Dionysus - Greek God of Wine and Festivity Statue

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Baptiste Charles Othon Frederic Jean de Clarac comte and Louis-Ferdinand-Alfred Maury. 1841. "ou, Description historique et graphique du Louvre et de toutes ses parties, des statues ... du Musée royal des antiques et des Tuileries ... tirées des principaux musées et ... collections de l'Europe, accompagne d'une iconographie egyptienne, grecque." Musée de sculpture antique et moderne, 4. pl. 695, no. 1614, Paris. Theatre as we would recognise it was thought to have originated around the time of Thespis, around 530 BC. According to ancient sources such as Aristotle, he was the first person to appear as an 'actor' on stage, and communicate with his chorus in character. The popularisation of acting competitions around this period probably prompted the move from performances in the Agora, to a more permanent area that we now know as Dionysus' sanctuary. The relationship between Dionysus and literature strengthened the god's association with the area, prompting the growth of the Dionysia in honour of him.

Morychus Μόρυχος ("smeared"); in Sicily, because his icon was smeared with wine lees at the vintage. [73] [74] Richter, Gisela M. A. 1920. "Recent Accessions of the Classical Department." Bullletin of the Metropolitan Museum of Art, 15(5): p. 108. The festival itself ended with a political meeting of the Assembly in the Theatre, instead of the Pnyx. Historical Significance Other Mycenaean records from Pylos record the worship of a god named Eleuther, who was the son of Zeus, and to whom oxen were sacrificed. The link to both Zeus and oxen, as well as etymological links between the name Eleuther or Eleutheros with the Latin name Liber Pater, indicates that this may have been another name for Dionysus. According to Károly Kerényi, these clues suggest that even in the thirteenth century BC, the core religion of Dionysus was in place, as were his important myths. At Knossos in Minoan Crete, men were often given the name "Pentheus", who is a figure in later Dionysian myth and which also means "suffering". Kerényi argued that to give such a name to one's child implies a strong religious connection, potentially not the separate character of Pentheus who suffers at the hands of Dionysus' followers in later myths, but as an epithet of Dionysus himself, whose mythology describes a god who must endure suffering before triumphing over it. According to Kerényi, the title of "man who suffers" likely originally referred to the god himself, only being applied to distinct characters as the myth developed. [32] Excavations at Daskyleion are 32 years old, and this is the first time that we [have] unearthed a mask which is nearly intact,” the archaeologist says.Metropolitan Museum of Art. 2020. ART = Discovering Infinite Connections in Art History. p. 073, New York: Phaidon Press. Perseus Digital Library 4.0, ed. G.R. Crane. Athens, Theatre of Dionysos. Available at: http://www.perseus.tufts.edu/hopper/artifact?name=Athens%2C+Theater+of+Dionysos&object=Building. Accessed 28th December 2014

In ancient philosophy, Hermes was the representative of “logos,” the word, as well as meaning and reason itself. The Greek word ερμηνεία (hermeneia, meaning “interpretation”) derives from his name. Therefore, the term “hermeneutics” means the study of the methodological principles of interpretation. On the left side were various characters from the Attic mythology whose identifications are discussed. The general theme of the pediment being a purely local myth, it is often surmised that Athenian heroes should be represented. The western figures D, E and F have disappeared. The west group B and C is very damaged. Snake fragments (a snake or the tail of the male figure) suggest that it could be Cecrops and his daughter Pandrosus. [8] [13] [21] [24] The Temple of Zeus, situated upon a hill, was the city’s main sanctuary. Ceramic findings indicate local habitation from the first half of the third millennium BC. Ramage, Nancy H. 1999. "The Pacetti Papers and the Restoration of Ancient Sculpture in the 18th Century." Von der Schönheit weissen Marmors: Zum 200. Todestag Bartolomeo Cavaceppis, Vol. 2, Thomas Weiss, ed. pp. 81–82, fig. 54, Mainz am Rhein: Verlag Philipp von Zabern.Howard Kathleen. 1994. Metropolitan Museum of Art Guide: Works of Art Selected by Philippe De Montebello. New York: The Metropolitan Museum of Art.

Millis, Benjamin Willard; Olson, S. Douglas (2012). Inscriptional records for the dramatic festivals in Athens: IG II2 2318-2325 and related texts. Leiden Boston: Brill. p.1. ISBN 978-90-04-23201-3. As Iren tells Hyperallergic’s Hakim Bishara , the newly unearthed mask was likely used during rituals associated with winemaking. The messenger of the gods was also a friend to mankind and, by relaying divine messages to mortals, he became the highest-ranking being that they would ever encounter on their level of existence. Mortals could relate to him much more than to the fearsome Zeus.Smith, Helaine (2005). Masterpieces of Classic Greek Drama. Greenwood. p. 1. ISBN 978-0-313-33268-5. in French) Claude Rolley, La Sculpture grecque, vol. II: La période classique, Picard, Manuels d'art et d'archéologie antiques, 1999 ( ISBN 2-7084-0506-3), p.250-254. The Dionysia was originally a rural festival in Eleutherae, Attica ( Διονύσια τὰ κατ' ἀγρούς – Dionysia ta kat' agrous), probably celebrating the cultivation of vines. It was probably a very ancient festival, perhaps not originally associated with Dionysus. This "rural Dionysia" was held during the winter, in the month of Poseideon (the month straddling the winter solstice, i.e., Dec.-Jan.). The central event was the pompe (πομπή), the procession, in which phalloi (φαλλοί) were carried by phallophoroi (φαλλοφόροι). Also participating in the pompe were kanephoroi (κανηφόροι – young girls carrying baskets), obeliaphoroi (ὀβελιαφόροι Isodaetes, Ισοδαίτης, meaning "he who distributes equal portions", cult epithet also shared with Helios. [65]

Grimal, Pierre (1999). Dictionnaire de la mythologie grecque et romaine. Grands dictionnaires. Paris: Presses universitaires de France. Boardman, John (1985). Greek Sculpture: The Classical Period a handbook. London: Thames and Hudson.

What is syncretism?

The theatre itself is thought to have permanent wooden seating from around 498 BC. [2] The move to a more permanent stone seating in the first half of the 4th century BC is thought to have been under the influence of the Athenian politician, Lycurgus. As the treasurer for the city's finances it seems that the theatre's refurbishment was under his watch during this period. Gods/Heroes Müller, Karl Otfried. 1854–1869. Denkmäler der alten Kunst: Nach der Auswahl und Anordnung von C. C. Müller, 2nd Ed.. pl. 33, 372, Göttingen: Dieterich. The Resting Satyr, Roman copy of another work attributed to Praxiteles, Capitoline Museums Papposilenus bearing the infant Dionysos, variant on the Olympia Hermes, c. 350-300 BC, Musée du Louvre Popular culture [ edit ] Sourvinou-Inwood, C. and Parker, R. (2011). Athenian Myths and Festivals. (Oxford: Oxford University Press)