Dionysus - Greek God of Wine and Festivity Statue

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Modern followers of Hellenism celebrate Dionysia as a holiday and use a version of the Attic calendar to calculate it. [15] See also [ edit ] Nysian Nύσιος, according to Philostratus, he was called like this by the ancient Indians. [77] Most probably, because according to legend he founded the city of Nysa. [78] [79] [80]

Peixoto, Gabriel B. (2022). Classical Pedimental Compositions: the 5th-century Post-Parthenonian Pediments and their Meanings. MA diss. National and Kapodistrian University of Athens. p. 21-24. https://www.academia.edu/89686234/Classical_Pedimental_Compositions_the_5th_century_Post_Parthenonian_Pediments_and_their_Meanings Karoglou, Kyriaki. 2019. "An Early Hellenistic Votive Statuette in The Metropolitan Museum of Art : Dionysos Melanaigis?." Art of the Hellenistic Kingdoms from Pergamon to Rome, Seán Hemingway and Kyriaki Karoglou, eds. pp.99, 101, fig. 4, New Haven: The Metropolitan Museum of Art. BC – Ameipsias ( The Revelers) ; Aristophanes took 2nd place with The Birds; Phrynichus took 3rd place with Solitary Thompson, Homer A. (July 1949). "The Pedimental Sculpture of the Hephaisteion" (PDF). Hesperia. 18 (3): 230–268. doi: 10.2307/146756. JSTOR 146756. Metropolitan Museum of Art. 1991. "One Hundred Twenty-first Annual Report of the Trustees for the Fiscal Year July 1, 1990 through June 30, 1991." Annual Report of the Trustees of the Metropolitan Museum of Art, 121: p. 31–2.Impressive tragic output continued without pause through the first three quarters of the fourth century BC, and some scholars consider this time a continuation of the classical period. Though much of the work of this period is either lost or forgotten, it is considered to owe a great debt to the playwright Euripides. His plays, along with other fifth-century BC writers, were often re-staged during this period. At least one revival was presented each year at City Dionysia. It has been suggested that audiences may have preferred to see well-known plays re-staged, rather than financially support new plays of questionable quality; or alternately, that revivals represented a nostalgia for the glory of Athens from before the devastation of the Peloponnesian War. Nevertheless, plays continued to be written and performed until the 2nd century BC, when new works of both comedy and tragedy seem to have been eliminated. After that point drama continued to be produced, but prizes were awarded to wealthy producers and famous actors rather than the long-dead playwrights whose work was being performed. [5] Liknites ("he of the winnowing fan"), as a fertility god connected with mystery religions. A winnowing fan was used to separate the chaff from the grain. Millis, Benjamin Willard; Olson, S. Douglas (2012). Inscriptional records for the dramatic festivals in Athens: IG II2 2318-2325 and related texts. Leiden Boston: Brill. p.1. ISBN 978-90-04-23201-3. His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. [8] [9] [10] In Orphism, he was variously a son of Zeus and Persephone; a chthonic or underworld aspect of Zeus; or the twice-born son of Zeus and the mortal Semele. The Eleusinian Mysteries identify him with Iacchus, the son or husband of Demeter. Most accounts say he was born in Thrace, traveled abroad, and arrived in Greece as a foreigner. His attribute of "foreignness" as an arriving outsider-god may be inherent and essential to his cults, as he is a god of epiphany, sometimes called "the god that comes". [11]

Lexicon Iconographicum Mythologiae Classicae (LIMC). 1986. Vol. 3: Atherion-Eros. "Dionysos," p. 437, no. 128a, Zürich: Artemis Verlag. Picón, Carlos A. 2007. Art of the Classical World in the Metropolitan Museum of Art: Greece, Cyprus, Etruria, Rome no. 429, pp. 369, 489–90, New York: The Metropolitan Museum of Art. To the west, on the "minor" facade, was the quarrel between Athena and Poseidon for Athens and Attica and the victory of the Virgin Goddess, one of the great local myths. [8] [14] [15] The two divinities disputed sovereignty over the region. They decided to offer the most beautiful gifts to win. With one blow of his trident, the god of the seas caused a spring (or a lake) of salty water to spring up on the acropolis. The virgin goddess with a spearhead made the first olive tree appear. The sources do not agree on the identity of the referees. They chose Athena and her olive tree. [16] [17] This story is first recounted by Herodotus (VIII, 55). This myth had hitherto been little represented: the artist who conceived the ensemble, as well as the sculptors, had a complete freedom. [18] Romans identified Bacchus with their own Liber Pater, the "Free Father" of the Liberalia festival, patron of viniculture, wine and male fertility, and guardian of the traditions, rituals and freedoms attached to coming of age and citizenship, but the Roman state treated independent, popular festivals of Bacchus ( Bacchanalia) as subversive, partly because their free mixing of classes and genders transgressed traditional social and moral constraints. Celebration of the Bacchanalia was made a capital offence, except in the toned-down forms and greatly diminished congregations approved and supervised by the State. Festivals of Bacchus were merged with those of Liber and Dionysus.

a b Harvey, John. "Dr". Theater. Center for Creative Work, University of Houston. Archived from the original on 24 April 2013 . Retrieved 8 June 2013. The composition of this pediment is inspired by that of the eastern pediment of Olympia. The idea of simple "spectator" statues sitting on the exteriors and then of river gods was also borrowed from the sanctuary in the Peloponnese. [11] The western statues B, C, L, Q and perhaps W have been copied and adapted to adorn one of the pediments of the temple of Eleusis (smaller than that of the Parthenon), completed in the second century and representing the abduction of Persephone. [21] Mastromarco, Giuseppe: (1994) Introduzione a Aristofane (Sesta edizione: Roma-Bari 2004). ISBN 88-420-4448-2 p.3 Masks are a recurring theme in Dionysian lore. Known as the “masked god” in recognition of his numerous aliases, Dionysus was widely invoked in theater and revelry—both of which boast ties to masking.