97 Sentences With "Dionysiac" | Random Sentence Generator

A marble head of a deity wearing a Dionysiac fillet, from the first century A.D. Traces of red pigment remain on the lips, eyes, and fillet.

Dynamic his "Birds" undeniably is, and Dionysiac in a way New Yorkers have seldom seen since the heyday of the boundary-busting Living Theater in the 1960s.

And she knows that when characters like those of "Shipwreck" are faced with what seems inexplicable to them, their so-called enlightened minds may find themselves wandering into primal, mythic realms — where there be dragons and demons and amoral Dionysiac gods.

For the Ancient Greeks and Romans they sang ecstatically, were sacred to Apollo and related to the dionysiac bacchae and maenads.

Relief with Dionysiac imagery: an ecstatic satyr (Louvre Museum) Nearly all Campana reliefs are from Central Italy, especially Latium. The largest and most important workshops seem to have been in Latium, especially in the neighbourhood of the city of Rome. Outside Latium the tiles are found mostly in Campania and in the former Etruscan sphere. At the end of the 1990s Marion Rauch compiled the reliefs with Dionysiac-Bacchic themes and was able to confirm this range for the motifs she was investigating.

A relief of Dionysus Bacchus at the Archaeological Museum of Corfu. Pediment with Dionysos at the Corfu Museum. Left part of an Archaic pediment from the area of Figareto. It depicts a Dionysiac symposium.

The Baths of Trajan contained a double apse and were "paved with a remarkable mosaic representing the Triumph of Bacchus and the Dionysiac cycle." The mosaic is now at the Bardo National Museum in Tunis.

586 Kannicht [apud Strabo, 10.3.13] (= fr. 586 Nauck) (Collard and Cropp, pp. 56, 57), where the word ἰάκχοις, translated by Collard and Cropp as "revel-cries", is used to refer to the sound of Dionysiac tambourines (τυμπάνων).

On stylistic grounds, the statue is dated to the period between 150 and 125 BC. The statue is an example of the luxurious furnishings of the Pergamene palace. The archaic stylistic features are intentional and recall the grace, "charis" of those depictions. In addition it was common at this time to use archaising forms in the dionysiac realm (and the statue's presence in a dining room suggests a dionysiac context). As a result of the statue's lack of attributes, however, the statue's purpose can only be guessed at.

Dickie, M.W. 1995. The Dionysiac Mysteries. In Pella, ZPE 109, 81-86. Previously considered to have been a primarily rural and fringe part of Greek religion, the major urban center of Athens played a major role in the development and spread of the Bacchic mysteries.

16, No. 2 April 1922: 81. Dionysus became associated with Zagreus, and the story of having been torn apart and eaten by the Titans was applied to him as well. Omophagia was the focus of the Dionysiac mysteries, and a component of Orphic ceremonies.Tierney, Michael.

As summarized by Benjamin Bickley Rogers, The Comedies of Aristophanes (London, 1902), pp. xvii and 214 (note to line 1414). The play also draws on beliefs and imagery from Orphic and Dionysiac cult, and rituals pertaining to Ploutos (Plutus, "wealth").Bowie, Aristophanes, pp. 231–233, 269–271.

Exploits of the Cyclopes and Korybantes. A mosaic of Dionysus fighting the Indians in the Palazzo Massimo at Rome. Book 29 – Exploits of Dionysus' lover, Hymenaeus, who is wounded by an Indian arrow and healed by Dionysus. Exploits of the Dionysiac troops, especially Aristeus, the Kabeiri and the Korybantes.

In Dionysiac scenes, skin could also be painted a reddy-brown. In Augustan times light yellow was not unusual for skin. At Hannover, violet-brown, reddy brown, purple, red, yellow, yellow-brown, turquoise-green, dark bown, pink, blue, black, and white can all be identified.Siebert 2011 p. 30.

As with many other late classical poets, newer scholarship has avoided the value-laden judgments of 19th-century scholars and attempted to reassess and rehabilitate Nonnus' works. There are two main focuses of Nonnian scholarship today: mythology and structure. Nonnus' compendious accounts of Dionysiac legend and his use of variant traditions and lost sources have encouraged scholars to use him as a channel to recover lost Hellenistic poetry and mythic traditions. The edition of Nonnus in the Loeb Classical Library includes a "mythological introduction" which charts the "decline" of Dionysiac mythology in the poem and implies that the work's only value is as a repository of lost mythology.Rose, H. J. Nonnus' Dionysiaca (London, 1940) pp.

Arrival or departure of a young warrior or hero, volute krater, circa 410/400 BC. London, British Museum. His early work includes a variety of bell kraters, usually decorated with three figures. He mainly painted scenes of everyday life or dionysiac scenes. On the backs he always painted two or three cloaked youths.

He is probably the most important painter of his generation. He painted a wide variety of vase shapes, including even kylikes, a rarity among his contemporaries. His conventional name is derived from several vases depicting hunters, including Atalante and her lover Meleagros. Colonette kraters and bell kraters by him normally bear dionysiac motifs.

A 2nd-century Roman sarcophagus shows the mythology and symbolism of the Orphic and Dionysiac Mystery schools. Orpheus plays his lyre to the left. Early Greek discussion of the concept dates to the 6th century BCE. An early Greek thinker known to have considered rebirth is Pherecydes of Syros (fl. 540 BCE).

Thus, he depicts the body of Ajax being covered by Tekmessa, the handing-over of the body of Hector and other scenes from the Trojan War. Dionysiac scenes are common as well. A famous kylix depicts satyrs attacking the goddesses Iris and Hera. While Iris attempts to flee, Hera is protected by Heracles and Hermes.

During the course of the century, the production of Falerii began to outclass that of Vulci in terms of quantity. New centres of production developed in Chiusi and Orvieto. Chiusi became especially important through the Tondo Group, which produced drinking cups with mostly dionysiac motifs on the inside. In the second half of the century, production moved to Volterra.

Additionally, internal details could be added by incision. The themes depicted include erotes, images from the life of women, theatre scenes and dionysiac motifs. Figural, painting is often limited to the upper half of the vessel body, while the bottom half often bears only ornamental decoration. The most common shapes were bell kraters, pelikes, oinochoai and skyphoi.

Hurschmann: Paestanische Vasen, in: DNP 9 (2000), col. 142 The themes depicted often belong to the Dionysiac cycle: thiasos and symposium scenes, satyrs, maenads, Silenos, Orestes, Electra, the gods Aphrodite and Eros, Apollo, Athena and Hermes. Paestan painting rarely depicts domestic scenes, but favours animals. The Paestan vase shows a man and two women plotting to have intercourse.

228 After 350 BC, the CA Painter and his successors worked in Cumae. The CA painter is considered as the outstanding artist of his group, or even of Campanian vase painting as a whole. From 330 onwards, a strong Apulian influence is visible. The most common motifs are naiskos and grave scenes, dionysiac scenes and symposia.

Hurschmann: Paestanische Vasen, in: DNP 9 (2000), col. 142 Orestes in Delphi, krater by Python, circa 330 BC. London: British Museum. The themes depicted often belong to the Dionysiac cycle: thiasos and symposium scenes, satyrs, maenads, Silenos, Orestes, Electra, the gods Aphrodite and Eros, Apollo, Athena and Hermes. Paestan painting rarely depicts domestic scenes, but favours animals.

Taplin speculates that the iconography of tragedy "could be assimilated into other contexts without danger of confusion", op. cit. p.237. and mythological themes. A number of mythological motifs not represented in surviving literary texts are known exclusively from his vases. On other shapes, especially pelikes, he also painted as wedding scenes, erotes, women, and dionysiac motifs.

In the meantime Hermes lets the Bacchantes out of the city. Zeus awakens and forces Hera to cure Dionysus' madness by breastfeeding him (a sign of adoption) and anointing him with ambrosia. Dionysus rejoins his army. Book 36 – Confrontation of pro-Dionysiac and pro- Indian divinities in the Olympus: Athena defeats Ares, Hera defeats Artemis, Apollo confronts Poseidon, but Hermes pacifies them.

A stone base on the right side of this chamber toward the rear once supported the larnax, which contained the ashes of the deceased occupant of the tomb, but it was taken when the tomb was robbed in ancient times. Several fragments of ivory sculpture have been recovered, which apparently derive from battle scenes and Dionysiac scenes that once decorated a wooden couch.

Thus, the foreground is rather precise while the background is somewhat indistinctly purple, blue, and gray. One of the most recognized and unique pieces representing the Second Style is the Dionysiac mystery frieze in the Villa of the Mysteries. This work depicts the Dionysian Cult that was made up of mostly women. In the scene, however, one boy is depicted.

The goatish element has disappeared and the satyrs resemble the old Ionic Sileni who were horse deities. The performers are wearing horse tails and short pants with attached phallus, a symbol of Dionysiac worship.Haigh (1907, 294) Haigh claims that the Doric satyrs were the original performers in Attic tragedy and satiric drama, whereas the Ionic element was introduced at a later stage.

"Dionysiac Festivals and Gandharan Imagery." Res Orientals 4 ("Banquets d'Orient"), 1992, p 57, Martha Carter. The figure of Ibex topping the cover of the reliquary definitely implies Trans-Pamirian (Central Asian) influence and establishes a proof of early migration of people (Kambojas) from the Transoxian region (i.e., the Parama Kamboja of Central Asia or Scythian region) into the Kabul valley.

Gold are frequently found in graves. In a Thessalian burial of the 4th century B.C., a gold had been placed on the lips of a woman, presumed from her religious paraphernalia to be an initiate into the Orphic or Dionysiac mysteries. The coin was stamped with a Gorgon's head.K. Tasntsanoglou and George M. Parássoglou, "Two Gold Lamellae from Thessaly," Hellenica 38 (1987) 3–16.

As a pupil of the Berlin Painter Hermonax adopted the practice of painting large figural scenes on large vessels. His meander patterns, unlike those of his master, can be careless, as with the Providence Painter. A characteristic of his style is his depiction of the eyes with a concave bottom and a convex top. The largest share of Hermonax' surviving work depicts Dionysiac themes.

In Greek mythology, Edonus () was the ancestor of the Edonians in Thrace and Thracian Macedonia. He was the son of Ares (god of war) and Calliope (muse of epic poetry). The names Edonus, Edonian, Edonic is therefore used also in the sense of "Thracian", and as Thrace was one of the principal seats of the worship of Dionysus, it further signifies "Dionysiac" or "Bacchantic".

Roman sarcophagus showing Dionysus approaching Ariadne. Ca. 230–240 AD. Louvre, Paris Sarcophagi featuring Dionysus and Ariadne show the drunken Dionysus propped up by a satyr as he gazes upon his beloved Ariadne for the first time. He stands before her sleeping form as she faces the viewer, her body exposed. The remainder of the sarcophagi depicts the procession of Dionysiac revelers celebrating with song and dance.

Her beauty attracted Zeus, who, assuming the form of a satyr, took her by force.Pseudo-Apollodorus, Bibliotheca iii. 5; Burkert 1983 suggests that this apparently summarises a passage on Antiope in the Catalogue of Women that survives in a brief fragment (Hesiod, fr. 181-82). A.B. Cook noted that her myth "took on a Dionysiac colouring, Antiope being represented as a Maenad and Zeus as a Satyr".

Arion on a sea horse, by William-Adolphe Bouguereau (1855) Arion riding a Dolphin, by Albrecht Dürer circa. 1514 Arion (; ) was a kitharode in ancient Greece, a Dionysiac poet credited with inventing the dithyramb: "As a literary composition for chorus dithyramb was the creation of Arion of Corinth,"Pickard-Cambridge, Sir Arthur Wallace. 1927. Dithyramb Tragedy and Comedy. Second edition revised by T.B.L. Webster, 1962.

His motifs include mythological and dionysiac scenes, as well as genre scenes with erotes, men and women. His most important vessel shape is the volute krater, which became the dominant shape in Apulia maybe due to his influence. Nonetheless, the over 100 works attributed to him include many other shapes. He was one of the first vase painters to substantially use additional white and yellow colour.

Coins begin to appear with greater frequency in graves during the 3rd century BC, along with gold wreaths and plain unguentaria (small bottles for oil) in place of the earlier lekythoi. Black-figure lekythoi had often depicted Dionysiac scenes; the later white-ground vessels often show Charon, usually with his pole,The Reed Painter produced an example. but rarely (or dubiously) accepting the coin.

The first largely eschews additional colouring and was mostly used for the decoration of bell kraters, colonet kraters and smaller vessels. Their decoration is quite simple, the pictorial compositions usually include one to four figures (e.g., works by Sisyphus Painter, Tarporley Painter). The motifs focus on mythical subjects, but also include women's heads, warriors in scenes of battle or departure, and dionysiac thiasos imagery.

Eumolpus was regarded as an ancient priestly bard, poems and writings on the mysteries were fabricated and circulated at a later time under his name. One hexameter line of a Dionysiac hymn, ascribed to him, is preserved in Diodorus.Diodorus. 1.11 ; Suid. s. v. The legends connected him also with Heracles, whom he is said to have instructed in music, or initiated into the mysteries.Hygin. Fab. 273; Theocrit. xxiv.

The most common motifs are naiskos and grave scenes, dionysiac scenes and symposia. Depictions of bejewelled female heads are also common. The CA painter was polychrome but tended to use much white for architecture and female figures. His successors, the CB Painter and CC Painter were not fully able to maintain his quality, leading to a rapid demise, terminating with the end of Campanian vase painting around 300 BC.

The main difference between them is that the plain style favoured bell craters, column kraters and smaller vessels, and that a single "plain" vessel rarely depicted more than four figures. The main subjects were mythological scenes, female heads, warriors in scenes of combat of farewell, and dionysiac thiasos imagery. The reverse often showed youths wearing cloaks. The key feature of these simply decorated wares is the general absence of additional colours.

These workshops dominated the Etruscan market into the 4th century BC. Large and medium-sized vessels like kraters and jugs were decorated mostly with mythological scenes. In the course of the 4th century, the Falerian production began to eclipse that of Vulci. New centres of production developed in Chiusi and Orvieto. Especially the Tondo Group of Chiusi, producing mainly drinking vessels with interior depictions of dionysiac scenes, became important.

The dough is baked by an open fire or a special oven, rotisserie-style. Generally, spit cakes are associated with celebrations such as weddings and Christmas. The spit can be dipped in a thin dough, or the dough can be poured or rolled on the spit. This cake group may have originated from Ancient Greek times, around 400 BC, when similar large cakes were prepared on spits for Dionysiac feasts.

He painted especially on bell kraters, on which he often depicted dionysiac themes and theatrical scenes. His work includes the first known phlyax vase, showing the punishment of a thief, accompanied by a metric verse inscription. Mythological scenes by him are rare. There appears to be an especially close relationship between the work of the Tarporley Painter and that of the Dolon Painter, perhaps they cooperated directly for some time.

There are also many individual depictions of myths that are not commonly depicted elsewhere. Many scenes have dionysiac or aphrodisiac themes, probably directly connected to funerary traditions and grave cults (many of the vases were made as grave offerings). Ideas of an afterlife are frequently implied or expressed by such paintings. The motif of women's heads growing out of flowers or between tendrils belongs to the same context.

"Why was this great mythical hunter, who in Greece became a mysterious god of the underworld, a capturer of wild animals and not a killer?" Kerényi links the figure of Zagreus with archaic Dionysiac rites in which small animals were torn limb from limb and their flesh devoured raw, "not as an emanation of the Greek Dionysian religion, but rather as a migration or survival of a prehistoric rite".Kerényi, p. 85.

The effete Minoan aristocracy has however lost belief in the religion that she represents. Gentle and timid at first, she falls in love with Theseus and helps him escape from Crete. During the voyage to Athens they stop at the island of Naxos where she joins the maenads in the yearly Dionysiac orgy. Appalled by her bloody role in the sacrifice of the king of Naxos, Theseus abandons her on that island.

A notable use of a danake occurred in the burial of a woman in 4th- century BC Thessaly, a likely initiate into the Orphic or Dionysiac mysteries. Her religious paraphernalia included gold tablets inscribed with instructions for the afterlife and a terracotta figure of a Bacchic worshipper. Upon her lips was placed a gold danake stamped with the Gorgon’s head.K. Tasntsanoglou and George M. Parássoglou, "Two Gold Lamellae from Thessaly," Hellenica 38 (1987) 3–16.

Often, a stylized nose is placed centrally between the eyes. While used as a drinking vessel, due to the necessary inclination of the vessel, the cup with its painted eyes, the handles looking like ears and the base of the foot like a mouth, would have resembled a mask. Many of the vases also bear dionysiac imagery.Friedrich Wilhelm Handorf, in: Klaus Vierneisel, Bert Kaeser (Hrsg.), Kunst der Schale – Kultur des Trinkens, München 1990, p.

On the lid is a depiction of the Rape of Europa. On the front are scenes from the stories of Bellerophon and Iphigenia. On the back is part of a dionysiac procession, with two figures identified as Mars, god of war (the Greek Ares), and Venus, goddess of love (the Greek Aphrodite). The ends bear scenes of Bacchus, god of wine (the Greek Dionysius), in a chariot drawn by panthers, and a nymph riding a seahorse.

Dupuis holds a MFA from the HEAR (Haute école des arts du Rhin) in Strasbourg (2005). She worked for Philippe Parreno in 2005, notably on the movie Zidane: A 21st Century Portrait. She was assistant curator at the Centre Georges Pompidou from 2005 to 2007, working with Christine Macel on the exhibitions Dionysiac and Airs de Paris. In Paris in 2006 she cofounded the artist-run space Le Commissariat, of which she was an active member until 2010.

Hephaestus was one of the Olympians to have returned to Olympus after being exiled. In an archaic story,Features within the narrative suggest to Kerenyi and others that it is archaic; the most complete literary account, however, is a late one, in the Roman rhetorician Libanios, according to Hedreen (2004).Guy Hedreen (2004) The Return of Hephaistos, Dionysiac Processional Ritual and the Creation of a Visual Narrative. The Journal of Hellenic Studies, 124 (2004:38–64) p.

The Painted Biclinium Located along the main avenue in Little Petra (Siq al- Barid), the Painted Biclinium is a rock-cut biclinium, or dining room, with well preserved wall paintings. In addition to offering the most abundant variety of figural painting from the Nabataean period, the frescoes of the Painted Biclinium may offer clues into the vegetation under cultivation in the area around Siq al-Barid. In addition, the paintings are proof of the importance of Dionysiac religious cult in Nabataea.

Book 15 – The Indians become drunk, fall asleep and are bound by the Dionysiac troops. Story of the virgin nymph Nicaea, who lives near the lake Astacid, enjoys hunting and refuses to behave like a woman. The shepherd Hymnus (a personification of the pastoral song) falls in love with her and courts her. Nicaea refuses even to listen to him and the boy becomes so desperate that he even asks her to kill him (a frequent line in the speeches of unrequited lovers).

This calumny was afterwards most severely avenged upon Agave. For, after Dionysus, the son of Semele, had traversed the world, he came to Thebes and sent the Theban women mad, compelling them to celebrate his Dionysiac festivals on Mount Cithaeron. Pentheus, wishing to prevent or stop these riotous proceedings, was persuaded by a disguised Dionysus to go himself to Cithaeron, but was torn to pieces there by his own mother Agave, who in her frenzy believed him to be a wild lion.Apollodorus, 3.5.

It seems that the vessel's pagan origins were overlooked when it was converted into a Christian chalice during the Middle Ages. Classicist Erika Zwierlein-Diehl noted that many descriptions of the cup omitted the Dionysiac nature of the carvings and images, merely noting that the cup was engraved with "trees, heads, animals, and birds." This (possibly purposeful) loss of iconographic understanding, also referred to as "un- naming", seems to have been a way for pagan artifacts to be reused for Christian purposes.

Very little is known of Liber's official and unofficial cults during the early to middle Republican era. Their Dionysiac or Bacchic elements seem to have been regarded as tolerably ancient, home-grown and manageable by Roman authorities until 186 BC, shortly after the end of the Second Punic War. Livy, writing 200 years after the event, gives a highly theatrical account of the Bacchanalia's introduction by a foreign soothsayer, a "Greek of mean condition... a low operator of sacrifices". The cult spreads in secret, "like a plague".

Psiax also knew white-ground pottery techniques, as well as coral red pottery techniques.The Getty Museum - Biography of Psiax A vase-painter working in Athens in the late 500s B.C., Psiax is known from his signature on several surviving vases. A versatile painter, Psiax worked in every pottery technique in use at that time: black-figure, red-figure, white-ground, coral red, and Six's technique. He decorated the complete range of Greek vase shapes, both large and small, favoring Dionysiac scenes and the myths of Herakles.

The Cup of the Ptolemies (French: Coupe des Ptolémées), also known as the Cup of Saint Denis, is an onyx cameo two-handled cup, or kantharos. The cup, decorated with Dionysiac vignettes and emblems, was carved at some point in Classical Antiquity, probably in Alexandria. Eventually, it found its way into the treasury of the French kingdom, before it was donated to the abbey of St. Denis. During the Middle Ages, it was used as a Christian chalice, and lavish mounts were added, with Latin inscriptions.

Knucklebones, widely used for divination, are common in burials; see, for instance, Jenifer Neils, "The Morgantina Phormiskos," American Journal of Archaeology 96 (1992) 225–235. As playthings of the Child Zagreus, knucklebones are among the sacred objects in Dionysiac religion, which may also account for their inclusion; on these toys, see Clement of Alexandria, Protrepticus 2.17.2, and W.K.C. Guthrie, Orpheus and Greek Religion: A Study of the Orphic Movement (New York: Norton, 1966, revised edition), pp. 120–126. Gold leaves and unguentaria were the grave gifts in a burial chamber at Kourion in Cyprus.

Visit to a tomb on a white-ground lekythos by the Reed Painter The Reed Painter (fl. 420s–410s BC) is an anonymous Greek vase painter of white-ground lekythoi, a type of vessel for containing oil often left as grave offerings. Works are attributed to either the "Reed Painter" or his atelier. The vessels of the Reed Painter are typical of white-ground lekythoi in that they often focus on real people, in contrast to the earlier black-figure tradition that featured scenes of mythical figures pertaining to Dionysiac cult.

The myth of Amphion, the legendary founder of Thebes, and Antiope inspired a lot of other similar myths in several areas of Greece. Amphion was son of Zeus and of Antiope, daughter of the Boeotian river god Asopus.Homer, Odyssey Book xi,260 The myth took a Dionysiac colour because Zeus was transformed into a satyr in a sole mythic event and Antiope into a maenad. After this she was carried off by Epopeus in Sicyon, where he was venerated later as a hero in the temenos of Athena.Pausanias,2.6.3,2.11.

Pausanias, Description of Greece 10. 10. 8 Another parallel is the myth of Dionysus and the sailors, related in the Homeric Hymns: Tyrrhenian pirates try to lash the god to the mast, but the wood itself starts to sprout and the mast is entwined with ivy (like the god's thyrsus); the sailors leap into the sea and are transformed into dolphins. This is especially interesting because Arion is credited with the invention of the dithyramb, a dionysiac song. A musician riding a dolphin, on a Red-figure stamnos, 360–340 BC. From Etruria.

A founder member of the Hell-Fire Club, Parsons was a notable Libertine (and nihilist), rebelling against the norms of the day. He wrote the book Dionysus Rising after a trip to Egypt where he claimed to have found Dionysian scrolls looted from the Great Library of Alexandria. After writing his book he founded the Sacred Sect of Dionysus. An offshoot of freemasonry called the Revived Order of Dionysus is in existence in New Orleans, USA, and split due to a belief that Freemasonry is descendant from a pre-Christian cult called Dionysiac Architects.

Centaurs harvest grapes on a 12th-century capital from the Mozac Abbey in the Auvergne Welsh explaining the importance of astrology from a medical perspective; a centaur is depicted on the abdomen. Centaurs preserved a Dionysian connection in the 12th-century Romanesque carved capitals of Mozac Abbey in the Auvergne. Other similar capitals depict harvesters, boys riding goats (a further Dionysiac theme), and griffins guarding the chalice that held the wine. Centaurs are also shown on a number of Pictish carved stones from north- east Scotland erected in the 8th–9th centuries AD (e.g.

Two pillars, one on each side of the platform, each support a huge phallus, the symbol of Dionysos. The southern pillar is decorated with relief scenes of a Dionysiac circle. Three sides of the southern pillar have relief representations: the central scene shows a cockerel whose head and neck are elongated into a phallus, on either side are groups containing Dionysus and a Maenad, with a small Silenus on one side and a figure of Pan on the other. The southern pillar bears an inscription that it was erected ca.

It is likely that his workshop was at Canosa. He depicted sepulchral scenes (naiskos vases), usually depicting a naiskos on the front and a grave stele on the back, often characterised by figures in yellow- orange garments), mythological and dionysiac scenes, as well as erotes, weddings and scenes from the life of women. Stylistically, especially in regard to vase shapes and pictorial themes, his work is very similar to that of the Underworld Painter. The Baltimore Painter's work is characterised by rich and fine detail, especially in ornamentation.

Their piety was not shared by the Roman Sulla, who had the sacred olive trees of Athena cut down in 86 BC to build siege engines. Among the religious observances that took place at the Akademeia was a torchlit night race from altars within the city to Prometheus' altar in the Akademeia. The road to Akademeia was lined with the gravestones of Athenians, and funeral games also took place in the area as well as a Dionysiac procession from Athens to the Hekademeia and then back to the city.Pausanias. Description of Greece, i, 29.2, 30.2Plutarch.

It appears likely that he was the first to introduce the Benedictine Rule into England, as evidence is lacking that Augustine's monastery at Canterbury followed the Rule. He also was one of the first Anglo-Saxon bishops to record the gifts of land and property to his church, which he did at Ripon. Easter tables, used to calculate the correct date to celebrate Easter, were brought in from Rome where the Dionysiac Easter tables had been recently introduced. He set up schools and became a religious advisor to the Northumbrian queen Æthelthryth, first wife of Ecgfrith.

Egyptian garment panel featuring Dionysiac themes, 5th century. The popularity of the cult of Dionysus, introduced to Egypt by the early Ptolemy rulers in the 3rd century BC, continued into early Byzantine times (4th-7th century), The Cult of Dionysus was strongly associated with satyrs, centaurs, and sileni, and its characteristic symbols were the bull, the serpent, tigers/leopards, the ivy, and the wine. The Dionysia and Lenaia festivals in Athens were dedicated to Dionysus, as well as the Phallic processions. Initiates worshipped him in the Dionysian Mysteries, which were comparable to and linked with the Orphic Mysteries, and may have influenced Gnosticism.

In the Delphic tradition, Thyia was also the naiad of a spring on Mount Parnassos in Phocis (central Greece), daughter of the river god Cephissus. Her shrine was the site for the gathering of the Thyiades (women who celebrated in the orgies of the god Dionysos). She was said to have been the first to sacrifice to Dionysus, and to celebrate orgies in his honour. Hence, the Attic women, who every year went to Mount Parnassus to celebrate the Dionysiac orgies with the Delphian Thyiades, received themselves the name of Thyades or Thyiades (synonymous with Maenads).

Euripides took up the tale in The Bacchae, explaining their madness in Dionysiac terms, as a result of their having initially resisted belief in the god's divinity. When Athamas returned to his second wife, Ino, Themisto (his third wife) sought revenge by dressing her children in white clothing and Ino's in black and directing the murder of the children in black. Ino switched their clothes without Themisto knowing and she killed her own children. Transformed into the goddess Leucothea, Ino also represents one of the many sources of divine aid to Odysseus in the Odyssey (5:333ff), her earliest appearance in literature.

The two-handled cameo cup, one of the acknowledged masterpieces among hardstone carvings of classical antiquity, was carved out of onyx and measures 8.4 cm high with a diameter of 12.5 cm. The cup is covered in Dionysiac vignettes that feature masks, vases, holy animals, and garland: symbols of the cult itself. What is today considered the front of the vessel depicts six masks surrounding an anclabris. The anclabris is depicted as if it were made out of marble, and two sphinxes—beings that serve as allegorical representations of the mysteries of the Dionysian religion—are supporting the table.

In both cases, the mythological scenes were akin to mourning practices of ordinary Roman citizens in an effort to reflect their grief and comfort them when they visited the tomb. Playful images depicting Nereids, Dionysiac triumphs, and love scenes of Dionysus and Ariadne were also commonly represented on sarcophagi. It is possible that these scenes of happiness and love in the face of death and mourning encouraged the living to enjoy life while they could, and reflected the celebration and meals that the mourners would later enjoy in the tomb when they returned to visit the deceased. The third century involved the return in popularity of self-representation on Roman sarcophagi.

Through its divisions of Research, Education, Publications, Professional Matters, and Program, the Society conducts a variety of activities to support and disseminate knowledge of the ancient Greek and Roman worlds. For example, it operates a Placement Service, gathers statistical information about the demographics of classicists, hears complaints of violations of professional ethics, provides advice and funding for major research projects (such as the Barrington Atlas of the Greek and Roman World), and publishes monographs, textbooks and software. The Outreach Division produces a newsletter, Amphora, for non-specialists, and the electronic newsletter The Dionysiac, which gives information about performances of classical plays and other events related to ancient performance.

The primary models for Nonnus are Homer and the Cyclic poets; Homeric language, metrics, episodes, and descriptive canons are central to the Dionysiaca. The influence of Euripides' Bacchae is also significant, as is probably the influence of the other tragedians whose Dionysiac plays do not survive. His debt to poets whose work survives only in disjointed fragments is far harder to gauge, but it is likely that he alludes to earlier poets' treatments of the life of Dionysus, such as the lost poems by Euphorion, Peisander of Laranda's elaborate encyclopedic mythological poem, Dionysius, and Soteirichus. Reflections of Hesiod's poetry, especially the Catalogue of Women, of Pindar, and Callimachus can all be seen in the work of Nonnus.

Herakles forcibly presenting the Erymanthian Boar to the king Eurystheus, cowering in a wine vessel, as the goddesses Artemis (left) and Athena look on, depicted on an Attic black-figure amphora (515–500 BC) by the Rycroft Painter The Rycroft Painter was an Attic late black-figure vase painter, active in the final decade of the sixth century BC. His real name is not known. His work is closely connected with that of the contemporary red-figure technique, which was then in the process of replacing black-figure as the dominant style. His figures are often drawn as silhouettes. He often painted dionysiac scenes, but his best works are those focusing on depictions of posture and dignity.

The lower part of the reliquary with fluted surface, carination and small stem and foot is extremely similar to the "drinking goblets" that have been found in good numbers mainly in Gandhara (Taxila) and Kapisa (Kapisi). The lower part of the reliquary resembles the ceremonial drinking cups depicted in ancient Gandharan art and culture relief. Gandharan art of Bacchanalian or Dionysiac drinking scenes are the motifs which represent assimilation of local folk traditions of remote river valleys of the Kafiristan where viticulture and wine festivals are known to have been widely practiced. Similar customs are also well documented in recent times in the region of Nuristan (pre-Islamic Kafiristan) which area had formed integral parts of ancient Kapisa.

Phallic processions, called phallika in ancient Greece, were a common feature of Dionysiac celebrations; they were processions that advanced to a cult center, and were characterized by obscenities and verbal abuse.Dunkle, Roger The origins of comedy in Introduction to Greek and Roman Comedy The display of a fetishized phallus was a common feature.Pickard-Cambridge 1962, 144–62Reckford 1987, 443–67 In a famous passage in chapter 4 of the Poetics, Aristotle formulated the hypothesis that the earliest forms of comedy originated and evolved from "those who lead off the phallic processions", which were still common in many towns at his time.Poetics, 1449a10-13 quotation: Mastromarco, Giuseppe: (1994) Introduzione a Aristofane (Sesta edizione: Roma-Bari 2004). p.

Orpheus before Pluto and Proserpina (1605), by Jan Brueghel the Elder Orpheus was regarded as a founder and prophet of the mysteries called "Orphic," "Dionysiac," or "Bacchic." Mythologized for his ability to entrance even animals and trees with his music, he was also credited in antiquity with the authorship of the lyrics that have survived as the Orphic Hymns, among them a hymn to Pluto. Orpheus's voice and lyre-playing represented a medium of revelation or higher knowledge for the mystery cults.Claude Calame, "The Authority of Orpheus, Poet and Bard: Between Tradition and Written Practice," in Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis (De Gruyter, 2010), p. 16.

Athenodorus was a tragic actor, victor at the Dionysia in 342 and 329 BC. He performed also at the games after the victorious siege of Tyre in honour of Heracles in 331 BC, with the Cypriot Pasicrates of Soli being his choregos, and was victorious over Thessalus, whom the Cypriot Nicocreon of Salamis supported and Alexander himself favored. Soon afterwards he returned to Athens, as his Dionysiac victory of 329 shows. At some point, however, Athenodorus was fined by the Athenians for failing to appear at the festival, and he asked Alexander to intercede in writing on his behalf; Alexander instead paid his fine. In 324 Athenodorus reappears at the Susa wedding festival, along with Aristocritus and Thessalus.

These pictures were arranged according to different themes: # Coordinates of memory # Astrology and mythology # Archaeological models # Migrations of the ancient gods # Vehicles of tradition # Irruption of antiquity # Dionysiac formulae of emotions # Nike and Fortuna # From the Muses to Manet # Dürer: the gods go North # The age of Neptune # "Art officiel" and the baroque # Re- emergence of antiquity # The classical tradition today There were no captions and only a few texts in the atlas. "Warburg certainly hoped that the beholder would respond with the same intensity to the images of passion or of suffering, of mental confusion or of serenity, as he had done in his work." Mnemosyne Atlas was left unfinished when Warburg died in 1929.

By the 3rd century, the black-figure lekythos with palmettes or Dionysiac scenes has been completely replaced as a standard grave good by the undecorated, "cruder" unguentarium, indicating a shift in burial practice that is characteristic of the period.Karen Stears, "Losing the Picture: Change and Continuity in Athenian Grave Monuments in the Fourth and Third Centuries B.C.," in Word and Image in Ancient Greece, edited by N.K. Rutter and Brian A. Sparkes (Edinburgh University Press, 2000), p. 222. Although the unguentaria seem often to have been buried along with other objects associated with or treasured by the deceased or as grave gifts, they may have also have held a substance — such as oil, wine, or powdered incense — for a graveside ritual.

The Bacchanalia cults may have offered challenge to Rome's traditional, official values and morality but they were practiced in Roman Italy as Dionysiac cults for several decades before their alleged disclosure, and were probably no more secretive than any other mystery cult. Nevertheless, their presence at the Aventine provoked an investigation. The consequent legislation against them - the Senatus consultum de Bacchanalibus of 186 BC - was framed as if in response to a dire and unexpected national and religious emergency, and its execution was unprecedented in thoroughness, breadth and ferocity. Modern scholarship interprets this reaction as the senate's assertion of its own civil and religious authority throughout the Italian peninsula, following the recent Punic War and subsequent social and political instability.

Detail of the mosaic The popularly named "Tomb of the Julii" (Mausoleum "M") survives in the Vatican Necropolis beneath St. Peter's Basilica. The serendipitous discovery near the crypt has a vaulted ceiling bearing a mosaic depicting Helios (Roman Sol Invictus) with an aureole riding in his chariot, within a framing of rinceaux of vine leaves, which are not given their usual pagan Dionysiac reading in this context but are related to the True Vine imagery of Gospel of John 15.1. The mosaic is dated to the late 3rd century to early 4th century. Other mosaics in this tomb depicting Jonah and the whale, the good shepherd carrying a lamb (the kriophoros motif), and fishermen have encouraged its interpretation as a Christian tomb.

In light of the above parallels, Walter Burkert interprets the story as a significant development in the history of Dionysiac cult: "Released from this gloomy background, the cheerful and liberating legend of the sixth century further developed the image of the dolphin-rider under the colors of the renewed cult of Dionysus.".Burkert 1983:198f C. M. BowraBowra, "Arion and the dolphin", MR 20 (1963:121-34, reprinted in Bowra, On Greek Margins (1970:164-81). tied the myth to the period following the expulsion from Corinth of the aristocratic Bacchiadae, who traced their descent from Dionysus: "the cult of the god had to develop new and more democratic forms."Burkert 1983:201) Stewart FloryStewart Flory, "Arion's Leap: Brave Gestures in Herodotus" The American Journal of Philology 99.4 (Winter 1978:411-421).

The significance of these paintings lies in their figurative elements, a subject that is often absent in preserved Nabataean painting and other media. While a small fragment of a human face was found during the excavations of the Great Temple and the excavation of the Temple of the Winged Lions brought to light other select fragments, the frescoes at the Painted Biclinium form both the most complete painted scene in the Nabataean archaeological record and the only one remaining in situ. The features of the figural composition, including the large eyes and round chins, have parallels with other pieces of Hellenistic painting and mosaic, while the floral and faunal subjects are distinctly local. In addition, while the archaeological record pointing to Dionysiac worship appears prolific among the Nabataean elite, few contexts preserve any record of this practice outside of architecture and pottery.

Sarcophagus of Constantina, Vatican Museums, originally stood in the mausoleum Two large porphyry sarcophagi from the church are now in the Vatican; the larger and more famous (illustrated) in the Vatican Museums, where it was moved during the late 18th century and is on display. The smaller was moved in St Peter's itself (left transept) in 1606. It is now thought that the larger sarcophagus traditionally related to Constantina may in fact have housed her sister Helena, and the less spectacular one, also removed to the Vatican, was actually Constantina's. Constantina's sarcophagus has complex symbolic designs in relief: "the surface is dominated by an intricate pattern of stylized vine-stems into which are fitted cherubs...with this scene of Dionysiac exuberance, and the hope of future blessedness which it implies, two peacocks, birds of immortality, are completely in accord".

Mosaic in the ambulatory The 4th-century mosaics on the ambulatory vault are contemporary with the building, and show a stark contrast to those in the apses, being essentially secular, with panels containing geometric patterns, small heads or figures within compartmented frames, birds with branches of foliage, vases and other objects, and vine patterns with cherubs harvesting and wine-making. This last type of scene also appears on Constantina's sarcophagus, as it does on the ends of the Sarcophagus of Junius Bassus. While the mosaics of the apses have very clear Christian imagery, those in the ambulatory are much more secular and could be considered Dionysiac with their images of grapes, fruit, birds, and mythological figures.. This is especially true of the floor mosaics which were similar in style to those in the ambulatory, filled with cupids, birds, and Bacchus and grapevines. This may reflect the merging of pagan and Christian values in Rome,Marilyn Stokstad, Medieval Art (New York: Harper & Row Publishers, 1986), 29.

Most modern scholarship agrees that Dionysiac or Bacchic mystery cults had been practiced in Roman Italy for several decades before 186, and were considered acceptable by Roman authorities until this abrupt "discovery" and rapid suppression.Livy describes their introduction by a foreign soothsayer, a "Greek of mean condition... a low operator of sacrifices" and their secretive spread, "like a plague", towards Rome via Etruria; see Sarolta Takacs, Vestal Virgins, Sibyls, and Matrons: Women in Roman Religion, University of Texas Press, 2008, p.95. See also Beard, M., Price, S., North, J., Religions of Rome: Volume 1, a History, illustrated, Cambridge University Press, 1998, pp. 93 - 96, and Walsh, PG, Making a drama out of a Crisis: Livy on the Bacchanalia, Greece & Rome, Vol XLIII, No. 2, October 1996. Paculla Annia is unlikely to have introduced all the changes attributed to her by Livy;Erich S. Gruen, Studies in Greek Culture and Roman Policy, University of California Press, 1996, pp 48 - 54.

Rosmerta, for instance, was frequently associated with Mercury in Gaul. Four of the bowls have incised emblematic designs associated with Mercury, and the formulaic Latin initialism VSLM, standing for votum solvit libens merito ("He fulfills his vow freely, as is deserved").Ruth E. Leader- Newby, Silver and Society in Late Antiquity: Functions and Meanings of Silver Plate Ashgate. 2004. Nine of the vessels form a group of luxury domestic silver of 1st century dateSimilar to silver found at Boscoreale and in the House of the Menander at Pompeii, overwhelmed by the eruption of 79 CE, and similarly composed of drinking vessels (Leader-Newby). with iconographic connections to Dionysus rather than to Mercury, marked as votive offerings (vota) of one Q. Domitius Tutus; they include a matching pair of silver drinking cups (scyphi) with Dionysiac imagery of centaurs,Jon van de Grift, "Tears and Revel: The Allegory of the Berthouville Centaur Scyphi" American Journal of Archaeology 88.3 (July 1984:377-388).

Under the Indo-Greeks, the cult of the Yakshas may also have been associated with the Bacchic cult of Dionysos."We have no way of knowing whether there was any direct association between the cult of the Yashas and Dionysos during the Indo-Greek era, but this is a distinct possibility" in Since the time of Alexander the Great visiting a city called Nysa in northern India, the Greeks had identified local devotional practices as similar to their cult of Dionysos. They may have promoted a syncretic art which conflated Hellenistic Dionysiac imagery with the local cult of the Yakshas."Perhaps the Bactrian Greek invaders of northern India were the first actively to foster a syncretism involving Dionysos and his bacchants with Kubera and his Yakshas." in In the production of colossal Yaksha statues carved in the round, which can be found in several locations in northern India, the art of Mathura is considered as the most advanced in quality and quantity during this period.

Harrison uses one of the satyrs in his work to hint that the classical world may be neglected in the modern era: The Routledge Companion to Directors' Shakespeare quotes Harrison as saying that without the satyr plays we are missing the whole picture of the Greek imagination as applied to ancient Greek tragedy and its ability to use the satyr plays as a vehicle to absorb the impact of the tragic events and to not be defeated by them. In that sense, Harrison continues, the satyr plays precipitated a "spirit of celebration" into the dramatic festival which also caused a "release into the worship of Dionysus". According to the same book, with his Trackers, Harrison wants to criticise the tendency of the elitists and right-wing politicians to divide art and society along refined and popular lines, represented by separate Apollonian and Dionysiac camps. Harrison made a point against this artificial segregation by choosing a third venue for the performance of his play between Delphi and London; he chose an abandoned textile mill in Salt's Mill, Bradford, as a "homecoming" for his play.

This was an obvious connection, since Dionysus, as god of grapes and wine, was closely associated with the natural products of a particular season and with sharing those gifts with the world. Hence many season sarcophagi include Dionysiac elements. A good example is the so-called "Badminton Sarcophagus" in New York's Metropolitan Museum, which shows in the center Dionysus on his panther, flanked by standing personifications of the Four Seasons marked by their seasonal gifts/attributes: winter stands at the far left with a brace of ducks, with a boar at his feet; then spring, holding a basket of flowers and a budding stalk; then summer, basket of grain in hand; and finally autumn at the far right, cradling a cornucopia of grapes and grape leaves in one arm while holding a captured hare. Celebration of Dionysus's natural (particularly viticultural) gifts, along with the rest of nature's never-ending abundance, and the happiness and pleasure that they bring in eternal cycle, is clearly foregrounded on a sarcophagus such as this.

It excited violent dislike to Ronsard on the part of the Huguenots, who wrote constant pasquinades against him, strove (by a ridiculous exaggeration of the Dionysiac festival at Arcueil, in which the friends had indulged to celebrate the success of the first French tragedy, Jodelle's Cleopatre) to represent him as a libertine and an atheist, and (which seems to have annoyed him more than anything else) set up his follower Du Bartas as his rival. According to some words of his own, they were not contented with this variety of argument, but attempted to have him assassinated. During this period, Ronsard began writing the epic poem the Franciade (1572), a work that was never finished and is generally considered a failure due to its versification—a decasyllabic metre of rimes plates that corresponds poorly with the genre of epic poetry. The metre (the decasyllable) could not but contrast unfavourably with the magnificent alexandrines that Du Bartas and Agrippa d'Aubigné were shortly to produce; the general plan is feebly classical, and the very language has little or nothing of that racy mixture of scholarliness and love of natural beauty which distinguishes the best work of the Pléiade.