Mortuary portraits were popular as an artistic medium in the 1st century AD during the Roman Empire's rule over Egypt, which was dominated by an upper class of ethnic Greeks. This blending of Roman, Greek, and Egyptian cultures in the imperial province of Egypt resulted in a unique art form that drew influences from Classical Greece and Egypt while at the same time utilizing materials provided by Rome's flourishing economy.
Bion of Borysthenes (Βίων Βορυσθενίτης) (c. 325 – c. 250 BC) was a Hellenic philosopher. After being sold into slavery, and then released, he moved to Athens, where he studied in almost every school of philosophy. It is, however, for his Cynic-style diatribes that he is chiefly remembered. He satirized the foolishness of people, attacked religion, and eulogized philosophy. The quotations of Bion recorded by Teles, and preserved by Stobaeus reveal a man who "treats of ordinary human problems in a common-sense spirit, though for emphasis employing all the devices of contemporary prose style. ... The situations dealt with are those that may confront any person, from the universalia of old age, poverty, exile, slavery, the fear of death, down to the more particular case of a nagging wife."
Kleodamos
Myrsôn, what do you find sweet in the spring,
The winter, fall, or summer? Which do you pray for the most?
Is it summer when everything we have worked for is done,
Or is fall sweeter, when hunger is light for men,
Or is it winter, bad for work, when because of the season
Many warm themselves delighting in laziness and relaxation—
Or, surely, is it noble spring which pleases you more?
Tell me what’s on your mind, since leisure has allowed us to chat.
The winter, fall, or summer? Which do you pray for the most?
Is it summer when everything we have worked for is done,
Or is fall sweeter, when hunger is light for men,
Or is it winter, bad for work, when because of the season
Many warm themselves delighting in laziness and relaxation—
Or, surely, is it noble spring which pleases you more?
Tell me what’s on your mind, since leisure has allowed us to chat.
Myrsos
It is not right for mortals to judge divine deeds—
For all these things are sacred and sweet. But for you, Kleodamos,
I will confess what seems sweeter to me than the rest.
I do not wish for the summer, since the sun cooks me then.
I do not wish for the Fall, since that season brings disease.
The Winter brings ruinous snow—and I have chilling fear.
I long for Spring three times as much for the whole year,
When neither the cold nor the heat weigh upon me.
Everything is pregnant in the spring, everything grows sweet in springtime
When humans have nights and days as equal, nearly the same.”
For all these things are sacred and sweet. But for you, Kleodamos,
I will confess what seems sweeter to me than the rest.
I do not wish for the summer, since the sun cooks me then.
I do not wish for the Fall, since that season brings disease.
The Winter brings ruinous snow—and I have chilling fear.
I long for Spring three times as much for the whole year,
When neither the cold nor the heat weigh upon me.
Everything is pregnant in the spring, everything grows sweet in springtime
When humans have nights and days as equal, nearly the same.”
[Bion, fr. 2 (preserved in Stobaeus 1.8.39)]
I found this article completely by accident, but I kind of like it, so I am sharing!
Ilias Lalaounis Jewellers ‘Silver and Gold Lucky Charm’
The elegant and classical charm in gold framed by silver features an olive branch, a sacred symbol in ancient Greece, to inspire an aspiration of peace, victory, and health.
Zeus & Dione’s ‘Delos’
Inspired by a mosaic found at the entrance of the House of Dolphins on the sacred ancient island of Delos, this lucky charm depicts a symbol that for over a millennium represented the ideologies and faith of an entire civilization. Part of the proceeds from these charms will be donated to nonprofit organizations committed to the protection of our marine environment.
AESTHET’s ‘Love Bond Necklace’
All you need is love is the message of Aesthete’s silver-plated lucky charm, which was created to both to depict the antique symbol of a love bond and the number ‘20’.
Zolotas’ ‘Zeus’
For 2020, Zolotas jewellers, inspired by the spirit of the god Hephaestus, has forged precious metals into the shape of lightning bolts to honour the story of Zeus, god of the skies, and the immense power he represents. According to Greek mythology, the Cyclops bestowed Thunder and Lightning on the father of the gods as a token of gratitude. The lightning bolts, created by the god Hephaestus, constituted the heavenly channel of communication between gods and humans.
Polina Sapouna Ellis’ ‘Minotaur’
Inspired by the myth of the Minotaur, the designer has created a charm symbolizing the hidden power that we each have within. A student of archaeology with a passion for Greek mythology, she wants those who wear her charm to remember throughout 2020 that with intelligence and consciousness we can realise our goals, overcome obstacles and discover our inner truth.
The elegant and classical charm in gold framed by silver features an olive branch, a sacred symbol in ancient Greece, to inspire an aspiration of peace, victory, and health.
Inspired by a mosaic found at the entrance of the House of Dolphins on the sacred ancient island of Delos, this lucky charm depicts a symbol that for over a millennium represented the ideologies and faith of an entire civilization. Part of the proceeds from these charms will be donated to nonprofit organizations committed to the protection of our marine environment.
AESTHET’s ‘Love Bond Necklace’
All you need is love is the message of Aesthete’s silver-plated lucky charm, which was created to both to depict the antique symbol of a love bond and the number ‘20’.
Zolotas’ ‘Zeus’
For 2020, Zolotas jewellers, inspired by the spirit of the god Hephaestus, has forged precious metals into the shape of lightning bolts to honour the story of Zeus, god of the skies, and the immense power he represents. According to Greek mythology, the Cyclops bestowed Thunder and Lightning on the father of the gods as a token of gratitude. The lightning bolts, created by the god Hephaestus, constituted the heavenly channel of communication between gods and humans.
Polina Sapouna Ellis’ ‘Minotaur’
Inspired by the myth of the Minotaur, the designer has created a charm symbolizing the hidden power that we each have within. A student of archaeology with a passion for Greek mythology, she wants those who wear her charm to remember throughout 2020 that with intelligence and consciousness we can realise our goals, overcome obstacles and discover our inner truth.
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Sunday, December 29, 2019
current affairs
Remember when I reported that the Central Archaeological Council (KAS) had decided to transfer a section of an ancient Roman road discovered during excavation works for the Thessaloniki Venizelos metro station? Well, the decission has triggered the angered reaction of cultural groups and archaeologists worldwide.
The KAS announced the majority-vote decision after a 19-hour session this week according to which the significant finds be removed in order to allow the construction of the northern port city’s subway and be reinstalled at a later date once the metro station is complete.
Among the first to react was Europa Nostra, a Europe-wide cultural heritage federation representing citizens’ organizations that work to safeguard Europe’s cultural and natural heritage. Underlining the “European significance” of the finds and describing the culture ministry’s decision as the “latest worrying developments regarding the invaluable antiquities that had been discovered at the Venizelos metro station in Thessaloniki”, Europa Nostra appealed to the ΚΑS and to the Greek government expressing its concern about the recently suggested plan against their in situ preservation.
Besides Europe Nostra, other experts including archaeologists are claiming that transferring the finds would damage them. They argue that Greek officials have decided against building the station around the antiquities because it would be more time-consuming and expensive.
According to Attiko Metro SA CEO, Nikos Kouretas, the cost of transferring the finds is estimated at 70.6 million euros, allowing the metro station to open in 2023, when EU funding will end. The alternative option – to proceed with works around the antiquities – would raise the cost to 124.5 million euros and the project’s completion would be pushed back to 2026, Kouretas said.
The archaeological discoveries will be accessible to visitors and “will be displayed as befits every country that respects and honors its heritage,” said Thessaloniki Mayor Konstantinos Zervas, adding that the removal and reinstallation method was “technically secure, with a smaller cost and faster completion”.
Protests of Greece’s handling of the Thessaloniki treasures – which include a 76-meter-long and 7.5-meter-wide, Byzantine-era, marble-paved road, 7th-century shop remains, a collapsed monumental stone arch, water pipes and a sewage system – first began in 2013 and with an ongoing petition with over 26,000 signatures calling for the artefacts to remain untouched.
“There is no danger for the antiquities to suffer any problems if everything is implemented correctly. Internationally the method has been implemented both in Italy and in Egypt at the Aswan Dam,” classical archaeology professor at Aristotle University of Thessaloniki and a KAS member Michalis Tiverios told AP. “Entire temples have been moved kilometres away.”
Europa Nostra is calling on the Greek government to take heed: “The implementation of the already agreed conservation ‘in situ’ of the archaeological remains at the Venizelos metro station in Thessaloniki, would be consistent with the European Convention for the Protection of the Archaeological Heritage signed in Valetta (1992)” – a convention which was ratified by Greece in 2005 – and mandates signatories “to make provision, when elements of the archaeological heritage have been found during development work, for their conservation in situ when feasible”.
The recent controversy is yet another blow to the 13-station metro project, which was commissioned in 2003 and slated to open in 2012. Officials are now saying the subway will be completed by 2023.
The KAS announced the majority-vote decision after a 19-hour session this week according to which the significant finds be removed in order to allow the construction of the northern port city’s subway and be reinstalled at a later date once the metro station is complete.
Among the first to react was Europa Nostra, a Europe-wide cultural heritage federation representing citizens’ organizations that work to safeguard Europe’s cultural and natural heritage. Underlining the “European significance” of the finds and describing the culture ministry’s decision as the “latest worrying developments regarding the invaluable antiquities that had been discovered at the Venizelos metro station in Thessaloniki”, Europa Nostra appealed to the ΚΑS and to the Greek government expressing its concern about the recently suggested plan against their in situ preservation.
Besides Europe Nostra, other experts including archaeologists are claiming that transferring the finds would damage them. They argue that Greek officials have decided against building the station around the antiquities because it would be more time-consuming and expensive.
According to Attiko Metro SA CEO, Nikos Kouretas, the cost of transferring the finds is estimated at 70.6 million euros, allowing the metro station to open in 2023, when EU funding will end. The alternative option – to proceed with works around the antiquities – would raise the cost to 124.5 million euros and the project’s completion would be pushed back to 2026, Kouretas said.
The archaeological discoveries will be accessible to visitors and “will be displayed as befits every country that respects and honors its heritage,” said Thessaloniki Mayor Konstantinos Zervas, adding that the removal and reinstallation method was “technically secure, with a smaller cost and faster completion”.
Protests of Greece’s handling of the Thessaloniki treasures – which include a 76-meter-long and 7.5-meter-wide, Byzantine-era, marble-paved road, 7th-century shop remains, a collapsed monumental stone arch, water pipes and a sewage system – first began in 2013 and with an ongoing petition with over 26,000 signatures calling for the artefacts to remain untouched.
“There is no danger for the antiquities to suffer any problems if everything is implemented correctly. Internationally the method has been implemented both in Italy and in Egypt at the Aswan Dam,” classical archaeology professor at Aristotle University of Thessaloniki and a KAS member Michalis Tiverios told AP. “Entire temples have been moved kilometres away.”
Europa Nostra is calling on the Greek government to take heed: “The implementation of the already agreed conservation ‘in situ’ of the archaeological remains at the Venizelos metro station in Thessaloniki, would be consistent with the European Convention for the Protection of the Archaeological Heritage signed in Valetta (1992)” – a convention which was ratified by Greece in 2005 – and mandates signatories “to make provision, when elements of the archaeological heritage have been found during development work, for their conservation in situ when feasible”.
The recent controversy is yet another blow to the 13-station metro project, which was commissioned in 2003 and slated to open in 2012. Officials are now saying the subway will be completed by 2023.
On the day of the Hene kai Nea, I post a monthly update about things that happened on the blog and in projects and organizations related to it. I will also announce Elaion's coming PAT rituals.
Statistics:
- A little over 1.510.000 views right now!
- 20.000 of those hits happened in the last month
- The top five most popular posts were: The three types of souls of Aristotle (1375), Ancient fresco portraying Hellenic myth unveiled in Pompeii, Italy (374), Parthenon temple has had the wrong name for centuries, new research by archeologists claims (203), Danielle Bennett on ancient Hellenic pottery in museums (177), and PBP: Symbols of Hellenismos (149).
PAT rituals for Gamelion:
- Gamelion 7 - January 3 - Sacrifice to the Kourotrophos and Apollon Delphios
- Gamelion 7 - January 3 - Sacrifice to Apollon Lykeios
- Gamelion 8 - January 4 - Sacrifice to Apollon Apotropaius, Apollon Nymphegetes, & the Nymphs at Erkhia
- Gamelion 9 - January 5 - Sacrifice to Athena at Erkhia
- Gamelion 12-15 - January 7 - 11 - Lenaia - festival in honor of Dionysus in the Attic deme of Limnai
- Gamelion 27 - January 23 - Theogamia/Gamelia - celebrating the sacred marriage of Zeus Teleios and Hera Telei
- Gamelion 27 - January 23 - Sacrifice to Kourotrophos, Hera, Zeus Teleius, and Poseidon at Erkhia
Anything else?
Are you looking for an online shop to buy incenses and other Hellenistic basics from? Try The Hellenic Handmaid on Etsy.
Would you like to support me? Buy me a coffee.
"Does the term "maiden name" come from the myth surrounding Kore being abducted by Hades? Because Kore becomes Persephone, so I guess you can say Kore is her maiden name? Is anything more said about this change of name?"
I love the theory, but no, it doesn't as far as I am aware. A maiden name is the last name used by a woman before changing her name upon marriage. Some people prefer to use the term 'birth name'. As a general rule, a woman's maiden name is her father's last name, reflecting the patrilineal system of descent which dominates many cultures.
The ancient Hellenes didn't make use of surnames, but during some periods, formal identification commonly included place of origin. At other times clan names and patronymics ('son of') were also common. In none of these cases, though, were these names considered essential parts of the person's name, nor were they explicitly inherited in the manner which is common in many cultures today. So, while given names have been used from the most distant times to identify individuals, the advent of surnames is a relatively recent phenomenon. In Britain, hereditary surnames were adopted in the 13th and 14th centuries, initially by the aristocracy but eventually by everyone. In Japan, family names were uncommon except among the aristocracy until the 19th century.
The term 'maiden' has its roots in the Old English. It comes from 'mægden', or 'mæden', meaning a (virgin) girl, a maid, or servant, and/or Proto-Germanic 'magadinom', meaning 'young womanhood', or 'sexually inexperienced female'. The first recorded use of the term 'maiden name' comes from the 1680's, and it was applied to the myth of Persephone long after the myth was first recorded in Greek.
'Korê' (Κορη), or 'Kourê' (Κουρη), is a title (or epithet), literally meaning 'maiden' or 'girl' that was applied to Persephone as a Goddess of spring's beauty. Once She married Hades--kidnapped or not--She became the infernal Queen of the Underworld. An epithet is an attachment to the name of a God or Goddess, used to indicate either a specific domain of the Deity, a specific origin myth or region from which the Deity came, or an entirely different entity, through either domain or origin.
'Korê' remained in use throughout ancient Hellenic history, especially connected to the Eleusinian Mysteries and some of the Eleusinian Festivals. Other cult titles included Khthonia (Χθονια, Of the Earth), Karpophoros (Καρποφοροσ, Bringer of Fruit), Sôteira (Σωτειρα, Saviour), and Praxidikê (Πραξιδικη, Bringer of Justice). In the Latin, Persephone gained another title: 'Juno Inferna', literally translated as 'Infernal Queen', likening her to Juno (Hera) as Her husband was likened to Zeus.
It's important to note that Perrsephone does not become Korê, or the other way around. Persephone's name is 'Persephone' (Περσεφονη) or a variation thereof, depending on author (Persephoneia, Persephoneiê, Persephassa, Phersephassa, Phersephatta, Pherrephatta). Her titles include 'Korê', and because she was well known as such, it was often used as a replacement of her name.
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Thursday, December 26, 2019
ancient Hellenic culture Demeter Eleusinian mysteries Mythology 101 Persephone requested post
I'm not much of a Christmas gal (but happy Christmas!), and never have been. The level of consumerism always makes me a little uneasy, but enough of that soapbox. I'm here to help you view Christmas in a bit of a Hellenic light--because that's bound to raise anyone's cheer!
Now, inherently, Christmas is Roman, not Hellenic. Roman pagans first introduced the holiday of Saturnalia, a week long period of lawlessness celebrated between December 17-25. During this period courts were closed, and no one could be punished for damaging property or injuring people.
The festival began when Roman authorities chose 'an enemy of the Roman people' to represent the 'Lord of Misrule'. Each Roman community selected a victim whom they forced to indulge in food and other physical pleasures throughout the week. At the festival’s conclusion, December 25th, Roman authorities believed they were destroying the forces of darkness by brutally murdering this innocent man or woman.
The ancient Hellenic writer poet and historian Lucian (in his dialogue entitled Saturnalia) describes the festival’s observance in his time: human sacrifice, intoxication, going from house to house while singing naked, rape and other sexual license, and consuming human-shaped biscuits.
In the 4th century CE, Christianity imported the Saturnalia festival hoping to take the pagan masses in with it. Christian leaders succeeded in converting to Christianity large numbers of pagans by promising them that they could continue to celebrate the Saturnalia as Christians. The problem was that there was nothing intrinsically Christian about Saturnalia. To remedy this, these Christian leaders named Saturnalia’s concluding day, December 25th, to be Jesus’ birthday.
Christians had little success, however, refining the practices of Saturnalia. The earliest Christmas holidays were celebrated by drinking, sexual indulgence, singing naked in the streets (a precursor of modern caroling), etc.
The Saturnalia has its roots in the Rural Dionysia, and overall in the worship of Dionysos. The Rural, or lesser, Dionysia was a vintage festival. It was celebrated in the various demes of Attica in the month of Poseideon. It was celebrated with a large procession in which men carried a phallus and cakes. Revelers and singers were also a part of the procession. A representation of the God was included to represent His coming (not birth!). The festival also included stage comedies and the playing of lighthearted games. Generally, it was a joyful festival, shared by all, even the slaves.
Some other 'modern' Christmas customs: carol singing. The tradition of door-to-door carol-singing also dates back to ancient Hellas, when children would go from house to house holding effigies made of olive or laurel branches that symbolized health. They sang carols only in the homes of the rich. In return they received food. They would then go home and hang their effigies on their front door to bring their families prosperity.
The Christmas tree appeared for the first time in Germany at the end of the 16th century. It became globally known in the 19th century. In Christianity, the Christmas tree symbolizes the rejoicing of the birth of Jesus Christ. The tree was adorned first with fruits and later with clothes and other household objects. Ancient Greeks used to decorate the ancient temples with trees, symbolizing the divine gift offering. In fact, due to it's distinct shape, tree worship was widespread in ancient Hellas as part of the cult of Dionysos.
Santa Claus, who travels around the world on Christmas Eve delivering gifts in a sleigh pulled by flying reindeer, may have Dionysian roots as well. Dionysus drove around on a flying chariot pulled by exotic animals. He may not have given out gifts, but it was part of the celebration of the return of the light--perhaps the greatest gift of all.
Now, did you know that a little before the clock strikes twelve it is customary for family members to step out of the house and re-enter using their right foot. The person who enters immediately after the first footer smashes the pomegranate with force onto the door. The number of seeds that get scattered are proportional to amount of good luck the family will be blessed with over the coming year. Since ancient times, pomegranates are considered to be symbols of fertility and rebirth, after all. Now this is a custom I would love to revive!
Modern day Christmas is a conglomeration of ancient Hellenic, Roman and Norse customs, adapted by Christianity and then marketing to get where we are now. At it's roots, it was always a time of cheer and good omens, a time to spend with family, to give gifts, and to get a little tipsy. So enjoy the festivities and raise a glass to Dionysos!
After a marathon session lasting almost 14 hours, the Central Archaeological Council approved the proposal by the Attiko Metro S.A. for the construction of the Venizelos Station with the method of temporarily removing and then reinstalling the antiquities, despite numerous negative responses from institutions, private citizens and archaeologists. The decision was reached around 8.40 a.m. yesterday, December 19, 2019. Thirteen members of the Council voted in favour, two against and three left before the voting took place. For over three hours the Attiko Metro presented its proposal.
According to the study, 92% of the antiquities are to be reinstalled in their original place. The station will have two entrances / exits, giving access to two spaces exhibiting the antiquities. According to Attiκo Metro’s CEO Nikos Kouretas, the cost of this solution is estimated at €70.6 million with the station operating in 2023, the year European funding is completed. Construction of the station with the antiquities remaining, turned down by the company due to construction risks, raises the cost to €124.5 million and the estimated completion time to 2026. The company considers the station’s construction with the antiquities being removed to be the most secure solution for both antiquities and visitors to the station.
Present at the session representing those in favour of the antiquities removal were the Governor of the Region of Macedonia Apostolos Tzitzikostas and Mayor of Thessaloniki Konstatinos Zervas who said among other things that they had only lately been informed of the issue of the antiquities in the Venizelos station because they were still handling the refugee agenda.
Yannis Boutaris also spoke on behalf of the Movement of Citizens of Thessaloniki about the protection of cultural heritage and was in favour of an in situ highlighting of the antiquities.
However, following the opinion of the CAC on the removal and reinstalling of the Venizelos station antiquities, according to exclusive information from makthes.gr, the next step of the Thessaloniki Citizens’ Movement for the Protection of Cultural Heritage will be the appeal to the State Council of Greece for cancellation of this decision, to go ahead when the relevant ministerial decision is adopted.
During the archaeological excavations at the metro station “Venizelos” a whole city from the ancient Greece and Rome with stunning findings has been unearthed.
Archaeologists have brought to light an extraordinary treasure trove of more than 300,000 ancient artifacts, such as gold wreaths, rings, coins, amphorae, oil lamps, perfume vases and several statues of the goddess Aphrodite. The goddess of love and beauty was also found depicted in mosaics, one of them showing her reclining on a couch in front of Eros. The discovery of statues of Aphrodite dating from as late as 4AD showed that the city “served as a powerful bastion of the old religions until late antiquity”, said Professor Polyxeni Adam-Veleni of the archaeological museum of Thessaloniki.
Archaeologists found a stone-paved road, the Decumanus Maximus, which would have run through the heart of Thessaloniki in 6AD, as well as the remains of villas, shops, workshops and an early Christian church.
More than 5000 tombs and graves were uncovered, some of them containing exquisite golden wreaths.
During the construction of the metro network, archeologists found a stone-paved road, the Decumanus Maximus, which would have run through the heart of Thessaloniki in the sixth century AD, as well as the remains of villas, shops, workshops and an early Christian church.
“The excavations are the biggest archaeological project of recent years in Greece,” Yannis Mylopoulos, the chairman of Attiko Metro commented at the time.
According to the study, 92% of the antiquities are to be reinstalled in their original place. The station will have two entrances / exits, giving access to two spaces exhibiting the antiquities. According to Attiκo Metro’s CEO Nikos Kouretas, the cost of this solution is estimated at €70.6 million with the station operating in 2023, the year European funding is completed. Construction of the station with the antiquities remaining, turned down by the company due to construction risks, raises the cost to €124.5 million and the estimated completion time to 2026. The company considers the station’s construction with the antiquities being removed to be the most secure solution for both antiquities and visitors to the station.
Present at the session representing those in favour of the antiquities removal were the Governor of the Region of Macedonia Apostolos Tzitzikostas and Mayor of Thessaloniki Konstatinos Zervas who said among other things that they had only lately been informed of the issue of the antiquities in the Venizelos station because they were still handling the refugee agenda.
Yannis Boutaris also spoke on behalf of the Movement of Citizens of Thessaloniki about the protection of cultural heritage and was in favour of an in situ highlighting of the antiquities.
However, following the opinion of the CAC on the removal and reinstalling of the Venizelos station antiquities, according to exclusive information from makthes.gr, the next step of the Thessaloniki Citizens’ Movement for the Protection of Cultural Heritage will be the appeal to the State Council of Greece for cancellation of this decision, to go ahead when the relevant ministerial decision is adopted.
During the archaeological excavations at the metro station “Venizelos” a whole city from the ancient Greece and Rome with stunning findings has been unearthed.
Archaeologists have brought to light an extraordinary treasure trove of more than 300,000 ancient artifacts, such as gold wreaths, rings, coins, amphorae, oil lamps, perfume vases and several statues of the goddess Aphrodite. The goddess of love and beauty was also found depicted in mosaics, one of them showing her reclining on a couch in front of Eros. The discovery of statues of Aphrodite dating from as late as 4AD showed that the city “served as a powerful bastion of the old religions until late antiquity”, said Professor Polyxeni Adam-Veleni of the archaeological museum of Thessaloniki.
Archaeologists found a stone-paved road, the Decumanus Maximus, which would have run through the heart of Thessaloniki in 6AD, as well as the remains of villas, shops, workshops and an early Christian church.
More than 5000 tombs and graves were uncovered, some of them containing exquisite golden wreaths.
During the construction of the metro network, archeologists found a stone-paved road, the Decumanus Maximus, which would have run through the heart of Thessaloniki in the sixth century AD, as well as the remains of villas, shops, workshops and an early Christian church.
“The excavations are the biggest archaeological project of recent years in Greece,” Yannis Mylopoulos, the chairman of Attiko Metro commented at the time.
The open air sanctuary of Zeus in Arcadia is a special place of worship. It is situated at an altitude of 1,382 m on one of the peaks of Mount Lykaion, the Prophet Elias/Elijah where, according to recent research, it was established no later than 1500 BC. Dr. Anna Karapanagiotou is the head of the Arcadia Antiquities Ephorate and director of the joint Greek American excavation research programme active in the region these last few years. Recently, at the archaeological conference organized by the Ministry of Culture and Sports at the Megaron/Athens Concert Hall, the results of the programme were presented, whose second phase began in 2016 and will be completed in 2020.
Concerning the burial of a young man discovered in 2016 near the center of the altar, which has prompted discussions about a possible indication of human sacrifice (ancient sources have reported such practices), more recent data suggests that this is not the case.
But how did these traditions emerge that refer to lycanthropy, human sacrifice and severe punishments to the offenders of this holy place?
The first excavator of the sanctuary was the Greek archaeologist and academic Konstantinos Kourouniotis. About a century later, a long term Greek-American collaborative research programme was launched, which included excavations, conservation, restoration of monuments and scientific documentation of an ancient Arcadian sanctuary which from the 5th century BC. evolved into the religious centre of Arcadia of international renown.
The programme is under the auspices of the Ministry of Culture and Sports and the American School of Classical Studies, and on the American side it is codirected by professors David Gilman Romano and Mary E. Voyatzis from the University of Arizona. According to Ms Karapanayiotou, after 2020 a period of office based research will follow during which, among other things, a study is planned of the rich and important ancient material resulting from the 2016-2020 excavations. Moreover, in collaboration with institutions and local bodies, a comprehensive management plan of the archaeological site will be developed, which will form part of the area’s natural and cultural Park to be established. It will be called the Parassian Park, after Parassia, the age old region of western Arcadia.
"It’s a sun lit peak, literally bathed in light most days of the year. On such high peaks humans felt they communicated better with the divine. The rural population of the greater region gathered at the Prophet Elias on Mount Lykaion and expressed its devotion to the deity with animal sacrifices in its honour. Successive layers of deposits that include ashes from sacrificial fires, remnants of burnt animal bones, and soil formed over time the altar of ashes that one still encounters at the summit today. This open air altar was preserved in its primeval form until the end of antiquity. It has never acquired a monumental architectural form, a fact which indicates its supreme sanctity.
"In the programme’s current phase there was better documentation of human activity on the summit existing long before 1500 BC, at least since 4000 BC. Further study is required to answer the question about the nature of this human activity on the Prophet Elias before the Mycenaean era. What is particularly significant is that manifestations of worship at the altar did not stop after the collapse of the famous Mycenaean palaces, i.e. after 1100 BC, but continued normally in the early historical times, namely from the 11th to the 9th century BC. This is one among only a handful of such cases in mainland Greece where we can observe and document rituals of worship from one period to another.
"According to the most recent excavation data, from the 7th century BC onwards the worship event begins to extend beyond the summit. A large sanctuary evolved in the valley, two kilometers from the mountain peak, where the following buildings were established to serve the sporting events taking place every four years: a stoa, administration building, race track, stadium, preparation areas for athletes etc. This so-called ‘lower sanctuary,’ as it is known in research, was dedicated to Pan, the most important Arcadian god. It should be noted here that, according to Arcadian tradition, Pan was the twin brother of Arkas, the region’s eponymous hero, both sons of Jupiter. Therefore, we have a twin cult on Mount Lykaion, Zeus at the peak and Pan in the plain."
Concerning the burial of a young man discovered in 2016 near the center of the altar, which has prompted discussions about a possible indication of human sacrifice (ancient sources have reported such practices), more recent data suggests that this is not the case.
"For the dating of the human skeleton, a radiological analysis has been conducted for the time being at the University of Arizona’s AMS Laboratory. This first study shows that the skeleton dates after 1453 AD. Further studies will follow, as well as overall scientific use of the data by our collaborator bioarchaeologist Dr Eleana Prevedorou, so that we can reach the final conclusions. We will probably also initiate analyses in a second laboratory, as is the usual practice."
But how did these traditions emerge that refer to lycanthropy, human sacrifice and severe punishments to the offenders of this holy place?
"Mount Lykaion is one of the most popular sanctuaries in the field of fiction. From the 5th century BC onwards, and especially from the Hellenistic era, such traditions are ‘constructed’. Social anthropology combined with excavation finds and a critical study of written sources help us to understand the historical reality behind and through the myth.
"Recently, and because of many questions from journalists, I have started being interested in the werewolf, with its human and animal features, that has its roots in antiquity and the traditions of Mount Lykaion. The earliest version of the myth of lycanthropy associated with the Lycaean Mountains seems to me to have a symbolic substratum and is probably associated with rites of passage concerning the critical transition of an adolescent from childhood to adulthood. As we also learn from psychology, this process involved three stages: firstly his/her isolation from the community, then loss of the essential features of his/her human nature, and finally, after a series of trials, reintegration achieved through community acceptance. Not only in this but also in other cases of ancient societies, this delicate focal point of adolescence was accompanied by the use of symbolism and led to the creation of special rituals."
The first excavator of the sanctuary was the Greek archaeologist and academic Konstantinos Kourouniotis. About a century later, a long term Greek-American collaborative research programme was launched, which included excavations, conservation, restoration of monuments and scientific documentation of an ancient Arcadian sanctuary which from the 5th century BC. evolved into the religious centre of Arcadia of international renown.
The programme is under the auspices of the Ministry of Culture and Sports and the American School of Classical Studies, and on the American side it is codirected by professors David Gilman Romano and Mary E. Voyatzis from the University of Arizona. According to Ms Karapanayiotou, after 2020 a period of office based research will follow during which, among other things, a study is planned of the rich and important ancient material resulting from the 2016-2020 excavations. Moreover, in collaboration with institutions and local bodies, a comprehensive management plan of the archaeological site will be developed, which will form part of the area’s natural and cultural Park to be established. It will be called the Parassian Park, after Parassia, the age old region of western Arcadia.
Autumn Journal by Louis MacNeice is a famous piece of work in Irish literature. It is an autobiographical long poem in twenty-four sections. It was written between August and December 1938, when Ireland had many men fighting in the Spanish Civil War, and published as a single volume by Faber and Faber in May 1939. It was written in a discursive form, and it sets out to record the author's state of mind as the approaching World War 2 seems more and more inevitable. I wanted to quote one part to you today, from Part IX, because I think you will enjoy it.
The Glory that was Greece: put it in a syllabus, grade it
Page by page
To train the mind or even to point a moral
For the present age:
Models of logic and lucidity, dignity, sanity,
The golden mean between opposing ills
Though there were exceptions of course but
only exceptions
The bloody Bacchanals on the Thracian hills.
So the humanist in his room with Jacobean panels
Chewing his pipe and looking on a lazy quad
Chops the Ancient World to turn a sermon
To the greater glory of God.
But I can do nothing so useful or so simple;
These dead are dead
And when I should remember the paragons of Hellas
I think instead
Of the crooks, the adventurers, the opportunists,
The careless athletes and the fancy boys,
The hair-splitters, the pedants, the hard-boiled sceptics
And the Agora and the noise
Of the demagogues and the quacks; and the women pouring
Libations over graves
And the trimmers at Delphi and the dummies at Sparta
and lastly
I think of the slaves.
And how one can imagine oneself among them
I do not know;
It was all so unimaginably different
And all so long ago.
Page by page
To train the mind or even to point a moral
For the present age:
Models of logic and lucidity, dignity, sanity,
The golden mean between opposing ills
Though there were exceptions of course but
only exceptions
The bloody Bacchanals on the Thracian hills.
So the humanist in his room with Jacobean panels
Chewing his pipe and looking on a lazy quad
Chops the Ancient World to turn a sermon
To the greater glory of God.
But I can do nothing so useful or so simple;
These dead are dead
And when I should remember the paragons of Hellas
I think instead
Of the crooks, the adventurers, the opportunists,
The careless athletes and the fancy boys,
The hair-splitters, the pedants, the hard-boiled sceptics
And the Agora and the noise
Of the demagogues and the quacks; and the women pouring
Libations over graves
And the trimmers at Delphi and the dummies at Sparta
and lastly
I think of the slaves.
And how one can imagine oneself among them
I do not know;
It was all so unimaginably different
And all so long ago.
-
Sunday, December 22, 2019
poetry blogging
"I know you aren't supposed to kneel to the Ouranic Gods, but what about the Chthonic Gods? I've seen that their altars are meant to be ground/floor level so would we kneel but still raise our arms? Or how would that go really? Because I see them needing to be praised as well, but technically they are Underworld Gods and would be metaphorically below us, so by raising our arms would that be offensive to the Ouranic Gods?"
Khthonic (from Greek χθόνιος khthonios, 'in, under, or beneath the earth', from χθών khthōn 'earth') literally means 'subterranean'. It refers both to earth deities like Gaea as to underworld deities like Hades. earth deities usually received worship like the Ouranic Gods (although not always) while Underworld Gods received a different type of worship (although not always).
For these Khthonic Theoi, an
offering pit--'bothros' (βόθρος) in Greek texts--was used. Bothroi were usually dug when the occasion called for it,
and closed up afterwards. Khthonic Theoi received
special nighttime offerings of black animals, unmixed
wine and special
libations of milk and honey. Animal sacrifice was always done in a
holókaustos--a sacrifice where the entire animal was burned and none of the meat
was saved for human consumptions.
Hómēros in the Odysseia writes Circe advising Odysseus how to perform a libation to the dead:
Hómēros in the Odysseia writes Circe advising Odysseus how to perform a libation to the dead:
"Draw near then, as I bid you, hero, and dig a
trench two feet square, then pour a libation all around to the dead, first of
milk and honey, then of sweet wine, thirdly of water, sprinkled with white
barley meal."
The ancient Hellenes shaped a 'negative' (part of a) ritual by a reversal of normal practices. As normal practices dictated the practitioner stand before an altar with their hands raised, it's quite logical that they performed ritual to the Khthonic deities on their knees, hands down on the soil, sometimes beating down on it to draw the attention of the deities residing below. Where women wore their hair up or covered for standard ritual, they wore their hair down in Khthonic ritual.
Worship of the Underworld Khthonic deities was reserved for special occasions--mostly vengeance, death, and purification surrounding both. If the Underworld Khthonic Gods were worshipped in a state festival, They were generally worshipped in their Ouranic epithets.
-
Saturday, December 21, 2019
ancient Hellenic culture death Hades Hellenic Reconstruction household worship requested post
Archaeologists have found thousands of handleless clay cups at sites on the island of Crete and at the palace Knossos. One 3,500-year-old vessel, designed to be hurled out with the rubbish, is going on display at the British Museum this month. The single-use cup was made by the Minoans, one of the first advanced civilisations in Europe.
The cup will go on show at the display "Rubbish And Us" at the British Museum, which has been under pressure over environment-related issues with its sponsorship deal with oil giant BP. Julia Farley, who is a curator at the British Museum, said:
As well as being convenient, the cup was a means of showing off wealth because of all the resources "poured into making it". Farley said she hoped the display would make visitors think creatively about reducing waste, instead of just feeling guilty.
The ancient object will be shown alongside a waxed paper cup from the early 1990s - made at around the same time modern disposable cups were taking off, in The Asahi Shimbun Displays Disposable? Rubbish And Us. Other objects will include a yellow fishing basket made from plastic wrapping and photographs from across the Pacific, showing the extent of the plastic problem. Farley said:
The Museum said it is "striving to lessen its environmental impact", with all waste being either recycled or burned and converted to electricity. British Museum director Hartwig Fischer said:
"People may be very surprised to know that disposable, single-use cups are not the invention of our modern consumerist society, but in fact can be traced back thousands of years. Minoans gathered at the palace for parties, feasts and gatherings such as bull-leaping festivals - a "more risky" version of "hurdles". The elite were showing off their wealth and status by throwing these great big parties, feasts and festivals. People were getting together in large groups and much like today, nobody wants to do the washing up."
As well as being convenient, the cup was a means of showing off wealth because of all the resources "poured into making it". Farley said she hoped the display would make visitors think creatively about reducing waste, instead of just feeling guilty.
"Human beings have always produced rubbish. Making some rubbish is an unavoidable by-product of being human. We are tool-using animals. We wear clothes. Nothing lasts forever. It's in the very nature of our existence that we make rubbish. This is a sobering message about scale and consumption and I think we need to find that balance, which humans have never been very good at finding."
The ancient object will be shown alongside a waxed paper cup from the early 1990s - made at around the same time modern disposable cups were taking off, in The Asahi Shimbun Displays Disposable? Rubbish And Us. Other objects will include a yellow fishing basket made from plastic wrapping and photographs from across the Pacific, showing the extent of the plastic problem. Farley said:
"We have thousands of these Minoan, disposable cups and that's a lot. But today we are making over 300 billion papers cups globally every year. The Minoan civilisation is tiny compared to the global consumerist economy that we have now. Now we are doing what human beings have always done but we are doing it on an unprecedented scale with materials that are going to take hundreds, if not thousands of years, to biodegrade. We think of ancient people being in touch with their environment but if you cut down trees to make charcoal and burn it to fire clay that's releasing a lot of carbon dioxide."
The Museum said it is "striving to lessen its environmental impact", with all waste being either recycled or burned and converted to electricity. British Museum director Hartwig Fischer said:
"We hope that this display will make people think about their relationship with rubbish, then, now and in the future."
It seems Hermes has given up on our 17 year old car. Tomorrow, we say goodbye to our old car and today, we are going out to hunt for new one. So, a prayer to Hermes: may He make our search short and easy, and may the car we end up buying be solid, sturdy, and carry us far.
Hear me, Hermes, messenger of Zeus, son of Maia;
almighty is your heart, O lord of the deceased and judge of contests;
gentle and clever, O Argeiphontes, you are a guide
whose sandals fly, and a man-loving prophet to mortals.
You are vigorous and you delight in exercise and in deceit;
interpreter of all, you are a profiteer who frees us of cares
and who holds in his hands the blameless tool of peace.
Lord of Korykos, blessed, helpful and skilled in words,
you assist in work, you are a friend of mortals in need,
and you wield the dreaded and respected weapon of speech.
Hear my prayer and grant a good end to a life
of industry, gracious talk, and mindfulness.
almighty is your heart, O lord of the deceased and judge of contests;
gentle and clever, O Argeiphontes, you are a guide
whose sandals fly, and a man-loving prophet to mortals.
You are vigorous and you delight in exercise and in deceit;
interpreter of all, you are a profiteer who frees us of cares
and who holds in his hands the blameless tool of peace.
Lord of Korykos, blessed, helpful and skilled in words,
you assist in work, you are a friend of mortals in need,
and you wield the dreaded and respected weapon of speech.
Hear my prayer and grant a good end to a life
of industry, gracious talk, and mindfulness.
[Orphic Hymn to Hermes]
Sitting on top of the Acropolis, the Parthenon is one of the most dazzling buildings from antiquity, but for 2,000 years we have been getting its name wrong, according to new research. Dutch scholars claim that the name “Parthenon” – popularised in the Roman period - originally belonged to an entirely different building, not the vast stone temple that looms over Athens and attracts millions of tourists a year.
The real Parthenon was in fact an ancient Hellenic treasury which contained offerings to the goddess Athena, according to the research by Utrecht University. Today known as the Erechtheion, it is located about 100 yards from the main temple on the Acropolis, the massive rocky escarpment that rises from central Athens. Rather than being known as the Parthenon, the big temple should be known by its original ancient Hellenic name, the Hekatompedon. Janric van Rookhuijzen, the archeologist behind the research, told The Telegraph:
"That means ‘the hundred-foot temple’ and the main room of the big temple was indeed exactly 100 feet long,"
He acknowledges that Hekatompedon, which is mentioned in archives dating back 2,500 years, does not exactly roll off the tongue. A more user-friendly name would be “The Great Temple of Athena.”
Dr van Rookhuijzen says his research, based on a study of archeological data and ancient texts, did not go down very well initially with Greek archeologists.
"My Greek friends and colleagues were of course very suspicious – who is this Dutch guy saying the name should be changed? But they’re now saying there is some merit to the theory I have put forward."
Parthenon means “house of virgins” and the smaller temple is indeed decorated with stone caryatids, sculpted female figures which act as pillars, holding up the roof. Devoted to the ancient cult of Athena, it would have housed a treasury containing precious objects associated with the Goddess, including musical instruments and swords from Persia.
Josine Blok, professor emeritus of ancient cultures at Utrecht University, said:
"Where the scientific community is concerned, Van Rookhuijzen's insight will cause a minor seismic shift. Not only will the names need to be adjusted, this changes our image of the cult of the goddess Athena and the Acropolis as a whole."
Ineke Sluiter, professor of Greek language and literature at Leiden University, said:
The research has been published in the American Journal of Archaeology and the Dutch edition of National Geographic Magazine.
The real Parthenon was in fact an ancient Hellenic treasury which contained offerings to the goddess Athena, according to the research by Utrecht University. Today known as the Erechtheion, it is located about 100 yards from the main temple on the Acropolis, the massive rocky escarpment that rises from central Athens. Rather than being known as the Parthenon, the big temple should be known by its original ancient Hellenic name, the Hekatompedon. Janric van Rookhuijzen, the archeologist behind the research, told The Telegraph:
"That means ‘the hundred-foot temple’ and the main room of the big temple was indeed exactly 100 feet long,"
He acknowledges that Hekatompedon, which is mentioned in archives dating back 2,500 years, does not exactly roll off the tongue. A more user-friendly name would be “The Great Temple of Athena.”
"Hekatompedon is a difficult name to pronounce. That may be part of the reason that Parthenon caught on – it was much more catchy."
Dr van Rookhuijzen says his research, based on a study of archeological data and ancient texts, did not go down very well initially with Greek archeologists.
"My Greek friends and colleagues were of course very suspicious – who is this Dutch guy saying the name should be changed? But they’re now saying there is some merit to the theory I have put forward."
Parthenon means “house of virgins” and the smaller temple is indeed decorated with stone caryatids, sculpted female figures which act as pillars, holding up the roof. Devoted to the ancient cult of Athena, it would have housed a treasury containing precious objects associated with the Goddess, including musical instruments and swords from Persia.
Josine Blok, professor emeritus of ancient cultures at Utrecht University, said:
"Where the scientific community is concerned, Van Rookhuijzen's insight will cause a minor seismic shift. Not only will the names need to be adjusted, this changes our image of the cult of the goddess Athena and the Acropolis as a whole."
Ineke Sluiter, professor of Greek language and literature at Leiden University, said:
This study demonstrates the permanent importance of never blindly trusting that the commonly-held wisdom is actually true."
The research has been published in the American Journal of Archaeology and the Dutch edition of National Geographic Magazine.
The open air sanctuary of Zeus in Arcadia is a special place of worship. It is situated at an altitude of 1,382 m on one of the peaks of Mount Lykaion, the Prophet Elias/Elijah where, according to recent research, it was established no later than 1500 BC.
“It’s a sun lit peak, literally bathed in light most days of the year. On such high peaks humans felt they communicated better with the divine,” says Dr. Anna Karapanagiotou to the Athens and Macedonian News Agency. She is head of the Arcadia Antiquities Ephorate and director of the joint Greek American excavation research programme active in the region these last few years. Recently, at the archaeological conference organized by the Ministry of Culture and Sports at the Megaron /Athens Concert Hall, the results of the programme were presented, whose second phase began in 2016 and will be completed in 2020.
Concerning the burial of a young man discovered in 2016 near the center of the altar, which has prompted discussions about a possible indication of human sacrifice (ancient sources have reported such practices), more recent data suggests that this is not the case. The head of the Arcadia Ephorate of Antiquities explains:
But how did these traditions emerge that refer to lycanthropy, human sacrifice and severe punishments to the offenders of this holy place?
The first excavator of the sanctuary was the Greek archaeologist and academic Konstantinos Kourouniotis. About a century later, a long term Greek-American collaborative research programme was launched, which included excavations, conservation, restoration of monuments and scientific documentation of an ancient Arcadian sanctuary which from the 5th century BC. evolved into the religious centre of Arcadia of international renown.
The programme is under the auspices of the Ministry of Culture and Sports and the American School of Classical Studies, and on the American side it is codirected by professors David Gilman Romano and Mary E. Voyatzis from the University of Arizona. According to Ms Karapanayiotou, after 2020 a period of office based research will follow during which, among other things, a study is planned of the rich and important ancient material resulting from the 2016-2020 excavations. Moreover, in collaboration with institutions and local bodies, a comprehensive management plan of the archaeological site will be developed, which will form part of the area’s natural and cultural Park to be established. It will be called the Parassian Park, after Parassia, the age old region of western Arcadia.
"The rural population of the greater region gathered at the Prophet Elias on Mount Lykaion and expressed its devotion to the deity with animal sacrifices in its honour. Successive layers of deposits that include ashes from sacrificial fires, remnants of burnt animal bones, and soil formed over time the altar of ashes that one still encounters at the summit today. This open air altar was preserved in its primeval form until the end of antiquity. It has never acquired a monumental architectural form, a fact which indicates its supreme sanctity.
"In the programme’s current phase there was better documentation of human activity on the summit existing long before 1500 BC, at least since 4000 BC. Further study is required to answer the question about the nature of this human activity on the Prophet Elias before the Mycenaean era. What is particularly significant is that manifestations of worship at the altar did not stop after the collapse of the famous Mycenaean palaces, i.e. after 1100 BC, but continued normally in the early historical times, namely from the 11th to the 9th century BC. This is one among only a handful of such cases in mainland Greece where we can observe and document rituals of worship from one period to another.
According to the most recent excavation data, from the 7th c. BC onwards the worship event begins to extend beyond the summit. A large sanctuary evolved in the valley, two kilometers from the mountain peak, where the following buildings were established to serve the sporting events taking place every four years: a stoa, administration building, race track, stadium, preparation areas for athletes etc. This so-called ‘lower sanctuary,’ as it is known in research, was dedicated to Pan, the most important Arcadian god. It should be noted here that, according to Arcadian tradition, Pan was the twin brother of Arcas, the region’s eponymous hero, both sons of Jupiter. Therefore, we have a twin cult on Mount Lykaion, Zeus at the peak and Pan in the plain."
Concerning the burial of a young man discovered in 2016 near the center of the altar, which has prompted discussions about a possible indication of human sacrifice (ancient sources have reported such practices), more recent data suggests that this is not the case. The head of the Arcadia Ephorate of Antiquities explains:
“For the dating of the human skeleton, a radiological analysis has been conducted for the time being at the University of Arizona’s AMS Laboratory. This first study shows that the skeleton dates after 1453 AD. Further studies will follow, as well as overall scientific use of the data by our collaborator bioarchaeologist Dr Eleana Prevedorou, so that we can reach the final conclusions. We will probably also initiate analyses in a second laboratory, as is the usual practice."
But how did these traditions emerge that refer to lycanthropy, human sacrifice and severe punishments to the offenders of this holy place?
"Mount Lykaion is one of the most popular sanctuaries in the field of fiction. From the 5th c. B.C onwards, and especially from the Hellenistic era, such traditions are ‘constructed’. Social anthropology combined with excavation finds and a critical study of written sources help us to understand the historical reality behind and through the myth.
Recently, and because of many questions from journalists, I have started being interested in the werewolf, with its human and animal features, that has its roots in antiquity and the traditions of Mount Lykaion. The earliest version of the myth of lycanthropy associated with the Lycaean Mountains seems to me to have a symbolic substratum and is probably associated with rites of passage concerning the critical transition of an adolescent from childhood to adulthood. As we also learn from psychology, this process involved three stages: firstly his/her isolation from the community, then loss of the essential features of his/her human nature, and finally, after a series of trials, reintegration achieved through community acceptance. Not only in this but also in other cases of ancient societies, this delicate focal point of adolescence was accompanied by the use of symbolism and led to the creation of special rituals."
The first excavator of the sanctuary was the Greek archaeologist and academic Konstantinos Kourouniotis. About a century later, a long term Greek-American collaborative research programme was launched, which included excavations, conservation, restoration of monuments and scientific documentation of an ancient Arcadian sanctuary which from the 5th century BC. evolved into the religious centre of Arcadia of international renown.
The programme is under the auspices of the Ministry of Culture and Sports and the American School of Classical Studies, and on the American side it is codirected by professors David Gilman Romano and Mary E. Voyatzis from the University of Arizona. According to Ms Karapanayiotou, after 2020 a period of office based research will follow during which, among other things, a study is planned of the rich and important ancient material resulting from the 2016-2020 excavations. Moreover, in collaboration with institutions and local bodies, a comprehensive management plan of the archaeological site will be developed, which will form part of the area’s natural and cultural Park to be established. It will be called the Parassian Park, after Parassia, the age old region of western Arcadia.
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