zimmermann, Dithyrambos: Geschichte einer Gattung (Hypomnemata 98 [1992]) 91–93, argues that Ode 17 was a dithyramb for Apollo; see also C. -
Thesis Front Matter
NOTE TO USERS This reproduction is the best copy available. UNIVERSITY OF CALGARY The Prostitute and Her Headdress: the Mitra, Sakkos and Kekryphalos in Attic Red-figure Vase-painting ca. 550-450 BCE by Marina Fischer A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF GREEK AND ROMAN STUDIES CALGARY, ALBERTA APRIL, 2008 © Marina Fischer 2008 ISBN:ϵϳϴͲϬͲϰϵϰͲϯϴϮϲϰͲϲ Abstract This study documents the problematic headdress iconography of Attic Red-figure vase-painting ca. 550-450 BCE. The findings demonstrate that more prostitutes than wives, or any other female figures, are illustrated with the mitra (turban), sakkos (sack) and kekryphalos (hair-net). These headdresses were prostitutes’ common apparel as well as their frequent attributes and social markers. The study also shows that prostitutes were involved in manufacturing of textiles, producing the headdresses on the small sprang hand frames chosen for their practicality, convenience and low cost. In this enquiry, two hundred and thirty (230) fully catalogued and thoroughly analyzed images include twenty (20) such scenes, in addition to two hundred and ten (210) depicting prostitutes wearing the headdresses. This iconography is the primary evidence on which the study’s conclusions are based. ii Acknowledgements I would like to thank the University of Calgary Staff Tuition Support Program for their generous contributions, the Department of Greek and Roman Studies for their consideration and understanding of my demanding schedule, Geraldine Chimirri-Russell for inspiration, Dr. Mark Golden for support, and above all Dr. Lisa Hughes for her thoughtfulness, thoroughness and encouragement. -
Leto As Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C
https://publications.dainst.org iDAI.publications ELEKTRONISCHE PUBLIKATIONEN DES DEUTSCHEN ARCHÄOLOGISCHEN INSTITUTS Dies ist ein digitaler Sonderdruck des Beitrags / This is a digital offprint of the article Lavinia Foukara Leto as Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C. aus / from Archäologischer Anzeiger Ausgabe / Issue Seite / Page 63–83 https://publications.dainst.org/journals/aa/2027/6626 • urn:nbn:de:0048-journals.aa-2017-1-p63-83-v6626.5 Verantwortliche Redaktion / Publishing editor Redaktion der Zentrale | Deutsches Archäologisches Institut Weitere Informationen unter / For further information see https://publications.dainst.org/journals/aa ISSN der Online-Ausgabe / ISSN of the online edition 2510-4713 ISSN der gedruckten Ausgabe / ISSN of the printed edition Verlag / Publisher Ernst Wasmuth Verlag GmbH & Co. Tübingen ©2019 Deutsches Archäologisches Institut Deutsches Archäologisches Institut, Zentrale, Podbielskiallee 69–71, 14195 Berlin, Tel: +49 30 187711-0 Email: [email protected] / Web: dainst.org Nutzungsbedingungen: Mit dem Herunterladen erkennen Sie die Nutzungsbedingungen (https://publications.dainst.org/terms-of-use) von iDAI.publications an. Die Nutzung der Inhalte ist ausschließlich privaten Nutzerinnen / Nutzern für den eigenen wissenschaftlichen und sonstigen privaten Gebrauch gestattet. Sämtliche Texte, Bilder und sonstige Inhalte in diesem Dokument unterliegen dem Schutz des Urheberrechts gemäß dem Urheberrechtsgesetz der Bundesrepublik Deutschland. Die Inhalte können von Ihnen nur dann genutzt und vervielfältigt werden, wenn Ihnen dies im Einzelfall durch den Rechteinhaber oder die Schrankenregelungen des Urheberrechts gestattet ist. Jede Art der Nutzung zu gewerblichen Zwecken ist untersagt. Zu den Möglichkeiten einer Lizensierung von Nutzungsrechten wenden Sie sich bitte direkt an die verantwortlichen Herausgeberinnen/Herausgeber der entsprechenden Publikationsorgane oder an die Online-Redaktion des Deutschen Archäologischen Instituts ([email protected]). -
Local Information
7th Workshop on Dynamic Macroeconomics Mykonos, Greece, 1-3 October 2009 Local Information 1 Accommodation Accommodation has been reserved at the Rocabella Mykonos Hotel. Rocabella Art Hotel Mykonos Agios Stefanos, 84600, Mykonos, Cyclades Islands, Greece Tel:(+30) 22890 28930 Fax:(+30) 22890 79720 http://www.rocabella-hotel-mykonos.com/ The Rocabella art Hotel and Spa is situated near Agios Stefanos, a small town, offering a fully - serviced beach with crystal clear waters, restaurants, lifeguards, sun beds and umbrellas, located in the north The transfer to and from the airport/port as well as the transportation to the restaurants and the trips to the town will be done with the hotel shuttle buses (free of charge) The conference venue is the Rocabella Mykonos Hotel Conference Room. An overhead projector and laptop will be available. Meals Æ American Buffet breakfast will be served on Rocabella Hotel. Æ Light lunches will be offered during the workshop at the hotel. 2 Dinners Thursday 1 October 2009: Restaurant - Fish tavern, “Η Epistrophi”, St.Stefanos On the beautiful and graphic beach of St. Stefanou, with the fantastic view in the Chora of Mykonos and Delos. http://www.epistrofirestaurant.com/index_uk.html (5’ walking distance from Rocabella Hotel) Friday 2 October 2009: Greek Cuisine Restaurant, President’s Place, Ano Mera Inland, about 9 km from Mykonos town, stands Ano Mera, the most populated village (other than Mykonos town) on the island. http://www.steki-proedrou.com/english/index.php (15’ by mini bus from Rocabella Hotel) Saturday 3 October 2009: Azzurro Mediterranean cuisine: Blu Restaurant, Old Port Right next to Blue - Blue café, with VIP veranda as highlight (with view in the Chora of Mykonos, Delos and Old Port). -
Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)
Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus. -
Geometric & Archaic Greek
GEOMETRIC & ARCHAIC GREEK GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Can be classified into the following categories: Geometric Period ca. 900-700 B.C.E. Orientalizing Period ca. 725-600 B.C.E. Archaic Period ca. 625-480 B.C.E. --- Greeks defeat Persians 480-479 BCE --- Early Classical Period ca. 480-450 B.C.E. High Classical Period ca. 450-400 B.C.E. Late Classical Period ca. 400-330 B.C.E. Hellenistic Period ca. 330-31 B.C.E. GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Mesopotamian = Worship Egyptian = Afterlife Greek = Humanism GEOMETRIC & ARCHAIC GREECE The Geometric Period The beginning of Greek art is found in painted pottery and small scale sculpture. Artists established different categories of shapes of ceramic vessels- most important was the amphora - two- handled vase used to carry wine and oil Around 800 BC, pottery began to move away from purely non-objective designs - ornamental figures. Dipylon Vase was a grave monument - bottom has holes through which liquid offerings filtered down to the dead below- done in remembrance rather than to appease the soul of the dead. Geometric Krater from the Dyplon Cemetery Athens, Greece, ca. 740 BC GEOMETRIC & ARCHAIC GREECE The Geometric Period The vase functions as a grave marker depicting the funeral procession of an obviously well respected individual. The magnitude of his funeral procession speaks to the wealth and position of the deceased family in the community. Contains no reference to an afterlife The nature of the ornamentation of these early works has led art historians to designate these as GEOMETRIC. (all empty spaces are filled with circles and M-shaped ornament. -
Apotropaism and Liminality
Gorgo: Apotropaism and Liminality An SS/HACU Division III by Alyssa Hagen Robert Meagher, chair Spring 2007 Table of Contents List of Figures................................................................................................................ 1 Introduction.................................................................................................................... 3 Chapter 1: Gorgon and Gorgoneion.............................................................................. 5 Chapter 2: Gorgo as a Fertility Goddess....................................................................... 15 Chapter 3: Gorgo as the Guardian of Hades................................................................. 29 Chapter 4: Gorgo in Ecstatic Ritual............................................................................... 41 Chapter 5: Gorgo in the Sphere of Men......................................................................... 51 Bibliography................................................................................................................... 64 Alyssa Hagen 1 List of Figures 1.1 Attic black figure neck amphora. (J. Paul Getty Museum, Malibu 86 AE77. Image 7 from [http://www.theoi.com/Gallery/P23.12.html].) 1.2 Mistress of Animals amulet from Ulu Burun shipwreck. (Bochum, Deutsches 9 Bergbau-Museums 104. Image from [http://minervamagazine.com/issue1704/ news.html].) 1.3 Egyptian amulet of Pataikos. (Image from Virtual Egyptian Museum 10 [http://www.virtual-egyptian-museum.org].) 1.4 Etruscan roof antefix with -
Hybrid Monsters
HYBRID MONSTERS IN THE CLASSICAL WORLD THE NATURE AND FUNCTION OF HYBRID MONSTERS IN GREEK MYTHOLOGY, LITERATURE AND ART by Liane Posthumus Thesis presented in partial fulfilment of the requirements for the degree Master of Philosophy in Ancient Cultures at the University of Stellenbosch Supervisor: Prof. J.C. Thom Co-supervisor: Dr. S. Thom Faculty of Arts and Social Sciences Department of Ancient Studies March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the authorship owner thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 28 February 2011 Copyright © 2010 University of Stellenbosch All rights reserved i ABSTRACT The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of man- horse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity. -
The World of Greek Religion and Mythology
Wissenschaftliche Untersuchungen zum Neuen Testament Herausgeber/Editor Jörg Frey (Zürich) Mitherausgeber/Associate Editors Markus Bockmuehl (Oxford) ∙ James A. Kelhoffer (Uppsala) Tobias Nicklas (Regensburg) ∙ Janet Spittler (Charlottesville, VA) J. Ross Wagner (Durham, NC) 433 Jan N. Bremmer The World of Greek Religion and Mythology Collected Essays II Mohr Siebeck Jan N. Bremmer, born 1944; Emeritus Professor of Religious Studies at the University of Groningen. orcid.org/0000-0001-8400-7143 ISBN 978-3-16-154451-4 / eISBN 978-3-16-158949-2 DOI 10.1628/978-3-16-158949-2 ISSN 0512-1604 / eISSN 2568-7476 (Wissenschaftliche Untersuchungen zum Neuen Testament) The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- graphie; detailed bibliographic data are available at http://dnb.dnb.de. © 2019 Mohr Siebeck Tübingen, Germany. www.mohrsiebeck.com This book may not be reproduced, in whole or in part, in any form (beyond that permitt- ed by copyright law) without the publisher’s written permission. This applies particular- ly to reproductions, translations and storage and processing in electronic systems. The book was typeset using Stempel Garamond typeface and printed on non-aging pa- per by Gulde Druck in Tübingen. It was bound by Buchbinderei Spinner in Ottersweier. Printed in Germany. in memoriam Walter Burkert (1931–2015) Albert Henrichs (1942–2017) Christiane Sourvinou-Inwood (1945–2007) Preface It is a pleasure for me to offer here the second volume of my Collected Essays, containing a sizable part of my writings on Greek religion and mythology.1 Greek religion is not a subject that has always held my interest and attention. -
Invention of Athenian Cults in the Hellenistic Period
Old Gods and the New: (Re)Invention of Athenian Cults in the Hellenistic Period Aleksandar Simić, University of Belgrade [email protected] Abstract The history of Athens in the Hellenistic period is a turbulent one. The polis was reduced to a second- or even a third-rate power and had to deal with powerful neighboring empires. Political and economic tides affected Athenian religion and its cult practices. Depending on the current political context and their material wealth, Athenians used their religion to establish their place in a wider Hellenistic world, to promote their polis, or as a means of foreign policy either by honoring or placating kings and other mighty men and women. This paper aims to give an overview of the development of cults and cult practices in Athens roughly from the death of Alexander the Great to the Sulla's sacking of the city in 86 BC. The focus will be on the establishment of new cults and the resurgence of old ones in a new context. Introduction The turbulent history of the Athenian state in the Hellenistic period can be divided into roughly two parts. The first one would coincide with the majority of the third century BCE. It is characterized by a tight Macedonian grip, war, destruction, economic downfall and long-term decline. That ended in 229 BC and the next thirty years were a sort of interregnum. During that 223 period, Athens, supported by mighty Ptolemaic kings in Egypt, held a strongly neutral course in their foreign policy. The proximity of Macedonia once again proved to be a problem for Athens. -
GREEK RELIGION Walter Burkert
GREEK RELIGION Walter Burkert Translated by John Raffan r Harvard University Press Cambridge, Massachusetts THINGS’ ANIMAL SACRIFICE II t . I ‘WORKING SACRED 55 diverted activity for the apathy which remains transfixed in reality; it lays claim to the highest seriousness, to the absolute. II When considered from the point of view of the goal, ritual behaviour appears as magic. For a science of religion which regards only instrumental 4 since acts action as meaningful, magic must be seen as the origin of religion, Ritual and Sanctuary which seek to achieve a given goal in an unclear but direct way are magical. The goal then appears to be the attainment of all desirable boons and the elimination of possible impediments: there is rain magic, fertility magic, love magic, and destructive magic. The conception of ritual as a kind of language, however, leads beyond this constraining artifice; magic is present only insofar as ritual is consciously placed in the service of some end — which may then undoubtedly affect the form of the ritual. Religious ritual is given as a collective institution; the individual participates within the framework of social communication, with the strongest motivating force being the need not in the study of religion which came to be generally acknowledged to stand apart. Conscious magic is a matter for individuals, for the few, and An insight are more important and end of the last century is that rituals is developed accordingly into a highly complicated pseudo-science. In early towards the ancient religions than are instructive for the understanding of the Greece, where the cult belongs in the communal, public sphere, the more is no longer seen in myths.’ With this recognition, antiquity importance of magic is correspondingly minimal.