Petra of Jordan
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It is the most beautiful place in the world where you can watch the sunset!
Kahta, Adıyaman / Türkiye
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Mount Nemrut Ruins is located within the borders of Büyüköz Village of Pütürge and Kahta District of Adıyaman. The tombs and monumental statues built on the slopes of Mount Nemrut, which is 2,150 meters high, by the Commagene King Antiochos I to show his gratitude to the gods and ancestors, are one of the most magnificent remains of the Hellenistic Period.
An independent kingdom was established by Mithradates I in the region known as Commagene in ancient times, and the kingdom gained importance during the reign of his son Antiochos I (62-32 BC).
After the loss of the war against Rome in 72 AD, the independence of the kingdom came to an end.
The peak of Mount Nemrut is not a settlement, but the tumulus and sacred areas of Antiochos. The tumulus is at a point that dominates the Euphrates River passes and plains. The tumulus, 50 meters high and 150 meters in diameter, where the king's bones or ashes were placed in the room carved into the bedrock, was covered with small rock fragments and taken under protection. Although it is stated in the inscriptions that the tomb of the king is here, it has not been discovered until today. On the east and west terraces, there are statues of Antiochos and gods and goddesses, as well as lion and eagle statues. A unique lion horoscope is located on the west terrace. The sculptures were carved by blending Hellenistic, Persian art and the original art of Commagene Country. In this sense, Mount Nemrut can be called the bridge of western and eastern civilizations.
After the Commagene Kingdom was erased from the stage of history, the artifacts on Mount Nemrut were left in solitude for about two thousand years. The German engineer Karl Sester, who was visiting the region as an officer in 1881, came across the statues of Mount Nemrut and informed the German Consul in İzmir, thinking that he could not see the ruins of the Commagene Kingdom and the Greek inscriptions behind the pedestals on which the god statues were placed, assuming they were Assyrian ruins. Karl Sester made this mistake in his excitement of discovering the giant statues. In 1882, Otto Puchstein and Karl Sester made a study in Nemrut. Osman Hamdi Bey, Director of the Museum-i Hümayun (Imperial Museum), came with a team in 1883 and worked in Nemrut. After World War II, American archaeologist Theresa Goell and German Karl Doerner; They made excavations, researches and studies in Nemrut and its surroundings.
Mount Nemrut Ruins were included in the UNESCO World Heritage List in 1987.
Jerash (aka Gerasa, Gerash or Gerasha) is the capital and the largest city of the Jerash Governorate in Jordan, but in ancient times it was one of the wealthiest and most cosmopolitan cities in the ancient Near East. Settled by humans as early as the Neolithic period (c. 7500-5500 BCE) and founded as a Hellenistic city in the 2nd century BCE, Jerash is today noted for its fine Roman and Byzantine ruins, which rank among the largest and best preserved in the world. Jerash is located 48 km (30 miles) north of Amman - the capital of Jordan - and 40 km (25 miles) south of Irbid, Jordan. Jerash is one of the most visited sites in Jordan after the Nabataean city of Petra.
Jerash (también conocida como Gerasa, Gerash o Gerasha) es la capital y la ciudad más grande de la gobernación de Jerash en Jordania , pero en la antigüedad fue una de las ciudades más ricas y cosmopolitas del antiguo Cercano Oriente . Establecida por los humanos ya en el período Neolítico (c. 7500-5500 a. C.) y fundada como ciudad helenística en el siglo II a. C., Jerash es hoy conocida por su excelente arquitectura romana y bizantina.ruinas, que se encuentran entre las más grandes y mejor conservadas del mundo. Jerash se encuentra a 48 km (30 millas) al norte de Ammán, la capital de Jordania, y a 40 km al sur de Irbid, Jordania. Jerash es uno de los sitios más visitados de Jordania después de la ciudad nabatea de Petra.
World History Encyclopedia
Soli or Soloi (Greek: Σόλοι) dates back to about the 6th century BC and was one of the ten city-kingdoms of Cyprus. In 498 BC it rebelled against the Persians and two centuries later it sent help to Alexander the Great in his campaigns in the East.
According to ancient written sources the city was supplying Athens with timber and copper. The town peaked during the Hellenistic, Roman and early Byzantine period.
The Roman Theatre dating from around the 2nd century AD was excavated in 1929 and restored in the 60's.
Sadly, since 1974 it is under Turkish occupation.
Şirince (pronounced [ʃiˈɾindʒe]) is a village of 600 inhabitants in İzmir Province, Turkey, located about 8 kilometres (5.0 mi) east of the town Selçuk and about 8 kilometres from Ephesus. The area around the village has history dating back to Hellenistic period (323-31 BC). Pottery finds made around the village between 2001 and 2002 by Ersoy and Gurler indicate the presence of seven villages and nine farmsteads in the area dating back to ancient and medieval times. On the road up you will see the remains of several Roman aqueducts as the village was an important water source for ancient Ephesus. Today the village prospers through agriculture (olive oil, peaches, wine) and tourism. Almost all of the houses dating back to 19th century have been renovated and most converted into boutique hotels.
Text Ref: en.wikipedia.org/wiki/Şirince
was a rich and powerful ancient Greek city in Mysia.
It is located 26 kilometres (16 mi) from the modern coastline of the Aegean Sea on a promontory on the north side of the river Caicus (modern-day Bakırçay) and northwest of the modern city of Bergama, Turkey.
During the Hellenistic period, it became the capital of the Kingdom of Pergamon in 281–133 BC under the Attalid dynasty, who transformed it into one of the major cultural centres of the Greek world.
Many remains of its monuments can still be seen and especially the masterpiece of the Pergamon Altar. Pergamon was the northernmost of the seven churches of Asia cited in the New Testament Book of Revelation.
@wikipedia
It was founded on the Ionian coast by the inhabitants of an abandoned Ionian city of the same name in c.350 BC. It participated in the Battle of Lade with 12 ships in 494 BC. Alexander the Great assigned the city to watch the unreliable city of Miletus. He also lived in the city and paid for the construction of the Athena Temple. After flourishing during the Hellenistic and passing through the Pergamene Kingdom periods the city declined under Roman rule and was later abandoned. Excavation began at the site in the early years of the 20C and the city has been partially restored.
City landscape // lighted cities.
The city of Amasya , the stands in the mountains above the Black Sea coast, set apart from the rest of Anatolia in a narrow valley
along the banks of the Yeşilırmak River.
If you visit Amasya I suggest you stay at least two days as the city is exceptionally beautiful and on the hill below the castle is the Rock Tombs of the Pontic Kings which are lighted in the evenings and is spectacular to look at while walking along the river
***You can see the tombs light blue look like doors in the mountain***
An independent Pontic kingdom with its capital at Amaseia was established at the end of the 4th century BC in the wake of Alexander's conquests. Superficially Hellenized, the kingdom retained its Persian social structure, with temple priests and Persianized feudal nobles ruling over a heterogeneous village population. In the 1st century BC, it briefly contested Rome's hegemony in Anatolia. By 183 BC, the city was settled by Hellenistic people, eventually becoming the capital of the kings of Pontus from 333 BC to 26 BC. Today, there are prominent ruins including the royal tombs of Pontus in the rocks above the riverbank in the centre of the city. Ancient district in northeastern Anatolia adjoining the Black Sea.
The Al-Khazneh (building that appears in "Indiana Jones"), for example, is a work of century 1 a.C .: made like real mausoleum. Its façade, of Hellenistic inspiration, impresses by the dimensions: it is 43 meters of height by 30 of width. At the top of one of the mountains surrounding Petra is another work of art: the Ad-Deir, another mausoleum, but which was used in the 5th century AD as a Byzantine church. To visit it, you have to face 800 steps that lead to the top. Petra was a powerful city. The Nabataeans put her on the route of the caravans that crossed the Arabian peninsula towards the Mediterranean or the Red Sea. They have developed irrigation systems and built dams to store rainwater that falls from time to time into the desert. In its peak, the place had 30 thousand inhabitants.
From Wikipedia - The Winged Victory of Samothrace, or the Nike of Samothrace,[2] is a votive monument originally found on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BCE. It is composed of a statue representing the goddess Niké (Victory), whose head and arms are missing, and its base in the shape of a ship's bow.
Sign next to sculpture said the following:
Molosian Hound
Hellenistic realism extended to the expressive portrayal of animals as well as humans. Many bronze animal sculptures of this period are only known to us through Roman marble copies.
The Molossi inhabited ancient Epirus (now northwest Greece and Albania). Molossian hounds were related to the modern mastiff and were famously fierce. They were often used as guard dogs by herdsmen and for household security in cities. Aristophanes, the fifth-century comic dramatist, speaks of the hazards of trying to get past a doorway guarded by a Molossian dog, while the infamous Athenian statesman and general Alcibiades is said to have kept one with a docked tail.
This dog once wore a collar. Its gaping jaws show powerful teeth, but the relaxed pose and upward gaze give it an obedient air. Five other versions of this sculpture, all found near Rome, are thought to be Roman copies of a lost Greek bronze original, probably from the 2nd century BC. This version is sometimes known as the 'Jennings Dog', because it was once owned by Henry Constantine Jennings (1731 - 1819), who bought it in Rome in the late 1750's.
Sunrise 2, second day.
Petra is known as the Rose-Red City for the colour of the rocks from which Petra is carved.
The Al-Khazneh (building that appears in "Indiana Jones"), for example, is a work of century 1 a.C .: made like real mausoleum.
Its façade, of Hellenistic inspiration, impresses by the dimensions: it is 43 meters of height by 30 of width.
At the top of one of the mountains surrounding Petra is another work of art: the Ad-Deir, another mausoleum, but which was used in the 5th century AD as a Byzantine church.
To visit it, you have to face 800 steps that lead to the top.
Petra was a powerful city. The Nabataeans put her on the route of the caravans that crossed the Arabian peninsula towards the Mediterranean or the Red Sea. They have developed irrigation systems and built dams to store rainwater that falls from time to time into the desert. In its peak, the place had 30 thousand inhabitants.
The Winged Victory of Samothrace, also called the Nike of Samothrace, is a marble Hellenistic sculpture of Nike (the Greek goddess of victory), that was created about the 2nd century BC. Since 1884, it has been prominently displayed at the Louvre and is one of the most celebrated sculptures in the world. H.W. Janson described it as "the greatest masterpiece of Hellenistic sculpture",and it is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.The Winged Victory of Samothrace, discovered in 1863, is conventionally thought to have been made to celebrate a naval victory in 190 BC. However, there are objections to this dating, and alternative victories ranging from the Battle of Salamis in 306 BC to the Battle of Actium in 31 BC have been proposed as the event being celebrated. Datings based on stylistic evaluation have been equally variable, ranging across the same three centuries, but perhaps tending to an earlier date.
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Armenia : The Peripteral Temple on the Garni podium ( of 77 AD ). An important archeological site that remains a testimony of the Hellenistic culture in Armenia .
Italiano : Prima dell'epoca Cristiana il regno Armeno era disseminato di templi e monumenti agli Dei Pagani , ma i primi Cristiani li distrussero costruendo le chiese sulle fondamenta degli altari precedenti . Tra le più importanti vestigia di questo periodo storico si colloca il sito di Garni ,noto soprattutto per il tempio Ionico periptero sul podio del I° secolo d.C. Il tempio a forma di Partenone . L'edificio più famoso e meglio conservato fu costruito nel 77 d.C. da re Tiridate I° d'Armenia e fu probabilmente finanziato da Nerone . Il tempio fu poi adibito a sede estiva dei Re Armeni .Sebbene saccheggiato e ricostruito più volte ,il tempio è ancora in piede ,grazie ai lavori di ricostruzione del 1969-79 .
Le Terme del III secolo sono di particolare interesse . Dispongono di una cisterna ben conservata e un pavimento decorato da un mosaico colorato che rappresenta figure mitologiche Greche .Una iscrizione in Greco rimasta intatta recita " senza ricevere niente ci affannammo ." il cui senso non è chiaro
English :
Before the Christian era the Armenian kingdom was littered with temples and monuments to the pagan gods, but the early Christians destroyed them by building churches on the foundations of the previous altars. Among the most important vestiges of this historical period is the site of Garni known above all for Ionic temple peripterous on the podium of the 1st century AD. The temple in the shape of a Parthenon. The most famous and best preserved building was built in 77 AD. from King Tiridate I of Armenia and was probably financed by Nero. The Temple was later used as the summer residence of the Armenian kings. Although looted and rebuilt several times, the Temple is still standing thanks to the reconstruction work of 1969-79. The Baths of the III century are of particular interest. They have a well-preserved cistern and a floor decorated with a colorful mosaic depicting Greek mythological figures. An inscription in Greek remained intact recites "without receiving anything in return we struggled" whose meaning is not clear.
The Jockey of Artemision is a large Hellenistic bronze statue of a young boy riding a horse, dated to around 150–140 BC.
It is a rare surviving original bronze statue from Ancient Greece and a rare example in Greek sculpture of a racehorse.
The statue was found in a shipwreck off Cape Artemision, in north Euboea, which was discovered in 1926.
The statue was reassembled, after restoration of the horse's tail and body, and it went on display at the National Archaeological Museum, Athens in 1972.
The Dying Galatian is a Roman marble copy of a Hellenistic work of the late 3rd century BC.
It has commonly been assumed that the original bronze was part of a statuary group on the Pergamon's acropolis memorializing the victory of Attalos in 230 BC over the Gauls.
In spite of the fact that it represents a defeated fighter, it still preserves his bravery and fearlessness.
The sculpture depicts physical suffering expressively and it try to provoke an emotional reaction from the observer.
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Alinda's history is quite obscure although it was one of the most strongly fortified cities of the Carian region. Very little is known about the history of Alinda before or after the famous encounter between Alexander the Great and the Queen Ada of Caria. With this event, Alinda made a dramatic appearance in the history of Caria towards the end of 4C BC.
The ruins of Alinda are situated on a hilltop commanding an excellent view of the plain of Karpuzlu village. Several parts of the city walls and some of the towers are in good state of preservation. The most striking of Alinda's ruins is the Hellenistic Market Building which can be reached by short but rather difficult climb from the village. It is around 100 meters long and was composed of three storeys. The upper storey was level with and accessible from the agora which adjoins it from the north.
A large upper part of a statue representing the god Serapis, which was the official god of Alexandria during the Greek-Roman age.
It was one of the Alexandrian holy Trinity (Serapis - Isis - Harpocrates).
The head is separated from the body, with holes in the shoulders of the arms.
Marble
Hellenistic
The final twist of the towering walls of the Siq canyon brings the iconic image of Petra: the stunning Treasury in sudden view. This well-trodden trail, which breezes past the Street of Facades and onward to the Monastery, makes for a great introduction to one of the Middle East's most-visited sights, but if you dig a little deeper, the din of those half a million annual visitors will start to fade, and the real Indiana Jones experience can begin.
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The archeological excavations from 1962-1966 revealed the earliest settlement of Teos in the Protogeometric Period (10th Century B.C.). The remains of an Archaic temple (Hecatompedon), the temple of Dionysus built by Hermogenes - the prominent architect of the Hellenistic period-, the theater, the agora, the agora temple, the bouleuterion, the cistern, the south port and a small chapel which built on the port are still visible.
Catching the early-morning sun slanting off the pillars of this Petra icon at the end of the Siq.
Known locally as the Treasury, this tomb is where most visitors fall in love with Petra. The Hellenistic facade is an astonishing piece of craftsmanship. Although carved out of iron-laden sandstone to serve as a tomb for the Nabataean King Aretas III (c 100 BCE–CE 200), the Treasury derives its name from the story that an Egyptian pharaoh hid his treasure here (in the facade urn) while pursuing the Israelites.
Some locals clearly believed the tale because the 3.5m-high urn is pockmarked by rifle shots. As with all rock-hewn monuments in Petra, the interior is unadorned. The Treasury is at its most photogenic in full sunlight between about 9am and 11am.
A dramatic lookout about 200 meters above the entrance to the Siq.
The Al-Khazneh (building that appears in "Indiana Jones"), for example, is a work of century 1 a.C .: made like real mausoleum. Its façade, of Hellenistic inspiration, impresses by the dimensions: it is 43 meters of height by 30 of width. At the top of one of the mountains surrounding Petra is another work of art: the Ad-Deir, another mausoleum, but which was used in the 5th century AD as a Byzantine church. To visit it, you have to face 800 steps that lead to the top. Petra was a powerful city. The Nabataeans put her on the route of the caravans that crossed the Arabian peninsula towards the Mediterranean or the Red Sea. They have developed irrigation systems and built dams to store rainwater that falls from time to time into the desert. In its peak, the place had 30 thousand inhabitants.
***
The ruins of the city of Petra have more than 2,000 years of history since the foundation by the Nabateans, a Bedouin people who ruled part of Jordan. From the red stones of the desert comes the nickname of 'pink city', since its buildings were excavated in the rocks of this coloration. Bastion of caravans coming or going to the East, the place even housed 30,000 people at its peak. From the Nabataeans, Petra passed into the dominion of the Romans, Byzantines and Crusaders until being forgotten in the midst of the sands of time. There are ruins of all these periods scattered by its 264 km ².
So book at least two days to get to know Petra, as it is extremely tiring to try to see everything in just one visit, especially if you want to walk the trails, such as Al Kubtha. Only the entrance canyon, with rock walls of more than 200 meters high, is two kilometers long. Outside it, the great attractions of the archaeological site are the Treasury, the Monastery, the series of ornate tombs and the Roman ruins. Also, do not miss the 'Petra by Night' show, when the path to the ruins and facade of the Treasury are lit by thousands of candles.
Petra is in southern Jordan, in a town called Wadi Musa. To get to it you can hire a private driver or take a taxi (private or collective, which works as a bus) from any city in the country, as it is very small. From the capital, Amman, it is only three hours drive by express highway.
Colossal headfrom the 2nd century BCE Greek Hellenistic period, found in a gymnasium at Pergamom Turkey.
There’s speculation, that Alexander the Great is the subject, the seductive visage similar to many of the idealized portrayals of the young conqueror of the period.
The Boxer at Rest, also known as the Terme Boxer, Seated Boxer, Defeated Boxer, or Boxer of the Quirinal, is a bronze sculpture, a Hellenistic Greek original, of a sitting nude boxer at rest, still wearing his himantes, a type of leather hand-wrap. It has been given various dates within the period of about 330 to 50 BC. It was excavated in Rome in 1885, and is now in the collection of the National Museum of Rome, normally displayed in the Palazzo Massimo alle Terme.
The Boxer at Rest is one of the finest examples of bronze sculptures to have survived from the ancient world; survivals from the period are rare, as they were easily melted down and transformed into new objects. The work comes from a period in Greek art where there is a movement away from idealized heroic depictions of the body and youth, and an exploration of emotional as well as psychological themes and greater realism. These traits are typical of Hellenistic art and thoroughly displayed in this sculpture, making it a hallmark of the Hellenistic style.
My other picture of the sculpture:
www.flickr.com/photos/96244785@N04/51197875944/in/datetaken/
Aphrodisias was a small ancient Greek Hellenistic city in the historic Caria cultural region of western Anatolia, Turkey. It is located near the modern village of Geyre, about 100 km (62 mi) east/inland from the coast of the Aegean Sea, and 230 km (140 mi) southeast of İzmir.
Aphrodisias was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. According to the Suda, a Byzantine encyclopedic compilation, before the city became known as Aphrodisias ( it had three previous names: Lelégōn Pólis , "City of the Leleges"), Megálē Pólis "Great City"), and Ninóē (Νινόη).
Sometime before 640, in the Late Antique period when it was within the Byzantine Empire, the city was renamed Stauropolis (Σταυρούπολις, "City of the Cross").
In 2017, it was inscribed on the UNESCO World Heritage Site list.
white marble Lustration urn from Pergamon
Hellenistic marble lustration urn from Pergamon, the enormous urn or jar, around 2 mt high, is one of a matching pair carved from single blocks of marble during the Hellenistic period.
Lindos is an archaeological site, a fishing village and a former municipality on the island of Rhodes, in the Dodecanese, Greece. Since the 2011 local government reform it is part of the municipality Rhodes, of which it is a municipal unit. The municipal unit has an area of 178.9 km2. It lies on the east coast of the island. It is about 40 km south of the city of Rhodes and its fine beaches make it a popular tourist and holiday destination. Lindos is situated in a large bay and faces the fishing village and small resort of Charaki.
According to myth, Lindos was founded by the Dorians led by the king Tlepolemus of Rhodes, who arrived in about the 10th century BC. It was one of six Dorian cities in the area known as the Dorian Hexapolis. The eastern location of Rhodes made it a natural meeting place between the Greeks and the Phoenicians, and by the 8th century Lindos was a major trading centre. In the 6th century it was ruled by Cleobulus, one of the Seven Sages of Greece. The importance of Lindos declined after the foundation of the city of Rhodes in the late 5th century BC.
In classical times the acropolis of Lindos was dominated by the massive temple of Athena Lindia, which attained its final form in around 300 BC. In Hellenistic and Roman times the temple precinct grew as more buildings were added. In early medieval times these buildings fell into disuse, and in the 14th century they were partly overlaid by a large fortress built on the acropolis by the Knights of St John to defend the island against the Ottomans.
Lindos is an archaeological site, a fishing village and a former municipality on the island of Rhodes, in the Dodecanese, Greece. Since the 2011 local government reform it is part of the municipality Rhodes, of which it is a municipal unit. The municipal unit has an area of 178.9 km2. It lies on the east coast of the island. It is about 40 km south of the city of Rhodes and its fine beaches make it a popular tourist and holiday destination. Lindos is situated in a large bay and faces the fishing village and small resort of Charaki.
According to myth, Lindos was founded by the Dorians led by the king Tlepolemus of Rhodes, who arrived in about the 10th century BC. It was one of six Dorian cities in the area known as the Dorian Hexapolis. The eastern location of Rhodes made it a natural meeting place between the Greeks and the Phoenicians, and by the 8th century Lindos was a major trading centre. In the 6th century it was ruled by Cleobulus, one of the Seven Sages of Greece. The importance of Lindos declined after the foundation of the city of Rhodes in the late 5th century BC.
In classical times the acropolis of Lindos was dominated by the massive temple of Athena Lindia, which attained its final form in around 300 BC. In Hellenistic and Roman times the temple precinct grew as more buildings were added. In early medieval times these buildings fell into disuse, and in the 14th century they were partly overlaid by a large fortress built on the acropolis by the Knights of St John to defend the island against the Ottomans.
It closes in 14 minutes.
Known locally as the Treasury, this tomb is where most visitors fall in love with Petra. The Hellenistic facade is an astonishing piece of craftsmanship. Although carved out of iron-laden sandstone to serve as a tomb for the Nabataean King Aretas III (c 100 BCE–CE 200), the Treasury derives its name from the story that an Egyptian pharaoh hid his treasure here (in the facade urn) while pursuing the Israelites.
Some locals clearly believed the tale because the 3.5m-high urn is pockmarked by rifle shots. As with all rock-hewn monuments in Petra, the interior is unadorned. The Treasury is at its most photogenic in full sunlight between about 9am and 11am.
A Hellenistic theatre stood at Taormina from around the third century BC. Under Roman rule, the theatre was rebuilt, probably around the time of Hadrian or Trajan. It was remodelled in the third century AD, with the orchestra turned into an arena and the stage removed.
Trogir is an old town on the Adriatic coast of Croatia near Split. It dates back to the Hellenistic period and has been listed as a World Heritage Site by UNESCO as an outstanding example of urban continuity. This view shows the historic old town on the right. I took the picture from the bascule bridge that connects Trogir to the island of Čiovo, where the old town has spread over the centuries. The image is a panoramic combination of two shots taken at the wide angle setting of my 24-200mm zoom lens, and has therefore a horizontal resolution of 10000px.
The well-preserved Theater of Pergamon dates from the Hellenistic period and had space for around 10,000 people, in 78 rows of seats. At a height of 36 meters, it is the steepest of all ancient theaters. The seating area (koilon) is divided horizontally by two walkways, called diazomata, and vertically by 0.75-metre-wide (2.5 ft) stairways into seven sections in the lowest part of the theater and six in the middle and upper sections. Below the theater is a 247-meter-long (810 ft) and up to 17.4-metre-wide (57 ft) terrace, which rested on a high retaining wall and was framed on the long side by a stoa. Coming from the Upper market, one could enter this from a tower-building at the south end. This terrace had no space for the circular orchestra, which was normal in a Greek theater, so only a wooden stage building was built which could be taken down when there was no performance taking place. Thus, the view along the terrace to the Temple of Dionysos at the northern end was unimpeded. A marble stage building was only built in the 1st century BC. Additional theaters were built in the Roman period, one in the Roman new city and the other in the sanctuary of Asclepius.
(Source: Wikipedia)
Stitched image.
A Hellenistic theatre stood at Taormina from around the third century BC. Under Roman rule, the theatre was rebuilt, probably around the time of Hadrian or Trajan. It was remodelled in the third century AD, with the orchestra turned into an arena and the stage removed.
The Basilica of San Vitale is a late antique church in Ravenna, Italy. The sixth-century church is an important surviving example of early Christian Byzantine art and architecture. It is one of eight structures in Ravenna inscribed on the UNESCO World Heritage List. Its foundational inscription describes the church as a basilica, though its centrally-planned design is not typical of the basilica form. Within the Roman Catholic Church it holds the honorific title of basilica for its historic and ecclesial importance.
The church's construction began in 526 on the orders of Bishop Ecclesius of Ravenna. At the time, Ravenna was under the rule of the Ostrogoths. Bishop Maximian completed construction in 547, preceding Justinian's creation of the Exarchate of Ravenna, which followed his partial re-conquest of the Western Roman Empire.
The construction of the church was sponsored by local banker and architect Julius Argentarius. Very little is known of Julius, but he also sponsored the construction of the nearby Basilica of Sant'Apollinare in Classe at around the same time. A donor portrait of Julius Argentarius may appear among the courtiers on the Justinian mosaic. The final cost amounted to 26,000 solidi equal to 36.11 lbs of gold. It has been suggested that Julius originated in the eastern part of the Byzantine Empire, where there was a long-standing tradition of public benefactions.
The central vault used a western technique of hollow tubes inserted into each other, rather than bricks. This method was the first recorded structural use of terra-cotta forms, which later evolved into modern structural clay tile. The ambulatory and gallery were vaulted only later in the Middle Ages.
The Baroque frescoes on the dome were made between 1778 and 1782 by S. Barozzi, Ubaldo Gandolfi and Jacopo Guarana.
The main building of the church is laid out octagonally. The building combines Roman and Byzantine elements. The dome, shape of doorways, and stepped towers are typical of Roman style, while the polygonal apse, capitals, narrow bricks, and an early example of flying buttresses are typical of the Byzantine. The church is most famous for its wealth of Byzantine mosaics. St Vitale boasts the largest and best-preserved mosaics outside of Istanbul. The church is of extreme importance in Byzantine art, as it is the only major church from the period of the Emperor Justinian I to survive virtually intact. Furthermore, it is thought to reflect the design of the Byzantine Imperial Palace Audience Chamber, of which nothing at all survives. The bell tower has four bells. The tenor bell dates to the 16th century. According to legends, the church was erected on the site of the martyrdom of Saint Vitalis. However, there is some confusion as to whether this is the Saint Vitalis of Milan, or the Saint Vitale whose body was discovered (together with that of Saint Agricola) by Saint Ambrose in Bologna in 393.
The central section is surrounded by two superposed ambulatories. The upper one, the matrimoneum, was possibly reserved for married women. A series of mosaics in the lunettes above the triforia depict sacrifices from the Old Testament: the story of Abraham and Melchizedek, and the Sacrifice of Isaac; the story of Moses and the Burning Bush, Jeremiah and Isaiah, representatives of the twelve tribes of Israel, and the story of Abel and Cain. A pair of angels, holding a medallion with a cross, crowns each lunette. On the side walls the corners, next to the mullioned windows, have mosaics of the Four Evangelists, under their symbols (angel, lion, ox and eagle), and dressed in white. Especially the portrayal of the lion is remarkable in its ferocity.
The cross-ribbed vault in the presbytery is richly ornamented with mosaic festoons of leaves, fruit and flowers, converging on a crown encircling the Lamb of God. The crown is supported by four angels, and every surface is covered with a profusion of flowers, stars, birds and animals, including many peacocks. Above the arch, on both sides, two angels hold a disc and beside them a representation of the cities of Jerusalem and Bethlehem. They symbolize the human race (Jerusalem representing the Jews, and Bethlehem the Gentiles).
All these mosaics are executed in the Hellenistic-Roman tradition: lively and imaginative, with rich colours and a certain perspective, and with a vivid depiction of the landscape, plants and birds. They were finished when Ravenna was still under Gothic rule. The apse is flanked by two chapels, the prothesis and the diaconicon, typical for Byzantine architecture.
Inside, the intrados of the great triumphal arch is decorated with fifteen mosaic medallions, depicting Jesus Christ, the twelve Apostles and Saint Gervasius and Saint Protasius, the sons of Saint Vitale. The theophany was begun in 525 under bishop Ecclesius. It has a great gold fascia with twining flowers, birds, and horns of plenty. Jesus Christ appears, seated on a blue globe at the summit of the vault, robed in purple, flanked by angels, offering with his right hand the martyr's crown to Saint Vitale, while on his left Bishop Ecclesius offers a model of the church.
At the foot of the apse side walls are two famous mosaic panels, completed in 547. On the right is a mosaic depicting the East Roman Emperor Justinian I, clad in Tyrian purple with a golden halo, standing next to court officials, generals Belisarius and Narses, Bishop Maximian, palatinae guards and deacons. The halo around his head gives him the same aspect as Christ in the dome of the apse, but is part of the tradition of rendering the imperial family with haloes described by Ernst Kantorowicz in The King's Two Bodies. Justinian himself stands in the middle, with soldiers on his right and clergy on his left, emphasizing that Justinian is the leader of both church and state of his empire. The later insertion of Bishop Maximian's name above his head suggests that the mosaic may have been modified in 547, replacing the representation of the prior bishop with that of Maximian's.
The gold background of the mosaic shows that Justinian and his entourage are inside the church. The figures are placed in a V shape; Justinian is placed in the front and in the middle to show his importance with Bishop Maximian on his left and lesser individuals being placed behind them. This placement can be seen through the overlapping feet of the individuals present in the mosaic.
Another panel shows Empress Theodora solemn and formal, with a golden halo, crown and jewels, and a group of court women as well as eunuchs. The Empress holds the Eucharistic vessel for the Precious Blood, and her panel differs from that of Justinian in having a more complex background, with a fountain, cupola, and lavish hangings.
A visit to Artemisio with a view to Asklepieion complex and the Sanctuary of Artemis Limnatis.
Museum of Ancient Messini in the Archaeological Site of Ancient Messene.The catalogue of the Museum includes more than 12,000 findings.Nontheless,given the building's restricted space,they are not all exhibited at the same time.
Artemis Limnatis is identified with Lafria,an ancient pre-Hellenic goddess of nature,life and death.Korai statues were votive offerings to deities,mainly goddesses such as Athena and Artemis,and showed off the economic and social status within a polis (city).
Summer 2018
- Archaeological Site & Museum of Ancient Messene - Ithomi - as a cultural and artistic center of the Ancient Hellenistic World -
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Selçuk/Turkey
Ancient City
Celsus Library, Ephesos;
Completed in 117 CE, the library was ordered built by Tiberius Julius Acquila in memory of his father Tiberius Julius Celsus Polemaeanus, proconsul (governor) of the Asian province c. 105 to 114 CE.
Unesco World Heritage List ;
Located within what was once the estuary of the River Kaystros, Ephesus comprises successive Hellenistic and Roman settlements founded on new locations, which followed the coastline as it retreated westward. Excavations have revealed grand monuments of the Roman Imperial period including the Library of Celsus and the Great Theatre. Little remains of the famous Temple of Artemis, one of the “Seven Wonders of the World,” which drew pilgrims from all around the Mediterranean. Since the 5th century, the House of the Virgin Mary, a domed cruciform chapel seven kilometres from Ephesus, became a major place of Christian pilgrimage. The Ancient City of Ephesus is an outstanding example of a Roman port city, with sea channel and harbour basin.
www.ephesus.ws/ancient-ephesus-city.html
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www.youtube.com/watch?v=NrXd7UCuxsk
www.youtube.com/watch?v=NrXd7UCuxsk
The Dying Galatian - Roman marble copy of a Hellenistic work of the late 3rd century BC. Capitoline Museums, Rome.
La statua raffigura, con grande realismo (specie nel volto), un guerriero galata morente, semisdraiato e col volto rivolto in basso. Il soggetto presenta i tratti tipici del guerriero celtico, considerando gli zigomi alti, l'acconciatura dei capelli, dalle folte e lunghe ciocche, e i baffi. In tale gusto si nota un accento sulla particolare erudizione che circolava alla corte di Pergamo.
Eccezion fatta per una torque intorno al collo (la collana tipica di quelle popolazioni), il guerriero è completamente nudo. Sulla base, attorno ad esso alcune armi abbandonate. Col tipico patetismo della scuola di Pergamo, l'artista evidenziò il dolore dello sconfitto, accentuandone il coraggio e il valore e quindi, dall'altro lato, le qualità militari dei vincitori.
The statue depicts, with great realism (especially in the face), a Galatian warrior dying, half-sided, and face down. The subject presents the typical traits of the Celtic warrior, considering high cheekbones, hair hairstyles, thick and long strokes, and mustaches. In this taste, there is an emphasis on the particular erudition that circulated at the court of Pergamo.
Except for a torque around the neck (the typical necklace of those populations), the warrior is completely naked. On the base, around it some abandoned weapons. With the typical patheticism of the Pergamian school, the artist highlighted the pain of defeat, accentuating the courage and the value, and on the other hand, the military qualities of the winners.
The artistic quality and expressive pathos of the statue aroused great admiration among the educated classes in the 17th and 18th centuries and was a "must-see" sight on the Grand Tour of Europe undertaken by young men of the day. Byron was one such visitor, commemorating the statue in his poem Childe Harold's Pilgrimage:
I see before me the gladiator lie
He leans upon his hand—his manly brow
Consents to death, but conquers agony,
And his drooped head sinks gradually low—
And through his side the last drops, ebbing slow
From the red gash, fall heavy, one by one...
The main street of Side, which covers much of the ancient colonnaded street starts from north-eastern gate from Hellenistic period, and stretches all the way to the ancient harbor at the peninsula's western tip, which is still the site of the Temple of Apollo.
Side, a town located on the Turkish southern coast, was the largest port of ancient Pamphylia. It is situated on a small peninsula extending north-south into the sea.
Strabo and Arrianos both record that Side was settled from Kyme, city in Aeolia, a region of western Anatolia. Most probably, this colonization occurred in the 7th century B.C.
Side entered into Persian rule with the rest of Anatolia in 540s B.C. The fact that Side minted its own coins during the 5th century B.C. while under Persian dominion, shows that it still possessed a great measure of independence.
In 333 A.D., despite its strong land and sea walls, Side surrendered to Alexander the Great without a fight.
For a long period following the death of Alexander, Side came under the dominion of the Ptolemaic and Seleucid Empires, and in 190 B.C. witnessed a great naval battle. This encounter took place between the fleet of Rhodos, acting with the support of Rome and Pergamum, and the fleet of Antiochos III, the king of Syria, under the command of the famous Carthaginian Hannibal. Side took the side of Hannibal, but the Rhodian forces carried the day.
In the 1st century B.C. misfortune overtook Side in the form of Cilician pirates, who seized the city and turned it into a naval base and slave market. The people of Side seem to have tolerated the pirates because of the highly profitable nature of this commerce, which, however, gave the city a bad name in the region (the coast to the east of Side became known as the Coast of the Pirates). The Roman general Gneus Pompeus ended the reign of the pirates in 67 B.C. and Side, by erecting monuments and statues in his honour, tried to erase its bad name.
Under Roman rule, Side prospered during a second golden age, especially in the 2nd and 3rd centuries when it became a metropolis, seat of the provincial governor and his administrative staff. It also retained its importance as a slave market.
Side's last years of plenty occurred in the 5th and 6th centuries AD when it served as the seat of the Bishopric of Eastern Pamphylia.
Starting in the middle of the 7th century, destructive raids by Arab fleets on the southern coast of Anatolia transformed it into a war zone. According to the 12th century Arab geographer Idrisi, Side was at one time a large and populous city, but after being sacked it was abandoned by its inhabitants, who moved to Antalya.
Colossal headfrom the 2nd century BCE Greek Hellenistic period, found in a gymnasium at Pergamom Turkey.
There’s speculation, that Alexander the Great is the subject, the seductive visage similar to many of the idealized portrayals of the young conqueror of the period.
Took several attempts, and time to get this shoot off, looking for the right spot that wasn't occupied, to blend the arc of the gallery to the head.
A Hellenistic theatre stood at Taormina from around the third century BC. Under Roman rule, the theatre was rebuilt, probably around the time of Hadrian or Trajan. It was remodelled in the third century AD, with the orchestra turned into an arena and the stage removed.
The site of Claros is north of Ephesus in Turkey. It was within the area of ancient Colophon and 2 km from the coastal site of Notion. Claros was famous in Hellenistic and Roman times for its Temple of Apollo.
The oldest piece of information about the function of the Temple of Apollo in Claros dates back to the time of Alexander the Great. According to the Greek historian Pausanias, in his dream Alexander was told that he would set up a large new city at the base of Mt. Pagos (Kadifekale). After this dream the, king consulted the Apollo oracle at Claros and asked him to interpret the dream for him. He set up the new Smyrna ( izmir )after the oracle gave him the go-ahead to proceed.
A Hellenistic theatre stood at Taormina from around the third century BC. Under Roman rule, the theatre was rebuilt, probably around the time of Hadrian or Trajan. It was remodelled in the third century AD, with the orchestra turned into an arena and the stage removed.
Museo Archeologico Nazionale di Reggio Calabria (o Museo nazionale della Magna Grecia). Calabria, Italia.
38°06′52.98″N 15°39′04.01″E
Bronze portrait head of a mature man
From Delos (“Palaestra of Granite”)
Early 1st c. BC.
A Distinctively realistic face of an anonymous figure carrying the burden of ephemeral thoughts and everyday concerns. Wrinkles on the forehead, on the edges of the eyes, melancholic expression of a wet look, made more lively by the color variegation of the eyes, are characteristics that contrast the idealism of the classic rule.
The head of the man is inclined towards his left shoulder. The hair, in small curly locks, frames the fleshy face of a mature man. The inlaid eyes gaze upwards and into the distance. The modelling of the flesh in many planes attests to a great sculptor.
The portrait is unique because on the one hand it is in the “psychological” style of Demosthenes, on the other hand it is one of a heroic demeanor, like the ones of Alexander the Great, combined with an expressive facial treatment.
Both the perspective of capture and the editing were made with respect in the magnificent art of this classical Masterpiece.