Dionysus - Greek God of Wine and Festivity Statue

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Reinach, Salomon. 1916. "Clarac de poche: contenant les bas-reliefs de l'ancien fonds du Louvre et les statues antiques du Musée de sculpture de Clarac." Répertoire de la Statuaire Greque et Romaine, Vol. 1, 2nd edn. p. 391, I, Paris: E. Leroux. The New York Classical Club, through Fordham University's Classics Department, stages a competition every April wherein groups of high school students produce unique adaptations of the same play. [12] The competition aims to engage the themes and style of the ancient plays with renewed vigor and an accessible, thought provoking frame. Several notable schools from the area participate, including Stuyvesant and Regis. Adaptations are cut to twenty minutes, and source plays have included The Bacchae by Euripides and the entire collection of Ovid's Metamorphoses. [12] The team—led by Kaan Iren, an archaeologist at Mugla Sitki Kocman University—discovered the 2,400-year-old mask while excavating the ancient city of Daskyleion’s acropolis.

The festival itself ended with a political meeting of the Assembly in the Theatre, instead of the Pnyx. Historical Significance At the time of its discovery, the hair retained slight traces of cinnabar, [3] a form of mercury sulfate with a red color, perhaps a preparation for gilding. [4] Cinnabar tints are retained on the sandal straps of the original foot, with traces of gilding. The sandal also bears the motif of a Heraclean knot, which was probably extended in paint. in German) Georg Treu, Hermes mit dem Dionysosknaben: ein Originalwerk des Praxiteles gefunden im Heraion zu Olympia, Wasmuth, Berlin, 1878. Jeffrey M. Hurwit. The Athenian Acropolis: History, Mythology, and Archaeology From the Neolithic Era to the Present. Cambridge: Cambridge University Press, 1999. ISBN 0-521-42834-3

Media in category "Statues of Dionysos"

Educational charity The Iris Project [13] holds a Dionysia Festival every year with Year Eight students from Cheney School, who adapt and modernise Aristophanes plays. The festival is usually hosted at Corpus Christi College, Oxford. [14] Millis, Benjamin Willard; Olson, S. Douglas (2012). Inscriptional records for the dramatic festivals in Athens: IG II2 2318-2325 and related texts. Leiden Boston: Brill. p.1. ISBN 978-90-04-23201-3. At its peak in 546 B.C., Daskyleion served as a satrapal, or administrative center, for the Persian Empire. But the arrival of Alexander the Great’s forces in 334 B.C. marked the beginning of a shift toward Hellenistic culture.

Liknites ("he of the winnowing fan"), as a fertility god connected with mystery religions. A winnowing fan was used to separate the chaff from the grain. Romans identified Bacchus with their own Liber Pater, the "Free Father" of the Liberalia festival, patron of viniculture, wine and male fertility, and guardian of the traditions, rituals and freedoms attached to coming of age and citizenship, but the Roman state treated independent, popular festivals of Bacchus ( Bacchanalia) as subversive, partly because their free mixing of classes and genders transgressed traditional social and moral constraints. Celebration of the Bacchanalia was made a capital offence, except in the toned-down forms and greatly diminished congregations approved and supervised by the State. Festivals of Bacchus were merged with those of Liber and Dionysus. Enorches ("with balls"), [59] with reference to his fertility, or "in the testicles" in reference to Zeus' sewing the baby Dionysus "into his thigh", understood to mean his testicles). [60] used in Samos and Lesbos. During the fifth century BC, five days of the festival were set aside for performance, though scholars disagree exactly what was presented each day. At least three full days were devoted to tragic plays, and each of three playwrights presented his set of three tragedies and one satyr play on the successive days. [5] Most of the extant Greek tragedies, including those of Aeschylus, Euripides, and Sophocles, were performed at the Theatre of Dionysus. The archons, epimeletai, and judges ( agonothetai – ἀγωνοθἐται) watched from the front row. There isn't much evidence that tells us around when Dionysus' cult was introduced to Athens. However, the sanctuary of Dionysus, in which the famous theatre is located contains the remains of two temples. The first of these two is dated to around the 6th century BC, whilst the second of which is dated to around 350 BC. [1]The Temple of Zeus, situated upon a hill, was the city’s main sanctuary. Ceramic findings indicate local habitation from the first half of the third millennium BC. Dionysus and the Maenads, amphora by the Amasis Painter, c. 530 bce; in the Cabinet des Médailles, Paris. (more) The pediments were very damaged by time and military conflicts. Considered the archetype of classical sculpture, or even the embodiment of ideal beauty, several of the statues were removed from the building by Lord Elgin's agents in the early nineteenth century and transported to the British Museum in London. Some statues and many fragments are kept at the Acropolis Museum in Athens. Other groups of sculpture, both reliefs at a smaller scale, from the Parthenon are the Metopes of the Parthenon and the Parthenon Frieze.