#7th Century BCE

[romegreeceart]

Rhodian jug

* 7th / 6th century BCE

* British Museum

London, July 2022

[meganwhalenturner]

Interrupting our fan art parade to say: Ask me what I did today!

Alchemy. I’ve been doing alchemy.

[the-good-spartan]

Lakonian kylix featuring Prometheos and his friend, the Eagle.

The hair - facial and head - is so quintessentially Spartan, it’s not funny. And he has his braids in a braid, right? That’s what’s going on back there? Like a super-braid.

Saw this called a Spartan king somewhere along the way. Think that might be a bit of a push, but I do like the idea that some perioikic craftsman was like - ‘Y’know, if I could depict anyone having their liver pecked out on the daily, you know who I’d choose…’

Anyway - This is 7th Century Lakonianware (from before the great cultural shift).

[artschoolglasses]

Bronze hydria, Greek, late 7th - early 6th Century BCE

From the Met Museum

[panicinthestudio]

Silver Mirror, 7th century BC

Kelermess Barrow, Transkuban

Silver

Diameter: 17 cm

Collection of the Hermitage Museum

Mirror with Scythian mistress of the animals, Griffins, Sphinxes, animals, and Arimaspians 7th C. BCE. This may have association with the Scythian deity Artimpasa, as she could be associated with animals, though the Potnia Theron figure has usually been associated with Artemis, from what I've seen. From the Kelermess Barrow. Hermitage Museum.

"Among these, the Tauri have the following customs; all ship-wrecked men, and any Greeks whom they take in their sea‑raiding, they sacrifice to the Virgin Goddess (Artemis)​ as I will show: after the first rites of sacrifice, they smite the victim on the head with a club; according to some, they then throw down the body from the cliff whereon their temple stands, and impale the head; others agree with this as to the head, but say that the body is buried, not thrown down from the cliff. This deity to whom they sacrifice is said by the Tauri themselves to be Agamemnon's daughter Iphigenia. As for the enemies whom they overcome, each man cuts off his enemy's head and carries it away to his house, where he impales it on a tall pole and sets it standing high above the dwelling, above the smoke-vent for the most part. These heads, they say, are set aloft to guard the whole house. The Tauri live by plundering and war."

-Herodotus, The Histories, Book 4.103

[jackredfieldwasmyjacob]

What's your PhD about?

I haven't started it yet cause I'm looking for funding first so this might change (also I've altered the PhD propossal depending on the professor that would be my supervisor) but basically I want to study the Muses through the lens of Cultural Memory.

The ideal thing would be to study them and their evolution throughout ancient Greece, but that's impossible so for example my current PhD director suggested I should focus on the Archaic Era (also the Dark Ages, so around the 10th to 6th centuries BCE more or less). I am very interested in the relationship between identity, literacy, and religiosity, so the Muses are perfect for it, as they were used by the Greeks as a sort of fact-check for aoidoi and poets, which were the preservers of Cultural Memory.

Most stuff that's been written about the Muses has always been very philological and especially related to the 'invocation of the Muses' so prevalent in Greek literature. I want to open the scope to new angles, something never done before, and I have experience working with Cultural Memory from my Master's Thesis, so I thought it would be a cool approach :) It's gonna be much more theoretical than you would expect, but I love that sorta thing. Also it's impossible to separate the Muses from literacy so I'll be looking at written sources for sure, my good pal Hesiod (whom my Undergrad Thesis was about) will occupy a good chunk of the research I'm afraid.

So yeah, that's it. This won't happen if I don't get funding tho, so I could just never write this Ph.D. Who knows.

[anteroom-of-death]

I am experiencing some agonizing emotions and disillusionment but at least I'm pretty and my hair is very soft rn.

[labelma]

I keep seeing a post going around saying that people should stop using the “colonized” names for cities in Israel/Palestine and should instead use the Arabic names.

I need you guys to be so for real right now, Hebrew is quite literally the indigenous language of the area. Like believe what you want about Israel, but Hebrew objectively and factually originated in that land. The earliest record of written Hebrew is the Khirbet Qeiyafa inscription, found near Beit Shemesh which dates back to the 11th-10th century BCE.

The first record of the name Jerusalem is in the Egyptian Execration Texts which date back to the 20th century BCE.

Arabic was introduced to the land in the 7th century CE. The first recorded use of “Al-Quds” was in the 9th century CE.

I could do this for every single ancient city in the land. Bethlehem, Hebron, Jericho, Jaffa, Beer Sheva, Acre, and Ashkelon all existed prior to the Arab conquests in the 7th century CE and the introduction of Arabic to the land.

The fact that we use the Hebrew names of these cities isn’t some conspiracy to make them sound “more Jewish”, the modern Hebrew names are direct descendants of the ancient Canaanite words for these places. Hebrew is the only surviving Canaanite language.

Believe what you want about Israel, but claiming that the Hebrew names for these cities are “colonial” names is a disgusting erasure of Jewish history in the land.

[literaryvein-reblogs]

Some Art Vocabulary

Abstract - Simplified, intended to capture an aspect or essence of an object or idea rather than to represent reality.

Amber - Tree resin that has become a fossil. It is semi-transparent and gem-like. Amber is used in jewelry today as it has been for thousands of years.

Amulet - Object, organic or inorganic, believed to provide protection and turn away bad luck. Amulets were often worn as jewelry in antiquity.

Anneal - To heat metal to make it soft and pliable.

Black-figure - Technique of vase painting developed in Greece in the 7th and 6th centuries BCE and adopted by the Etruscans. Figures are painted on a reddish clay vase in black silhouette and details are then cut away with a sharp point down to the red below. Sometimes artists added additional colors, especially purple-red and white.

Bronze Disease - Corrosion of a bronze object that cannot be permanently stabilized. Without special care, an object with bronze disease will continue to corrode.

Bust - Portrait of a person including the head and neck, and sometimes the shoulders and part of the chest.

Cameo Glass - Glass produced by layering two or more colors of glass. Generally, an upper layer of white stood out against a contrasting lower background, usually blue.

Cameo Stone - Hard stone, such as agate, naturally layered with bands of color. Artists took advantage of the layers to carve figures or decoration from an upper layer (or more than one), leaving a background layer of a different color.

Cast - To make in a mold from liquid metal. A cast object can be hollow or solid.

Chasing - Technique of adding definition and details to an image or design on metal from the front using blunt and sharp tools.

Conservator (of antiquities) - Professional responsible for preserving ancient objects and materials. Conservators usually have a general knowledge of chemistry and of ancient art-making practices and are often specialists in one material. Among many other responsibilities, they conduct technical and historical research and oversee preventive care such as climate control.

Contrapposto - (”opposite” in Italian) Pose of a standing figure with most of the weight on one leg and the other bent. This causes hips, shoulders, and head to shift in order to balance the body. One arm is often higher and one lower.

Emery - Hard, dense rock rich in corundum, found easily on the Cycladic Islands. A powerful abrasive for grinding and smoothing other stones.

Encaustic - Technique of painting using colored pigments mixed with wax. The waxy mixture was worked with a tiny spatula.

Gild - To apply a thin layer of gold foil or liquid gold (gilt) to create the look of solid gold.

Iconography - Study of and use in art of repeated images with symbolic meaning.

Incise - To press or cut into a surface (stone, metal, clay, wood) with a sharp tool to write text or create fine curving and linear details.

Inlay - To decorate an object by inserting a piece of another material into it so that it is even with the original surface.

Low Relief - Method of carving figures or designs into a surface so that they are raised slightly above a flat background.

Mosaic - Technique and type of artwork. The technique is to arrange cubes of stone, glass, and ceramic to form patterns and pictures in cement, usually on a floor. The artwork is the final story or decoration made of cubes.

Mummification - Process of preserving a body by drying it. The Egyptians removed internal organs and put natron, a natural mineral mixture, on and inside the body. This absorbed moisture and prevented decay.

Palmette - Stylized palm leaf used as decoration in ancient Greek and Roman art and architecture.

Pentelic - From Mount Pentelicus, near Athens. An adjective that mostly refers to the beautiful white Greek marble marble in its quarries.

Portrait - Image of a person, usually the head and face. Some portraits include part of the chest or show the whole body. The image may closely resemble a person or emphasize, idealize, or invent characteristics.

Repoussé - Technique of raising the outline of a design on metal by repeatedly heating and softening the metal and pushing the desired shapes into it from the back with a blunt tool.

Sarcophagus/Sarcophagi (pl) - Stone coffin, often decorated on the sides with mythological scenes carved in relief, sometimes with the image of the deceased person or couple on the lid. Used in Imperial Roman times from the early 100s into the 400s CE.

Stele/Stelai (pl) - Upright stone or wooden slab or pillar used to honor a person or mark a place. Often an inscribed grave marker or a boundary stone. (Also called stela/stelae.)

Syncretism - Blending of elements of different cultures, often resulting in new imagery or new interpretations.

Tessera/tesserae (pl) - Pieces of stone or other hard materials cut into squares or cubes to make mosaic art.

More: Word Lists ⚜ pt. 2

[romegreeceart]

Vase detail

* Rhodes

* 7th / 6th century BCE

* British Museum

London, July 2022

[januarycitrus]

Odysseus to Poseidon, 8th-7th century BCE

[whencyclopedia]

Segesta

Segesta (or Egesta), located in the north-west corner of Sicily, was an important trading town from the 7th century BCE onwards. Situated on the strategically advantageous slopes of Mt. Barbaro, yet still close enough to the coast to support a trading port, Segesta established itself as the most important regional town of the Elymi people. Flourishing in the 5th century BCE, Segesta continued to hold important status as a trading centre into Hellenistic and Roman times. Today, the site has two of the best-preserved Classical monuments anywhere and they are impressive testimony of Segesta's one-time prosperity - a 5th century BCE Doric temple which, at least externally, is reasonably intact and an equally well-preserved 3rd-2nd century BCE theatre which provides its audience with a stunning view towards the nearby Gulf of Castellamare.

In Mythology

One of the symbols often associated with Segesta is a dog, which is seen, for example, on 4th century BCE coins. The animal may refer to the founding myth that describes a dog as the personification of the river god Crimisus. It was he who fell in love with a local nymph (Egesta), and their resulting offspring, Egesto, was credited with being the founder of the city. In the Roman mythology which sought to link Segesta with her ancient Roman origins, the Trojan hero Aeneas stopped off on Sicily during his long wanderings from Troy to his final destination Italy and the founding of Rome. Aeneas, then, according to Virgil, founds Acesta (later to become Segesta). Aeneas escaping Troy is portrayed on bronze coins from Segesta minted during the reign of Augustus.

In yet another version of the mythical events surrounding the founding of the city, the principal character is one Aegesto (or Aceste), who was born in Sicily to a Trojan mother. Aegesto returned to Troy when he was an adult, but following the sacking of the city in the Trojan War, he and a group of survivors returned to Sicily. First establishing themselves at Erice, Aegesto later relocated, setting up a new city at Segesta.

Continue reading...

[estera-shirin]

Statue of man and dog—Mesopotamia, 8th to 7th century BCE

This Babylonian statue is made of bronze.

[hailruth]

a judean seal, most likely belonging to a high-ranking archer, from the 7th century bce. the assyrian-influnced style of the seal is very apparent. the text reads "𐤓𐤂𐤇" (hagab), the name of its owner. the paleo-hebrew letters are mirrored.

[blueiscoool]

A Rare 2,800-Year-Old Scarab Amulet Found in Israel

Antiquities Authority says recent winter rains helped expose buried antiquities, urges public to be aware and to turn over finds.

A rare scarab amulet from the First Temple period was recently discovered by a hiker in the Nahal Tabor Nature Reserve in the Lower Galilee and turned over to the Israel Antiquities Authority (IAA).

The scarab, made from reddish-brown carnelian stone, is estimated to be 2,800 years old and of Assyrian or Babylonian origin. The front is carved in the shape of a beetle, and the back has engravings that depict a griffon or a winged horse, a common motif of the Ancient Near East.

When he discovered the artifact, Erez Avrahamov, 45, was on a two-day leave from IDF reserve duty, taking advantage of a sunny day after recent rains.

“I saw something shimmering on the ground. At first, I thought it was a bead or an orange stone. After I picked it up, I realized it had engravings resembling a beetle. I called and reported the amazing find to the Antiquities Authority,” Avrahamov said, according to a Wednesday IAA press release.

Abrahamov found the scarab near the bottom of Tel Rekhesh, associated with the city of Anaharath mentioned in the Book of Joshua.

During the 6th-7th centuries BCE, “a large citadel stood at the top of the mount, where bathing facilities, halls and ritual chambers were found from the period of Assyrian rule. This rule, as we know, was responsible for the destruction of the Kingdom of Israel” in the First Temple period, IAA archaeologist Dr. Yitzhak Paz explained.

The scarab is likely from this period of Assyrian control and “may indicate the presence of Assyrian (or perhaps Babylonian) officials at Tel Rekhesh during this period,” Paz added. If the scarab can be conclusively dated and this connection proven, it will be a discovery of “great significance,” he said.

Scarab seals of a similar type, fashioned into a dung-beetle shape from a wide variety of stones, originated from Pharaonic Egyptian culture but were widely used throughout the ancient world.

The orange color and material of the scarab found by Abrahamov are fairly rare, the IAA said, as most were made from a softer bluish stone and then covered in glaze, which in almost all cases has worn away with time.

The IAA said it’s likely that the recent rains uncovered the scarab. “As in every winter, when the rainy season arrives, antiquities start to ‘float’ and rise to the surface,” IAA Director Eli Escusido said.

“I am imploring the public to obey the Antiquities Law, and request that if you come across an archaeological find, report it to the Antiquities Authority while in the field. The exact location where an object is found is extremely important… The special scarab will be stored in the state archive, where we can research and learn more about it,” he said.

Under Israeli law, any found man-made object dating from before 1700 is to be turned over to the authorities. Abrahamov received a good citizenship certificate for doing so.

By GAVRIEL FISKE.

[metmuseum]

Gold spiral. 7th–6th century BCE. Credit line: Purchase by subscription, 1895 https://www.metmuseum.org/art/collection/search/245945