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Influence of Greek Mythology on art
Greek art influences
Dionysus'influence on modern culture
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Recommended: Influence of Greek Mythology on art
The red figure bell krater is an artifact I saw in the San Antonio Museum of art, and it was said to be an Ancient Greece inspired artwork, but was created in Italy and crafted out of terracotta. The item called a ‘Krater’ are actually known as jars or vessels that were used to mix wine and water together to serve to others mainly during festivities. These vessels originated in Ancient Greece, and the word itself actually means ‘mixing vessel’, befitting their purpose. On this bell krater, the god Dionysus is featured dancing with a maenad and two other young men. Dionysus was known as the Greek God of wine, festivity and life’s pleasures, and since the krater was mainly a jar used for drinking purposes and mixing wine, it is actually quite …show more content…
In mythology, Dionysus had a growing cult consisting mainly of satyrs, whom were half male human and half animal creatures, and maenads. On the artifact, there is a painting of Dionysus dancing with a maenad and on the other side there are two young men accompanying the god. However, the two young men featured on the krater are regular human males rather than satyrs, even though satyrs were some of Dionysus’ most prominent followers as his cult consisted of mostly men. Although, he did have female followers that were called the ‘Maenads’, whom also acted as servants to him and would often bring him wine and would dance along with him for entertainment, like so in this artifact. In fact, the maenads were considered his most significant followers with how ecstatic they would dance as seen on the krater, and many other artworks with Dionysus’s maenads also feature them dancing ecstatically. Their dance is inspired by Dionysus himself, and the word ‘maenad’ means ‘to rave’ or ‘raving one’ which makes sense given how they dance so freely and ecstatically in the artworks with Dionysus. My observation is that these females rave because Dionysus is also the god of ritual madness and frenzy, which could come from the fact that wine intoxicates those who drink
Despite the artistic beauty of the two vases, both were made for more than just decoration. The vase depicting Artemis is what was called a Bell Krater and was used for mixing the popular Greek drink of water and wine. The other, called a Lekythos was used to pour liquids during elaborate burial ceremonies to honor the wealthy. Another main function of pottery in many cases is to tell a story, which is exactly what Artemis Slaying Actaeon intends. The vase depicts the goddess of the hunt, Artemis, slaying a hunter Actaeon, whom accidentally intruded on her bathing while on a hunt. On the other hand, Woman and Maid is intended as a remembrance of a wealthy woman, and depicts an offering of a chest of valuables from a slave girl to the deceased.
The villa is interpreted to delineate twenty women participating in a continuous scene beginning with “ritual purification and preparatory offerings” and terminating in a “dance of initiation”. Regardless, of the women being depicted as human beings in control of their actions, the small numbers of men are illustrated as submissive and in the possession of the mythological realm. This is inferred through Dionysus, the god of wine and mystic ecstasy, positioned on Ariadne’s enthroned
artworks that were displayed was a Statuette of Youthful Dionysos, god of wine and theatre.
This distinction between men and women is emphasized in Euripides’ The Bacchae. It is the women, and not the men, who are allured to follow Dionysus and practice his rituals: dancing, drinking, etc. It is seen as problematic to Pentheus and something must be done: “Women are laving home / to follow Bacchus, they say, to honor him in sacred rites. / Our women run wild upon the wooded hills, dancing to honor this new God, Bacchus, whoever he is” (215-218). There is a sense of lost, a need to retrieve the women, and return them to their place. “Our women run wild” creates the comparison of what their women would do amongst men and their society, as well as a sense of possession of the women (217). Agave recognizes the freedom from her daily confinements of her home when amongst the Bacchantes: “I quit my shuttle at the loom / for a higher calling, the hunting of wild beasts / with my bare hands” (1214-1218). There is a contrast of sitting behind the machine, the loom, and creating, or in this case destroying, by her own hands. Is it this contrast what drives the women of Thebes towards Dionysus? For what better creates a feeling of accomplishment then achieving a finished product by one’s power alone? The women are consequently pushed towards Dionysus because of the freedom he offers.
Examination of Dionysus's challenges should begin with The Bacchae's most obvious perversion of custom, the question of gender. As Dionysus indicates early in the play, the enraptured band of Bacchant followers is comprised only of females: "Every woman in Thebes-but the women only- / I drove from home" (35-36). Though Cadmus further illuminates the matter by raising the question, "Are we the only men / who will dance for Bacchus?" (195-196), the text offers no definitive explanation for why Dionysus calls solely upon the women. A superficial reading might suggest that Euripides attempted to portray the stereotypical "weaker sex" as the one "more susceptible to invasive passions than men, especially eros and daemonic possession," but more is probably at stake.
While visiting the Museum of Fine Arts Houston, I came across The Indian Triumph of Dionysus. Originating in Rome, it was created by a wealthy follower of Dionysus’s mystery cult in the late second century A.D. This worshiper evidently wanted to construct a sarcophagus in tribute of Dionysus’s accomplishments. Furthermore, Dionysus is surrounded by characters that are within the mystery cult because the creator wants the viewers to know with whom he is associated. With these two things combined, the patron hoped to shed light on a piece of history that they believed to be prominent during his life.
The image of seductresses is a recurring motif in The Odyssey. These women are a temptation to Odysseus. They attempt to keep Odysseus from accomplishing his goal: his homecoming. Circe is a bewitching goddess. She entices Odysseus’ crew into her palace with her enchanting voice. However, after she feeds them, she promptly turns them into pigs. Circe also succeeds in enticing Odysseus; he stays with her one year as her lover. It is so long that his crew declares that it is “madness” (326). They say that it is “high time” that Odysseus thinks of his homeland (326). Later on, Odysseus and his crew encounter the sirens. Knowing the danger they pose, Odysseus has all his men’s ears stopped up with wax. However, Odysseus wishes to hear their song; so he asks his crew to tie him to the mast. The song of the sirens is so sweet and enticing. Their “ravishing voices” almost make Odysseus forget his desire to return home (349). His heart “throbbed” to listen longer; he signals for his men to let him go free. The grea...
Atwood is playing with two levels of myth here: the Homeric myth of ‘faithful Penelope’ and cultural myths about women as either submissive or domestic (Howell 9). After marriage Penelope spends most of her time alone in boredom and Eurycelia, former nurse of Odysseus, often reminds her duties as wife by saying, “So you can have a nice big son for Odysseus. That’s your job” (63). Furthermore, Atwood recounts the vulnerability of alone woman in the male dominated world. To grab opportunity of being king, a number of suitors assemble at Ithaca, to marry Penelope, and she thinks, “They all were vultures when they spot the dead cow: one drops, then another, until finally every vulture for miles around is tearing up the carcass” (103). Moreover, Atwood argues about the partiality of sexual of freedom along with the vexed relationship between man and woman, as the former can do sex with any other woman such as Odysseus’s affairs with the goddess and whores, but the woman is restricted to marriage like Penelope. The foremost fatuous allegation makes on Penelope is about her faithfulness and loyalty for her husband Odysseus, and she defends herself from any sexual conduct in the chapter, “slanderous gossip”. The death of Amphinomus, the politest suitor among all, leaves the question of marital infidelity among the genders.
As a ruler of the state one must be viewed as masculine and in control, however there are many examples in Euripides writing that leads one to believe deep inside he is not who he claims to be. One way in which this is evident during the play is that Pentheus is constantly negating his own viewpoints on masculinity and his outlook of women outwardly. However there are many actions he might not openly say that may lead one to believe he is confused about his gender identity. In the beginning of the play Pentheus criticizes the feminine appearance of Cadmus and Dionysus, however he finds himself dressed as a women and enjoyed it. Pentheus initially has a deep hatred for the women who abandoned their homes for the mountains to commit what he thinks are vile sex acts. Yet as the play progresses he becomes extremely curious about what the women on the mountainside are doing under Dionysus’ order and when the opportunity presents itself to spy on the women he is ecstatic. Pentheus makes it seem as if he needs to witness these women, not for the sake of the state, but for his personal voyeurism. His obsession with the women’s hidden behavior may reflect not sexual interest, but a desire to know more comprehensively a group with which he identifies himself as, but the social norms in society have restricted him from expressing. Between his
Many different interpretations can be derived from themes in Euripides's The Bacchae, most of which assume that, in order to punish the women of Thebes for their impudence, the god Dionysus drove them mad. However, there is evidence to believe that another factor played into this confrontation. Because of the trend of male dominance in Greek society, women suffered in oppression and bore a social stigma which led to their own vulnerability in becoming Dionysus's target. In essence, the Thebian women practically fostered Dionysian insanity through their longing to rebel against social norms. Their debilitating conditions as women prompted them to search for a way to transfigure themselves with male qualities in order to abandon their social subordination.
The position of women in Classical Athens has often been described as subordinate in comparison to men. Women were categorized in very particular ways: Athenian women were wives, while those who migrated to Athens from other city-states were slaves or prostitutes. Countless literature, from tragedy to comedy and political texts, reinforces the notion that citizen women were meant to serve their husbands within the confines of the oikos and produce legitimate sons in order to further the glory of men while non-Athenian women served their purpose towards men through sexual pleasure. While there may be partial truth to these views, Athenian women played a crucial role in the religious sphere. Religion was directly linked to civic identity and was a fundamental and sacred element of not only a city-state, but to Greece as a whole during the Classical period. Surviving documentation has demonstrated that Athenian women played a vital part to specific religious traditions, such as the participation in the festivals of Thesmophoria and Adonia. Furthermore, there exists evidence that proves women could also acquire the position of priestess for particular cults, a position that increased their reputation and status in a culture that considered them inferior. These marginalized women used religion as a way to carve out a sacred and protect space for themselves, using it to create a sense of freedom in their lives and to bridge the gap in equality between them and the dominant men.
Mortal men can be such pigs. They retain no respect for women and the Gods. Much like Kermitos and his crew of contemptuous sailors who obtain no respect for women such as Diamonde and myself, the goddess of the hunt and moon. Much like the story of Odysseus and his men, Kermitos passes through the island of Circe after their long journey to retrieve a golden shroud for King Menelaus’ wife. On their expedition, Kermitos saves an old prophet from being eaten by a lion and in return, the wise, old prophet warns Kermitos to always pay homage to the God’s for if he does not he will surely die.
These festivals were held in Greece at around March. Men,women, and of course children are allowed to no doubt attend this festival. Next, One of they activities they did at the festival was to do a poet competition where you write a poem and try to win. To sum up, the Dionysia had interesting activities and was most likely
Demosthenes wrote this speech against Meidias because he had been abused by him and because of the lack of respect Meidias had during the religious festival which Demosthenes was in charge of putting together. According to the speech, Demosthenes had volunteered to produce the men’s chorus for his tribe at the city of Dionysia, the annual festival in honor of Dionysus, which included tragic and comic performances as well as choral songs. Demosthenes is longstanding enemy, Meidias, allegedly tried to stop Demosthenes is chorus from winning the competition through various means including, trying to prevent the chorus from receiving the typical exemption from
Her status as a Dionysian can be found within the central conflict of the play: the burial of Polyneikes. For her it was a greater injustice to be denied something, to be shackled by an oppressive force than to not be able bury