Dionysus - Greek God of Wine and Festivity Statue

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Zanker, Paul, Seán Hemingway, Christopher S. Lightfoot, and Joan R. Mertens. 2019. Roman Art : A Guide through the Metropolitan Museum of Art's Collection. no. 21, pp. 74–75, 386–87, figs. 47, 163, New York: Scala Publishers. To the west, on the "minor" facade, was the quarrel between Athena and Poseidon for Athens and Attica and the victory of the Virgin Goddess, one of the great local myths. [8] [14] [15] The two divinities disputed sovereignty over the region. They decided to offer the most beautiful gifts to win. With one blow of his trident, the god of the seas caused a spring (or a lake) of salty water to spring up on the acropolis. The virgin goddess with a spearhead made the first olive tree appear. The sources do not agree on the identity of the referees. They chose Athena and her olive tree. [16] [17] This story is first recounted by Herodotus (VIII, 55). This myth had hitherto been little represented: the artist who conceived the ensemble, as well as the sculptors, had a complete freedom. [18] The University of Kansas prohibits discrimination on the basis of race, color, ethnicity, religion, sex, national origin, age, ancestry, disability, status as a veteran, sexual orientation, marital status, parental status, gender identity, gender expression, and genetic information in the university's programs and activities. Retaliation is also prohibited by university policy. The following persons have been designated to handle inquiries regarding the nondiscrimination policies and are the Title IX coordinators for their respective campuses: Director of the Office of Institutional Opportunity & Access, [email protected], Room 1082, Dole Human Development Center, 1000 Sunnyside Avenue, Lawrence, KS 66045, 785-864-6414, 711 TTY (for the Lawrence, Edwards, Parsons, Yoder, and Topeka campuses); Director, Equal Opportunity Office, Mail Stop 7004, 4330 Shawnee Mission Parkway, Fairway, KS 66205, 913-588-8011, 711 TTY (for the Wichita, Salina, and Kansas City, Kansas medical center campuses).

Most of our knowledge of the winners of the City Dionysia and the Lenaea festival comes from a series of damaged inscriptions referred to as the Fasti ( IG II 2 2318), the Didascaliae ( IG II 2 2319-24) and the Victors Lists ( IG II 2 2325). [7] Tragedy [ edit ] Stewart, Andrew F. (2018). “Classical Sculpture from the Athenian Agora, Part 1: The Pediments and Akroteria of the Hephaisteion.” Hesperia 87 (4):681–741. During the height of the Athenian Empire in the mid-5th century BC, various gifts and weapons showcasing Athens' strength were carried as well. Also included in the procession were bulls to be sacrificed in the theatre. The most conspicuous members of the procession were the chorēgoí (χορηγοί, "sponsors", literally: "chorus leaders"), who were dressed in the most expensive and ornate clothing. After the pompē, the chorēgoí led their choruses in the dithyrambic competitions. These were extremely competitive, and the best flute players and celebrity poets (such as Simonides and Pindar) offered their musical and lyrical services. After these competitions, the bulls were sacrificed, and a feast was held for all the citizens of Athens. A second procession, the kōmos (κῶμος), occurred afterwards, which was most likely a drunken revelry through the streets. Bassareus, Βασσαρεύς a Thracian name for Dionysus, which derives from bassaris or "fox-skin", which item was worn by his cultists in their mysteries. [41] [42]

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] Name [ edit ] Etymology [ edit ] Dionysus extending a drinking cup ( kantharos) (late sixth century BC) This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. 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

Statue of Bacchus was a major conservation project at the NCMA. Parts of sculptures from different time periods were used to create the current version of the statue. Its original right arm was missing, but the NCMA conservation team was able to fully restore the statue based on historical and scientific research. Adoneus, a rare archaism in Roman literature, a Latinised form of Adonis, used as epithet for Bacchus. [36] Brinkmann, Vinzenz; Koch-Brinkmann, Ulrike (2021). "Learning from Delphi. Provisional Thoughts on Interdependencies of Storytelling on the Siphnian Treasury and the Athenian Parthenon". In Bäbler, Balbina; Nesselrath, Heinz-Günther (eds.). Delphi. Apollons Orakel in der Welt der Antike. Omadios ("flesh-eater"), Eusebius writes in Preparation for the Gospel that, Euelpis of Iacchus, Ἴακχος a possible epithet of Dionysus, associated with the Eleusinian Mysteries. In Eleusis, he is known as a son of Zeus and Demeter. The name "Iacchus" may come from the Ιακχος ( Iakchos), a hymn sung in honor of Dionysus.

Outsider or Olympian?

Bassareus" redirects here. For for the genus of beetle, see Bassareus (beetle). The over-life size second-century AD Ludovisi Dionysus, with panther, satyr and grapes on a vine, Palazzo Altemps, Rome Epiphany of Dionysus mosaic, from the Villa of Dionysus (second century AD) in Dion, Greece, Archeological Museum of Dion A Roman fresco depicting Bacchus, Boscoreale, c. 30 BC Mar-10 Jun, Australia, Canberra, National Gallery of Australia, Civilization: Ancient Treasures from the British Museum, cat. no.87 Bromios Βρόμιος ("roaring", as of the wind, primarily relating to the central death/resurrection element of the myth, [48] but also the god's transformations into lion and bull, [49] and the boisterousness of those who drink alcohol. Also cognate with the "roar of thunder", which refers to Dionysus' father, Zeus "the thunderer". [50]) A youthful Dionysus is crowned with grapes in a first-century A.D. marble statue at the Naples Archaeological Museum. ACI/Alamy

Rolley, Claude (1999). La Sculpture grecque, vol. II: La période classique. Manuels d'art et d'archéologie antiques. Picard. 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.

Picón, Carlos A., Elizabeth J. Milleker, and Joan R. Mertens. 1991. "Recent Acquisitions: A Selection 1990–1991." Bulletin of The Metropolitan Museum of Art, 49(2): pp. 10–11. The son of an immortal god and a mortal princess, Dionysus’ role forged a crucial link between humanity and the divine, serving as a force of cyclical, unbridled nature who drew men and women out of themselves through intoxication. In that sense, Dionysus, a genial but wild and dangerously ravishing intermediary, represents one of the enduring mysteries and paradoxes of life. Lullies, R., and M. Hirmer. 1960. Greek Sculpture (New York) 72, pls. 220-222. Morrow, K.D. 1985. Greek Footwear and the Dating of Sculpture (Madison) 83-4, 113-4.

The east pediment, on the most sacred facade, evokes the birth of Athena before the other gods together, a theme already developed in the decor of ceramics, but never yet in sculpture. [14] [15] [28] However, we know little about it because it disappeared very early, when the Parthenon was transformed into a church in the seventh or eighth century. [14] [28] The pediments of the Parthenon are the two sets of statues (around fifty) in Pentelic marble originally located as the pedimental sculpture on the east and west facades of the Parthenon on the Acropolis of Athens. They were probably made by several artists, including Agoracritos. The master builder was probably Phidias. They were probably lifted into place by 432 BC, having been carved on the ground.

Divine influence

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 The Egyptian god Osiris, for instance, was equated with Dionysus by the Greek historian Herodotus during the fifth century B.C. By late antiquity, some gnostic and Neoplatonist philosophers had expanded the syncretic equation to include Aion, Adonis, and other gods of the mystery religions. Scholars also note links between the life-giving wine of the Dionysian cult and the centrality of wine in the Christian Eucharist, as well as parallels between the Greek god and Christ himself. The sixth-century B.C. classical cult known as Orphism centered on the belief that Dionysus was torn to pieces and then resurrected. Twentieth-century thinkers such as James Frazer saw Dionysus and Christ in the context of an eastern Mediterranean tradition of dying-and-rising gods, whose sacrifice and resurrection redeemed their people. Howard Kathleen. 1994. Metropolitan Museum of Art Guide: Works of Art Selected by Philippe De Montebello. New York: The Metropolitan Museum of Art. Michaelis, Adolf. 1874. "Die Privatsammlungen antiker Bildwerke in England." Archäologische Zeitung, 32: no. 11. in German) Georg Treu, Hermes mit dem Dionysosknaben: ein Originalwerk des Praxiteles gefunden im Heraion zu Olympia, Wasmuth, Berlin, 1878.