Relevant bibliographies by topics / Triptolemos (Greek deity) in art

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Academic literature on the topic 'Triptolemos (Greek deity) in art'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Triptolemos (Greek deity) in art"

1

Mshvildadze, Marika. "Diety Nike-Victoria of the late Antique period on the territory of Georgia." Pro Georgia 33, no. 1 (2023): 161–68. http://dx.doi.org/10.61097/12301604/pg33/2023/161-168.

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The states on the territory of Georgia were part of the Classical antiquity ecumene. Accordingly, both Iberia and Colchis had close trade-economic and cultural relations with the Roman Empire, from where the deities popular in the empire spread to the territory of Georgia. Among them, a special place is occupied by the ancient god of victory, Nike (Ancient Greek: Νίκη). The name Nike is believed to date back to the pre- Greek period. In Greek mythology, Nike appears as a companion of Zeus and Athena. In Greek art, the deity is mainly depicted with symbols of victory – wings, a crown and a palm
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Shelekhan, Oleksandr, and Oksana Lifantii. "Swords and Swordsmen in Greco-Scythian Art." Peuce Serie Nouă, no. 20 (2022): 39–72. https://doi.org/10.62781/peucesn.20.02.

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In this article, we shall analyse pieces of the late 5th -4 th centuries BC of Greco-Scythian art with depictions of bladed weaponry. “Barbarians” armed with swords and daggers were mostly represented by using Greek art templates. The figures are distinguishable by their Scythian “ethnographic” features (costumes, hair, weapons). Despite the usual detailed manner in which individual attire and sometimes even the human faces or other weapons were rendered, the depictions of swords and daggers remain, however, very simplified. It is possible that the Greeks were prevented from depicting a “truly
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Lusher, Andrew. "Greek Statues, Roman Cults and European Aristocracy: Examining the Progression of Ancient Sculpture Interpretation." Journal of Arts and Humanities 6, no. 12 (2017): 25. http://dx.doi.org/10.18533/journal.v6i12.1313.

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<p>In 1747 Frederick II of Prussia acquired a rare and highly valuable statue from antiquity and gave it the description of Antinous (the ill-fated lover of the Roman Emperor Hadrian). Although the bronze statue had always been accepted as an original from ancient Greece, the statue eventually assumed the identity of the Roman Antinous. How could Frederick II, an accomplished collector, ignore the blatant style and chronological discrepancies to interpret a Greek statue as a later Roman deity? This article will use the portraiture of Antinous to facilitate an examination of the progressi
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Smith, Tyler Jo. "Highland gods: rock-cut votive reliefs from the Pisidian Survey." Anatolian Studies 61 (December 2011): 133–50. http://dx.doi.org/10.1017/s0066154600008814.

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AbstractBetween 1982 and 1996 a group of rock-cut votive reliefs was discovered during archaeological survey in Pisidia under the direction of Stephen Mitchell and the sponsorship of the British Institute (of Archaeology) at Ankara. The types represented include a horseman deity, perhaps Kakasbos, the Dioscuri with ‘goddess’ and the moon-god Men. The reliefs are discussed according to their cults and iconography, and their contribution to art and religion both locally and beyond. As a religious phenomenon, they are further considered in relation to both regional traditions and empire-wide prac
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Dickson, Keith M. "Voice and Sign in Pindar." Ramus 19, no. 2 (1990): 109–29. http://dx.doi.org/10.1017/s0048671x00002873.

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We all secretly venerate the ideal of a language which in the last analysis would deliver us from language by delivering us to things.M. Merleau-Ponty,The Prose of the WorldIn a study published some years ago, J.-P. Vernant drew attention to the fundamental distinction Greek thought makes between spoken and all other modes of divination. It is a difference that reflects certain givens of ancient social and political structure, and that has its roots in the marked orientation of Greek society towards open discourse. What he has in mind as a paradigm of oral divination is the question-and-answer
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Steiner, Ann, and Jenifer Neils. "An Imported Attic Kylix from the Sanctuary at Poggio Colla." Etruscan Studies 21, no. 1-2 (2018): 98–145. http://dx.doi.org/10.1515/etst-2018-0010.

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Abstract This study focuses on an Attic red-figure kylix excavated in a North Etruscan ritual context at a major sanctuary site in the Mugello region at Poggio Colla. Attributed to the Painter of the Paris Gigantomachy (490–460 B. C. E.), the kylix depicts youths boxing. Careful excavation of the site over 20 years allows detailed presentation here of the votive context for the kylix and thus supports a plausible hypothesis for how it was integrated into rituals marking the transition from the first monumental stone temple to its successor at the site, sometime in the late fifth-early fourth c
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Sifei, Li. "Tubo-Sogdian Relations along the Silk Road: On an Enigmatic Gold Plaque from Dulan (Qinghai, China)." Iran and the Caucasus 26, no. 4 (2022): 309–22. http://dx.doi.org/10.1163/1573384x-20220401.

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In 2018, some tombs that belonged to early Tibetan-related elites at the site of Dulan (Qinghai, China) were disturbed by looters’ activity. One of the gold objects confiscated by local police officers displays a curious composite creature that could be called a winged ichthyocentaurus or triton. This creature includes the torso of a dressed man with a beribboned crown holding a rhyton-like horn and a coiled fish tail. This article discusses the possible function and meaning of this type of composite creatures that appear also on some artifacts from Central Asian archaeological sites and Sino-
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8

Wachsmann, Shelley, and Donald Sanders. "Reconstructing a late Archaic-period Dionysian ship cart." Zbornik radova Filozofskog fakulteta u Pristini 53, no. 3 (2023): 135–69. http://dx.doi.org/10.5937/zrffp53-45389.

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The Greek deity Dionysos had a particular affinity for war galleys, a relationship perhaps explained by the Homeric Hymn to Dionysos in which Tyrsenian pirates kidnap him on their galley. Soon grape vines entangle the rigging and some of the pirates attempt to escape their fate by jumping into the sea: Dionysos transforms them into dolphins. This hymn served as an occasional motif in pagan art and may explain the miniaturized replicas of seagoing oared ships that played an integral role in the ancient Dionysian cult. These flimsy Dionysian ship carts moved overland in parades, either on wheels
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Ormand, Kirk. "OVID'S HERMAPHRODITUS AND THE MOLLIS MALE." Ramus 51, no. 1 (2022): 74–104. http://dx.doi.org/10.1017/rmu.2022.4.

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Figures of intersexed individuals perhaps representing the minor Greek deity Hermaphroditus became, for reasons that are not entirely clear, strikingly popular in Roman sculpture and wall painting in the latter half of the first century CE. Depicting a fully bisexed human body, these figures have resulted in competing interpretations regarding their purpose, meaning, and effect. As it happens, we also have a text from the Augustan period that purports to explain not only the origin of the intersexed Hermaphroditus, but the production of future bisexed individuals, in Ovid's Metamorphoses Book
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James, Stuart. "Classical Myths and Legends in the Middle Ages and Renaissance:98306H. David Brumble, John Boardman, LCSH Pan, Greek deity, John Boardman. Classical Myths and Legends in the Middle Ages and Renaissance: A Dictionary of Allegorical Meanings. London and Chicago, ILLondonLondon: Fitzroy Dearborn PublishersThames and HudsonThames and Hudson 1998, 1997. xxvi + 421pp, ISBN: 1 57958 020 3 £60.00, ISBN: 0 500 55030 1 £7.95, ISBN: 0 500 20309 1 £8.95 paperback World of Art series." Reference Reviews 12, no. 6 (1998): 9–10. http://dx.doi.org/10.1108/rr.1998.12.6.9.306.

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Dissertations / Theses on the topic "Triptolemos (Greek deity) in art"

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Rosenzweig, Rachel. "Aphrodite in Athens : a study of art and cult in the classical and late classical periods /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.

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Thesis (Ph. D.)--University of Oregon, 1999.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-237). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.
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James, Paula. "Unity in diversity a study of Apuleius' Metamorphoses : with particular reference to the narrator's art of transformation and the metamorphosis motif in the Tale of Cupid and Psyche /." Hildesheim ; New York : Olms-Weidmann, 1987. http://catalog.hathitrust.org/api/volumes/oclc/15604421.html.

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Olsson, Viveca. "The Lenaia vases revisited : image, ritual and Dionysian women /." 2006. http://www.loc.gov/catdir/toc/fy0712/2006502425.html.

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Books on the topic "Triptolemos (Greek deity) in art"

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Schwarz, Gerda. Triptolemos: Ikonographie einer Agrar- und Mysteriengottheit. F. Berger, 1987.

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2

Katie, Scott, and Arscott Caroline, eds. Manifestations of Venus: Art and sexuality. Manchester University Press, 2000.

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3

Klöckner, Anja. Poseidon und Neptun: Zur Rezeption griechischer Götterbilder in der römischen Kunst. Saarbrücker Drückerei und Verlag, 1997.

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4

Vinzenz, Brinkmann, and Liebieghaus, eds. Die Launen des Olymp: Der Mythos von Athena, Marsyas und Apoll. Städtische Galerie Liebieghaus, 2008.

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5

Kasper-Butz, Irmgard. Die Göttin Athena im klassischen Athen: Athena als Repräsentantin des demokratischen Staates. P. Lang, 1990.

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6

Bettina, Hagen, Winckelmann-Memorialmuseum, and Akademie der Bildenden Künste in Wien., eds. Die Statue eines Dionysos: Ein unbekannt gebliebener Torso aus den Beständen der Gemäldegalerie der Akademie der bildenden Künste Wien ; eine Ausstellung "in progress" ; [Katalog einer Ausstellung im Winckelmann-Museum Stendal]. Rutzen, 2005.

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7

Oliva, Pedro Rodríguez. Estatua de musa de la Escuela de Afrodisias. Crema, 2021.

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8

Carpenter, Thomas H. Dionysian imagery in fifth-century Athens. Clarendon Press, 1997.

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9

Wyss, Edith. The myth of Apollo and Marsyas in the art of the Italian Renaissance: An inquiry into the meaning of images. University of Delaware Press, 1996.

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Wyss, Edith. The mythof Apollo and Marsyas in the art of the Italian Renaissance: An inquiry into the meaning of images. University of Delaware Press, 1996.

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