|
Paestan Vase Painting
Paestan vase painting was a style of Greek vase painting, vase painting associated with Paestum, a Campanian city in Italy founded by Greek colony, Greek colonists of Magna Graecia. Paestan vase painting is one of five regional styles of South Italian vase painting, South Italian red-figure vase painting. Development The Paestan vase painting style was originated by Sicilian immigrants around 360 BC, and was the last of the South Italian styles to develop. The first workshop was controlled by Asteas and Python (painter), Python, who are the only South Italian vase painters known from inscriptions. They mainly painted Krater#Bell krater, bell kraters, neck amphorae, ''hydria, hydriai'', ''Lebes Gamikos, lebes gamikos'', ''lekanes'', ''lekythos, lekythoi'' and jugs, more rarely ''pelikes'', chalice kraters, and volute kraters. Asteas and Python had a major influence on the vase painting of Paestum, clearly visible in the work of the Aphrodite Painter, a likely immigrant from Apulia. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aphrodite Painter
Aphrodite (, ) is an ancient Greek goddess associated with love, lust, beauty, pleasure, passion, procreation, and as her syncretised Roman counterpart , desire, sex, fertility, prosperity, and victory. Aphrodite's major symbols include seashells, myrtles, roses, doves, sparrows, and swans. The cult of Aphrodite was largely derived from that of the Phoenician goddess Astarte, a cognate of the East Semitic goddess Ishtar, whose cult was based on the Sumerian cult of Inanna. Aphrodite's main cult centers were Cythera, Cyprus, Corinth, and Athens. Her main festival was the Aphrodisia, which was celebrated annually in midsummer. In Laconia, Aphrodite was worshipped as a warrior goddess. She was also the patron goddess of prostitutes, an association which led early scholars to propose the concept of sacred prostitution in Greco-Roman culture, an idea which is now generally seen as erroneous. A major goddess in the Greek pantheon, Aphrodite featured prominently in ancient Gree ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Electra
Electra, also spelt Elektra (; ; ), is one of the most popular Greek mythology, mythological characters in tragedies.Evans (1970), p. 79 She is the main character in two Greek tragedies, ''Electra (Sophocles play), Electra'' by Sophocles and ''Electra (Euripides play), Electra'' by Euripides. She is also the central figure in plays by Aeschylus, Vittorio Alfieri, Alfieri, Voltaire, Hugo von Hofmannsthal, Hofmannsthal, Eugene O'Neill, and Jean-Paul Sartre. She is a vengeful soul in ''Oresteia#The Libation Bearers, The Libation Bearers'', the second play of Aeschylus' ''Oresteia'' trilogy. She plans out an attack with her brother to kill their mother, Clytemnestra. In psychology, the Electra complex is named after her. Family Electra's parents were King Agamemnon and Queen Clytemnestra of Mycenae. Her sisters were Iphigenia and Chrysothemis, and her brother was Orestes (mythology), Orestes. In the ''Iliad'', Homer is understood to be referring to Electra in mentioning "Laodice" as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Orestes
In Greek mythology, Orestes or Orestis (; ) was the son of Agamemnon and Clytemnestra, and the brother of Electra and Iphigenia. He was also known by the patronymic Agamemnonides (), meaning "son of Agamemnon." He is the subject of several Ancient Greek plays and of various myths connected with his madness, revenge, and purification, which retain obscure threads of much older works. In particular Orestes plays a main role in Aeschylus' '' Oresteia.'' Etymology The Greek name Ὀρέστης, having become "Orestēs" in Latin and its descendants, is derived from Greek ὄρος (óros, "mountain") and ἵστημι (hístēmi, "to stand"), and so can be thought to have the meaning "stands on a mountain". Greek literature Homer In the Homeric telling of the story, Orestes is a member of the doomed house of Atreus, which is descended from Tantalus and Niobe. He is absent from Mycenae when his father, Agamemnon, returns from the Trojan War with the Trojan princess Cass ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Silenos
In Greek mythology, Silenus (; , ) was a companion and tutor to the wine god Dionysus. He is typically older than the satyrs of the Dionysian retinue ('' thiasos''), and sometimes considerably older, in which case he may be referred to as a Papposilenus. ''Silen'' and its plural ''sileni'' refer to the mythological figure as a type that is sometimes thought to be differentiated from a satyr by having the attributes of a horse rather than a goat, though usage of the two words is not consistent enough to permit a sharp distinction. Silenus presides over other daimons and is related to musical creativity, prophetic ecstasy, drunken joy, drunken dances and gestures. In the decorative arts, a "silene" is a Silenus-like figure, often a "mask" (face) alone. Evolution The original Silenus resembled a folkloric man of the forest, with the ears of a horse and sometimes also the tail and legs of a horse. The later sileni were drunken followers of Dionysus, usually bald and fat with thic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maenad
In Greek mythology, maenads (; ) were the female followers of Dionysus and the most significant members of his retinue, the '' thiasus''. Their name, which comes from μαίνομαι (''maínomai'', “to rave, to be mad; to rage, to be angry”), literally translates as 'raving ones'. Maenads were known as Bassarids, Bacchae , or Bacchantes in Roman mythology after the penchant of the equivalent Roman god, Bacchus, to wear a bassaris or fox skin. Often the maenads were portrayed as inspired by Dionysus into a state of ecstatic frenzy through a combination of dancing and intoxication. During these rites, the maenads would dress in fawn skins and carry a thyrsus, a long stick wrapped in ivy or vine leaves and tipped with a pine cone. They would weave ivy-wreaths around their heads or wear a bull helmet in honor of their god, and often handle or wear snakes. These women were mythologized as the "mad women" who were nurses of Dionysus in Nysa. Lycurgus "chased the Nurs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Satyr
In Greek mythology, a satyr (, ), also known as a silenus or ''silenos'' ( ), and sileni (plural), is a male List of nature deities, nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated erection. Early artistic representations sometimes include horse-like legs, but, by the sixth century BC, they were more often represented with human legs. Comically hideous, they have mane-like hair, bestial faces, and snub noses and they always are shown naked. Satyrs were characterized by their ribaldry and were known as lovers of wine, music, dancing, and women. They were companions of the god Dionysus and were believed to inhabit remote locales, such as woodlands, mountains, and pastures. They often attempted to seduce or rape nymphs and mortal women alike, usually with little success. They are sometimes shown masturbation, masturbating or engaging in bestiality. In classical Athens, satyrs made up the Greek chorus, chorus in a genre of play kn ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symposium
In Ancient Greece, the symposium (, ''sympósion'', from συμπίνειν, ''sympínein'', 'to drink together') was the part of a banquet that took place after the meal, when drinking for pleasure was accompanied by music, dancing, recitals, or conversation.Peter Garnsey, ''Food and Society in Classical Antiquity'' (Cambridge University Press, 1999), p. 13online Sara Elise Phang, ''Roman Military Service: Ideologies of Discipline in the Late Republic and Early Principate'' (Cambridge University Press, 2008), pp. 263–264. Literary works that describe or take place at a symposium include two Socratic dialogues, Plato's '' Symposium'' and Xenophon's '' Symposium'', as well as a number of Greek poems, such as the elegies of Theognis of Megara. Symposia are depicted in Greek and Etruscan art that shows similar scenes. In modern usage, it has come to mean an academic conference or meeting, such as a scientific conference. The Latin equivalent of a Greek symposium in Roman s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thiasos
In Greek mythology and religion, the ''thiasus'' was the ecstatic retinue of Dionysus, often pictured as inebriated revelers. Many of the myths of Dionysus are connected with his arrival in the form of a procession. The grandest such version was his triumphant return from "India", which influenced symbolic conceptions of the Roman triumph and was narrated in rapturous detail in Nonnus's ''Dionysiaca''. In this procession, Dionysus rides a chariot, often drawn by big cats such as tigers, leopards, or lions, or alternatively elephants or centaurs. The ''thiasos'' of the sea god Poseidon is depicted as a triumphal wedding procession with Amphitrite, attended by figures such as sea nymphs and hippocamps. In historical Greek society, ''thiasoi'' (: ) were religious organizations whose existence was protected by law. Dionysian ''thiasos'' The most significant members of the ''thiasus'' were the human female devotees, the maenads, who gradually replaced immortal nymphs. In Gree ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dionysian Mysteries
The Dionysian Mysteries were a ritual of ancient Greece and Rome which sometimes used intoxicants and other trance-inducing techniques (like dance and music) to remove inhibitions. It also provided some liberation for people marginalized by Greek society, such as slaves, outlaws, and non-citizens. In their final phase the Mysteries shifted their emphasis from a chthonic, underworld orientation to a transcendental, mystical one, with Dionysus changing his nature accordingly. By its nature as a mystery religion reserved for the initiated, many aspects of the Dionysian cult remain unknown and were lost with the decline of Greco-Roman polytheism. Modern knowledge is derived from descriptions, imagery and cross-cultural studies. Origins The Dionysian Mysteries of mainland Greece and the Roman Empire are thought to have evolved from a more primitive initiatory cult of unknown origins. It spread throughout the Mediterranean region by the start of the Classical Greek period. It ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Crenelation
A battlement, in defensive architecture, such as that of city walls or castles, comprises a parapet (a defensive low wall between chest-height and head-height), in which gaps or indentations, which are often rectangular, occur at intervals to allow for the launch of arrows or other projectiles from within the defences. These gaps are termed embrasures, also called crenels or crenelles, and a wall or building with them is described as ; alternative older terms are and . The act of adding crenels to a previously unbroken parapet is termed crenellation. The function of battlements in war is to protect the defenders by giving them part of the parapet to hide behind, from which they can quickly expose themselves to launch projectiles, then retreat behind the parapet. A defensive building might be designed and built with battlements, or a manor house might be fortified by adding battlements, where no parapet previously existed, or cutting crenellations into its existing parapet ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sepal
A sepal () is a part of the flower of angiosperms (flowering plants). Usually green, sepals typically function as protection for the flower in bud, and often as support for the petals when in bloom., p. 106 Etymology The term ''sepalum'' was coined by Noël Martin Joseph de Necker in 1790, and derived . Collectively, the sepals are called the ''calyx'' (plural: calyces), the outermost Whorl (botany), whorl of parts that form a flower. The word ''calyx'' was adopted from the Latin ,Jackson, Benjamin, Daydon; A Glossary of Botanic Terms with their Derivation and Accent; Published by Gerald Duckworth & Co. London, 4th ed 1928 not to be confused with 'cup, goblet'. The Latin ''calyx'' is derived from Greek 'bud, calyx, husk, wrapping' ( Sanskrit 'bud'), while is derived from Greek 'cup, goblet'; both words have been used interchangeably in botanical Latin. Description The term ''tepal'' is usually applied when the parts of the perianth are difficult to distinguish, e. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
