View allAll Photos Tagged Demeter
ESP:
Deméter, diosa madre, diosa griega de la agricultura, nutricia pura de la tierra verde y joven, protectora del matrimonio y la ley sagrada.
CAT:
Demèter, dea mare, és la deessa grega de l'agricultura, substància pura de la terra verda i jove, protectora del matrimoni i la llei sagrada.
ENG:
Demeter is often described simply as the goddess of the harvest, she presided also over the sacred law. Some cults interpreted her as "Mother-Earth". Demeter embody aspects of a pre-Hellenic Mother Goddess.
(Fuente/Font/Source: Wikipedia)
OR
Otro título sería ORGULLO DE MUJER Y EMBARAZADA
Un altre títol seria ORGULL DE DONA I EMBARASSADA
Another title for this picture would be: PRIDE OF BEING WOMAN AND PREGNANT
Every May, Persephone, the daughter of the Goddess Demeter, escapes to the Light, running away from the darkness of the Underworld. Raped and seizured from the King Hades, the young girl must live six months under the Earth, as a Queen of his obscure Kingdom. All the blossomed flowers, the vivid colours, the bird songs, and the bright smiles of all animals are just the mirage and the reflexion of the joy of Demeter, the Great Mother of Nature, who can have back her own child for six more months.
Isis-Thermouthis was a syncretical representation in the Greek period of two Egyptian goddesses: Isis and Renenutet.
Isis-Thermouthis (Renenutet) was depicted as a rearing cobra wearing the Hathoric crown with a solar disk and bovine horns.
Demeter was the goddess of harvest and agriculture in ancient Greek religion and myth, one of the Twelve Olympians. The elder sister of Zeus, Demeter presided over grains and the earth's fertility.
Agathos Daimon (Agathodaemon) was originally a lesser deity (daemon) of classical ancient Greek and Graeco-Egyptian religions. In his original Greek form, he served as a household god, to whom, along with Zeus Soter, libations were made after a meal. In later (post-)Ptolemaic antiquity he took on two partially distinct roles; Agathos Daimon a prominent serpentine civic god, who served as the special protector of Alexandria. The other was a genus of serpentine household gods, the Agathoi Daimones, individual protectors of the homes in which they were worshipped.
Graeco-Roman Period
Limestone
Redid the motion graphic
Model: Julia Miho
Headpiece: Tilly Rex
Wardrobe: Marya Stark
Single speedlight inside of large shoot through umbrella with flag to keep light away from the background. Light placed slightly CL, angled almost straight down, a few feet in front of subject. Pocket Wizard triggers.
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"Western Civilization"
sculptor: C. Paul Jennewein (1933)
Left to right
Eos, Nous, Adonis, Hippomenes, Eros, lion, Aphrodite, Zeus, Demeter, Triptolemus, Ariadne, Theseus, Minotaur, Python
The western pediment features fourteen Greek deities and mythological figures. Jennewein's polychrome sculptures of painted terra-cotta figures are the only sculptural group to adorn any of the museum's eight pediments.
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The Philadelphia Museum of Art
also known as: the "Great Greek Garage" & "Parthenon on the Parkway"
architects: firms of Horace Trumbauer & Zantzinger, Borie & Medary
building's plan & massing: Howell Lewis Shay (Trumbauer)
detail & perspective drawing: Julian Abele (Trumbauer)
Masonic cornerstone ceremony: Mayor Thomas B. Smith (1919)
The Philadelphia Museum of Art - Main Building
2600 Benjamin Franklin Parkway (West end)
Philadelphia, Pennsylvania
THE MYTH OF AUTUMN
Demeter (/diˈmiːtər/; Attic: Δημήτηρ Dēmḗtēr; Doric: Δαμάτηρ Dāmā́tēr) is the goddess of the harvest, who presided over grains and the fertility of the earth.
According to the myth, Demeter's virgin daughter Persephone was abducted to the underworld by Hades. Demeter searched for her ceaselessly, preoccupied with her loss and her grief.
The seasons halted living things ceased their growth, then began to die.
Faced with the extinction of all life on earth, Zeus sent his messenger Hermes to the underworld to bring Persephone back.
Hades agreed to release her, but gave her a pomegranate. When she ate the pomegranate seeds, she was bound to him for one third of the year, either the dry Mediterranean summer, when plant life is threatened by drought or the autumn and winter.
Persephone's time in the underworld corresponds with the unfruitful seasons of the ancient Greek calendar, and her return to the upper world with springtime.
Demeter's descent to retrieve Persephone from the underworld is connected to the Eleusinian Mysteries, the most famous of the secret religious rites of ancient Greece.
Demeter at Eleusis
Demeter's search for her daughter Persephone took her to the palace of Celeus, the King of Eleusis in Attica. She assumed the form of an old woman, and asked him for shelter.
He took her in, to nurse Demophon and Triptolemus, his sons by Metanira.
To reward his kindness, she planned to make Demophon immortal.
She secretly anointed the boy with ambrosia and laid him in the flames of the hearth, to gradually burn away his mortal self.
But Metanira walked in, saw her son in the fire and screamed in fright.
Demeter abandoned the attempt. Instead, she taught Triptolemus the secrets of agriculture, and he in turn taught them to any who wished to learn them.
Thus, humanity learned how to plant, grow and harvest grain.
The Eleusinian mysteries represented the myth of the abduction of Persephone from her mother Demeter by the king of the underworld Hades, in a cycle with three phases, the "descent" (loss), the "search" and the "ascent", with the main theme the "ascent" of Persephone and the reunion with her mother.
Frühlingsanfang ~
Kore - Persephone ist an der Oberwelt und Demeter lässt die Pflanzen wieder wachsen ~
Beginning of spring ~
Kore - Persephone is in the upper world and Demeter makes the plants grow again ~
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"Western Civilization"
sculptor: C. Paul Jennewein (1933)
Left to right
Eos, Nous, Adonis, Hippomenes, Eros, lion, Aphrodite, Zeus, Demeter, Triptolemus, Ariadne, Theseus, Minotaur, Python
The western pediment features fourteen Greek deities and mythological figures. Jennewein's polychrome sculptures of painted terra-cotta figures are the only sculptural group to adorn any of the museum's eight pediments.
----------
The Philadelphia Museum of Art
also known as: the "Great Greek Garage" & "Parthenon on the Parkway"
architects: firms of Horace Trumbauer & Zantzinger, Borie & Medary
building's plan & massing: Howell Lewis Shay (Trumbauer)
detail & perspective drawing: Julian Abele (Trumbauer)
Masonic cornerstone ceremony: Mayor Thomas B. Smith (1919)
A collection of bronze griffins adorn the top of the building. In the 1970s, the museum adopted the griffin as it's symbol. In antiquity the griffin was known for guarding knowledge, treasure and priceless possessions as well as symbols of divine power and a guardians of the divine.
The Philadelphia Museum of Art - Main Building
2600 Benjamin Franklin Parkway (West end)
Philadelphia, Pennsylvania
When Triptolemus taught King Lyncus of the Scythians, the arts of agriculture, Lyncus refused to teach it to his people and then tried to murder Triptolemus. As punishment, Demeter turned Lyncus into a lynx.
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Ceres entrusts her chariot to Triptolemus, and orders him to go everywhere, and cultivate the earth. He obeys her, and, at length, arrives in Scythia, where Lyncus, designing to kill him, is changed into a lynx. The Muse then finishes her song, on which the daughters of Pierus are changed into magpies.
“Thus far Arethusa. The fertile Goddess yoked two dragons to her chariot, and curbed their mouths with bridles; and was borne through the mid air of heaven and of earth, and guided her light chariot to the Tritonian citadel, to Triptolemus; and she ordered him to scatter the seeds that were entrusted to him partly in the fallow ground, and partly in the ground restored to cultivation after so long a time. Now had the youth been borne on high over Europe and the lands of Asia, and he arrived at the coast of Scythia: Lyncus was the king there. He entered the house of the king. Being asked whence he came, 187 V. 651-678 and the occasion of his coming, and his name, and his country, he said, ‘My country is the famous Athens, my name is Triptolemus. I came neither in a ship through the waves, nor on foot by land; the pervious sky made a way for me. I bring the gifts of Ceres, which, scattered over the wide fields, are to yield you the fruitful harvests, and wholesome food.’ The barbarian envies him; and that he himself may be deemed the author of so great a benefit, he receives him with hospitality, and, when overpowered with sleep, he attacks him with the sword. But, while attempting to pierce his breast, Ceres made him a lynx; and again sent the Mopsopian youth to drive the sacred drawers of her chariot through the air.
See also the album: www.albelli.nl/onlinefotoboek-bekijken/3af1427e-1eae-4620...
Tablet depicting Isis-Thermoutis, Demeter and Agathodaemon
Isis-Thermoutis in the form of a cobra.
Demeter was the Olympian goddess of agriculture, grain and bread who sustained mankind with the earth's rich bounty. She presided over the foremost of the Mystery Cults which promised its initiates the path to a blessed afterlife in the realm of Elysium. Demeter was depicted as a mature woman, often wearing a crown and bearing sheaves of wheat or a cornucopia (horn of plenty), and a torch.
Agathodaemon was the spirit of vineyards and fields, providing luck, health and wisdom.
Limestone
Graeco-Roman Period, Roman Period
Provenance: Unknown
BAAM T0016
Greco-Roman Antiquities
Bibliotheca Alexandrina
Demeter (Isis, Ceres, Fortuna) wears the cylindrical 'modius' jar (a grain measure) on her head and carries a cornucopiae (horn of abundance) in her left hand and a rudder and globe in her right. Her gaze is directed towards the infant Harpokrates (Horus) in a crouching pose flanked by two benign serpents.
Whilst Demeter is well known as the fertility goddess, among other things guaranteeing the corn supply, her association with Harpokrates is not clear.
The uncertain inscription is a later addition.
From Pompeii
Naples Archaeological Museum, Italy.
Imagen creativa. Photosoph y Filter Forge. Gracias de antemano por vuestros comentarios, award, favoritos, invitaciones a grupo y la elección para galerías; perdonad que quizás no pueda responder individualmente. Todos los derechos reservados
Created for the 41st Weekly Contest on Man Ray: Antique European Globe</i
Thanks to Paul Grand for the Globe.
Illustration by Graham McCallum for "The Story of Persephone", retold by Penelope Farmer.
Collins, London, 1972.
After one entire year, here comes another image. Does anybody guess it's theme? wait for the others details to get more hints.
there are some hot tips, ANDI2..too sad to flickr & Desmo Dave!
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.
;-)
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The Goddess Demeter bearing wheat and poppy bulbs, with snakes entwined, as depicted in this reproduction of a terra-cotta bas relief from Greece, 5th century BCE.
*
[The myths of Demeter and Proserpina pre-date the Greek pantheon, originating from the Pelasgian period of Crete and Troy.] In ancient Greek religion and myth, Demeter (/diˈmiːtər/; Attic Δημήτηρ Dēmētēr. Doric Δαμάτηρ Dāmātēr) is the goddess of the harvest, who presided over grains and the fertility of the earth. Her cult titles include Sito (σίτος: wheat) as the giver of food...[1] and Thesmophoros (θεσμός, thesmos: divine order, unwritten law) as a mark of the... existence of [civilized] society.[2]. .
According to the Athenian rhetorician Isocrates, Demeter's greatest gifts to humankind were agriculture... and the Mysteries which give the initiate higher hopes in this life and the afterlife.[13] ...In Homer's Odyssey she is the blond-haired goddess who separates the chaff from the grain.[14] In Hesiod, prayers to Zeus-Chthonios (chthonic Zeus) and Demeter help the crops grow full and strong.[15] Demeter's emblem is the poppy, a bright red flower that grows [wild] among the [grain.] [16] [Her sacred animal: the serpent.]
* * *
"To Demeter Eleusinia. O universal mother, Deo famed, august, the source of wealth, and various named: great nurse, all-bounteous, blessed and divine, who joyest in peace; to nourish corn is thine. Goddess of seed, of fruits abundant, fair, harvest and threshing are thy constant care. Lovely delightful queen, by all desired, who dwellest in Eleusis' holy vales retired. Nurse of all mortals, who benignant mind first ploughing oxen to the yoke confined; and gave to men what nature's wants require, with plenteous means of bliss, which all desire. In verdure flourishing, in glory bright, assessor of great Bromios [Dionysos] bearing light: rejoicing in the reapers' sickles, kind, whose nature lucid, earthly, pure, we find. Prolific, venerable, nurse divine, thy daughter loving, holy Koure [Persephone]. A car with Drakones (Dragon-Serpents) yoked 'tis thine to guide, and, orgies singing, round thy throne to ride. Only-begotten, much-producing queen, all flowers are thine, and fruits of lovely green. Bright Goddess, come, with summer's rich increase swelling and pregnant, leading smiling peace; come with fair concord and imperial health, and join with these a needful store of wealth."
-Orphic Hymn 40 to Demeter (trans. Taylor) (Greek hymns C3rd B.C. to 2nd A.D.) :
"Western Civilization"
sculptor: C. Paul Jennewein (1933)
Left to right
Eos, Nous, Adonis, Hippomenes, Eros, lion, Aphrodite, Zeus, Demeter, Triptolemus, Ariadne, Theseus, Minotaur, Python
The western pediment features fourteen Greek deities and mythological figures. Jennewein's polychrome sculptures of painted terra-cotta figures are the only sculptural group to adorn any of the museum's eight pediments.
----------
The Philadelphia Museum of Art
also known as: the "Great Greek Garage" & "Parthenon on the Parkway"
architects: firms of Horace Trumbauer & Zantzinger, Borie & Medary
building's plan & massing: Howell Lewis Shay (Trumbauer)
detail & perspective drawing: Julian Abele (Trumbauer)
cornerstone ceremony: Mayor Thomas B. Smith (1919)
The Philadelphia Museum of Art - Main Building
2600 Benjamin Franklin Parkway (West end)
Philadelphia, Pennsylvania
The myth of Persephone has a great importance in the Roman funerary tradition. It is encountered very often in epigraphs, urns, altars and, of course, sarcophagi, where the sudden and untimely death of a woman is assimilated by her relatives to Persephone's abduction by Hades. The sarcophagi decorated with scenes taken from the myth of Persephone are, at present, about ninety. After the sarcophagi decorated with Dionysiac themes, they form an iconographic group among the most numerous.
The Sarcophagus
In the central part of the relief, the powerful Hades grabs and drags on his chariot the goddess Persephone, surprised and abducted while she was picking wildflowers with other maiden goddesses. The basket containing the collected flowers is near her feet. The Earth mother goddess, “Tellus”, is carved under the horses drawing Hades’ chariot; she holds a cornucopia and raises her right arm with a fright gesture. The young man with caduceus and winged helmet is Hermes, the god messenger and the guide of souls toward the Underworld, who, grabbing the horses by bridles, drives the chariot toward Hades. A cupid holding a torch is suspended in the air above the arms of Persephone. This presence suggests that the abduction of the goddess is an act of love supported by Aphrodite. The torch held by Eros is the symbol of Hymen, the god of the wedding, and its presence can also allude to a wedding ceremony. To the left of Hades, the artist introduces the quarrel between Athena and Aphrodite. While Athena, armed with shield, spear and helmet, is trying to prevent the rape of the goddess, Aphrodite, behind her, favors the escape of Hades by holding with her hand the shield of Athena. On the left side, Demeter is searching for her daughter abducted by Hades. She is standing on a chariot drawn by snakes holding a torch with her left hand. Behind Aphrodite, in the background, two young girls frightened by the abduction of their girlfriend.
On the corners two winged standing Horai, goddesses of the seasons, frame the bas-relief.
The hair of the female figures, carved with extensive use of drill, are reminiscent of the hairstyles in fashion at Faustina the Younger times; they allow to date the work at some time between 160 – 180 AD.
Source Guido Mansuelli, “Gallerie degli Uffizi – Le Sculture”
Pantelic marble sarcophagus
(Length 210 cm; height 75 cm); width 63 cm)
Approx. 160-180 AD
Florence, Galleria degli Uffizi
The heads of the three figures carved on the central panel are heavily damaged. The woman carved in central position is almost completely erased. The face of rightmost male character is chipped. The elongated attribute in the left of the middle figure is lost. Its conical shape, which tapers slightly downwards, suggests a large torch. The leftmost woman standing on her left foot wears a chiton with a wide belt, and a cloak over her head. She holds a torch leant on her right arm; her left arm is streached towards the woman in chiton and large mantle carved next to her; her left hand is leant on the shoulder of this female figure. These female figures represent respectively Demeter and Kore. The daughter of Demeter emerges from a cornfield represented in low relief by a bank of soil and two rows of stalks sprouted from the ground. The male figure closing the trio is Hermes with petasos, mantle descending from his shoulder and wrapping his hips, and kerykeion.
Corybants dance around the god child of Nysa
The right plate of E is broken into several parts and large parts of the carved surface are lost. In the center of the composition, on a padded stool, a female figure, wrapped in a cloak, sits facing a child sitting on her lap. Little traces of the child are preserved. The upper body and the head of the woman are missing. This female figure represents a "kourotrophos", ie, a deity able to protect and nurture children. In our case it is a nymph portrayed in the act of breastfeed and protect the child Dionysus.
Behind her there is a representation of the Corybants dance around the infant Dionysos and the nurse nymph. Three warriors dressing a short tunic, “exomis”, armed with spears and shields, are engaged in a ritual dance. The first warrior, on the left, holds the drawn sword in the lowered right hand, and the scabbard hangs on his side. His lost left arm was raised; his feet seem crossed. The second warrior have the sword hanging over his chest. Both his arms are missing, but the right one was surely high. The third warrior, who is placed on the left of the seated nymph, have arm and leg position similar to those of the first warrior.
At the foot of the last warrior is a male bearded figure, wrapped in a large cloak. It is a river-god, as indicated by the stream of water flowing from a vassel.
Source: Ruth Lindner, “Mythis und Identität”
Theater stage frieze
2nd quarter 1st cent AD. - 200 AD.
Nysa, Caria, Turchey
I am glad there are some serious girls around the house!
I have had a totally inspiration block. I felt so stupid, no self confidence. I couldn't resist to take a shot of these two, being so sweet for eachother. I hope this is a turning point, because I really miss it.
Demeter, Persephone, Triptolemus & the lesser mysteries of Eleusis [380-360]
Benevent Campanien - London BM F68
Side (a)
Initiation of *Heracles* and the *Dioscuri* into the lesser mysteries at Agrae (or Eleusis): In the centre is *Persephone* standing half-turned to right, with long hair, beaded ampyx, earrings, necklace, bracelets, transparent white chiton with looped-up sleeves, himation held up in left hand, sandals, and torch in right hand; at her feet is *Demeter* seated to left, looking back at her. Demeter has long hair, beaded ampyx, earrings, necklace, bracelets, long chiton with diploidion, and sceptre in right hand; below her are a footstool and two uncertain objects of oblong shape; the flesh of both figures is painted white, with ornaments and features in yellow.
Persephone looks back at *Triptolemos*, who is seated to left looking up at her, in his winged carriage drawn by two white serpents; he is beardless, with long curls, laurel-wreath, and himation over left shoulder. Above him is *Eumolpos*, acting as μυσταγωγός (mystagogos, instigator to the mysteries) he moves to left, looking back, and is beardless, with long curls, fillet and laurel-wreath, girt chiton reaching to the knee with embroidered band on bosom, endromides, and torch in right hand; he leads up one of the Dioscuri, who is beardless, with wreath, chlamys over shoulders, and a large torch painted white in right hand; in front of his head is a star of nine points. On the left *Iachos* approaches, beardless, with fillet and laurel-wreath, chiton as Eumolpos, beaded girdle, chlamys over right arm, endromides, torch in right hand, left extended; he is followed by *Heracles*, and, on a higher level, the other of the Dioscuri.
Heracles looks back, and is beardless, with short curly hair, wreath, chlamys over shoulders, torch in right hand and club in left; the Dioscuros is beardless, with wreath, himation over left shoulder, and torch in right hand. Behind, over an uneven line indicating a hill, appear six Doric columns, over four of which is a white architrave, possibly representing the temple of Demeter at Agrae.
Source: London BM F78
The sarcophagus
On the left side, Demeter is searching for her daughter abducted by Hades. She is standing on a chariot drawn by snakes, her right hand holds a torch, the left a scepter; her loose hair are a sign of mourning.
The second scene shows the main characters: Hades and Persephone. The god of the Underworld, holding his scepter, suddenly appears to Persephone while she is gathering flowers with other goddesses. The two female figures on the sides of Hades are Aphrodite and Artemis. While the latter grabs her bow, the goddess of love, characterized by a diadem on her hair, raises her right hand to encourage Persephone.
The central scene of the abduction occupies two thirds of the whole surface. While in the previous scene the face of Persephone is rendered by using idealized traits, in this scene she is portrayed with well-characterized physiognomic features. Here the goddess has the features of the dead woman, therefore, the owner of the sarcophagus becomes the bride of Hades. Her position carved exactly in the center of the sarcophagus confirms this hypothesis. Differently to other sarcophagi describing this myth, there is no trace of the violent abduction of the goddess. Persephone, embraced by Hades, is standing as a charioteer on his chariot: she runs to meet her fate, holding with her hand the mantle swollen by the wind. The two figures of Athena and Hermes, the latter located in front of the horses, belong to the traditional iconography of the myth. On the contrary, two new characters are introduced on the far right side. They are Heracles, portrayed with mantle and club, and Nike who is running towards the chariot of Hades. Near the legs of Heracles there is Cerberus, the guardian of the Underworld, whose presence recalls the hero’s twelfth labor. This circumstance suggests that the figure of Heracles, inserted just in the right corner of the relief, symbolizes the point of separation between the world of the living and that of the dead.
A rich set of characters is carved in the lower part of the sarcophagus, at the feet of the main characters. They cannot be neglected because their presence inscribes the described event inside a cosmic dimension.
Starting from left, Tellus, the Earth Mother Goddess, is easily recognizable under the chariot of Hades. The bearded character under the chariot of Hades may represent either a "Genius Locii" or Oceanus. Further to the right a second bearded character emerges from the ground raising his arms. This figure, surrounded by snakes, can be identified as a death demon, probably as "Ianitor Orci", who opens the ground in front of Hades' chariot. A fourth enigmatic figure, apparently female, appears from the ground putting her right hand over the mouth; this character could be “Lethe”, the personification of oblivion.
The "bright and vibrant" style of the bas-relief is, definitely, posterior to the Severian age. The sarcophagus dates from the second quarter of the third century AD.
Source, Zanker P. e Wwald B.C., “Vivere con I Miti – L’iconografia dei sarcophagi romani”
Greek marble sarcophagus
Heigh 62 cm, Length 218 cm, Width 64,5 cm.
225 – 240 AD.
Rome, Museo Capitolini, Palazzo dei Conservatori