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German archaeologist Heinrich Schliemann, who discovered the artifact in 1876, believed that he had found the body of the Mycenaean king Agamemnon, leader of the Achaeans in the ancient Greek epic of the Trojan War, the Iliad. Modern archaeological research suggests that the mask dates to about the 16th century BC, pre-dating the period of the ...
Schliemann claimed that one of the masks he discovered was the mask of King Agamemnon, and that this was the burial site of the legendary king from Homer's Iliad. [4]The masks were likely direct representations of the deceased, symbolizing a continuation of the dead's identity in death, similar to funerary statues and incisions, immortalizing an idealized depiction of the deceased.
Gorgon blood was said to have both the power to heal and harm. Representations of full-bodied Gorgons and the Gorgon face, called a gorgoneion (pl. gorgoneia), were popular subjects in Ancient Greek, Etruscan and Roman iconography. While Archaic Gorgons and gorgoneia are universally depicted as hideously ugly, over time they came to be ...
Tragic mask in bronze, attributed to Silanion. Museum of Piraeus, Athens, Greece. Plato, Roman copy of Silanion's work (Glyptothek, Munich). Silanion (Ancient Greek: Σιλανίων, gen. Σιλανίωνος) was the best-known of the Greek portrait-sculptors working during the fourth century BC. [1]
In Ancient Greece, phalloi were believed to have apotropaic qualities. Often stone reliefs would be placed above doorways, and three-dimensional versions were built across the Greek world. Most notable of these were the urban monuments found on the island of Delos. The phallus was also an apotropaic symbol for the ancient Romans.
Cellini's Perseus (1545–54), wearing the Cap of Invisibility and carrying the head of Medusa. In classical mythology, the Cap of Invisibility (Ἅϊδος κυνέη (H)aïdos kyneē in Greek, lit. dog-skin of Hades) is a helmet or cap that can turn the wearer invisible, [1] also known as the Cap of Hades or Helm of Hades. [2]
The comedy and tragedy masks are a pair of masks, one crying and one laughing, that have widely come to represent the performing arts. Originating in the theatre of ancient Greece , the masks were said to help audience members far from the stage to understand what emotions the characters were feeling.
Ancient Greek funerary vases were made to resemble vessels used for elite male drinking parties, called symposiums. Funerary vases were often painted with symposiums, or Greek tragedies that involved death. There are many types of funerary vases including amphorae, kraters, oinochoe, and kylix cups. Funerary scenes show us how the Greeks ...