Getty Returns Head of Hades To Sicily (original) (raw)
Related papers
183. 575, Acropolis and Sanctuary of Demeter Malophoros, Selinus, Sicily.pdf
Joan, Eahr Amelia. Re-Genesis Encyclopedia: Synthesis of the Spiritual Dark– Motherline, Integral Research, Labyrinth Learning, and Eco–Thealogy. Part I. Revised Edition II, 2018. CIIS Library Database. (RGS.)
The acropolis and Sanctuary of Malophoros, located on the southern coast of Sicily in the Trapani province, includes five temples from ancient Selinus, (later Selinunte). Cavallari first excavated these temples in 1874 CE. Subsequent CE. excavations were supervised by Patricolo (1888), Salinas (1894), and Gabrici (1915). (PCM: 335.) Selinus findings include: a central sanctuary area with a chthonian altar (PCM: 336) dedicated to Malophoros (variant of Demeter) and Persephone (or Pasikrateia) (PCM: 351)–Kore (PCM: 336); a windowless Megaron (PCM: 102, Fig.3); minor precinct altar dedicated to Zeus (PCM: 336); Phoenician Tophet (PCM: 342); hypogeal tombs with corbel arches and vaults (PCM: 345); small naos with double altars (PCM: 352); and a minor precinct altar dedicated to Hecate. (PCM: 101.)
Actual Problems of Theory and History of Art: collection of articles", Vol. 7, St. Petersburg, St. Petersburg Univ. Press 2017, 169-179., 2017
The Morgantina Goddess, a late 5th century BC statue that was stolen/returned to Sicily, is a worldwide symbol of looted art. It is thought to have been excavated illegally in 1977 from the ruins of Morgantina in Sicily. It was acquired by the J. Paul Getty Museum in 1987 and returned to Italy in May 2011. The fame for her recent history has replaced her old mythology and many archeological questionsare still unanswered, such as: no other close comparable cult statue, dating back to 450 BC, is present in Sicily; neither pedestal nor temple, which could have hosted the statue in antiquity, have yet been discovered in over 60 years of excavations in Morgantina; its identity as a young goddess or a mature one (Aphrodite-Kore or Demeter-Hera) should be evaluated under the optical corrections offered by the final position and height units (missing) base inside the (missing) temple. As a matter of fact, although everything possible has been said about the statue’s whereabouts, the issue is problematic: what and why has the current archaeological research accepted as sound information from the looters? Should we admit a risk of a “fabrication of history”? These questions and many others might risk that unsupported ‘factoids’ swiftly add on to the “new mythology” related to herrecent manipulated history. For these reasons, the Morgantina Goddess represents an important case study on strategies to be adopted on antiquities deprived of their context by the criminal network.
The marble head of a statuette from Mediana (Excavations in 2001)
Starinar LXIII, 2013
During the archaeological excavations in Mediana in 2001, the head of a marble statuette of exceptional beauty and craftsmanship was discovered. It was an isolated discovery, the sculpture probably having been imported from some Greek artistic centre or an eastern Mediterranean workshop, presenting a part of a larger ensemble of sculptures that had adorned an imperial villa with peristyle. Since the head was found in pieces and being just part of a sculptural representation with no reliable attributes, the question of its identification is a difficult task. It was possible to determine, using stylistic traits' analysis that the statuette was made under the influence of Hellenistic cult sculpture, namely that it followed the rules of the school of Praxiteles. On the other hand, the iconographic elements, in particular that of the hairstyle, lead us to the conclusion that this statuette could represent one of two Roman goddesses, either Venus or Diana.
From western Anatolia to eastern Sicily: tombs of the Hellenistic elite
Conference: Proceedings of the International Conference Ancient communities and their elites from Bronze Age to Late Antiquity (Central Europe – Mediterranean – Black Sea), Trnava, 6th – 8th October 2017. Anodos. Studies of the Ancient World 14/2014, 67 – 80. Trnava 2019. ISSN 1338-5410., 2019
Proceedings of the International Conference Ancient communities and their elites from Bronze Age to Late Antiquity (Central Europe – Mediterranean – Black Sea), Trnava, 6th – 8th October 2017. Anodos. Studies of the Ancient World 14/2014, 67 – 80. Trnava 2019. ISSN 1338-5410. Current archaeological research has expanded the known repertoire of the Late Classical and Hellenistic tombstones, which represent unique building structures. These include square or rectangular tombs with a stepped base, traditionally referred to as epitymbia. They may represent a local variant of a tower-like tomb with pyramid roof that appeared in monumental form along the eastern Mediterranean shores and adjacent areas. In order to present a study on the “monumental” necropoleis of the Hellenistic age identified in the north-eastern cusp of Sicily, two cases of great importance for the particular characteristics of organization, structure and monumentality will be discussed: the Abakainon (Tripi) and the Zancle-Messana (Messina) necropoleis.
Les objets de la mythologie grecque (2), 2014
Greek mythology features a certain number of myths where objects of various natures and origins play an important role as means of torture in Hades. The significance of these objects is indicated by frequent references in ancient texts as well as their iconographic popularity. Sometimes the object of a hybrist’s underworld punishment becomes so legendary that it constitutes a recurrent leitmotiv in ancient authors’ and artists’ repertoire (Oknos’ rope, Ixion’s wheel). The possibility to adapt these myths to the dominant socio-political conditions of various eras (Classical, Hellenistic and Roman) and places (Greece, Italy) resulted in their wide diffusion. The present article aims to determine the origin of myths featuring objects as torture devices. It also seeks to establish the nature of these themes (apotropaic, occult) and their evolution through time. It finally aims to analyse the symbolic meanings with which the objects of torture in Hades were invested in ancient societies. L’importance de certains objets qui servent des moyens de torture des hybristai dans le royaume d’Hadès est indiquée par des références fréquentes dans la littérature antique et leur popularité dans l’iconographie. Souvent, dans ces cas, le moyen du supplice devient si légendaire qu’il constitue un thème à part aussi bien dans le langage métaphorique des auteurs (la corde d’Oknos) que dans le répertoire iconographique des artistes (la roue d’Ixion). La possibilité d’adapter ces mythes aux conditions sociopolitiques dominantes à des époques diverses (classique, hellénistique, romaine) et à des lieux différents (Grèce, Italie) a d’ailleurs résulté à leur large diffusion. Le présent article a d’abord comme objectif de déterminer l’origine des mythes mettant en valeur des objets comme moyens de supplice. Il tâche aussi à établir la nature de ces thèmes (apotropaïque, magico-religieuse) et leur évolution au fil du temps. Il vise enfin à analyser le symbolisme dont les objets de torture dans l’Autre Monde ont été investis dans les sociétés antiques.