procustes photos on Flickr

The third step of the eleventh labor and the mythical origin of wrestling: the combat between the Herakles and Antaeus son of Poseidon and Ge. Antaeus was invincible, since every time an opponent threw him he came in contact with his mother Ge (Earth) and rose with renewed strength. Thus Antaeus had killed all comers and used their skulls in building a temple to his father, Poseidon. Heracles held him aloft and crushed him to death. Some versions of this story take Heracles to the Caucasus Mountains.

The two external halves of the kylix surface are decorated with two scenes concerning the deeds of two vary popular heroes: Herakles and Theseus v.s. Prokrustes.

Kylix side A) – Combat between the Hercules and the giant Antaios. Heracles with his head surrounded by a crown of leaves, grasps with his strong arms the shoulder of Antaios. The giant son of Poseidon leans on the ground with his right hand. To the right, hung in the background, the himation of Heracles, to the left, the club, the bow and the quiver of the hero. If, according to myth, Theseus learned wrestling directly from Athena, Herakles was regarded as the patron god of wrestling.

Above Herakles and Antaeus an inscription reads «καλος Αθενοδοτος»

Some scholars consider this cup an art- work of Douris, but this attribution, made according to the inscription reading Δορι painted in the inner part of the kylix, is controversial.

CAV / CAVI @ www.beazley.ox.ac.uk

Attic red-figured kylix

H. 9 cm.; D. to rim 23 cm

Attributed to Douris [?]

Ca. 500 – 490

Athens, National Archaeological Museum, Inv. No. 1666

Athletes LV - Theseus and the Mythical Origin of Wrestling by Egisto Sani

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Kylix side B) - Theseus vs Prokrustes.

The two halves of external surface are decorated with two scenes concerning the deeds of two vary popular heroes: Theseus and Herakles vs Antaeus.

The Athenian hero, portrayed as a naked young man with a narrow band on his hair, advances towards Prokrustes, holding an ax with his right hand. The bearded brigand, injured, is leaning against a rock with his right hand, extending his left arm towards Theseus to beg for mercy. In the left corner of the scene the artist has painted the petasos (traveller's hat) of Theseus souspended on the wall, on the right his sword, his himation, and, below, the retrograde inscription «καλός».

Some scholars consider this cup an art- work of Douris, but this attribution, made according to the inscription reading Δορι painted in the inner part of the kylix, is controversial.

CAV / CAVI @ www.beazley.ox.ac.uk

Attic red-figured kylix

H. 9 cm.; D. to rim 23 cm

Attributed to Douris [?]

Ca. 500 – 490

Athens, National Archaeological Museum, Inv. No. 1666

Ingrid Hedbavny on the Procrustes Bed of the Warrior, Mouth Stitched Up - "I am" ~ Hedbavny, Ingrid auf dem Prokrustesbett des Kriegers, Mund zugenäht - "Ich bin" by Ingrid Hedbavny

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Part of: The Warrior - The Warrior`s Idol Procrustes // ego // blue blau red rot

DMC-G2 - P1870934 - 2015-01-17

FRIEDE- : umfriedeter (abgegrenzt durch Mauer, Zaun, Hecke,...) Besitz

-MANN: althochdeutsch "man" Krieger

#blue #blau #red #rot #baumwolle #cotton #prokrustes #prokrustesbett #blocked #procustes #leintuch #kreuzstich #pastell #textilkunst

Favorite Pictures of the Warrior: Atomic Clouds (Hiroshima) - Victim of Atomic Bomb - Procrustes` Bed ~ Real: Bilder von Atomexplosionen findet der Krieger hinreissend, ja genau: hinreissend - Atombombenopfer - Prokrustesbett ~ in the mirror ~ im Spiegel by Ingrid Hedbavny

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Real: Bilder von Atomexplosionen findet der Krieger hinreissend, ja genau: hinreissend

Part of: The Warrior - The Warrior`s Idol Procrustes

Collage, using 2 pictures from wikipedia.

Urheberrechtsangaben: Used Pictures:

1) „Atomic cloud over Hiroshima“ von Enola Gay Tail Gunner S/Sgt. George R. (Bob) Caron - This media is available in the holdings of the National Archives and Records Administration, cataloged under the ARC Identifier (National Archives Identifier) 542192. Lizenziert unter Public domain über Wikimedia Commons - commons.wikimedia.org/wiki/File:Atomic_cloud_over_Hiroshi...

2) „Victim of Atomic Bomb 002“ von Onuka, Masami Lizenziert unter Public domain über Wikimedia Commons - commons.wikimedia.org/wiki/File:Victim_of_Atomic_Bomb_002...

The Deeds of Theseus. by Egisto Sani

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The central part depicts Theseus slaying the Minotaur. Theseus, with drawn sword in right, moves to left, looking back, and dragging with his left hand the Minotaur by the left horn out of a building. The Minotaur has apparently fallen forward, dying: only his head, right arm, and body to waist are visible, the rest being concealed behind the building: the surface of his bull's head and human body are covered with brown strokes, indicating hair.

The building is represented by a Doric fluted column with entablature and triglyphs, forming a porch to the main building, which is itself represented by a broad vertical stripe of pattern, consisting of alternate labyrinth (?) patterns and chequer squares.

Round the central design is a frieze composed of a series of groups representing six more of the Labours of Theseus in the following order, starting from the left handle and proceeding from left to right:

(i) The sow of Crommyon. Beside the sow, in the background, an old woman stands, bending forward, with both arms outstretched towards Theseus; she is probably Crommyon, the personification or wood-nymph.

(ii) Kerkyon vs Theseus (on left).

(iii) Procrustes has fallen backwards to left on his bed, supporting himself with his right hand, and, with left hand and foot feebly raised, tries to ward off the blow which Theseus, swinging over his back the double axe (pelekys), is dealing him.

(iv) Skiron: Theseus on left in three-quarter back view, swings over his head the foot-pan (podanipter) to strike down Skiron, who has fallen backwards to right on the hill; beside Skiron, is a willow (?) tree; at the foot is the tortoise, half seen, as though climbing up out of water.

(v) The Marathonian bull, charging violently to right, is checked by Theseus, who, with right leg supported against a rock and left knee pressed against the bull's shoulder, throws his weight back on a cord in his left which is fastened to the animal's horns, and throws it back on its haunches; in his right he holds a club,

(vi) Sinis Pityocamptes, seated on a hill-top beside a tall pine-tree, is dragged to left by Theseus, who has seized him by the right arm in one hand and with the other draws down the top of the pine-tree.

(Source: The British Museum WEB site)

Attic red figured kylix

Attributed to “The Codrus Painter”

ca 440 – 430 BC

From Vulci, Etruria, Lazio

London, The British Museum WEB site

Thésée-la-Romaine (Loir-et-Cher) by Daniel Jolivet

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Thésée-la-Romaine (Loir-et-Cher)

Procuste, Carabe chagriné, Carabe coriacé (Carabus coriaceus).

C'est le plus grand carabe de France (jusqu'à 4,5 cm). Très vorace, se nourrit de vers, escargot, limaces, larves, cadavres. Il se défend en crachant les sucs digestifs ou projette une sécrétion malodorantes, à base d'acide butyrique, de glandes anales, qui irrite les muqueuses.

Les procrustes sont actifs au printemps, marquent une pose durant l'été, puis reprennent leur activité à l'automne période de reproduction.

The seven Deeds of Theseus - V by Egisto Sani

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iv) Fight between Theseus and Kerkyon, the King of Eleusis; Kerkyon was a very strong man, and he was notorious in ancient time for his cruelty towards his daughter Alope and all who refused to fight with him, but he was eventually beaten and slain by Theseus who took over the kingdom of Eleusis. (Pans. i. 39. § 3.)

v) Theseus naked is about to hit Prokrustes, “the Stretcher", with his axe; Prokrustes was the nick-name of the famous robber Polypemon or Damastes. He used to force all the strangers that fell into his hands into a bed which was either too small or too large, and in which he had their limbs stretched by force or cutted with an axe. He was slain by Theseus who “fitted” him to his own bed.

vi) Theseus fastens Sinis to the top of a fir-tree. Sinis dwelt on the isthmus of Corinth as a robber, killing the travellers fallen into his hands, by fastening them to the top of a fir-tree, which he curbed, and then let spring up again. He himself was killed in this manner by Theseus. When Theseus had accomplished this, he was compelled to be purified by Phytalus at the altar of Zeus Meilichios, because Theseus himself was related to Sinis (Paus. i. 37. § 3), or according to other, he propitiated the spirit of Sinis by instituting in his honor the Isthmian games.

Made in Athens

Attic red figured kylix

Attribute to “The Penthesilea Painter”

About 475-425 BC

From Spina Necropolis

Ferrara, Archaeological Museum

The deeds of Theseus and the Minotaur by Egisto Sani

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Within a circle of pattern consisting of sets of three maeanders separated by chequer squares, Theseus slaying the Minotaur. Theseus, with drawn sword in right, moves to left, looking back, and dragging with his left hand the Minotaur by the left horn out of a building. The Minotaur has apparently fallen forward, dying: only his head, right arm, and body to waist are visible, the rest being concealed behind the building: the surface of his bull's head and human body are covered with brown strokes, indicating hair. The building is represented by a Doric fluted column with entablature and triglyphs, forming a porch to the main building, which is itself represented by a broad vertical stripe of pattern, consisting of alternate labyrinth (?) patterns and chequer squares; this is partly cut off by the border of the design. In this, as in all the other scenes, Theseus is beardless and wears a fillet and a sword-belt with scabbard.

Round the central design is a frieze composed of a series of groups representing six more of the Labours of Theseus in the following order, starting from the left handle and proceeding from left to right:

(i) The sow of Crommyon.

(ii) Theseus vs Kerkyon

(iii) Theseus vs Procrustes

(iv) Theseus vs Skiron

(v) Thesus taming the Marathonian bull

(vi) Theseus vs Sinis Pityocamptes.

Museum No. 1850,0302.3

CARC @ www.beazley.ox.ac.uk

Attic red-figured kylix

(Height 12,7 cm; diameter 33,2 cm)

Attributed to The Codrus Painter by Hauser

About 440 – 430 BC

From Vulci Viterbo

London, The British Museum

Shtrati i Prokustit apo Shtrati i Prokrustit, 1980. Doli nga shtypi vetëm më 1989, në shtëpinë botuese Naim Frashëri, Tiranë. Le lit de Procuste. Dashnor KOKONOZI, 1980-1989. Editions Naim FRASHERI, Tirana, Albanie. by Only Tradition

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www.expressio.fr/expressions/un-lit-de-procuste.php

Robert Cremean: STUDIO SECTION 1998-2002, Dialogues of The True Cross/The Winter Notebooks by rdlv1

THE WINTER NOTEBOOKS, Pages 5 & 6

Diptych: 96" x 97"

Wood panels, gesso, modeling paste, acrylic, colored pencils

The hand written words on the panel behind the figure are transcribed below

Top right:

"The Dialogues of the True Cross, begun in 52 A.H., has been absorbed into Studio Section 97-02. This trilogy, with pages one through six of the Winter Notebooks, is the first actualization of the F.A.M. experiment. This five year segment will exist as a single work where-in the Process of Making replaces the making of product. Philosophically, an alternative to the decadent and currupt market metaphor for Art now exists. For me, whether this alternate metaphor is acculturated is of very little interest or concern. Our culture has been presented a choice: to continue the production of artifacts for the making of money or the making of Art."

Bottom right:

"In order to understand Procrustes, have I become him? A different head-dress, perhaps, but still procrustean in my approach to travelers en-route to destinations other than my Inn. Do I seek to seduce and destroy? Do I hate and respect my enemies while dismissing those who acknowledge me...those already my guests? Perhaps it has always been so. Perhaps I sought out the monster, Procrustes, to externalize and examine deficits within myself. The myth is so powerful, so usable, so revelatory, perhaps only self-recognition could paint him in the Now. Is this true of all myths and metaphors, I wonder? Are they created out of need for self-understanding and re-created over and over again depending on individuals and their circumstances as they are illuminated within the eternal Now? Do we assume the faces of heroes and demons as the light touches us and the drama proceeds in circuitry? Are we called upon to reveal our faces as the light touches us and recite the ancient lines to force the passage of time? Perhaps only the light moves creating a space between the birth and death of monsters. I will not mask my face nor shade it from the light. Be it monster or hero, I will play my part. If or when the light touches me, I will be there. Whether as traveler or as guest, Theseus or Procrustes, I cannot, I will not shun the light."

Left:

"What does it serve to escape the beds of Procustes? To live out ones life in his Inn within the comforting walls of majority, is this not happiness? To grow old surrounded by flatulence and bad jokes, is this not contentment? To not see oneself reflected in the eyes of children yet presume it must be so, is this not valid self-deception? To be father or mother in league with multitudes of fathers and mothers to produce legions of sons and daughters to occupy the procrustean beds, is this not destiny? The way it is is the way we are. If you choose to be other, to avoid the beds of Procrustes, you choose exile, alienation, and defamation. You will be hounded into the desert of contradiction—and beyond.... Fare-well, Procrustes. Your Inn is full. Your beds are never empty. You have no need of me. I know who you are and what you are. Not a giant, but a Janus of human Isness. Without you, there would be no us and without you there is no me. Those of us who escape your beds simply reshape them to a new conformity. In order to escape you, we become you. And so it has always been. And so it will always be. Does this offend you?"

Bottom center:

"As this Studio Section comes to completion, I am faced with the possibility of freedom. Has this studio, now windowless in aged walls, been my Inn of Procrustes? Have I placed my life upon its beds and sliced and stretched myself into oblivion? I sense I do not exist. Would it be possible, I wonder, to leave this place and wander these pages without the constraints of memory? Have I not flayed myself enough? I want not only to look at flowers but to see them...to have the sun touch my skin and remember youth without guilt or regret. Finally, have I not exhausted all that I was so that I can be without excuse or defense? There are so few years remaining. Finally can I leave this place and simply say, “I am”? My mind is scorched; my body publicly branded. Who would condemn me for ending this obsession...for simply closing the door of my studio and saying, “Enough!”...And what would it matter? I do not exist. At least I have escaped history."

Collection:

Crocker Art Museum

Sacramento, California

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