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A marble urn from the early Roman imperial period, based on an Alexandrian model of the late Hellenistic era. It is a cinerary urn depicting the initiation of Hercules into the Eleusinian mysteries. The sides are decorated with three scenes: (1) Demeter with ears of corn in her hand and hair, a torch in her free hand, while her daughter Kore approaches and the god Iacchus touches a snake coiled around her seat; (2) A priestess holding a wicker screen (liknon) over the head of an initiate covered in a lion-skin; (3) Hercules holding a piglet while a priest pours water over the animal. National Museum of Rome, Palazzo Massimo (inv. 11301).
A hidrelétrica de Birecik, no Rio Eufrates, inundaria o sítio arqueológico em poucos meses e suas peças e mosaicos foram retiradas ás pressas em um eforço de arqueólogos de várias nacionalidades.
A hidrelétrica de Birecik, no Rio Eufrates, inundaria o sítio arqueológico e suas peças e mosaicos foram retiradas as pressas em um eforço de arqueólogos de várias nacionalidades.
Obverse: Head of the young Dionysos to right, wreathed in ivy. Reverse: Female (Demeter Thesmophoros?) seated to left, on a cista mystica. She holds two ears of corn in her right hand, a scepter in the left. She wears chiton, and peplos over her lower limbs; her hair is wreathed with corn. Inscriptions in Greek in left and right fields. (see media screen for Greek inscriptions)
Provenance
By date unknown: with Euripides Sepheriades; November 9, 1960: purchased by MFA from Euripides Sepheriades for $ 1325.00 (this is the total price for 60.1295-60.1297)
Credit Line
Theodora Wilbour Fund in memory of Zoë Wilbour
Greek, Hellenistic Period, about 150 B.C.
Mint
Paros (Aegean Islands)
Catalogue Raisonné
Greek Coins, 1950-1963 (MFA), no. 134.
Dimensions
Diameter: 28.5 mm. Weight: 15.71 gm. Die Axis: 12
Accession Number
60.1295
Medium or Technique
Silver
Poucas vezes os arqueólogos viveram dias tão proveitosos como no mês de junho. Na pequena Belkis, a antiga estância turca às margens do Rio Eufrates, os Mosaicos, tesouros de mais de dois mil anos. Ruínas do Império Romano.
Known as the embodiment of the earth’s abundance, Demeter oversees the changing seasons, bringing the golden hues of fall and the fruits of the harvest.
After one entire year, here comes another image.
Congratulations 'ANDI2..too sad to flickr' & 'Desmo Dave!' you're right, It's Demeter!
Now we're almost there. Wait just a little more. There is still another special detail to come, and then you'll see the whole image.
This image was made with the gentle contribution of the pictures of wikimedia commons and 'Eric in SF' [check out his stunning photostream www.flickr.com/photos/ericinsf/sets/203243/ – thank you, Eric, for the permission of using your fabulous images!].
It is a very important image for me, hope you guys like the final result.
;-)
Type belonging to the cult of Demeter and Kore. Early 4th century BC. Siracusa (Syracruse) area of Sicily. End of the 5th, beginning of the 4th century BC. It's in remarkable shape considering it was found in a scared well (mud probably protected it).
The East pediment showed the miraculous birth of the goddess Athena from the head of her father Zeus. Many of the figures from the central scene are now fragmentary or entirely lost.
East pediment E and F are two female figures seated on square seats or chests, perhaps made from a single piece of marble. They both wear a sleeveless chiton, E’s chiton is belted at the waist, seen at the back. A mantle is thrown over their lower limbs. The left figure rests her left arm affectionately on her companion's shoulder. On the back of these figures, where they would not be seen, the modelling of the drapery is shallower and the folds broader and less complex. Both heads and all four hands are missing and the feet are damaged. On the right wrist of the left figure, figure E, a dowel hole, marking the attachment point of a metal bracelet, can be seen. The right figure, F, wore metal fibulae on each shoulder.
The statues are thought to represent Demeter and Persephone. Other suggested identifications are two Horae (Seasons).
Source: www.britishmuseum.org/research/collection_online/collecti...
Modern Day Demeter- The goddess of the harvest and agriculture . One image from of the twelve Olympian God Series.
Zeugma
En rive droite, Zeugma et ses trois grandes nécropoles s’étagent sur les terrasses d’un plateau formé de calcaires tendres. Les objectifs globaux des archéologues de la mission (urbanisme, aménagements des berges, etc.) étaient identiques à ceux de la rive gauche, mais la prospection géophysique a été exclue en raison de la nature du sous-sol et du colluvionnement (accumulations de débris d’érosion) important lié aux précipitations, rares mais torrentielles. En revanche, des fouilles, des décapages en extension et une prospection pédestre systématique ont été réalisés afin de dresser un plan de la ville et des deux nécropoles menacées par la montée des eaux (à l’est et à l’ouest du site). Dans ces dernières, l’opération a permis d’inventorier 300 hypogées (chambres funéraires collectives creusées dans le rocher) taillés dans le calcaire à l’époque romaine. Le nombre de cuves creusées dans le sol (elles ont la forme de sarcophages) varie de 2 à 86 pour la plus grande. L’étude de l’architecture, des décors peints, des inscriptions, des stèles funéraires et des reliefs creusés dans les façades des tombes ont livré de précieux renseignements sur les coutumes funéraires, la densité des populations, et les origines des habitants…
Dans la ville elle-même, outre la mise au jour des deux grandes places romaines avec leurs systèmes d’adduction et d’évacuation des eaux, le bâtiment des archives du Sénat (fouillé par Mehmet Önal) contenait 65 000 sceaux de l’époque d’Auguste. En bordure du fleuve, plusieurs habitations ainsi que des bains ont également pu être dégagés. Il reste malheureusement peu de traces des aménagements des berges, en dehors de leur renforcement à l’aide de divers gros blocs d’architecture. Si le secteur du passage sur l’Euphrate est désormais localisé, les constructions liées au maintien d’un pont de bateaux ont malheureusement disparu depuis longtemps dans le cours de ce fleuve capricieux.
Os grandes mosaicos e afrescos que decoravam paredes e pisos dascasas da cidade, além de estátuas, milhares de objetos e inscrições, resgatados as pressas do sítio arqueológico, estão expostos hoje no museu de Gaziantep Turquia .
The two figures of the mosaic which were smuggled out of Turkey 36 years ago from Zeugma by Euphrates part which will be burried under the Birecik Dam waters, is brought back to Gaziantep from the U.S.A.
The two figures brought back from the USA on June 19 was assambled to the main port of the mosaic. The main port was found in Zeugma in 1993 and was brought to the Museum of Gaziantep. The missing port of the mosaic was indicated by a big question mark ( ? ) . It is now ready to be exhibited.
The mosaic which was smuggled out of country was receired in Houston by Esra Akça, one of Archeologists working for the Turkish Ministry Of Culture Museums and Monument Division and broguht to Turkey on June 19. The mosaics were broguht to Turkey in two wooden boxes and reunited with the main part. The two characters of this love story Parthenope and Metiokhos finally came back home after so many years.
It is pictured in a tectangle frame to the left of Euphrates to the right of Euphrates a water fairy is pictured laying on grass leaning on her elbow. There is a spring flowing from under her elbow. This repsents the siprings providing water to for the creeks that flow in to Euphrates.
A bottle of Meinklang Urkorn Beer Ancient Grains from Demeter Biodynamic Brewery in Austria
Meinklang Urkorn Beer Ancient Grains is a 4.75% abv beer brewed with the ancient grains Spelt, Einkorn-Wheat and Emmer-Wheat, the ancestors of all modern wheat types, which were grown at the biodynamic Meinklang farm in the Pannonian area of Burgenland, Austria.
The beer poured a hazy amber color with an offwhite head. It had a mild nutty aroma, with notes of grainy malts and citrus. Mouthfeel was creamy but with a sharp carbonation. The flavor started out with a mild malt sweetness, with a nutty taste and again hints of citrus. It was also slighty acidic from the high carbonation. It finished with a mild bitterness and some lingering fruit notes. A decent organically produced ale.
Thanks to Non Dos for importing this beer to Norway
Ashley Demeter reviews equipment procedures, plans and codes while working on her qualifications to become an NRC resident inspector.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
Photo Usage Guidelines: www.flickr.com/people/nrcgov/
Privacy Policy: www.nrc.gov/site-help/privacy.html.
For additional information, or to comment on this photo contact: OPA Resource.
Ashley Demeter performs equipment inspections while working on qualifications to become an NRC resident inspector.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
Photo Usage Guidelines: www.flickr.com/people/nrcgov/
Privacy Policy: www.nrc.gov/site-help/privacy.html.
For additional information, or to comment on this photo contact: OPA Resource.
Mosaico descrevendo o mito de Antiope e o Sátiro. A beleza de Atíope atraiu Zeus, que assumindo a forma de um sátiro, a seduziu.
Na mitologia grega, Antíope era o nome da filha do deus–rio beócio Asopo, segundo Homero (Od. xi. 260); em poemas ela é chamada a filha do rei Nicteu de Tebas ou Licurgo. Sua beleza atraiu Zeus, que assumindo a forma de um sátiro, a tomou à força . Após isto ela foi carregada por Epopeu, rei de Sicião, que não a dava até obrigada por seu tio Lico. No caminho para casa ela deu à luz, na cercania de Eleutera no monte Citerão, aos gêmeos Anfião e Zeto, de que Anfião era o filho do deus, e Zeto o filho de Epopeu. Ambos foram deixados para serem trazidos por pastores. Em Tebas Antíope agora experimentava da perseguição de Dirce, a esposa de Lico, mas enfim escapou rumo a Eleutera, e lá encontrou abrigo, inintencionalmente, na casa onde seus dois filhos foram criados como pastores.
Oskar Kokoschka
Oil paint on canvas
Oskar Kokoschka was commissioned to paint this large triptych in 1950 by Count Antoine Seilern for the entrance-hall ceiling of his London house, 56 Princes Gate, South Kensington. Kokoschka spent over six months working on the canvases on easels in a room at the house. On 15 July he wrote: ‘I put the last brush-stroke (I feel like saying axe-stroke) to my ceiling painting yesterday… This is perhaps my last big painting, and perhaps it’s my best.’ The commission gave Kokoschka the opportunity to produce a monumental work following the tradition of Baroque painters such as Rubens and Tiepolo, whom he admired and whose work formed a central part of Seilern’s art collection.
Kokoschka reworked biblical and mythological stories in the triptych to express his fears for humanity following the Second World War and the beginning of the Cold War era. The central canvas shows the Four Horsemen of the Apocalypse charging towards unsuspecting figures on the hillside opposite. This apocalyptic vision is flanked on the right by a canvas depicting Prometheus in chains, as punished by Zeus for stealing the fire of divine wisdom. For Kokoschka, Prometheus symbolised humanity’s deadly desire for power beyond its control. The left-hand canvas shows the earth goddess Demeter receiving her daughter Persephone as she is freed from the clutches of Hades, god of the underworld (represented as the artist’s self-portrait). This scene offers the hope of freedom and regeneration, which Kokoschka maintained was only possible by returning to compassionate maternal values, depicted here as the joyful reunion of mother and daughter.
[The Courtauld]
Taken in the Courtauld Gallery
Temple of Demeter and Kore, agora of Cyrene, Libya. 3rd century BC.
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Les estàtues representen Demèter i Core (Persèfone). En una cavitat subterrània s'hi llençaven garrins vius que se sacrificaven en record dels animals que s'havien precipitat per l'avenc obert per Hades quan va raptar Core.
The two figures of the mosaic which were smuggled out of Turkey 36 years ago from Zeugma by Euphrates part which will be burried under the Birecik Dam waters, is brought back to Gaziantep from the U.S.A.
The two figures brought back from the USA on June 19 was assambled to the main port of the mosaic. The main port was found in Zeugma in 1993 and was brought to the Museum of Gaziantep. The missing port of the mosaic was indicated by a big question mark ( ? ) . It is now ready to be exhibited.
The mosaic which was smuggled out of country was receired in Houston by Esra Akça, one of Archeologists working for the Turkish Ministry Of Culture Museums and Monument Division and broguht to Turkey on June 19. The mosaics were broguht to Turkey in two wooden boxes and reunited with the main part. The two characters of this love story Parthenope and Metiokhos finally came back home after so many years.
After one entire year, here comes another image. Does anybody guess it's theme? wait for the others details to get more hints.
This image was made with the gentle contribution of the pictures of wikimedia commons and 'Eric in SF' [check out his stunning photostream www.flickr.com/photos/ericinsf/sets/203243/ – thank you, Eric, for the permission of using your fabulous images!].
It is a very important image for me, hope you guys like the final result.
;-)