#6th-5th centuries BCE

[blueiscoool]

Etruscan Bronze Helmet in the Shape of a Wolf’s Head 6th-5th centuries BCE.

[romegreeceart]

Limestone statues of Cypriot women

* Vouni

* 5th century BCE / 6th century BCE

* Medelhavsmuseet, Stockholm

Stockholm, November 2023

[priestess-of-the-north-west]

Frisia around the 6th century CE. Made by Fryske Akademy after Heidinga.

Landscape maps of the Netherlands in the Northern Iron Age show that Frisia was mainly a coastal landscape with wetlands (peatland, moor, bog, etc.) inland and only got wetter over time. 1) 500 BCE 2) 100 CE 3) 800 CE Made by Rijksdienst voor Cultureel Erfgoed.

Brown means peat-wetland. Yellow spots at the shores indicate dunes or ridges, the most inhabitable land, as the orange spots in the illustration at the top of this post also indicate.

[thoodleoo]

phoenician glass pendant in the form of a demonic mask (6th-5th century BCE) // jinx the cat (21st century CE)

[lionofchaeronea]

Earthenware rhyton in the shape of an ibex head, from Achaemenid Persia (6th or 5th century BCE). Excavated at Gilan, Iran; now in the Tokyo National Museum, Tokyo, Japan.

[whencyclopedia]

Zagreus

In ancient Greek mythology, Zagreus is a god closely associated with the wine god Dionysus, the underworld, and hunting. A son of Zeus and Persephone, he is known in the Orphic tradition as the first incarnation of Dionysus, whilst other stories identify him as the son of Hades or even as Hades himself.

The earliest mention of Zagreus comes from a quoted line from the lost Greek epic Alcmeonis, a poem dating back to at least the 6th century BCE, where he is described alongside Gaia, the Greek personification of the earth, as "highest of all the gods" (West, 61). Yet some scholars believe this line was only in reference to him being the highest of all the gods of the underworld, as surviving fragments of works written by the Greek tragedy playwright Aeschylus (c. 525 to c. 456 BCE) identify him closely with Hades.

Zagreus is also the name often given to Orphic Dionysus, whose story was central to the beliefs of the followers of Orphism. In the story, Zagreus, a child of Zeus and Persephone, was killed and eaten by the Titans, except for his heart which was found by Athena and brought to Zeus. Because his heart was saved, Zagreus was able to be reincarnated as the god Dionysus. Zeus punished the Titans for their treachery by destroying them with a thunderbolt, and it was from their ashes that humanity was born.

Followers of Orphism, therefore, believed that humanity had a dual nature, one of the body, inherited from the Titans, and one of the soul, or the divine spark inherited from the parts of Zagreus ingested by the Titans. It was the central focus of Orphism for one to achieve salvation through acts of atonement during their lifetime or else be cursed with endless reincarnation. Aspects of Orphism, including the suffering, death, and resurrection of Dionysus Zagreus, and the idea of redemption for an original sin call to mind aspects of later religions, such as Christianity.

Origins & Interpretations

What little is known of Zagreus outside his association with Dionysus comes from fragments of lost works of Greek literature. He was certainly renowned, as a surviving quote from the lost Greek epic Alcmeonis offers a prayer to "Mistress Earth, and Zagreus highest of all the gods" (West, 61). The invocation of his name alongside Mother Earth seems to suggest that Zagreus was held in high esteem and was thought to be very powerful. Some scholars believe that the reference to him as "highest of all the gods" does not claim that he was the greatest god on Mount Olympus, but rather that he was the greatest god of the underworld.

This can be gathered from the context of the prayer, in which the hero of the Alcmeonis, Alcmaon, calls upon the powers of the earth to see the soul of his father safely transferred to heaven. Zagreus' status as a god of the underworld can further be attested to by two works written by Aeschylus. One of these references, found in a fragmented line of one of Aeschylus' lost Sisyphus plays dating back to around the 5th century BCE, identifies Zagreus as the son of Hades. Another reference, from Aeschylus' Egyptians names Zagreus as Hades himself.

Either way, Zagreus seems to have been a powerful underworld god, earning the epithet "Chthonios," or "the subterranean." As for the associations of him to Dionysus, scholars such as Timothy Gantz have postulated that the separate myths of Zagreus, a son of Hades and Persephone, had over time become merged with the myth of Orphic Dionysus, the son of Zeus and Persephone, so that the name Zagreus came to be associated with both myths.

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[artifacts-archive]

Amphoriskos (Container for Oil)

Eastern Mediterranean, possibly from Rhodes, late 6th-early 5th century BCE

[baebeylik]

Scythian Warrior. Sibioara, Romania.

6th to 5th Century BCE.

[metmuseum]

Glass aryballos (perfume bottle). late 6th–5th century BCE. Credit line: Gift of J. Pierpont Morgan, 1917 https://www.metmuseum.org/art/collection/search/249985

[victusinveritas]

Persian Achaemenid rhyton (drinking vessel or vessel for pouring libations) made of lapis lazuli and gold. 6th-5th century BCE. Abegg Foundation, Riggisberg, Switzerland (6.7.63). Persian Achaemenid rhyton (drinking vessel or vessel for pouring libations) made of lapis lazuli and gold. 6th-5th century BCE. Abegg Foundation, Riggisberg, Switzerland (6.7.63).

Photo credit: Abegg-Stiftung.

[romegreeceart]

Ancient bull figurine

* Cyprus

* 5th century BCE / 6th century BCE

* Medelhavsmuseet, Stockholm

Stockholm, November 2023

[artschoolglasses]

Pair of spherical gold earrings, Greek, 6th-5th Century BCE

From the Met Museum

[gemsofgreece]

Sike

Initial info snippet: Βεργίνα (or Vergina in English) is pronounced ver - YEE - nah. Just saying, for no particular reason whatsoever.

Perhaps you know that there is a country in the periphery of Greece that has a flag with a sun. This alongside other issues has been a cause of contention between Greece and this country, as it using this sun as a symbol of its non-Greek nationality was condemned by Greece as an act of cultural appropriation.

That sun looked suspiciously like (as in, it was identical down to the last line) to the Vergina Sun, or sometimes called Vergina Star, most famously discovered in the tomb of King Philip || of Macedon, in Ancient Aegae, Vergina, Macedonia, Greece.

The golden larnax with the Vergina Sun found in the tomb that is believed to be King Philip's.

For some time the Vergina Sun was mostly perceived as a symbol of Macedonia or Macedonian royalty, except that meant polar opposite things to Greeks versus to their neighbours. The Vergina Sun became the symbol of the administrative and historical region of Macedonia within the Greek state, which has this local flag:

The flag was first created in the late 80s after archaeologist Michael Andronikos made the huge discovery of the tombs in Vergina. The Vergina Sun was added as a national symbol at the Hellenic Parliament in 1993.

Meanwhile, in 1992 the newly founded neighbour state (risen through the collapse of Yugoslavia) adopted the EXACT same flag as their official national flag, except the background was changed to red. Greece condemned the use of this symbol, accusing the country of appropriation. Due to the rising tensions between the states, the neighbouring country eventually changed its flag.............. which means it's still the same red flag with the sun except now the sun is "designed differently". Of course, the implications behind it as well as the claims have not changed one bit. The neighbour country was mad at Greece for preventing them to express their true ethnicity and for using her immense evil power (which, as we all know, Greece definitely possesses) to steal THEIR history, because Greece is jealous of THEIR history. Anyway even though there was a legal agreement of sorts between the countries in the last years, it is honoured so little you might as well believe it was never done. And it is crap for our side as well, so everybody hates it.

But here's the funny thing. Even if one argues the true issue is what being a Macedonian entails (which shouldn't truly be a discourse but let's pretend it is)... the hilarious truth is that the Vergina Sun..... is actually not a symbol of Macedonia and Macedonians.

You see, the symbol has been discovered all throughout Greece since at least the 6th century BCE, way before the Kingdom of Macedon rose to any prominence.

Vergina Sun originating from… Sparta, 6th century BC, exhibited in the Louvre.

This famous amphora by Exekias, 6th century BC, depicting Achilleus and Ajax playing a board game. The Vergina Sun decorates their cloaks. Exhibit in the Vatican Museum.

Hercules fighting the Amazons. The Amazon bears a shield with the Vergina Sun. Early 5th century, Gela, Italy. (So it was crafted in the Greek colonies in Magna Grecia, South Italy.) Exhibited in the Regional Archaeological Museum "Antonio Salinas", Palermo.

Jar with the Judgement of Paris. Athena's shield is decorated with a Vergina Sun. Athens, c. 360 BC.

So you know, not only it wasn't an exclusively Macedonian symbol but it actually seems to have been an Archaic symbol of Panhellenic (encompassing all the Greeks) warfare.

Dem evil Griekos stealing other pipl's history.

[rainforestakiie]

i am a bit stunned by the amount of misinformation going around? and people are now accusing Eve of replacing Lilith in the later transcriptions… ?

let me try to share some of my knowledge? English is not my first language so this might not come across well?

the first ‘bible’ to speak of Adam was the Tanakh. specifically, he appears in the Book of Genesis, which is part of the Torah, the first section of the Tanakh. Genesis describes Adam as the first human, created by God. the story of Adam in Genesis is believed to be dated back to ancient Israelite oral traditions, around the 6th to 5th century BCE during or after the Babylonian Exile. this makes the Tanakh the first surviving document to tell the story of Adam and introduce him as the first human.

the Tanakh is made up of sacred Jewish texts written primarily in Hebrew, and it forms the canonical scriptures of Judaism. the easiest way explain the Tanakh is to think of it as being similar to what Christians refer to as the Old Testament…

Eve is the only named wife of Adam in the Tanakh. She is introduced in the Book of Genesis as Adam's companion, created by God from one of Adam's ribs (Genesis 2:18-25).

Eve is described as the "mother of all living" (Genesis 3:20) and is central to the story of the Garden of Eden and the "Fall" narrative.

Lilith is not mentioned in the Tanakh. her story comes later in the Alphabet of Ben Sira, written sometime between the 8th and 10th centuries CE. the Talmud and earlier Jewish texts mention Lilith as a demon or night spirit, but she has no connection to Adam and isn’t considered to be human at all.

the idea of Lilith as Adam's first wife became prominent in medieval Jewish mysticism and later folklore, but she doesn’t appear in the canonical Tanakh texts themselves.

the Tanakh is ancient scripture, the Alphabet of Ben Sira is a later work that reflects medieval folklore and ideas that expanded on and reinterpreted some biblical themes and figures. Lilith being Adam’s first wife is not considered biblical accurate and can be considered insulting suggesting otherwise ??? (from past experience!!! )

…sooooo Lilith actually replaced Eve and not the other way around.

[bernievm]

In the heart of the ancient Achaemenid Empire, a masterpiece of Persian artistry emerges—a rhyton (drinking horn or in the shape of a horn) carved from the deep blue lapis lazuli and adorned with gold, taking the form of a majestic ibex (mountain goat).

Dating back to the 6th to 5th century BCE, this exquisite ceremonial vessel not only exemplifies the sophisticated craftsmanship and rich symbolism of the time but also provides a fascinating glimpse into the cultural and economic prowess of ancient Persia.

[Description and Material]:

*Material:

Lapis lazuli, a semi-precious stone prized for its deep blue color, was highly valued in ancient Persia and sourced primarily from what is now Afghanistan.

*Form:

The rhyton is shaped like an ibex, a type of wild goat with prominent, curved horns, reflecting the importance of nature and animal motifs in Persian art.

[Use]:

*Function:

A rhyton is a type of vessel typically used for drinking or pouring liquids, especially in ceremonial contexts. The liquid would be poured from the top and flow out through the spout, which could be the mouth of the animal in this case.

*Ceremonial Role:

Rhytons were often used in religious and royal ceremonies. The choice of lapis lazuli and the intricate craftsmanship suggest that this particular rhyton was likely used by the elite, possibly in rituals associated with the Zoroastrian religion or royal banquets.

[Cultural and Historical Significance]:

*Art and Symbolism: The ibex design reflects the importance of wildlife in Persian culture and the symbolic use of animals in conveying power and divinity. The ibex, with its strong and agile form, could symbolize qualities such as strength and resilience.

*Trade and Wealth: The use of lapis lazuli indicates extensive trade networks and the wealth of the Achaemenid Empire, as this material was not locally sourced and had to be imported.

*Royal Patronage: The Achaemenid rulers were great patrons of the arts, and such luxurious items underscore their desire to display their wealth, power, and cultural sophistication.

[Academic Perspective on Material Culture]:

*Cultural Synthesis:

Scholars often view Achaemenid art, including rhytons, as a synthesis of various cultural influences, including Mesopotamian, Egyptian, and Greek, reflecting the diverse and cosmopolitan nature of the empire.

*Representation of Power:

Academics see these artifacts as representations of royal propaganda, showcasing the divine right and grandeur of the Persian kings.

*Symbol of Status:

In material culture studies, such high-quality items are considered symbols of social status and wealth. They provide insights into the social hierarchy and economic conditions of the time.

*Artistic Techniques:

The craftsmanship of the rhyton is analyzed for its artistic techniques, such as carving and polishing lapis lazuli, which indicate advanced skills and aesthetic values.

[Notable Examples]:

Museums and Collections: Notable examples of such rhytons can be found in major museum collections, such as the British Museum and the Louvre, where they are studied and displayed as prime examples of Achaemenid artistry and craftsmanship.

In conclusion, the lapis lazuli rhyton in the shape of an ibex from the Achaemenid period is a significant artifact that illustrates the artistic, cultural, and economic aspects of ancient Persia. It serves as a key piece of material culture, providing valuable insights into the ceremonial practices, trade networks, and socio-political dynamics of the Achaemenid Empire.

[calabria-mediterranea]

Sirens of Greek Myth Were Bird-Women, Not Mermaids

Bottle-askos in the shape of a siren (2nd half 6th century BC) from Locri / Southern Italy's Calabria. National Museum of Magna Graecia (Reggio Calabria, Italy).

In the wine-dark expanse of the Mediterranean Sea, far from the halls of civilization, there was once a small island—or so Homer, the famed poet of Ancient Greece, wrote in his epic The Odyssey. No buildings occupied its flowery meadows; no fisherman worked its shores. Those who passed in their black ships heard only voices, twining over the windless waves, singing a song that promised knowledge of all things. Once they heard it, they were enchanted; they had no choice but to land and seek out the singers. Those who did never left the island; their bodies remained, rotting amid the flowers, for none who heard the Sirens' song could escape it.

The story of the Sirens has inspired writers, poets, and artists for millennia. But somewhere along the way their form was confused. Today, Sirens are almost always represented as voluptuous mermaids, whose beauty and sexuality lure men to their deaths. But the Classical Greeks understood the Sirens differently: as bird-women, creatures that Mediterranean cultures traditionally associated with hidden knowledge.

Sirens first appear in the literary record with the Odyssey (written around 750 BCE) in a segment that’s much briefer than you’d think considering the cultural impact of these mystical, singing creatures. It goes like this: Odysseus, warned by the enchantress Circe of the danger posed by the Sirens’ song, orders his crew to stuff their ears with wax. But, curious to a fault, he has himself bound to the ship’s mast so he can listen without flinging himself into the sea. The Sirens promise him tales of all that had occurred during the war at Troy, and everywhere else besides; enchanted, he begs his crew to release him. He rants, raves, and threatens, but to no avail. His crew sails on until the song fades in the distance, and so saves his life.

Homer doesn’t describe the Sirens’ physical appearance in his epic poem, Wilson says. But in ceramic paintings and tomb sculptures from the time of writing, and centuries after, Sirens were usually depicted with taloned feet, feathered wings, and a beautiful human face. The bird-body of the Siren is significant to Wilson: In the eyes of traditional peoples all across Europe, birds were often graced with an otherworldliness associated with gods, spirits, and omens.

They inhabit the water, the air, and the earth. They’re also associated with song; they have voices that are not human voices, and kinds of movement that are not the same as human kinds of movement.

The Sirens’ role in tomb art is particularly telling. In ancient Mediterranean and Middle Eastern cultures—as far back as 7,000 years ago—birds were often depicted carrying spirits to the underworld. In Southern Italy's Calabria, archaeologists unearthed several Greek askos (unguentary vessel) in shape of sirens, most commonly found in tombs.

Bronze askos in the shape of a siren (5th century BC) from Crotone, Calabria, Italy - Archaeological Museum of Crotone.

Jump ahead a few millennia to 1,550 BCE, by which time Ba-birds, depictions of departing souls as human-faced birds, began appearing in Egypt. That connection between birds and dead souls seems to have then hopped over to Greece: Writing in the 5th century BCE, the playwright Euripides described the Sirens as at the beck and call of Persephone, one of the rulers of the underworld, while other writers identified the Sirens as rivals and dark echoes of the Muses, those goddesses of creativity.

These are the Sirens the Ancient Greeks would have recognized: bird creatures of the underworld, bridging the human world and what lies beyond. The Sirens—and their fateful songs—then offered a glimpse behind the veil, a chance to hear how earthly glories would echo in eternity. The question of what song the Sirens sing, what is this forbidden knowledge, what's wrong with it, what's the temptation—the text leaves a lot of open space there. Therein lies the seduction.

Yet today, mermaids or beautiful sea nymphs replace the dark, winged Sirens of ancient times.

It is during the Middle Ages that the image of the siren began its shift from bird-woman to mermaid . With the transformation of the siren's image, the attributes associated with female monsters shifted. This suggests a change in the traits that were considered monstrous in women. The siren's movement from a frightening bird-woman to a beautiful mermaid represents female beauty becoming monstrous. Throughout the Middle Ages sirens increasingly represented a male fear of female seduction, suggesting a growing fear of female sexuality.

For medieval Christians, sirens were heavily associated with female sin.

However it happened, the identification of Sirens with mermaids seems to have affected later translations of the Odyssey, and ultimately common knowledge of Sirens. Translators in the 19th and 20th centuries cast the Sirens in a sexualized light. In one prose translation, the Sirens speak of “the sweet voice from our lips,” despite the word στομάτων directly translating to the less sensual “mouths.” Another adds flowery descriptors of “each purling note/like honey twining/from our lips.” But unlike the Odyssey’s other island temptresses, Circe and Calypso, the Sirens get no admiring description of their faces or hair. Only their voice is described, and their field of bones and flowers.

That’s a pretty strong indicator that the Sirens are not meant to be read as offering a sexual temptation. You can kiss lips; mouths devour.

Folklore and mythology move on, given enough time. Today, the Siren is just another word for mermaid, and is likely to remain so. But there’s something richly thematic about the Sirens of Classical Greece that deserves to be remembered: in-between creatures on a lonely island, floating between the boundaries of life and death, and offering an irresistible song of both. Water-temptresses are a dime a dozen; the Sirens offer wisdom.

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