View allAll Photos Tagged Demeter
I finally felt I had a computer worthy enough to be called zeus.
Running some hard drive tests on zeus.
Sacred to both Demeter and Dionysus, this is a celebration of the of the pruning of the vines, the first fermentation of the year's wine, and of the consecration of the next year's planting. The service was lead by the heterai and the Eleusinian Arkhontes, and began with the preparation of a banquet that honors Demeter's bounty and the fertility aspect of Dionysus with pudenda- and phallus-shaped cakes. After the preliminary feast, the magistrates departed, and the heterai held a second rite that consisted of copious wine consumption, ritual symbolic fornication, and formal offerings of incense, grain, and cakes to sacred statues of the deities and to clay images of genitalia. Finally, the magistrates and priests were permitted to rejoin the ritual. A Priest and Priestess bore torches that symbolizes Demeter and her daughter Persephone presided over the final ceremony, which culminated in the ultimate celebration of fertility: an orgy that lasted til dawn.
Wine grapes, pomegranate, myrrh, frankincense and olive leaf, and the warm scent of offertory cakes.
| Oceanus |
| Detalhe do Mosaico Os Deuses das Águas. |
Na mitologia grega, Oceanus, do grego Οκεανος (okeanos), Oceano ou Mares, era o imenso rio que “rodeava” a Terra.
Era personificado pelo titã de mesmo nome, filho de Urano e de Gaia e tinha um corpo formado por um torso de um homem, com cornos na cabeça e grande barba, terminando com a cauda de uma serpente.
Alguns estudiosos consideram que Oceanus representava originalmente todas as massas de água salgada, incluindo o Mediterrâneo e o Oceano Atlântico, as duas maiores massas conhecidas pelos antigos gregos. Contudo, com a evolução dos conhecimentos geográficos, Oceanus passou a representar apenas as águas desconhecidas do Atlântico (também chamado de "Mar Oceano"), enquanto Poseidon reinava no Mediterrâneo.
Da união com sua irmã Tétis, foram originadas as ninfas dos mares ou Oceânidas, dentre as quais Anfitrite, mãe de Tritão, as Nereidas, os rios, além de todos os seres marinhos, que tomavam parte ativa nas aventuras dos deuses, como os golfinhos.
Late Second Century BC, Korba.
The Greek Godess, Demeter, sitting on a throne, head capped with a cylindrical tiara.
Exhibited at the Bardo National Museum, Tunisia.
SKYTHIA, Olbia. Circa 350-330 BC. Cast Æ (66mm, 105.90 g, 12h). Head of Demeter facing, wearing grain-ear wreath and necklace / Sea eagle standing right, wings spread and head left, on dolphin right; OΛBIH above. Anokhin 242–3 var. (grain ear on rev.); Karyshkovskij p. 403, Таб. VII=C, 1–2 var. (same); Frolova & Abramzon 235 var. (same); SNG BM Black Sea 393 var. (same); SNG Pushkin 96–7 var. (same); SNG Stancomb –; Sutzu II –. VF, dark green-brown patina, some smoothing. Very rare, one of 18 known, 11 of which are in museums.
From the Alex Shubs Collection.
These are the final cast bronze coins of Olbia during the Classical Period, as well as the final large cast bronze asses in Olbia's history. There are 8 different varieties known, distinguished by the letters and/or symbol on their reverse. Letters A, B, Γ, and E are known without other symbols, while Δ is found with a star, and Y with an ear of grain. An ear of grain also occurs without a letter, and some examples have no letters or symbols at all. The appearance of these letters and symbols may reflect a change in the political structure of the city. In numismatics, the appearance of letters on pre-Hellenistic coinage have often been connected with oligarchy (see, for instance, coins of Samos [Barron, pp. 40-3, 89-93] and Tauric Chersonesos [Anokhin, Khersonesa, pp. 44-45]). Thus, an oligarchic system may have been reinstated at Olbia circa 350 BC. In 334 BC, Alexander the Great changed the ruling oligarchy in Miletos, the parent city of Olbia, and a desire to change the political situation in Olbia may have prompted Alexander's general Zopyrion to besiege the city in circa 330 BC.
CNGTRITONXVI, 40
SD/SD+ necklace made of gold plated wire-wrapped chain with natural faceted hessonite and rhodolite garnet and two citrine gemstones in gold plated setting.
Bit of an elusive bastard this one - normally slips in and out of Southampton at stupid o'clock in the morning and under the cover of darkness.
Operating NYK's AX2 service, she's running late (normally in Sunday AM out Sunday PM), as she arrived from Charleston (South Carolina) on Monday morning, and is seen here outbound to Antwerp, then Bremerhaven and Le Havre before returning to the USA.
(From) Castle Hill, Southsea
13 January 2015
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.
Obverse: Wreathed head of Demeter right, wearing triple-pendant earring. Reverse: Within laurel wreath, the two Kabeiri (Dioskouroi) stand facing, spears in outer hands, inner hands lowered. Star above each head. At right: monogram. Inscriptions in Greek around and in exergue. (see media screen for Greek inscriptions)
Provenance
By 1985: with Münzen und Medaillen A.G., Malzgasse 25, Basel, Switzerland; purchased by MFA from Münzen und Medaillen A.G., June 25, 1986
Credit Line
Theodora Wilbour Fund in memory of Zoë Wilbour
Greek, Hellenistic Period, about 200 B.C.
Mint
Syros (Aegean Islands)
Dimensions
Diameter: 31.5 mm. Weight: 16.98 gm. Die Axis: 1
Accession Number
1986.246
Medium or Technique
Silver
Mosaico descrevendo o mito de Antiope e o Sátiro. A beleza de Atíope atraiu Zeus, que assumindo a forma de um sátiro, a seduziu.
SKYTHIA, Olbia. Circa 350-330 BC. Cast Æ (66mm, 106.50 g, 12h). Head of Demeter facing, wearing grain-ear wreath and necklace / Sea eagle standing left, wings spread and head right, on dolphin left; OΛBIH above, retrograde B below. Anokhin 235; Karyshkovskij p. 400, Таб. VI=C, 2; Frolova & Abramzon 237 var. (different control letter); SNG BM Black Sea 390–2 var. (no control letter); SNG Pushkin 91–3 var. (same); SNG Stancomb 348 var. (different control letter); Sutzu II –. Good VF, dark green patina with patches of red, die break on reverse. Very rare, one of 26 known, 20 of which are in museums.
From the Alex Shubs Collection.
These are the final cast bronze coins of Olbia during the Classical Period, as well as the final large cast bronze asses in Olbia's history. There are 8 different varieties known, distinguished by the letters and/or symbol on their reverse. Letters A, B, Γ, and E are known without other symbols, while Δ is found with a star, and Y with an ear of grain. An ear of grain also occurs without a letter, and some examples have no letters or symbols at all. The appearance of these letters and symbols may reflect a change in the political structure of the city. In numismatics, the appearance of letters on pre-Hellenistic coinage have often been connected with oligarchy (see, for instance, coins of Samos [Barron, pp. 40-3, 89-93] and Tauric Chersonesos [Anokhin, Khersonesa, pp. 44-45]). Thus, an oligarchic system may have been reinstated at Olbia circa 350 BC. In 334 BC, Alexander the Great changed the ruling oligarchy in Miletos, the parent city of Olbia, and a desire to change the political situation in Olbia may have prompted Alexander's general Zopyrion to besiege the city in circa 330 BC.
CNGTRITONXVI, 39
One of the statues from the exhibition "Ercolano: tre secoli di scoperte" ("Herculaneum: three centuries of discovery") at the Naples archaeological museum. A number of the statues from the exhibition haven't been on display for some time.
This marble statue shows Demeter and is a relatively recent discovery. It was found on 21 April 1997 near a monumental structure of ancient Herculaneum, located to the southwest of the Villa of the Papyri.
Inv 4331 / 81595
Taken with Tiz's camera
IMG_2085_TN, 30%
Photographed at the National Museum of Rome galleries in the remains of the Baths of Diocletian, Rome, Italy.
Meldreth, Cambridgeshire, looking toward the Hertfordshire hills, 20th. July 2003 [52.087861, 0.004227]
[PX03~18]
This year, ten years on, Demeter is very late. The green of the field at the bottom of the garden is hardly pale. No gold yet.
Scaled to 1000px ~ Contact for large size and high resolution availability. Thank you for viewing.
Eleni Giannoulis
*Credit
-Original concept by Leah Johnston (http://www.flickr.com/leahjohnston)
-Picture from Stephen Medvidick's photobucket
Eleni Giannoulis
*Credits:
-Original photos by Leah Johnston (http://www.flickr.com/leahjohnston)
-'Olympus' from O-Cast Opening
Terracotta votives
Late 4th - 3rd c. BCE
Sanctuary of Demeter and Kore
Casaletto, Ariccia, Lazio
Exhibited in the Museo Nazionale Romano at the Baths of Diocletian, Rome, Italy
London '23
The British Museum
Parthenon Sculptures (East Pediment EFG)
By Pheidias' Workshop, Athens, 442-438 BC
(photo out of focus) 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).
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.
This marble figure of a woman, on display in the small museum of sculpture at Gortyna Southern Crete, stands alongside a number of other incomplete sculptures. The statue is headless, but a clue allows us to believe that Demeter or better still the Kore Persephone is represented. In the left hand held across the body is a spray of poppy heads (see detail on accompanying photo), associated both with Demeter's cornfields and with Persephone's underworld in the legend. Tempting to think that the head survives in some other museum of the world.
Gortys, Museum of Sculpture, uncertain date.
Roman, 2nd century AD
From Athens, Greece.
This small statue represents the Greek goddess Demeter, with a torch in her left hand. In antiquity, Demeter was closely associated with the religious mysteries at Eleusis near Athens.
During the eighteenth century relatively little marble sculpture entered Britain from Greece, as it was still off the main route of the Grand Tour. This changed slowly over the first decades of the nineteenth century. This statue is thought to be from Athens, where it was discovered together with statues of the gods Poseidon and Cybele. It was presented to the British Museum by J. S. Gaskoin in 1836.
The statue stands on an ornate Roman funerary altar found in a vineyard outside the Porta Appia in Rome, set up by a freed man of the imperial family in honour of his mother. The altar was known since the early sixteenth century and later entered the collection of the Duc de Blacas.
The method of displaying statues on ancient altars and similar monuments rather than custom-made plinths of a uniform design was first employed in the Papal Museo Pio-Clementino in Rome in the 1770s. In Britain, the renowned collector Charles Townley (1737-1805) was one of the first to adopt this fashion for the display of the sculptures in his London townhouse.