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The (Society of the) Iobakchoi (or Iobacchoi) was a second to third century CE Athenian cult association devoted to Dionysus (Bacchus), known from the Iobakchoi inscription (IG, II2, 1368, Athens, 164/165 CE; AGRW ID# 496).
Titian's Bacchus and Ariadne (1522–23) and The Bacchanal of the Andrians (1523–26), both painted for the same room, offer an influential heroic pastoral, [324] while Diego Velázquez in The Triumph of Bacchus (or Los borrachos – "the drinkers", c. 1629) and Jusepe de Ribera in his Drunken Silenus choose a genre realism.
The Bacchae (/ ˈ b æ k iː /; Ancient Greek: Βάκχαι, Bakkhai; also known as The Bacchantes / ˈ b æ k ə n t s, b ə ˈ k æ n t s,-ˈ k ɑː n t s /) is an ancient Greek tragedy, written by the Athenian playwright Euripides during his final years in Macedonia, at the court of Archelaus I of Macedon.
An inscription found on a stone stele (c. 340 BC), found at Delphi, contains a paean to Dionysus, which describes the travels of Dionysus to various locations in Greece where he was honored. [40] From Thebes , where he was born, he first went to Delphi where he displayed his "starry body", and with "Delphian girls" took his "place on the folds ...
In an almost identical line (X.391) that suggests a formulaic expression, Achilles tells the Myrmidons to sing the paean after the death of Hector. [5] To discover the relation between Paean or Paeon, the healer-god, and paean in the sense of "song", it is necessary to identify the connection between ritual chant and the shaman's healing arts. [6]
Hesiod identifies Paeon as an individual deity: "Unless Phoebus Apollo should save him from death, or Paean himself who knows the remedies for all things." [10] [11] In time, Paeon (more usually spelled Paean) became an epithet of Apollo, in his capacity as a god capable of bringing disease and therefore propitiated as a god of healing. [12]
The Bacchanalia were Roman festivals of Bacchus, the Greco-Roman god of wine, freedom, intoxication and ecstasy. They were based on the Greek Dionysia and the Dionysian Mysteries, and probably arrived in Rome c. 200 BC via the Greek colonies in southern Italy, and from Etruria, Rome's northern neighbour.
The Triumph of Bacchus and Ariadne. Prominently displayed in the center panel, the Triumph of Bacchus and Ariadne depicts a both riotous and classically restrained procession which ferries Bacchus and Ariadne to their lovers' bed. Here, the underlying myth is that Bacchus, the god of wine, had gained the love of the abandoned princess, Ariadne.