Zeus. The Sealings of Aetolian Kallipolis - no. 190 (original) (raw)
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The Sealings of the Aetolian Kallipolis: The Iconography
The Sealings of the Aetolian Kallipolis: The Iconography. The text "The Sealings of the Aetolian Kallipolis: The Iconography" is a translation of chapter 8 of my doctoral dissertation "The sealings of the Aetolian Kallipolis" (University of Athens, 1984-5). This chapter is divided into three parts: Part A refers to the importance of the sealings of Kallipolis, that is, they are a closed dated group of sealings, and that their art is completely Hellenistic. Part B refers to the theme of the representations on the sealings (gods and heroes, male and female figures, animals, mythical beings, various objects). Finally, in Part C, the relationship between coin types and emblems of public seals is examined.
Schriften des Instituts für Interdisziplinäre Zypern-Studien, vol. 13, 2019, ca. 778 pages, hardcover., with numerous coloured illustrations, € 94,00, ISBN 978-3-8309-3479-0 E-Book: € 84,99, ISBN 978-3-8309-8479-5 www.waxmann.com Further book information here. Steinfurter Str. 555 48159 Münster Fon +49 (0)2 51 -2 65 04-0 Fax +49 (0)2 51 -2 65 04-26
Portrait of a man - The Sealings of Aetolian Kallipolis-no. 299
Portrait of a man The Sealings of Aetolian Kallipolis-no. 299 Pantos A.Pantos The strong portrait of the sealing no.299 very likely depicts the man, whom also depicts the portrait on the silver ring of the Collection Τyszkiewicz, with the signature «[Φ]ΙΛΩΝ ΕΠΟΕΙ». It is generally dated from the end of the 3rd or early 2nd century BC., with the exception of M.-L.Vollenweider, who identifies the depicted as M.Junius Brutus and dates it in the decade 50-40 BC. The discovery of the sealing in Kallipolis, I think solves this problem for a dating before the destruction of the “House of the Archive”, i.e. before the middle of the 2nd century BC. The identification of the person remains unsolved. (Translation. Initial Publication in "TA ΣΦΡΑΓΙΣΜΑΤΑ ΤΗΣ ΑΙΤΩΛΙΚΗΣ ΚΑΛΛΙΠΟΛΕΩΣ" (Dissertation, University of Athens, 1984-5, in Greek ).
Seleucid anchor - The Seal of Antiochos III. The Sealings of the Aetolian Kallipolis – no. 94
Seleucid anchor - The Seal of Antiochos III The Sealings of the Aetolian Kallipolis – no. 94 Pantos A. Pantos Approximately similar to the sealing of Κallipolis with the Seleucid anchor has been found in the Seleucia on Tigris , as well as in two or three variants in the Orchoi (Uruk) . The difference lies in the existence of the parrot, in addition to the horse's head, and the obviously superior quality of design and engraving on the sealings of Κallipolis. The connection of this seal with Antiochus III, who - as Cato characteristically said (191 BC.) to the Athenians - "epistulis bellum gerit, calamo et atramento militat" (Cato, fr.20) has been developed in the chapter “The History of Kallipolis and the Public Seals in the Archive. The international connections of an Aetolian archont`s family” of my dissertation “The Sealings of Aetolian Kallipolis” (also in: academia.edu). (Translation. Initial Publication in "TA ΣΦΡΑΓΙΣΜΑΤΑ ΤΗΣ ΑΙΤΩΛΙΚΗΣ ΚΑΛΛΙΠΟΛΕΩΣ" (Dissertation, University of Athens, 1984-5, in Greek ).
Alexander the Great. The Sealings of Aetolian Kallipolis -no. 290
Alexander the Great The Sealings of Aetolian Kallipolis – no. 290 Pantos A. Pantos Head of Alexander the Great . The characteristics of the king are rendered with few, extremely intense lines. Τhe hair is dominated by the "anastole". The portrait of Alexander the Great is a very common theme on the ring stones. Τhese tiny representations in Kallipolis come from rings of the 3rd or early 2nd century BC, when the figure of Alexander already had become a common theme. In them there is a conscious tendency to be rendered, and in fact overemphasized, certain special features of Alexander, which are also testified by ancient writers. The sealings come from the seal of a private person , perhaps an admirer "φιλαλέξανδρος". (Translation. Initial publication in "TA ΣΦΡΑΓΙΣΜΑΤΑ ΤΗΣ ΑΙΤΩΛΙΚΗΣ ΚΑΛΛΙΠΟΛΕΩΣ" (Dissertation, University of Athens, 1984-5, in Greek ).
The Sealings of the Aetolian Kallipolis: THE PORTRAITS
The Sealings of the Aetolian Kallipolis : The Portraits Pantos A.Pantos The paper "The Sealings of the Aetolian Kallipolis: The Portraits" is a translation (with the addition of selected footnotes) of chapter 7 of my doctoral dissertation "Τα σφραγίσματα της αιτωλικής Καλλιπόλεως" (University of Athens, 1984-5). The first part examines general themes such as identified and non-identified portraits, the royal portrait (diadem, diadematophoros kausia, chlamys), as well as portraits known from coins. The following are the Ptolemaic portraits on the sealings (Ptolemy I Soter (?), II Philadelphos, III Euergetes, IV Philopator, V Epiphanes, VI Philometor (?), Berenice II, Arsinoe III). From the other Hellenistic dynasties there is a portrait of Attalos I of Pergamon, Antiochos III and other Seleucids (?) and Prusias I of Bithynia. Among the Romans is probably the portrait of Scipio Africanus, while many depict unidentified individuals.Despite the nature of the material, an attempt is made to identify seal engravers. The characteristics of the Ptolemaic can be distinguished in relation to the characteristics of the other portraits.
The Seated Zeus in Imperial Asia Minor. Function and Significance
Sculpture in Roman Asia Minor, 2018
Imitating or modifying cult statues in Roman times was controlled by religious needs, not by the intention to copy and preserve the true stylistic forms of particular art works. The imperial art production of the seated Zeus in the east of the Roman Empire was influenced by the Pheidian Zeus and the cult statue of Jupiter Optimus Maximus Capitolinus. However, through these two works the Roman sculptors adopted principally an idea, an iconographic theme, which could be used for the representation of the god in various circumstances. The significance of the Pheidian iconography of Zeus, in particular, was generated by the potency and the universality of this image. This is evident in the Roman representations with a cultic as well as a decorative function. Both ›models‹ affected the iconographic, typological and philosophical characteristics of the reproductions in Asia Minor during the imperial period. Needless to say, there are particularities depending on the regional focus of the presentation and the narrative repertoire, identity and ideological issues, as well as the setting of the proposed Zeus image.
Rock Reliefs of Zeus and His Thunderbolt in the High Plateau Settlements of Kabalis / Kabalia
Anadolu Anatolia, 2023
The worship of Zeus, the head of the gods of Olympus, is more widespread in rural areas than in urban centers in the Kabalis/Kabalia region. Zeus, who is generally seen in cities for the prosperity and well-being of the city or for amity in treaties, has a different presence in rural areas than the established cult in the cities. Zeus, who is mostly associated with the sky and celestial phenomena, also manifests himself in rural life in agriculture and animal husbandry. In this context, the bust of Zeus and the reliefs, altars and architectural blocks bearing winged or wingless thunderbolts, the attribute of Zeus and recorded in ancient literature, were analyzed on the basis of rural life and especially seasonal migration. In addition to these finds, two altars, one with an inscription, registered in the inventory of the Burdur Archaeological Museum, were also included in the research, and, in relation to rural life and transhumance activities the characteristics related to this deity were investigated. This depiction, which is sometimes seen as a winged thunderbolt and sometimes as a thunderbolt carried by an eagle on the coins of the cities of the Kabalis/Kabalia Region during the Hellenistic Period, appears on rock reliefs, architectural blocks, and altars in the high plateaus, permanent or periodic rural settlements during the Roman Imperial Period. Through the identification of the finds in the region, including those with similar reliefs, a preliminary impression of the epithets with which this deity may have been worshipped has been attempted.