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Burdwan or BARDHAMAN is about 100 km from Calcutta. It is an ancient town. It was known as PARTHENIS during the time of Alexander the Great, the famous Greek Emperor.Later, during Mughal periods it was called SHARIFABAD. Sulaiman Karnani founded the present town in 1567 AD. In 17th century SANGAM RAY came from Punjub to start a business here, his descendant KRISHNARAM RAY was declared RAJA (King) by the emperor Aurangzeb. This royal lineage was continued upto 1955.
Swimming Marathon (10km) for cleaning beaches from cigarette butts by Petros Parthenis / Weswim. Anavissos, Attica (Greece)
#EWWRPhotoContest
Swimming Marathon (10km) for cleaning beaches from cigarette butts by Petros Parthenis / Weswim. Anavissos, Attica (Greece)
#EWWRPhotoContest
Swimming Marathon (10km) for cleaning beaches from cigarette butts by Petros Parthenis / Weswim. Anavissos, Attica (Greece)
#EWWRPhotoContest
Swimming Marathon (10km) for cleaning beaches from cigarette butts by Petros Parthenis / Weswim. Anavissos, Attica (Greece)
#EWWRPhotoContest
Swimming Marathon (10km) for cleaning beaches from cigarette butts by Petros Parthenis / Weswim. Anavissos, Attica (Greece)
#EWWRPhotoContest
Swimming Marathon (10km) for cleaning beaches from cigarette butts by Petros Parthenis / Weswim. Anavissos, Attica (Greece)
#EWWRPhotoContest
From the museum label: The cosmopolitan background of this Alexandrian painter (Italy, Vienna, Paris) may well account for his idiosyncratic eclecticism. Parthenis succeeded, however, in incorporating these various influences into his own unparalleled style, marked by idealism, a certain "musicality" and rhythm, and the spiritual sublimation of the pictorial matter. His paintings executed in Vienna and in Greece during his first sojourn (1903-1907) reveal his strong attraction towards the Sezession, the Viennese version of Symbolism and Art Nouveau, and particularly Gustav Klimt. After his contact with the Parisian avant-garde (1909-1911) and his return to Greece, Parthenis interpreted the Greek light through brighter colors, influenced by postimpressionist painters and the Fauves. The French symbolists, such as Puvis de Chavannes and, in particular, Maurice Denis, appear to have influenced the religious compositions and the idealistic allegories, which are prominent in the artist's creations of the interwar period. In these works, we can also trace the impact of Cubism. Parthenis' mature paintings present us with an ideal vision of mythical and historical Greece, where Olympian deities, Byzantine saints and the heroes of the Greek War of Independence coexist in harmony within the ideological horizon of the "Generation of the Thirties" Parthenis' mature works recall supernatural acts and divine epiphanies. His ideal figures are suspended in a type of transcendental space, where time has been abolished and the remains of the visible world have turned into platonic archetypes, with the help of an impalpable technique.
Rome, la cité et l'empire - diplôme militaire de Caius Iulius Montanus, marin de la flotte de Misène, datant de 221 EC sous le règne d'Elagabal.
RMD-04, 00307 = Buerokratie p 52 = AE 1995, 01565 = AE 2012, +00078
datation: 221 à 221
lieu: ?
Imp(erator) Caes(ar) divi Antonini Magni Pii fil(ius) / divi Severi Pii nepos / M(arcus) Aurelius Antoninus Pius Felix Aug(ustus) sacerdos / amplissimus dei Invicti Solis Elagabali pontif(ex) / max(imus) trib(unicia) pot(estate) IIII co(n)s(ul) III desig(natus) IIII p(ater) p(atriae) et / M(arcus) Aurel(ius) Alexander nobilissim(us) (!) imperi(i) et sacerdo(tis) co(n)s(ul) desig(natus) / iis qui militaverunt in classe praetoria Antoni/niana Misenensi quae est sub Appio Celere pr(aefecto) / octonis et vicenis stipendi(i)s emeritis dimis/sis honesta missione quorum nomina subscripta / sunt ipsis fili(i)sque eorum quos susceperint ex mu/lieribus quas secum concessa consuetudine vixisse / probaverint civitatem Roman(am) ded[[it]]«er»(unt) et conubium / cum iisdem quas tunc secum habuissent cum est / civitas iis data aut si qui tunc non habuissent cum / iis quas postea uxores duxissent du(m)taxat singulis singulas / a(nte) d(iem) III Kal(endas) Dec(embres) / C(aio) Vettio Grato M(arco) Vitellio Seleuco co(n)s(ulibus) / ex gregale / C(aio) Iulio Barhadati fil(io) Montano Dolich(e) / ex Syria vico Araba et Aureliae Bassae / uxori eius civitat(e) s(upra) s(cripta) et Aurelio Barsad/dae et Iulio Zabdaeo et Aurelio Barathe / et Aurelia(e) Rummeae et Aureliae Salameae / fili(i)s eius / descriptum et recognitum ex tab(ula) aerea quae fixa / est Romae in muro pos(t) templum divi Aug(usti) ad Minervam // [Ti(beri)] Claudi Cassandri / Ti(beri) Claudi Epinici / Ti(beri) Claudi Paulli / Ti(beri) Claudi Partheni / Ti(beri) Iuli Dativi / Ti(beri) Claudi Erotis / Ti(beri) Claudi Eutychetis // Imp(erator) Caes(ar) divi Antonini Magni Pii fil(ius) divi / Severi Pii nep(os) M(arcus) Aurellius Antoninus Pius / Felix Aug(ustus) sacerdos amplissimus dei Invicti Solis / Elagabali pontif(ex) max(imus) trib(unicia) pot(estate) IIII co(n)s(ul) III p(ater) p(atriae) / iis qui militaver(unt) in classe praetori(a) Antoninia/na Misenensi qu(a)e est sub (!) praef(ecto) / octonis et vicenis sti(pe)ndi(i)s emeritis dimissis / h(onesta) m(issione) quorum nomina subscripta sunt ipsis / filiisque eorum quos susceperint ex mulieri/bus quas secum concessa consuetudine vi/xisse probave(r)int c(ivitatem) R(omanam) ded(erunt) et conubium / cum iisdem quas tunc secum habuissent / cum est civitas iis data aut si qui tunc non ha/buissent cum iis quas postea uxores duxis/sent dumtaxat singulis singulas // a(nte) d(iem) III Kal(endas) Dec(embres) / C(aio) Grato et Seleuco co(n)s(ulibus) / ex gr(ega=ALE)le / C(aio) Iulio Barhadati fil(io) Montano Dolich(e) ex Syr(ia) / vico Araba et Aure(li)ae Bassae uxor(i) eius / civitat(e=A) s(upra) s(cripta) et Aur(elio) Barsaddae et Iulio Zabdae(!) et / Aur(elio) Barsab(!) et Aurelia(e) Rummaea(e) et Aureliae Sala/meae fil(iis) eius / descript(um) et recognit(um) ex tabula aerea / qu(a)e fixa est Rom(a)e in muro pos(t) templum / divi Aug(usti) ad Minervam
From the museum label: Nikos Hadjikyriakos-Ghika went to Paris at a very early age, at the beginning of the Twenties. European modernism had already completed its consecutive revolutions through a series of movements that developed in various directions. This was a period of syncretism and acceptance. The Post-WWI optimism, the intellectual tolerance, the exuberant artistic ambience of Paris, defined the climate which had a formative influence on young Ghika. His master Konstantinos Parthenis had prepared him through his "linear, geometric and methodical teaching" to comprehend Cubism and Geometric Abstraction without much effort. Furthermore, this contemplative and educated painter would soon discover the same principles in Byzantine art as well. "In Paris, which was the foremost artistic center of the time", he said, "I was spontaneously drawn to the most austere form of art, Cubism, or rather its second period, Synthetic Cubism". While Analytical Cubism sought the reduction of the visible to conceptual shapes, Synthetic Cubism returned to their sources, to the senses, to a new acquaintance with the things themselves, which finally led to Collage. Hadjikyriakos-Ghika was initiated on his own behalf in both these variants, but from nature, and through Greek light and color.
From the museum label: The cosmopolitan background of this Alexandrian painter (Italy, Vienna, Paris) may well account for his idiosyncratic eclecticism. Parthenis succeeded, however, in incorporating these various influences into his own unparalleled style, marked by idealism, a certain "musicality" and rhythm, and the spiritual sublimation of the pictorial matter. His paintings executed in Vienna and in Greece during his first sojourn (1903-1907) reveal his strong attraction towards the Sezession, the Viennese version of Symbolism and Art Nouveau, and particularly Gustav Klimt. After his contact with the Parisian avant-garde (1909-1911) and his return to Greece, Parthenis interpreted the Greek light through brighter colors, influenced by postimpressionist painters and the Fauves. The French symbolists, such as Puvis de Chavannes and, in particular, Maurice Denis, appear to have influenced the religious compositions and the idealistic allegories, which are prominent in the artist's creations of the interwar period. In these works, we can also trace the impact of Cubism. Parthenis' mature paintings present us with an ideal vision of mythical and historical Greece, where Olympian deities, Byzantine saints and the heroes of the Greek War of Independence coexist in harmony within the ideological horizon of the "Generation of the Thirties" Parthenis' mature works recall supernatural acts and divine epiphanies. His ideal figures are suspended in a type of transcendental space, where time has been abolished and the remains of the visible world have turned into platonic archetypes, with the help of an impalpable technique.
From the museum label: Nikos Hadjikyriakos-Ghika went to Paris at a very early age, at the beginning of the Twenties. European modernism had already completed its consecutive revolutions through a series of movements that developed in various directions. This was a period of syncretism and acceptance. The Post-WWI optimism, the intellectual tolerance, the exuberant artistic ambience of Paris, defined the climate which had a formative influence on young Ghika. His master Konstantinos Parthenis had prepared him through his "linear, geometric and methodical teaching" to comprehend Cubism and Geometric Abstraction without much effort. Furthermore, this contemplative and educated painter would soon discover the same principles in Byzantine art as well. "In Paris, which was the foremost artistic center of the time", he said, "I was spontaneously drawn to the most austere form of art, Cubism, or rather its second period, Synthetic Cubism". While Analytical Cubism sought the reduction of the visible to conceptual shapes, Synthetic Cubism returned to their sources, to the senses, to a new acquaintance with the things themselves, which finally led to Collage. Hadjikyriakos-Ghika was initiated on his own behalf in both these variants, but from nature, and through Greek light and color.