Dimitrios Konidaris's Blog, page 4
October 13, 2023
Silk Road: The Study of Drama Culture
Li Qiang. 2019. Silk Road: The Study of Drama Culture (Series on Chinaâs Belt and Road Initiative III), trans. Gao Fen, New Jersey. (αÏοÏÏάÏμαÏα με εμβÏÎ»Î¹Î¼ÎµÏ ÏαÏαÏηÏήÏειÏ)Contents
Up to the present and throughout the world, the Silk Road has surpassed all other routes in areas of coverage, historical duration, and cultural significance. From Xiâan, the Silk Road meandered westward through the Qinling Mountains, Hexi Corridor, Gobi Desert of the Western Regions, Pamir Mountains, Tigris and Euphrates basins, Asia Minor, and the Mediterranean, before reaching the international passage of Venice, Italy. This not only served as a medium for economic, religious, and ethnic cultural exchanges between the Asian, European and African continents, but also witnessed the music, dance, acrobatics, magic, Quyi, literature, fine arts, and other historical culture of various countries along the Silk Road. More interestingly, the beautiful culture of drama has also been preserved along the cross-linked Silk Road.
In line with the current prevalent concept of historical geography and studies of cultural regions, Professor Li explored a new road, delving deeper into and reviewing the history of communication between Chinese and foreign drama cultures which have reaped fruitful outcomes that readers will have a panoramic view of the drama along the Silk Road. The Ethnic Plays and Silk Road: The Study of Drama Culture are brand new companion pieces for the academic studies.
In line with the current prevalent concept of historical geography and studies of cultural regions, Professor Li explored a new road, delving deeper into and reviewing the history of communication between Chinese and foreign drama cultures which have reaped fruitful outcomes. Readers were surprised to discover that the traditional literary arts of China were all related to the Silk Road, where Yanshiâs puppet plays, masked Nuo plays, Buddhism musicâdance plays, and religious ritual plays associated with Chinese traditional operas were bred; Sanskrit plays, highly praised in Kushan in the Western Regions, and Zhezhi plays, prevalent in the Tigris and Euphrates basins of Central Asia, shaped the patterns of exchanges between Chinese and foreign drama cultures after being introduced into the Central Plains.
A past theory, since shown to be invalid, propounded that the traditional Chinese drama developed independently as an art form, not as a result of or scarcely related to foreign factors. However, the enormous amount of historical evidence about foreign musicâdance plays in Silk Road: The Study of Drama Culture revealed that the primary musical instruments used in accompaniment, such as pipa, konghou, suona, bili, cymbals and various drums originated in India and Persia at the middle and lower segments of the Silk Road and were brought into the Chinese field of musicâdance plays. Seven out of the nine Sui and Tang dynasty ensembles arose from those of ancient minority ethnicities, such as Samarkand music, Qiuci music, Shule music, Chotscho music, and Xiliang music. The role appellations of Mo (middle-aged male character), Dan (female character), Jing (painted-face character), Zhuanghu (official character), Banglao (character of thief and villains) and Base (character of Jiyue musicians) in traditional Chinese operas as well as performance forms of music-dance plays such as Botou, Sumozhe, Daibian (mask dance), Lion Dance, Zhugongdiao, Huxuan, and Huteng were all influenced by the drama culture along the Silk Road.
This academic monograph, published by Xinjiang Peopleâs Publishing House, is composed of 14 chapters, with over 500,000 words and 62 exquisite illustrations. Its contents cover studies about domestic operas and foreign plays, as well as the comparative studies of drama in China and other countries. In the book, there are seven chapters about drama culture in China, including grand music of the Tang and Song dynasties and Zhezhi dance, Buddhist operas of Mount Wutai and the Western Regions, Dunhuang secular music-dance, Buddhist operas of Dunhuang, Maudgalyayana culture in Dunhuang studies, Turpan religious culture and Tibetan plays, and some rare editions of Buddhist operas in the Western Regions. Besides, there are five chapters about drama culture in other countries, including the exchange of music-dance plays between Central Asia and Western culture, Indian religious culture and Sanskrit drama arts, Persian religious culture and eastern drama, plus the eastward spread of ancient Greek and Roman drama culture. Also, there are two chapters comparing domestic and foreign drama, such as the study of drama between the East and West, and the exchanges and enhancements of Eastern and Western drama culture. All the chapters, well-organized and illustrated, complement each other and result in a masterpiece of organic cultural unity. It must be noted that this monograph gives prominence to the key points in a fluent style, which makes it highly readable and informative to the readers.
Perhaps the most compelling feature of this book lies in its introduction of the ethnic plays of various countries from northwest and west, and from China and abroad along the Silk Road that have been long overlooked by Chinese opera and drama scholars, particularly the lack of profound and comprehensive investigations of the ancient and abundant religious and secular arts cultures. Therefore, the author expounds convincingly on the objective rules of the origin, formation, and development of Chinese musicâdance plays based on the abundance of historical facts and materials about exchanges of dance cultures between China and neighboring regions, states, and ethnicities. As the relationship of Chinese traditional operas and international culture is also explored, this book boasts a broad academic vision. Meanwhile, the book employs scientific and original research methods, which on the basis of the traditional Chinese textology and philology, include relatively advanced research methods, such as ethnology, science of religion, archeology, and culturology, and adopts the scientific approach to maintain consistency while analyzing written materials and unearthed relics to verify the ethnic and state drama cultures along the Silk Road. This has achieved abundant academic results.
From a historical and realistic perspective, the academic studies about the Silk Road manifest enormous potential. The ancient Silk Road was an international passage of worldwide significance spanning Asia and Europe that communicated the politics, economy, military, and culture of various countries through the media of silk thread and silk fabrics. In human history, the Silk Road has been a bond connecting the ancient civilizations of China, India, Egypt, Babylon, Greece, and Rome. It was also the only route across the Asian, African, and European empires of Macedonia, Persia, Mongolia, and Ottoman, as well as the birthplace of Buddhism, Hinduism, and Islam, the worldâs three major religions, as well as Shamanism, Zoroastrianism, Nestorianism, Manichaeism, Arkaim, and other religious cultures.
Upon further research, it has been noticed that the Silk Road refers not only to the overland Silk Road (i.e. the dessert, oasis, and prairie Silk Roads) but also to the maritime Silk Road and southern plateau Silk Road. The five branches of the Silk Road radiated from the birthplace of Chinese civilization and arched over the oriental and occidental areas of the world like five resplendent bridges which enabled the ancient theatrical arts of various countries and ethnicities to be standardized and exchanged with each other, thus spawning relatively independent and stable theatrical cultures with unique artistic styles and characteristics. Represented by the three major classical dramatic systems of Greek and Roman plays, Indian Sanskrit plays, and Chinese opera, supplemented by the plays of Egypt, Babylon, Hebrew, Persia, Arabia, Japan, North Korea, Southeast Asia, as well as the Western Regions, a grand system of drama cultures along the Silk Road were constructed for the oriental hemisphere.
Silk Road: The Study of Drama Culture encapsulates directly the research findings and academic heritage of numerous Chinese dramatic historians and critics in the 20th century. It draws on and compiles valuable historical materials utilizing the massive volumes of Chinese and foreign historical classics and academic materials, and by virtue of its broad cultural vision and innovative concept, opens up a new field for academic studies about the drama culture along the Silk Road.
The Silk Road undoubtedly deserves its recognition as a world cultural heritage which will increasingly draw the attention of people around the world, including special attention from the academia of various countries. This emerging cross-disciplinary field integrating the Silk Road and drama culture, named Study of Exchanges of the Silk Road Drama Cultures will have worldwide appeal due to its vigorous vitality and new cultural orientation.
Sumozhe , also called Pohuqihan play, was popular in the ancient Western Regions. According to the records in The Miscellaneous Morsels from Youyang, and The Sounds and Meaning of Tripitaka in the Tang Dynasty, the play was performed with animal masks and singing and dancing both day and night. It was also described that the performersâ appearances resembled beast faces or ghosts or deities, contrived with various masks. The local customs alleged that the play was often used to drive devils away to keep them from eating people. According to the unearthed ancient documents and relics, this form was a truly typical western exorcism opera. {spp 326, p. 6: The Sumozhe is described here as âoriginated from the Hu barbarians from the Western Seasâ (benchu Haixihu æ¬åºæµ·è¥¿è¡), or the âcountries of the Western Seasâ (Haixiguo 海西å), indicating that the ritual came from the Western (Hellenistic/Roman) world, as located there by the Chinese sources from the Han to the Tang dynasties.}
At the beginning of the 20th century, the expedition team, led by Japanese Otani Kozui, unearthed a Sarira box of colored patterns in the old Soubachi temple of Kuqa, namely Zhaoguli Temple in Records of the Western Regions in the Great Tang. Later, Japanese scholar Kumagaya confirmed that it was Sarira container of a Qiuci Buddhist monk from the 7th century. On the Sarira box was painted the Nuo sacrificial music-dance, composed of 21 figures, with six performers hand-in-hand and two dancers holding sticks. Led by one male and one female priest, holding dancing Mao (ancient flags with yak tails), they were all clad in colorful armor wearing various batou masks, dancing to the music and praying to the deities, which was extremely lifelike and vividly portrayed. {https://www.facebook.com/permalink.ph...}
Various figures were clearly seen in the Sarira box, including handsome warriors with square capes, mighty bearded generals wearing helmets, and many exorcism dance performers wearing ear-pricked rabbit heads, hook-nosed eagle heads, hairy monkey faces and pocket-shaped pointed caps, and all kinds of masks. In the long sacrificial patrol queue, all the Qiuci artists wearing animal tails were singing, dancing and looking around, either holding objects or bare-handed. There were eight persons in the band accompanying the exorcism sacrifice playing hammer drum, harp, pipe, or a blowing horn of copper, and also five nomadic children carrying drums and clapping, which formed a rather splendid performing team of divinity and Buddhist worship.
The famous German female scholar Feng Jiaban verified the figures on the Sarira box as an acrobatic drama performing a mask play:
The Sarira box was painted with a parade procession, with all acrobats wearing animal masks and in bizarre costumes followed by musicians playing konghou (an ancient plucked stringed instrument) and beating drums.27From an appended drawing, which was stolen by the archeologist Grunwedel of the German expedition and published in the book Ancient Buddhist Relic Sites in Xinjiang of China, we detected a wooden mask which came from the ancient Buddhist site in Kuqa. We have also discovered more historical evidence from the Kuqa sites: DouldourâAqour and Soubachi, described in the third volume of The Pelliot Archeological Periodicals, stating that the French Pelliot archeological team dug out a wooden Sarira box related to the ancient exorcism plays in Kuqa, Xinjiang in 1906. The outer wall of the Sarira box was painted with four Hu comedians with animal masks, two of whom were playing pipa (a four-stringed Chinese musical instrument) and Ruanxian (a plucked Chinese stringed instrument), and the other two were dancers sometimes looking up or bending down to sing and dance, whose zoomorphic masks were dog-headed and monkey-headed batou, made of cloth. On the basis of the costumes, masks, and musical instruments of the musicians, the Sarira box is considered as the same cultural relic that was stolen by the Japanese Otani Kozui expedition. The cultural relics share the same subject content, which is Sumozhe, the exorcism play to drive devils away to keep them from eating people.
Aristophanes' 'The Birds' in Beijing: Blending Greek drama with Chinese culture
p. 5:Kophen {Το ÎαÏίλειο ÏÎ¿Ï ÎÏÏÎ®Î½Î¿Ï â Jibin και οι ανÏαγÏνιÏμοί ΣακÏν, Yuezhi, ÎλλήνÏν και Han}, directly related to the countries in the Western Regions, called Kashmir or Kasperia in the Tang dynasty, was the birthplace of MahÄyÄna school of Indian Buddhism and also the cradle of Indian classical Sanskrit drama. Alexandria Prophthasia {ÎλεξάνδÏεια η Î ÏοÏθαÏία ή εν ÎÏαγγιανή) ⦠founded by Alexander the Great during an intermediate stop between Herat, the location of another of Alexander's fortresses, and Kandahar⦠is mentioned by Strabo 11.8, 15.2}and Great Yuezhi were the sites of Greek and Roman drama culture, which were important conduits of the Silk Road cultural exchanges in history.
p. 26:Kophen and Sindhu, contiguous Ïε εÏαÏή με to the Western Regions, were governed by ancient India and had frequent cultural communications with the oriental countries, particularly Kophen, at the downstream section of the Kabul River and Kashmir region, which was the only route connecting the Western Regions, Middle Asia, Western Asia and the Indian subcontinent to the Western countries. Due to its proximity to the Bactrian empire, governed by the Greeks, this ancient country was deeply influenced by the western culture, which organically
p. 188:During the period of the Tang and Song dynasties, the monks in Mount Wutai created Sumozhe, on the basis of Buddhist music-dance and acrobatics. Sumozhe is the typical form of Buddhist song-dance play of opera
Chapter 13, p. 717
p. 723: Pan etc {https://artsandculture.google.com/ass...} mouth-cover padams)
1,800-Year-Old Ritual Mask Discovered During Monorail Construction In JapanBy Kaleena Fraga | Edited By John KuroskiPublished April 26, 2023 https://allthatsinteresting.com/ancie...
p. 742:Han dynasty with the sound of camels."34 âHeraâ mentioned above was the wife of Zeus, and Ixion was unfortunately punished by being changed into a âhalf-man, half-horse creatureâ because he molested lien in the forest. A comparative study of Ixion's image, disposition and experience, compared to those of Dionysus, reveals that the introduction of âDionysus, God of Wineâ into eastern drama culture is to some degree actually an integration of these two Greek gods.We can still see presently in Shosoin and Horyuji Temples in Todaiji, Nara of Japan, more than 300 pieces of ancient Greco - Roman style masks for drama characters introduced from the West. Masks like "Drunk Hu," "King of Drunk Hu" and "Attendants of Drunk Hu" are obviously affected by Gandhara art. Dung Xijiu analyzed in his article, The Eastward Spread of as Dance along the Silk Road that:
1895 illustration of gigaku masks belonging to Horyu-ji temple in Nara. PUBLIC DOMAIN
The masks of "King of Drunk Hu' and "Attendants of Drunk Huâ clearly bear the facial characteristics of people from Xinjiang of Central Asia, such as high noses, deeply set eyes and red faces (which might be a result of their drinking). Xinjiang is abundant in grapes and people there are good at making wine with it. Whenever there are banquets and gatherings, people get drunk and dance joyfully .. Japanese gagaku (ancient imperial court music/ Gigaku, Buddhist Mask Theatre https://disco.teak.fi/asia/gigaku-bud...) still preserves the program of Hu Drinking Wine, in which the masks used are similar to those of "King Tao of Drunk Hu" and âAttendants of Drunk Hu" because they are both from the Silk Road. An in-depth study may further uncover the following conclusion that such masks prevailing in the East actually originated from Gandhara art and Dionysus of ancient Greece.Khotan in Xijiang of China was adjacent to the mountains and rivers of Kushan and Gandhara, and they once shared a common destiny. Therefore, it is quite reasonable that there was a significant Hellenistic influence on performing arts and drama in Khotan.{NEXT PAGE IS 743}p. 743:According to Professor Abdushukur Muhammatimin who has studied the cultural relics of Hu play in Japan: We have discovered some pottery painted with lines in relief depicting drama characters in Khotan, the history of which can be traced back to the early centuries. There are images of people holding pipa and bili, images of people disguising themselves as monkeys and other various comedians and images.... That I saw in Tokyo was usually the images of people with full beards, funny mouths and eyes. He then integrated it with the cultural relics of drama unearthed in Central Asian countries and said: In the ruins of Haer Chaxiang Castle, which belonged to the Kushan dynasty historically, the ruins of Badakhshan near Bukhara, and the ruins of Afrasiyab Palace near Samarkand, masks worn by the actors, and figures in masks have been unearthed, many of which were like ancient Cypriots, with their thick hair and beards, similar to the characters from comedy. In the ruins of Afrasiyab Castle, the standing relief of actors with masks in hand and peaked caps, as well as the reliefs of young actors with no headdress who looked like Greeks, have also been excavated. All these reliefs may possibly have been built in the Hellenistic era.35 {Qu Liuyi and Li Xiaohi ng (eds.), Drama and Its Occurrence in the Western Regions (Urumqi: Xinjiang People's Publishing House, 1992), 2-5}
According to the large number of historical documents and cultural and artistic relics, we can prove that in the Qin dynasty and at the beginning of the Han dynasty, various ancient Greek drama and formative arts, in their maturity, were indirectly introduced to some Asian countries along the Silk Road in Europe, Asia and Africa. However, an in-depth review of the history reveals that the ones that had significant cultural exchanges with Chinese classical drama art are the ancient Greek tragedy and comedy, as well as the Roman arts.
34 Chen Pengiu, History Collection (Shanghai: Shanghai Bookstore, 1998), 179.35 Qu Liuyi and Li Xiaohing (eds.), Drama and Its Occurrence in the Western Regions (Urumqi: Xinjiang People's Publishing House, 1992), 2-5.
p. 749: Li Xuan Harpalus ÎÏÏαλοÏ, Î³Î¹Î¿Ï ÏÎ¿Ï ÎαÏάÏα, θηÏÎ±Ï ÏοÏÏλαξ, Î Ï Î¸Î¹Î¿Î½Î¯ÎºÎ· & ÎÎ»Ï ÎºÎÏα
Pyrrhic play â Breaking up the Enemyâs Front - pozhen - Music of Prince of Qin Breaking up the Enemy's Frontp. 753: Dionysus!!! .. Suzhonglang {song â dance playlet Î¼Î¿Ï Ïικο â ÏοÏÎµÏ ÏÎ¹ÎºÏ ÏαιÏνίδι} .. Butoh (èè¸ ButÅ) is a form of Japanese dance theatre 753 AD
p. 753: The author summarized this phenomenon in Dionysus Cult, Song of Goats and Western Drama: After the long and dark Middle Ages, and with the prevalence of Christianity across Europe, the ceremony play developed from the alternation of ...
p. 753: The most notable feature is that stories of Dionysus were transferred from the realm of gods and kings to the realm of ordinary people. Later on these Dionysus stories filled with joy and grief were introduced to the Eastern countries, yet modified with some subtle changes according to their unique national psyche and customs. Academic circles have not discovered the origin of Botu, which was considered as one type of songâdance plays in the Western Regions. According to the Old Books of Tang: Records of Music: "Botou originated from the Western Regions. The story tells one of the Hu men was killed by a tiger; his son hunted the tiger down and killed it. The dance is a simulation of the scene." Yuefu Miscellany: Dreams states chat "according to Botou, a man was killed by a tiger and his son went up to the mountain for his father's corpse. The mountain has eight zigzags, so the play has eight levels. The performers wear plain clothes crying and pretending to suffer from the loss." According to the remaining Botou Dance found in Japan, which was introduced in the 5th year of Tenpyo-shoho (753 BC) along the Silk Road, together with the play of Xinxi Music, the performers with their high noses and deep eyes, wearing long hair covering their faces, were obviously influenced by the image of ancient Greek Dionysus. Also, the masks of the performers in Damian (or Painted Face), Sumozhe and Magic White Horse, popular in Hu-oriented states of Northern Asia, were totally different from those worn by the ancient Chinese people. The image of a drunk male character in Suzhonglang, popular in the Yellow River Basin from the Southern and Northern dynasties to the early Tang dynasty, probably had somewhat imitated the performance form and makeup artistry of the western Dionysus rites.In the 6th year of the Taiping Heavenly Kingdom (981 AD) in the Northern Song dynasty, Zhao Jonk, Emperor Taimng sent Wang Yande as an envoy to the Western Regions. According to the History of the Song dynasty: Biography of Chotscho (Gaochang), "residents are of the Song Dynasty: Biography of Chotscho (Gazichang), "residents are seen enjoying the happy gathering." The King of Beiting welcomed him with "music, banquets and plays, till dawn." The Journey to Xizhou records that "Qihan Hu plays,â performed by actors with masks, were prevalent there, "As for the musical instruments, there are "pipa and..p. 754:.. Women wear a kind of oil cap, worn in the performance of Sumozhe. All of these were clearly affected by the western Dionysus. Later, Sun Zhongrui, the Ceremonial Master of the Jin dynasty personally visited Chotscho and witnessed that..
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https://www.amazon.in/Silk-Road-Cultu... Qiang. 2019. Silk Road: The Study of Drama Culture (Series on Chinaâs Belt and Road Initiative III), trans. Gao Fen, New Jersey.
Li Qiang, 1999. âDionysus Cult, Song of Goats and Western Drama,â Xinjiang Arts 5, 1999 { Journal of Xinjiang Arts Institute ?}
China: The Early History of Chinese Theatre, <https://disco.teak.fi/asia/the-early-...
https://altaica.ru/LIBRARY/Pelliot/Pe..., P. 1934. "Tokharien et Koutchéen," Journal Asiatique 224 (1934), pp. 23-106.
https://www.jstor.org/stable/25791051... Inoue. 2000. "Interpretation of Ancient Japanese Architecture: Focusing on Links with World History," Japan Review 12, International Conference: The Global Meaning of Japan: European and Asian Perspetives, pp. 129-143.
https://sino-platonic.org/complete/sp..., L. 2022. "Dionysian Rituals and the Golden Zeus of China," Sino-Platonic Papers 326, pp. 1-123.p. 6: The Sumozhe is described here as âoriginated from the Hu barbarians from the Western Seasâ (benchu Haixihu æ¬åºæµ·è¥¿è¡), or the âcountries of the Western Seasâ (Haixiguo 海西å), indicating that the ritual came from the Western (Hellenistic/Roman) world, as located there by the Chinese sources from the Han to the Tang dynasties.3 The âpaganâ aspect of that festival demonstrates that it was a Dionysian type of ritual that came from Hellenized Central Asia and became mixed with Buddhist elements.4 In the Wenxian tongkao, or the âComprehensive examination of literature,â it is mentioned that the Pohan Huxi was a festival originating from Sogdiana, where people used to splash water during the eleventh lunar month of winter, and that it had started in China during the fifth century AD.5
https://himalaya-arch.com/images/lett..., F. 2019, "Study on the Diffusion of a Type of Mask through Greece, India and Japan," Lettre dy Toit du Monde 29, pp. 1-15.
https://www.byzantinemuseum.gr/.../te...... ÎÎ¥ÎÎÎΤÎÎÎ & ΧΡÎΣΤÎÎÎÎÎÎ ÎÎΥΣÎÎÎ The globally touring photo exhibition & short-film series, "Road of Light and Hope" presents "visions towards unity" through select artwork as evidence of the interconnectedness of East and West, throughout which "The Eurasian Trail of Wisdom" stands out in bold relief.While Nara was the ancient capital of Japan, it was de facto the easternmost terminal of the Silk Road.If we were to seek a cultural link connecting its westernmost terminus, Rome, with Nara, it might be found in the sculptural art works from the eighth century, embodying the ideals of the human spirit as well as the free and vivid movements influenced by the classical style of ancient GREECE.Some examples would be: Buddhist statues influenced by HELLENISTIC culture; the Vairocana Buddha whose origins can be traced along the Silk Road to the ancient GRECO-Bactrian Kingdom; FukÅ«kensaku Kannon which some believe may have a Greek origin via Shiva, one of the principal Indian deities, who is possibly connected to HERCULES in Greek mythology; Gigaku masks whose origins go back to the comic mask theatre of ancient GREECE, brought all the way to Japan via the "Oasis Silk Road", while becoming intermingled with the folklore and dance of Sogdians (middlemen along the trade routes) and various mask theatres along the Silk Routes both by land and sea.
https://www.byzantinemuseum.gr/.../mu...... The lecture will be supported by a theatrical performance with masks Gigaku by the dancer Shunso, former soloist dancer of the National Ballet of Cuba and of the Czech Republic. The photographs of Gigaku theatrical masks from the Buddhist temple of Todaiji in Nara, Japan, are displayed in the current exhibition. These masks are thought to have originated from the ancient comic Greek theatre and bear witness to the cultural interactions and influences brought into contacts along the ancient trading route of the Silk Road connecting China and Greece.
https://books.google.gr/books?id=ge8c..., B. 1990. The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism, Princeton University Press.ÎÏÏ Ïον/Ïην p. 36Whichever might be the immediate origin of gigaku masks and performances, several questions about their remote origin remain open. A study of the characteristics of the gigaku masks reveals that they represent myths and types which are certainly not Chinese. The face masks seem to be connected with the carving art of the Scythians. The head masks have occasioned many attempts to prove the existence of a bridge between the theatre of China and Japan, and the theatre of Greece and Rome, across the Near East and India. As a matter of fact, a close comparison or some gigiaku masks with late Roman comic masks presents some striking similarities. One hypothesis sees in the episode of Konron, the women of Wu and Rikishi a transformation of a Greek myth.{The mask is that of the barbarian Konron, who in the drama clumsily attempts to court the lovely Go-Jo, princess of the Chinese kingdom of Wu. https://www.britishmuseum.org/collect... https://en.wikipedia.org/wiki/Gigaku} {There are two wrestler archetype characters, the KongÅ (éå) or "Vajra-yaká¹£a" who is open-mouthed,[10] and the Rikishi (å士) who is closed mouthed.[10][11] These two are said to be analogous to the two NiÅ or guardian gate statues, who respectively form the open and closed A-un shapes in their mouths.} Hera and Iris would be the models for the women of Wu, satyrs for Konron, Heracles for Rikishi. The possibility of a long arch stretching from the Near East to Japanâtraveled by nomadic populations who combined the western art of carving masks with Indian mythology and Buddhist faithâremains as intriguing and fascinating as the surprising presence of a Greek modeling of a pillar in the Horyi.iji temple of Nara, or the discovery in Japan of the winged horse, possibly a Pegasus-motif, in decorative patterns contemporary to gigaku.6-------------
https://www.mukogawa-u.ac.jp/~iasu201..., G., E. Chrysafidis, D. Giouzepas. 2016. "Traditional Noh Theatre and Ancient Greek Tragedy: Comparative Study towards a common Performance," Archi-Cultural Interactions through the Silk Road. 4th International Conference, Mukogawa Womenâs University, pp. 49-52.
p. 51: There are many references to the origins of the masks of Noh theatre that focus on the similarity with the grotesque comic masks of the Hellenistic era [12]. 12. Benito Ortolani, International Bibliography of Theatre, 1985, p. 326.-------------------------https://www.academia.edu/1503231/An_a... Peterson, S. 2011-2012. âAn account of the Dionysiac presence in Indian art and culture,â < https://www.academia.edu/1503231/An_a... (17 March 2019).Ïελ. 1: ÎÏ Ïή η ÎµÏ ÏÏÏεÏη εÏμηνεία ÏÎ¿Ï ÎιονÏÏÎ¿Ï ÎºÎ±ÏαδεικνÏει ÏÏι μÎÏα ÏÏο Î¹Î½Î´Î¹ÎºÏ ÏολιÏιÏÏÎ¹ÎºÏ ÏεÏιβάλλον η ÏαÏÎ¿Ï Ïία ÏÎ¿Ï Î¼ÏοÏεί να ÏαÏακÏηÏιÏθεί ÏÏι αÏλÏÏ ÏÏ Î±ÏοÏÎλεÏμα ÏÏ Î½Î®Î¸Î¿Ï Ï ÏÏ Î½Î³ÎºÏηÏιÏμοÏ, αλλά ÏÏ Î¼Î¯Î± εξελιÏÏÏμενη ÏÏÎÏη ÏÎ¿Ï ÎµÎ¯Ïε ÏÏ Î±ÏοÏÎλεÏμα Îναν Î²Î±Î¸Î¼Ï ÏολιÏιÏÏÎ¹ÎºÎ®Ï Î±ÏομοιÏÏεÏÏ, ενÏάÏÏονÏÎ±Ï {ÏÎÏνονÏαÏ} ÏÏÏ ÏÎÏ Î±Ï ÏÎ®Ï ÏÎ·Ï ÏολÏÏÎ»Î¿ÎºÎ·Ï Î¸ÎµÏÏηÏÎ±Ï ÏÏο Ï Ïο-Ïάνθεον ÏÎ·Ï Î²Î¿Ï Î´Î¹ÏÏÎ¹ÎºÎ®Ï Î¸ÏηÏκείαÏ.---------------------------------
Î ÎÎÎΠΠΡÎΣΦÎΤÎΣ ÎÎÎ ÎÎΥΤÎΣÎÎΣ - ÎÎ ÎÎÎÎÎÎÎ: 141023
Preface Two
New Developments in the Drama Culture Along the Silk Road
Qu Liuyi
Up to the present and throughout the world, the Silk Road has surpassed all other routes in areas of coverage, historical duration, and cultural significance. From Xiâan, the Silk Road meandered westward through the Qinling Mountains, Hexi Corridor, Gobi Desert of the Western Regions, Pamir Mountains, Tigris and Euphrates basins, Asia Minor, and the Mediterranean, before reaching the international passage of Venice, Italy. This not only served as a medium for economic, religious, and ethnic cultural exchanges between the Asian, European and African continents, but also witnessed the music, dance, acrobatics, magic, Quyi, literature, fine arts, and other historical culture of various countries along the Silk Road. More interestingly, the beautiful culture of drama has also been preserved along the cross-linked Silk Road.
In line with the current prevalent concept of historical geography and studies of cultural regions, Professor Li explored a new road, delving deeper into and reviewing the history of communication between Chinese and foreign drama cultures which have reaped fruitful outcomes that readers will have a panoramic view of the drama along the Silk Road. The Ethnic Plays and Silk Road: The Study of Drama Culture are brand new companion pieces for the academic studies.
In line with the current prevalent concept of historical geography and studies of cultural regions, Professor Li explored a new road, delving deeper into and reviewing the history of communication between Chinese and foreign drama cultures which have reaped fruitful outcomes. Readers were surprised to discover that the traditional literary arts of China were all related to the Silk Road, where Yanshiâs puppet plays, masked Nuo plays, Buddhism musicâdance plays, and religious ritual plays associated with Chinese traditional operas were bred; Sanskrit plays, highly praised in Kushan in the Western Regions, and Zhezhi plays, prevalent in the Tigris and Euphrates basins of Central Asia, shaped the patterns of exchanges between Chinese and foreign drama cultures after being introduced into the Central Plains.
A past theory, since shown to be invalid, propounded that the traditional Chinese drama developed independently as an art form, not as a result of or scarcely related to foreign factors. However, the enormous amount of historical evidence about foreign musicâdance plays in Silk Road: The Study of Drama Culture revealed that the primary musical instruments used in accompaniment, such as pipa, konghou, suona, bili, cymbals and various drums originated in India and Persia at the middle and lower segments of the Silk Road and were brought into the Chinese field of musicâdance plays. Seven out of the nine Sui and Tang dynasty ensembles arose from those of ancient minority ethnicities, such as Samarkand music, Qiuci music, Shule music, Chotscho music, and Xiliang music. The role appellations of Mo (middle-aged male character), Dan (female character), Jing (painted-face character), Zhuanghu (official character), Banglao (character of thief and villains) and Base (character of Jiyue musicians) in traditional Chinese operas as well as performance forms of music-dance plays such as Botou, Sumozhe, Daibian (mask dance), Lion Dance, Zhugongdiao, Huxuan, and Huteng were all influenced by the drama culture along the Silk Road.
This academic monograph, published by Xinjiang Peopleâs Publishing House, is composed of 14 chapters, with over 500,000 words and 62 exquisite illustrations. Its contents cover studies about domestic operas and foreign plays, as well as the comparative studies of drama in China and other countries. In the book, there are seven chapters about drama culture in China, including grand music of the Tang and Song dynasties and Zhezhi dance, Buddhist operas of Mount Wutai and the Western Regions, Dunhuang secular music-dance, Buddhist operas of Dunhuang, Maudgalyayana culture in Dunhuang studies, Turpan religious culture and Tibetan plays, and some rare editions of Buddhist operas in the Western Regions. Besides, there are five chapters about drama culture in other countries, including the exchange of music-dance plays between Central Asia and Western culture, Indian religious culture and Sanskrit drama arts, Persian religious culture and eastern drama, plus the eastward spread of ancient Greek and Roman drama culture. Also, there are two chapters comparing domestic and foreign drama, such as the study of drama between the East and West, and the exchanges and enhancements of Eastern and Western drama culture. All the chapters, well-organized and illustrated, complement each other and result in a masterpiece of organic cultural unity. It must be noted that this monograph gives prominence to the key points in a fluent style, which makes it highly readable and informative to the readers.
Perhaps the most compelling feature of this book lies in its introduction of the ethnic plays of various countries from northwest and west, and from China and abroad along the Silk Road that have been long overlooked by Chinese opera and drama scholars, particularly the lack of profound and comprehensive investigations of the ancient and abundant religious and secular arts cultures. Therefore, the author expounds convincingly on the objective rules of the origin, formation, and development of Chinese musicâdance plays based on the abundance of historical facts and materials about exchanges of dance cultures between China and neighboring regions, states, and ethnicities. As the relationship of Chinese traditional operas and international culture is also explored, this book boasts a broad academic vision. Meanwhile, the book employs scientific and original research methods, which on the basis of the traditional Chinese textology and philology, include relatively advanced research methods, such as ethnology, science of religion, archeology, and culturology, and adopts the scientific approach to maintain consistency while analyzing written materials and unearthed relics to verify the ethnic and state drama cultures along the Silk Road. This has achieved abundant academic results.
From a historical and realistic perspective, the academic studies about the Silk Road manifest enormous potential. The ancient Silk Road was an international passage of worldwide significance spanning Asia and Europe that communicated the politics, economy, military, and culture of various countries through the media of silk thread and silk fabrics. In human history, the Silk Road has been a bond connecting the ancient civilizations of China, India, Egypt, Babylon, Greece, and Rome. It was also the only route across the Asian, African, and European empires of Macedonia, Persia, Mongolia, and Ottoman, as well as the birthplace of Buddhism, Hinduism, and Islam, the worldâs three major religions, as well as Shamanism, Zoroastrianism, Nestorianism, Manichaeism, Arkaim, and other religious cultures.
Upon further research, it has been noticed that the Silk Road refers not only to the overland Silk Road (i.e. the dessert, oasis, and prairie Silk Roads) but also to the maritime Silk Road and southern plateau Silk Road. The five branches of the Silk Road radiated from the birthplace of Chinese civilization and arched over the oriental and occidental areas of the world like five resplendent bridges which enabled the ancient theatrical arts of various countries and ethnicities to be standardized and exchanged with each other, thus spawning relatively independent and stable theatrical cultures with unique artistic styles and characteristics. Represented by the three major classical dramatic systems of Greek and Roman plays, Indian Sanskrit plays, and Chinese opera, supplemented by the plays of Egypt, Babylon, Hebrew, Persia, Arabia, Japan, North Korea, Southeast Asia, as well as the Western Regions, a grand system of drama cultures along the Silk Road were constructed for the oriental hemisphere.
Silk Road: The Study of Drama Culture encapsulates directly the research findings and academic heritage of numerous Chinese dramatic historians and critics in the 20th century. It draws on and compiles valuable historical materials utilizing the massive volumes of Chinese and foreign historical classics and academic materials, and by virtue of its broad cultural vision and innovative concept, opens up a new field for academic studies about the drama culture along the Silk Road.
The Silk Road undoubtedly deserves its recognition as a world cultural heritage which will increasingly draw the attention of people around the world, including special attention from the academia of various countries. This emerging cross-disciplinary field integrating the Silk Road and drama culture, named Study of Exchanges of the Silk Road Drama Cultures will have worldwide appeal due to its vigorous vitality and new cultural orientation.
The author is a researcher of China Theatre Association, a renowned theatrical artist, a member of the Intangible Cultural Heritage Preservation Committee of the Ministry of Culture, and honorary president of the Minority Theatre Society of China as well as China Nuo Play Research Institute.
...
Sumozhe , also called Pohuqihan play, was popular in the ancient Western Regions. According to the records in The Miscellaneous Morsels from Youyang, and The Sounds and Meaning of Tripitaka in the Tang Dynasty, the play was performed with animal masks and singing and dancing both day and night. It was also described that the performersâ appearances resembled beast faces or ghosts or deities, contrived with various masks. The local customs alleged that the play was often used to drive devils away to keep them from eating people. According to the unearthed ancient documents and relics, this form was a truly typical western exorcism opera. {spp 326, p. 6: The Sumozhe is described here as âoriginated from the Hu barbarians from the Western Seasâ (benchu Haixihu æ¬åºæµ·è¥¿è¡), or the âcountries of the Western Seasâ (Haixiguo 海西å), indicating that the ritual came from the Western (Hellenistic/Roman) world, as located there by the Chinese sources from the Han to the Tang dynasties.}
At the beginning of the 20th century, the expedition team, led by Japanese Otani Kozui, unearthed a Sarira box of colored patterns in the old Soubachi temple of Kuqa, namely Zhaoguli Temple in Records of the Western Regions in the Great Tang. Later, Japanese scholar Kumagaya confirmed that it was Sarira container of a Qiuci Buddhist monk from the 7th century. On the Sarira box was painted the Nuo sacrificial music-dance, composed of 21 figures, with six performers hand-in-hand and two dancers holding sticks. Led by one male and one female priest, holding dancing Mao (ancient flags with yak tails), they were all clad in colorful armor wearing various batou masks, dancing to the music and praying to the deities, which was extremely lifelike and vividly portrayed. {https://www.facebook.com/permalink.ph...}
Various figures were clearly seen in the Sarira box, including handsome warriors with square capes, mighty bearded generals wearing helmets, and many exorcism dance performers wearing ear-pricked rabbit heads, hook-nosed eagle heads, hairy monkey faces and pocket-shaped pointed caps, and all kinds of masks. In the long sacrificial patrol queue, all the Qiuci artists wearing animal tails were singing, dancing and looking around, either holding objects or bare-handed. There were eight persons in the band accompanying the exorcism sacrifice playing hammer drum, harp, pipe, or a blowing horn of copper, and also five nomadic children carrying drums and clapping, which formed a rather splendid performing team of divinity and Buddhist worship.
The famous German female scholar Feng Jiaban verified the figures on the Sarira box as an acrobatic drama performing a mask play:
The Sarira box was painted with a parade procession, with all acrobats wearing animal masks and in bizarre costumes followed by musicians playing konghou (an ancient plucked stringed instrument) and beating drums.27From an appended drawing, which was stolen by the archeologist Grunwedel of the German expedition and published in the book Ancient Buddhist Relic Sites in Xinjiang of China, we detected a wooden mask which came from the ancient Buddhist site in Kuqa. We have also discovered more historical evidence from the Kuqa sites: DouldourâAqour and Soubachi, described in the third volume of The Pelliot Archeological Periodicals, stating that the French Pelliot archeological team dug out a wooden Sarira box related to the ancient exorcism plays in Kuqa, Xinjiang in 1906. The outer wall of the Sarira box was painted with four Hu comedians with animal masks, two of whom were playing pipa (a four-stringed Chinese musical instrument) and Ruanxian (a plucked Chinese stringed instrument), and the other two were dancers sometimes looking up or bending down to sing and dance, whose zoomorphic masks were dog-headed and monkey-headed batou, made of cloth. On the basis of the costumes, masks, and musical instruments of the musicians, the Sarira box is considered as the same cultural relic that was stolen by the Japanese Otani Kozui expedition. The cultural relics share the same subject content, which is Sumozhe, the exorcism play to drive devils away to keep them from eating people.
Aristophanes' 'The Birds' in Beijing: Blending Greek drama with Chinese culturep. 5:Kophen {Το ÎαÏίλειο ÏÎ¿Ï ÎÏÏÎ®Î½Î¿Ï â Jibin και οι ανÏαγÏνιÏμοί ΣακÏν, Yuezhi, ÎλλήνÏν και Han}, directly related to the countries in the Western Regions, called Kashmir or Kasperia in the Tang dynasty, was the birthplace of MahÄyÄna school of Indian Buddhism and also the cradle of Indian classical Sanskrit drama. Alexandria Prophthasia {ÎλεξάνδÏεια η Î ÏοÏθαÏία ή εν ÎÏαγγιανή) ⦠founded by Alexander the Great during an intermediate stop between Herat, the location of another of Alexander's fortresses, and Kandahar⦠is mentioned by Strabo 11.8, 15.2}and Great Yuezhi were the sites of Greek and Roman drama culture, which were important conduits of the Silk Road cultural exchanges in history.
p. 26:Kophen and Sindhu, contiguous Ïε εÏαÏή με to the Western Regions, were governed by ancient India and had frequent cultural communications with the oriental countries, particularly Kophen, at the downstream section of the Kabul River and Kashmir region, which was the only route connecting the Western Regions, Middle Asia, Western Asia and the Indian subcontinent to the Western countries. Due to its proximity to the Bactrian empire, governed by the Greeks, this ancient country was deeply influenced by the western culture, which organically
p. 188:During the period of the Tang and Song dynasties, the monks in Mount Wutai created Sumozhe, on the basis of Buddhist music-dance and acrobatics. Sumozhe is the typical form of Buddhist song-dance play of opera
Chapter 13, p. 717
p. 723: Pan etc {https://artsandculture.google.com/ass...} mouth-cover padams)
1,800-Year-Old Ritual Mask Discovered During Monorail Construction In JapanBy Kaleena Fraga | Edited By John KuroskiPublished April 26, 2023 https://allthatsinteresting.com/ancie...p. 742:Han dynasty with the sound of camels."34 âHeraâ mentioned above was the wife of Zeus, and Ixion was unfortunately punished by being changed into a âhalf-man, half-horse creatureâ because he molested lien in the forest. A comparative study of Ixion's image, disposition and experience, compared to those of Dionysus, reveals that the introduction of âDionysus, God of Wineâ into eastern drama culture is to some degree actually an integration of these two Greek gods.We can still see presently in Shosoin and Horyuji Temples in Todaiji, Nara of Japan, more than 300 pieces of ancient Greco - Roman style masks for drama characters introduced from the West. Masks like "Drunk Hu," "King of Drunk Hu" and "Attendants of Drunk Hu" are obviously affected by Gandhara art. Dung Xijiu analyzed in his article, The Eastward Spread of as Dance along the Silk Road that:
1895 illustration of gigaku masks belonging to Horyu-ji temple in Nara. PUBLIC DOMAINThe masks of "King of Drunk Hu' and "Attendants of Drunk Huâ clearly bear the facial characteristics of people from Xinjiang of Central Asia, such as high noses, deeply set eyes and red faces (which might be a result of their drinking). Xinjiang is abundant in grapes and people there are good at making wine with it. Whenever there are banquets and gatherings, people get drunk and dance joyfully .. Japanese gagaku (ancient imperial court music/ Gigaku, Buddhist Mask Theatre https://disco.teak.fi/asia/gigaku-bud...) still preserves the program of Hu Drinking Wine, in which the masks used are similar to those of "King Tao of Drunk Hu" and âAttendants of Drunk Hu" because they are both from the Silk Road. An in-depth study may further uncover the following conclusion that such masks prevailing in the East actually originated from Gandhara art and Dionysus of ancient Greece.Khotan in Xijiang of China was adjacent to the mountains and rivers of Kushan and Gandhara, and they once shared a common destiny. Therefore, it is quite reasonable that there was a significant Hellenistic influence on performing arts and drama in Khotan.{NEXT PAGE IS 743}p. 743:According to Professor Abdushukur Muhammatimin who has studied the cultural relics of Hu play in Japan: We have discovered some pottery painted with lines in relief depicting drama characters in Khotan, the history of which can be traced back to the early centuries. There are images of people holding pipa and bili, images of people disguising themselves as monkeys and other various comedians and images.... That I saw in Tokyo was usually the images of people with full beards, funny mouths and eyes. He then integrated it with the cultural relics of drama unearthed in Central Asian countries and said: In the ruins of Haer Chaxiang Castle, which belonged to the Kushan dynasty historically, the ruins of Badakhshan near Bukhara, and the ruins of Afrasiyab Palace near Samarkand, masks worn by the actors, and figures in masks have been unearthed, many of which were like ancient Cypriots, with their thick hair and beards, similar to the characters from comedy. In the ruins of Afrasiyab Castle, the standing relief of actors with masks in hand and peaked caps, as well as the reliefs of young actors with no headdress who looked like Greeks, have also been excavated. All these reliefs may possibly have been built in the Hellenistic era.35 {Qu Liuyi and Li Xiaohi ng (eds.), Drama and Its Occurrence in the Western Regions (Urumqi: Xinjiang People's Publishing House, 1992), 2-5}
According to the large number of historical documents and cultural and artistic relics, we can prove that in the Qin dynasty and at the beginning of the Han dynasty, various ancient Greek drama and formative arts, in their maturity, were indirectly introduced to some Asian countries along the Silk Road in Europe, Asia and Africa. However, an in-depth review of the history reveals that the ones that had significant cultural exchanges with Chinese classical drama art are the ancient Greek tragedy and comedy, as well as the Roman arts.
34 Chen Pengiu, History Collection (Shanghai: Shanghai Bookstore, 1998), 179.35 Qu Liuyi and Li Xiaohing (eds.), Drama and Its Occurrence in the Western Regions (Urumqi: Xinjiang People's Publishing House, 1992), 2-5.
p. 749: Li Xuan Harpalus ÎÏÏαλοÏ, Î³Î¹Î¿Ï ÏÎ¿Ï ÎαÏάÏα, θηÏÎ±Ï ÏοÏÏλαξ, Î Ï Î¸Î¹Î¿Î½Î¯ÎºÎ· & ÎÎ»Ï ÎºÎÏα
Pyrrhic play â Breaking up the Enemyâs Front - pozhen - Music of Prince of Qin Breaking up the Enemy's Frontp. 753: Dionysus!!! .. Suzhonglang {song â dance playlet Î¼Î¿Ï Ïικο â ÏοÏÎµÏ ÏÎ¹ÎºÏ ÏαιÏνίδι} .. Butoh (èè¸ ButÅ) is a form of Japanese dance theatre 753 AD
p. 753: The author summarized this phenomenon in Dionysus Cult, Song of Goats and Western Drama: After the long and dark Middle Ages, and with the prevalence of Christianity across Europe, the ceremony play developed from the alternation of ...
p. 753: The most notable feature is that stories of Dionysus were transferred from the realm of gods and kings to the realm of ordinary people. Later on these Dionysus stories filled with joy and grief were introduced to the Eastern countries, yet modified with some subtle changes according to their unique national psyche and customs. Academic circles have not discovered the origin of Botu, which was considered as one type of songâdance plays in the Western Regions. According to the Old Books of Tang: Records of Music: "Botou originated from the Western Regions. The story tells one of the Hu men was killed by a tiger; his son hunted the tiger down and killed it. The dance is a simulation of the scene." Yuefu Miscellany: Dreams states chat "according to Botou, a man was killed by a tiger and his son went up to the mountain for his father's corpse. The mountain has eight zigzags, so the play has eight levels. The performers wear plain clothes crying and pretending to suffer from the loss." According to the remaining Botou Dance found in Japan, which was introduced in the 5th year of Tenpyo-shoho (753 BC) along the Silk Road, together with the play of Xinxi Music, the performers with their high noses and deep eyes, wearing long hair covering their faces, were obviously influenced by the image of ancient Greek Dionysus. Also, the masks of the performers in Damian (or Painted Face), Sumozhe and Magic White Horse, popular in Hu-oriented states of Northern Asia, were totally different from those worn by the ancient Chinese people. The image of a drunk male character in Suzhonglang, popular in the Yellow River Basin from the Southern and Northern dynasties to the early Tang dynasty, probably had somewhat imitated the performance form and makeup artistry of the western Dionysus rites.In the 6th year of the Taiping Heavenly Kingdom (981 AD) in the Northern Song dynasty, Zhao Jonk, Emperor Taimng sent Wang Yande as an envoy to the Western Regions. According to the History of the Song dynasty: Biography of Chotscho (Gaochang), "residents are of the Song Dynasty: Biography of Chotscho (Gazichang), "residents are seen enjoying the happy gathering." The King of Beiting welcomed him with "music, banquets and plays, till dawn." The Journey to Xizhou records that "Qihan Hu plays,â performed by actors with masks, were prevalent there, "As for the musical instruments, there are "pipa and..p. 754:.. Women wear a kind of oil cap, worn in the performance of Sumozhe. All of these were clearly affected by the western Dionysus. Later, Sun Zhongrui, the Ceremonial Master of the Jin dynasty personally visited Chotscho and witnessed that..
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https://www.amazon.in/Silk-Road-Cultu... Qiang. 2019. Silk Road: The Study of Drama Culture (Series on Chinaâs Belt and Road Initiative III), trans. Gao Fen, New Jersey.
Li Qiang, 1999. âDionysus Cult, Song of Goats and Western Drama,â Xinjiang Arts 5, 1999 { Journal of Xinjiang Arts Institute ?}
China: The Early History of Chinese Theatre, <https://disco.teak.fi/asia/the-early-...
https://altaica.ru/LIBRARY/Pelliot/Pe..., P. 1934. "Tokharien et Koutchéen," Journal Asiatique 224 (1934), pp. 23-106.
https://www.jstor.org/stable/25791051... Inoue. 2000. "Interpretation of Ancient Japanese Architecture: Focusing on Links with World History," Japan Review 12, International Conference: The Global Meaning of Japan: European and Asian Perspetives, pp. 129-143.
https://sino-platonic.org/complete/sp..., L. 2022. "Dionysian Rituals and the Golden Zeus of China," Sino-Platonic Papers 326, pp. 1-123.p. 6: The Sumozhe is described here as âoriginated from the Hu barbarians from the Western Seasâ (benchu Haixihu æ¬åºæµ·è¥¿è¡), or the âcountries of the Western Seasâ (Haixiguo 海西å), indicating that the ritual came from the Western (Hellenistic/Roman) world, as located there by the Chinese sources from the Han to the Tang dynasties.3 The âpaganâ aspect of that festival demonstrates that it was a Dionysian type of ritual that came from Hellenized Central Asia and became mixed with Buddhist elements.4 In the Wenxian tongkao, or the âComprehensive examination of literature,â it is mentioned that the Pohan Huxi was a festival originating from Sogdiana, where people used to splash water during the eleventh lunar month of winter, and that it had started in China during the fifth century AD.5
https://himalaya-arch.com/images/lett..., F. 2019, "Study on the Diffusion of a Type of Mask through Greece, India and Japan," Lettre dy Toit du Monde 29, pp. 1-15.
https://www.byzantinemuseum.gr/.../te...... ÎÎ¥ÎÎÎΤÎÎÎ & ΧΡÎΣΤÎÎÎÎÎÎ ÎÎΥΣÎÎÎ The globally touring photo exhibition & short-film series, "Road of Light and Hope" presents "visions towards unity" through select artwork as evidence of the interconnectedness of East and West, throughout which "The Eurasian Trail of Wisdom" stands out in bold relief.While Nara was the ancient capital of Japan, it was de facto the easternmost terminal of the Silk Road.If we were to seek a cultural link connecting its westernmost terminus, Rome, with Nara, it might be found in the sculptural art works from the eighth century, embodying the ideals of the human spirit as well as the free and vivid movements influenced by the classical style of ancient GREECE.Some examples would be: Buddhist statues influenced by HELLENISTIC culture; the Vairocana Buddha whose origins can be traced along the Silk Road to the ancient GRECO-Bactrian Kingdom; FukÅ«kensaku Kannon which some believe may have a Greek origin via Shiva, one of the principal Indian deities, who is possibly connected to HERCULES in Greek mythology; Gigaku masks whose origins go back to the comic mask theatre of ancient GREECE, brought all the way to Japan via the "Oasis Silk Road", while becoming intermingled with the folklore and dance of Sogdians (middlemen along the trade routes) and various mask theatres along the Silk Routes both by land and sea.
https://www.byzantinemuseum.gr/.../mu...... The lecture will be supported by a theatrical performance with masks Gigaku by the dancer Shunso, former soloist dancer of the National Ballet of Cuba and of the Czech Republic. The photographs of Gigaku theatrical masks from the Buddhist temple of Todaiji in Nara, Japan, are displayed in the current exhibition. These masks are thought to have originated from the ancient comic Greek theatre and bear witness to the cultural interactions and influences brought into contacts along the ancient trading route of the Silk Road connecting China and Greece.
https://books.google.gr/books?id=ge8c..., B. 1990. The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism, Princeton University Press.ÎÏÏ Ïον/Ïην p. 36Whichever might be the immediate origin of gigaku masks and performances, several questions about their remote origin remain open. A study of the characteristics of the gigaku masks reveals that they represent myths and types which are certainly not Chinese. The face masks seem to be connected with the carving art of the Scythians. The head masks have occasioned many attempts to prove the existence of a bridge between the theatre of China and Japan, and the theatre of Greece and Rome, across the Near East and India. As a matter of fact, a close comparison or some gigiaku masks with late Roman comic masks presents some striking similarities. One hypothesis sees in the episode of Konron, the women of Wu and Rikishi a transformation of a Greek myth.{The mask is that of the barbarian Konron, who in the drama clumsily attempts to court the lovely Go-Jo, princess of the Chinese kingdom of Wu. https://www.britishmuseum.org/collect... https://en.wikipedia.org/wiki/Gigaku} {There are two wrestler archetype characters, the KongÅ (éå) or "Vajra-yaká¹£a" who is open-mouthed,[10] and the Rikishi (å士) who is closed mouthed.[10][11] These two are said to be analogous to the two NiÅ or guardian gate statues, who respectively form the open and closed A-un shapes in their mouths.} Hera and Iris would be the models for the women of Wu, satyrs for Konron, Heracles for Rikishi. The possibility of a long arch stretching from the Near East to Japanâtraveled by nomadic populations who combined the western art of carving masks with Indian mythology and Buddhist faithâremains as intriguing and fascinating as the surprising presence of a Greek modeling of a pillar in the Horyi.iji temple of Nara, or the discovery in Japan of the winged horse, possibly a Pegasus-motif, in decorative patterns contemporary to gigaku.6-------------
https://www.mukogawa-u.ac.jp/~iasu201..., G., E. Chrysafidis, D. Giouzepas. 2016. "Traditional Noh Theatre and Ancient Greek Tragedy: Comparative Study towards a common Performance," Archi-Cultural Interactions through the Silk Road. 4th International Conference, Mukogawa Womenâs University, pp. 49-52.
p. 51: There are many references to the origins of the masks of Noh theatre that focus on the similarity with the grotesque comic masks of the Hellenistic era [12]. 12. Benito Ortolani, International Bibliography of Theatre, 1985, p. 326.-------------------------https://www.academia.edu/1503231/An_a... Peterson, S. 2011-2012. âAn account of the Dionysiac presence in Indian art and culture,â < https://www.academia.edu/1503231/An_a... (17 March 2019).Ïελ. 1: ÎÏ Ïή η ÎµÏ ÏÏÏεÏη εÏμηνεία ÏÎ¿Ï ÎιονÏÏÎ¿Ï ÎºÎ±ÏαδεικνÏει ÏÏι μÎÏα ÏÏο Î¹Î½Î´Î¹ÎºÏ ÏολιÏιÏÏÎ¹ÎºÏ ÏεÏιβάλλον η ÏαÏÎ¿Ï Ïία ÏÎ¿Ï Î¼ÏοÏεί να ÏαÏακÏηÏιÏθεί ÏÏι αÏλÏÏ ÏÏ Î±ÏοÏÎλεÏμα ÏÏ Î½Î®Î¸Î¿Ï Ï ÏÏ Î½Î³ÎºÏηÏιÏμοÏ, αλλά ÏÏ Î¼Î¯Î± εξελιÏÏÏμενη ÏÏÎÏη ÏÎ¿Ï ÎµÎ¯Ïε ÏÏ Î±ÏοÏÎλεÏμα Îναν Î²Î±Î¸Î¼Ï ÏολιÏιÏÏÎ¹ÎºÎ®Ï Î±ÏομοιÏÏεÏÏ, ενÏάÏÏονÏÎ±Ï {ÏÎÏνονÏαÏ} ÏÏÏ ÏÎÏ Î±Ï ÏÎ®Ï ÏÎ·Ï ÏολÏÏÎ»Î¿ÎºÎ·Ï Î¸ÎµÏÏηÏÎ±Ï ÏÏο Ï Ïο-Ïάνθεον ÏÎ·Ï Î²Î¿Ï Î´Î¹ÏÏÎ¹ÎºÎ®Ï Î¸ÏηÏκείαÏ.---------------------------------
Î ÎÎÎΠΠΡÎΣΦÎΤÎΣ ÎÎÎ ÎÎΥΤÎΣÎÎΣ - ÎÎ ÎÎÎÎÎÎÎ: 141023
September 11, 2023
PENTHESILEIA vs ACHILLEUS IN THE NATIONAL IRANIAN EPIC Å Äh-nÄma (FerdowsÄ«)
Î ÎÎÎÎΣÎÎÎÎÎ ÎÎÎÎΤÎÎÎ ÎΧÎÎÎÎΩΣ (Gordafarid vs. Sohrab) ΣΤΠÎÎÎÎÎÎ ÎΡÎÎÎÎÎ ÎÎ ÎΣ Å Äh-nÄma ΤÎÎ¥ FerdowsÄ« {ÎÏανίÏμαÏα}Arezou Zalipour 2005
Τα ÎÏη αÏοÏελοÏν μÎÏÎ¿Ï ÏÎ·Ï ÎµÎ¸Î½Î¹ÎºÎ®Ï ÏÎ±Ï ÏÏÏηÏÎ±Ï ÏολλÏν λαÏν Ïε Ïλο Ïον κÏÏμο. ÎνÏαÏκÏÎ½Î¿Ï Î½ Ïην ιÏÏοÏία, Ïον ÏολιÏιÏÎ¼Ï ÎºÎ±Î¹ ÏÎ¹Ï ÏÎ¹Î»Î¿Î´Î¿Î¾Î¯ÎµÏ ÎµÎ½ÏÏ ÎÎ¸Î½Î¿Ï Ï ÏÏην αÏÏαιÏÏηÏα, ÏÏαν οι ειδήÏÎµÎ¹Ï Î¼ÎµÏαδίδονÏαν αÏÏ ÏÏÏμα Ïε ÏÏÏμα Ïε ÏÏίÏÎ¿Ï Ï Î® ÏÏαγοÏδια, ÏÏαν Ïα ιÏÏοÏικά γεγονÏÏα Îγιναν θÏÏλοι και ÏÏαν οι θÏÏλοι άÏÏιÏαν Ïελικά να καÏαγÏάÏονÏαι. Το ενοÏοιηÏÎ¹ÎºÏ Î¸Îμα ÏλÏν ÏÏν εÏÏν είναι κάÏοια ηÏÏική δÏάÏη ενÏÏ Î®ÏÏα ή ήÏÏεÏ, ÏÏν οÏοίÏν οι ÏÏÎ¬Î¾ÎµÎ¹Ï ÎºÎ±Î¸Î¿ÏÎ¯Î¶Î¿Ï Î½ Ïην ÏοÏεία ÏÎ·Ï Î¹ÏÏοÏÎ¯Î±Ï ÎµÎ½ÏÏ ÎÎ¸Î½Î¿Ï Ï. ÎÏ Ïά Ïα ÎÏη ανÏικαÏοÏÏÏÎ¯Î¶Î¿Ï Î½ ÏÏη ÏÏ Î½ÎÏεια Ïην κοÏμοθεÏÏία ÏÎ·Ï ÎµÏοÏÎ®Ï ÏÏην οÏοία ÎγÏαÏε ο ÏοιηÏήÏ. Το ÏαλαιÏÏεÏο εÏÎ¹ÎºÏ ÎÏγο ÏÎ¿Ï ÎÏει διαÏÏθεί είναι ο Î£Î¿Ï Î¼ÎµÏίÏν ÎκιλγκαμÎÏ ÏÎ¿Ï Î¿ÏÎ¿Î¯Î¿Ï Î¿ ήÏÏÎ±Ï ÏÏοκαλεί Ïον θάναÏο για να ανακαλÏÏει Ïο Î¼Ï ÏÏÎ¹ÎºÏ ÏÎ·Ï Î±Î¸Î±Î½Î±ÏίαÏ. Τα Ïιο διάÏημα ÎÏη ÏÎ¿Ï Î´Ï ÏÎ¹ÎºÎ¿Ï ÎºÏÏÎ¼Î¿Ï ÎµÎ¯Î½Î±Î¹ η Îλιάδα και η ÎδÏÏÏεια ÏÎ¿Ï ÎμήÏÎ¿Ï . Î¦Ï Ïικά Ï ÏάÏÏÎ¿Ï Î½ Ïολλά άλλα ÎÏη ÏÎ¿Ï Î±ÏοÏελοÏν Ïην ÏαγκÏÏμια λογοÏεÏνία μαÏ: η ÎβÏαÏκή ÎÎ¯Î²Î»Î¿Ï (η ÏÏ Î»Î»Î¿Î³Î® εÏÏν ÏÏÏÏ Î· ιÏÏοÏία ÏÎ¿Ï Îαβίδ και ÏÎ¿Ï Îολιάθ και ÏÎ¿Ï ÎÏÏ Ïή και ÏÎ¿Ï Î¦Î±ÏαÏ). Î Îινειάδα ÏÎ¿Ï ÎιÏÎ³Î¯Î»Î¹Î¿Ï (οι ÏεÏιÏÎÏÎµÎ¹ÎµÏ ÏÎ¿Ï Îινεία μεÏά Ïον ΤÏÏÎ¹ÎºÏ ÏÏλεμο). Ïο ιÏÏÎ±Î½Î¹ÎºÏ ÎÏÎ¿Ï ÏÎ¿Ï Cid. Ïο Î³Î±Î»Î»Î¹ÎºÏ ÎÏÎ¿Ï ÏÎ¿Ï Roland· καθÏÏ ÎºÎ±Î¹ μια ÏειÏά αÏÏ Ïολλά διάÏημα ÎÏη αÏÏ Î¦Î¹Î½Î»Î±Î½Î´Î¿ÏÏ, ÎεÏμανοÏÏ, ÎοÏβηγοÏÏ, ÎνδοÏÏ, ÎÏλανδοÏÏ ÎºÎ±Î¹ άλλα αÏÏαία Îθνη (Cudden 225).----------------------------------------------------------------------------------------------------------------------------
Kaplanis 2009ΠμÏÎ¸Î¿Ï ÏÏν ÎμαζÏνÏν Ï ÏήÏξε ÎÎ½Î±Ï Î±ÏÏ ÏÎ¿Ï Ï Ïιο ιÏÏÏ ÏοÏÏ ÎºÎ±Î¹ δημοÏÎ¹Î»ÎµÎ¯Ï Î¼ÎµÏÎ±Î¾Ï ÏÏν ελληνικÏν μÏθÏν αÏÏ Ïην εμÏάνιÏή ÏÎ¿Ï Î¼ÎÏÏι ÏήμεÏα. ΣÏο ÏÏÏÏο μÎÏÎ¿Ï ÏÎ·Ï ÏαÏοÏÏÎ±Ï ÎµÏγαÏÎ¯Î±Ï ÎµÏιÏειÏείÏαι η ÏαÏÎ¿Ï ÏίαÏη ÏÏν βαÏικÏν ÏÏοιÏείÏν ÏÎ¿Ï . Î ÏαÏÎ¿Ï ÏίαÏη λαμβάνει Ï ÏÏÏη ÏÎ¹Ï Î¼ÎµÏαμοÏÏÏÏÎµÎ¹Ï ÏÏÏον ÏÎ¿Ï Î¼ÏÎ¸Î¿Ï ÏÏο και ÏÏν μÎÏÏν με Ïα οÏοία ÏαÏÎ¿Ï ÏιάζεÏαι (αÏÏ ÏÎ¹Ï Î±ÏÏαιοελληνικÎÏ Î±ÏηγήÏÎµÎ¹Ï ÎºÎ±Î¹ αÏεικονίÏÎµÎ¹Ï ÎÏÏ Ïα ÏημεÏινά κÏÎ¼Î¹ÎºÏ ÎºÎ±Î¹ graphic novels), ÏÏο Ïο Î´Ï Î½Î±ÏÏν Ïιο ολοκληÏÏμÎνα. Το δεÏÏεÏο μÎÏÎ¿Ï ÎµÏÏιάζει ÏÏÎ¹Ï ÎºÏÏÎ¹ÎµÏ ÎµÎ¼ÏανίÏÎµÎ¹Ï ÏÏν ÎμαζÏνÏν ÏÏην ÏÏÏιμη νεοελληνική λογοÏεÏνία και ÏαÏÎÏει μιαν Î±Î½Î¬Î»Ï Ïη, οÏειλÏμενη ÏÎ¿Î»Ï ÏÏη ÏεμινιÏÏική κÏιÏική και ÏÏον ÎÏαÏÏίν, ÏÎ¿Ï Î±Î½ÎµÏÏÏαμμÎÎ½Î¿Ï ÎºÏÏÎ¼Î¿Ï ÏÏν ÎμαζÏνÏν ÏÏο Chapbook of Alexander (ÏÎλη 17Î¿Ï Î±Î¹Ïνα), ÏÎ¿Ï Î±ÏοÏελεί Ïο κενÏÏÎ¹ÎºÏ ÏÎ¿Ï Î¸Îμα. ÎÏιÏÏÏÏθεÏα, εξεÏάζεÏαι εν ÏÏ Î½Ïομία η μονομαÏία ÏÎ¿Ï ÏÎµÎ»ÎµÏ ÏÎ±Î¯Î¿Ï ÎµÏÎ¹ÎºÎ¿Ï Î®ÏÏα ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î»Î¿Î³Î¿ÏεÏνίαÏ, ÏÎ¿Ï Îιγενή ÎκÏίÏη με Ïην μεγίÏÏη ÏÏν ÎμαζÏνÏν, ÏÏÏÏ ÏαÏÎ¿Ï ÏιάζεÏαι ÏÏην εÏκοÏιακή εκδοÏή ÏÎ¿Ï 15Î¿Ï Î±Î¹Ïνα.
Î ÎÎÎÎÎΩ ΩΣ ÎÎÎÎÎÎÎ .. ΠεÏÏÏική ÏÏ
νεÏÏεÏη ÏÎ·Ï ÎαξιμÏÏ ÎºÎ±Î¹ ÏοÏ
Îιγενή ÎκÏίÏα (ÎÏγο Î. ΣκοÏ
ÏÏÎλη)----------------------------------------------------------------------------------------------------------------------------
Mohammad Ghazanfari. 2014
ÎÏÏ Ïην αÏÏή ÏÎ·Ï Î¶ÏÎ®Ï ÏÏη γη, ο άνθÏÏÏÎ¿Ï Îμαθε ÏÏι η ζÏή αÏ' ÎµÎ±Ï ÏÎ®Ï ÎµÎ¯Î½Î±Î¹ ÏολÏÏιμη. Î Îννοια ÏÎ¿Ï Î¬ÏÏÏÏÎ¿Ï Î±ÏοÏελεί μια ανÏανάκλαÏη ÏÎ·Ï ÎµÏÎ¹Î¸Ï Î¼Î¯Î±Ï ÏÏν ανθÏÏÏÏν να ζήÏÎ¿Ï Î½ ÏÏον Ïο Î´Ï Î½Î±ÏÏν ÏεÏιÏÏÏÏεÏο Ïε Î±Ï ÏÏν Ïον κÏÏμο και να εÏιÏÏÏÎ¿Ï Î½ Ïην αθαναÏία. ΠιδÎα μÏοÏεί εÏίÏÎ·Ï Î½Î± ÏÏοÏεγγιÏθεί αÏÏ Ïην άÏοÏη ÏÎ·Ï ÎµÏÎ¹Î¸Ï Î¼Î¯Î±Ï ÏÎ¿Ï Î±Î½Î¸ÏÏÏÎ¿Ï Î½Î± εÏιÏÏÏει Ïην Ï ÏεÏοÏή ÎνανÏι ÏÏν άλλÏν ανθÏÏÏινÏν ÏνÏÏν. Î¥ÏάÏÏÎ¿Ï Î½ λίγοι ήÏÏÎµÏ ÏÏην ÏαγκÏÏμια Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î± ÏÎ¿Ï ÏημίζονÏαι για Ïο άÏÏÏÏο ÏÎ¿Ï Ï, μεÏÎ±Î¾Ï ÏÏν οÏοίÏν μÏοÏεί ÎºÎ±Î½ÎµÎ¯Ï Î½Î± αναÏÎÏει Ïον ÎÏιλλÎα â Ïον ÏεÏίÏημο Îλληνα ήÏÏα ÏÏον ΤÏÏÎ¹ÎºÏ Î Ïλεμο, ο οÏοίοÏ, ÏÏμÏÏνα με ÏÎ¿Ï Ï Î¼ÏÎ¸Î¿Ï Ï, ήÏαν άÏÏÏÏÎ¿Ï ÎµÎºÏÏÏ Î±ÏÏ Ïην ÏÏÎÏνα â καθÏÏ ÎºÎ±Î¹ Îναν άλλον, ονÏμαÏι Esfandiar, θÏÏ Î»Î¹ÎºÏ Î ÎÏÏη ÏÏίγκιÏα και ηÏÏÎ¹ÎºÏ ÏαÏακÏήÏα ÏÏο Shah-nameh ÏÎ¿Ï Ferdowsi â Ïο ÎµÎ¸Î½Î¹ÎºÏ ÎÏÎ¿Ï ÏÎ·Ï Î ÎµÏÏÎ¯Î±Ï â ÏÎ¿Ï Î¿ÏÎ¿Î¯Î¿Ï Ïο άÏÏÏÏο οÏείλεÏαι ÏÏον ÎÏÏοάÏÏÏη, Ïον αÏÏαίο ÎÏÎ±Î½Ï ÏÏοÏήÏη. ΦαίνεÏαι ÏÏι, μεÏÎ±Î¾Ï ÏÏν άÏÏÏÏÏν ηÏÏÏν ÏÏην ÏαγκÏÏμια Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î±, Î±Ï Ïοί οι δÏο, καÏÎÏονÏÎ±Ï Î¿ÏιÏμÎÎ½Î¿Ï Ï Î´Î¹Î±ÎºÏιÏά ÏαÏακÏηÏιÏÏικά, Î¼Î¿Î¹Î¬Î¶Î¿Ï Î½ ÏεÏιÏÏÏÏεÏο αÏÏ Î¬Î»Î»Î¿Ï Ï Î®ÏÏÎµÏ Î±ÏÏ ÏολλÎÏ Î±ÏÏÏειÏ. Îια ÏαÏάδειγμα, αÏÎ¿Î»Î±Î¼Î²Î¬Î½Î¿Ï Î½ μια διακεκÏιμÎνη βαÏιλική καÏαγÏγή, είναι νÎοι, γενναίοι, ÏεÏιÏεÏειÏδειÏ, αλαζονικοί και αÏÏ Î½Î±Î³ÏνιÏÏοι κάÏοÏοι Ï ÏεÏÏÏ ÏικÏν, θεÏκÏν ιδιοÏήÏÏν, αÏοζηÏοÏνÏÎµÏ Ïην Ïήμη, είναι ÎµÏ Î¬Î»ÏÏοι Ïε Îνα ÏÏ Î³ÎºÎµÎºÏιμÎνο Ïημείο ÏÎ¿Ï ÏÏμαÏÎ¿Ï ÎºÎ±Î¹ Ïελικά, ÏÎµÎ¸Î±Î¯Î½Î¿Ï Î½ με ÏÏαγικÏ, ÏÏÏÏÏο θάναÏο. ÎÏ Ïή η μελÎÏη ÏÏ Î³ÎºÏίνει και ανÏιÏαÏαβάλλει Ïον ÎÏιλλÎα και Ïον Esfandiar με βάÏη Ïην ελληνική και ÏεÏÏική Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î±. ----------------------------------------------------------------------------------------------------------------------------
Davis 1992ÎÏ Ïή η εÏγαÏία θα εÏιÏειÏήÏει να ÏÏ Î³ÎºÏίνει μια διάÏημη Ïκηνή ÏÏο Shahnameh ÏÎ¿Ï Ferdowsi με μια εξίÏÎ¿Ï Î³Î½ÏÏÏή ÏÏην Îλιάδα ÏÎ¿Ï ÎμήÏÎ¿Ï . Î¥ÏάÏÏÎ¿Ï Î½ γενικά ÏÏÎµÎ¹Ï ÏÏÏÏοι με ÏÎ¿Ï Ï Î¿ÏÎ¿Î¯Î¿Ï Ï Î¼ÏοÏεί να γίνει μια ÏÎÏοια ÏÏγκÏιÏη. Îι ομοιÏÏηÏÎµÏ ÎºÎ±Î¹ οι διαÏοÏÎÏ Î¼ÏοÏοÏν να αÏοδοθοÏν Ïε λÏÎ³Î¿Ï Ï ÏÏεÏιζÏÎ¼ÎµÎ½Î¿Ï Ï Î¼Îµ Ïο λογοÏεÏÎ½Î¹ÎºÏ ÎµÎ¯Î´Î¿Ï Î® Ïην ÏÏÏη ÏÎ¿Ï Ï ÏÎ¿ÎºÎµÎ¯Î¼ÎµÎ½Î¿Ï Î¼Ï Î¸Î¹ÎºÎ¿Ï Ï Î»Î¹ÎºÎ¿Ï ÎºÎ±Î¹ ÏÏν ÏηγÏν ÏÎ¿Ï ÏÏηÏιμοÏοιήθηκαν αÏÏ ÏÎ¿Ï Ï ÎµÎ½ λÏÎ³Ï ÏοιηÏÎÏ Î® ÏÏην ÏÏ Î½ÎµÎ¯Î´Î·Ïη και ÏÏήÏη αÏÏ Ïον μεÏαγενÎÏÏεÏο ÏοιηÏή ÏÎ¿Ï ÎÏÎ³Î¿Ï ÏÎ¿Ï ÏÏοηγοÏÎ¼ÎµÎ½Î¿Ï ÏοιηÏή, Ïε οÏοιοδήÏοÏε ÏÏάδιο ÏÎ·Ï Î±ÏÏÏÏαÏηÏ. ÎÎ»Î»Î¿Ï Îθιξα Ïο λογοÏεÏÎ½Î¹ÎºÏ ÎµÎ¯Î´Î¿Ï (genre: λογοÏεÏνικά είδη - literary genres - εννoοÏμε Ïην ÏοίηÏη, Ïην ÏεζογÏαÏία και Ïο δÏάμα) ÏÏ Î±Î¹Ïία για εμÏÎ±Î½ÎµÎ¯Ï Î¿Î¼Î¿Î¹ÏÏηÏÎµÏ Î¼ÎµÏÎ±Î¾Ï ÏÏν δÏο εÏιÏανειακά ÏÎ¿Î»Ï Î´Î¹Î±ÏοÏεÏικÏν εÏικÏν ÏαÏαδÏÏεÏν ÏÎ·Ï ÎÎ»Î»Î¬Î´Î±Ï ÎºÎ±Î¹ ÏÎ¿Ï ÎÏάν, Ï ÏοδεικνÏονÏÎ±Ï ÏÏι η ÏÏγκÏÎ¿Ï Ïη βαÏιλιά/ÏÏÏÏαθληÏή ÏÎ¿Ï ÏεÏιγÏάÏεÏαι αÏÏ Ïον W. T. H. Jackson ÏÏ ÏÏ Ïική ÏÎ¿Ï ÎµÏ ÏÏÏαÏÎºÎ¿Ï ÎÏÎ¿Ï Ï ÎµÎ¯Î½Î±Î¹ εÏίÏÎ·Ï ÏαÏακÏηÏιÏÏική ÏÎ¿Ï Î¹ÏÎ±Î½Î¹ÎºÎ¿Ï Shahnameh.1 Το Ïιο ÏÏ Î½Î·Î¸Î¹ÏμÎνο και ίÏÏÏ Ïιο Ï ÏοδηλÏÏικά γÏνιμο ÎµÎ¯Î´Î¿Ï ÏÏγκÏιÏÎ·Ï ÎµÎ¯Î½Î±Î¹ Î±Ï ÏÏ ÏÎ¿Ï Ï Ïονοεί μια κοινή Ïηγή ÏÏον ÎÎ½Î´Î¿ÎµÏ ÏÏÏαÏÎºÏ Î¼Ïθο για εÏειÏÏδια ÏÏην ελληνική Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î± και εÏειÏÏδια ÏÏα ÏÏοηγοÏμενα Î¼Ï Î¸Î¹ÎºÎ¬ και θÏÏ Î»Î¹ÎºÎ¬ ÏÏάδια ÏÎ¿Ï Shahnameh: η ελληνική ιÏÏοÏία ÏÎ¿Ï Î ÏομηθÎα, για ÏαÏάδειγμα, ÏαίνεÏαι να είναι ÎÎ½Î±Ï ÏÏενÏÏ ÏαÏαλληλιÏμÏÏ Î¼Îµ Ïην ιÏÏοÏία ÏÎ¿Ï Jamshid & Zahhak - η ειÏαγÏγή ÏÎ¿Ï Jamshid ÏÏÎ¹Ï ÏÎÏÎ½ÎµÏ ÏÎ¿Ï ÏολιÏιÏÎ¼Î¿Ï ÎºÎ±Î¹ η αίÏθηÏη ÏÎ¿Ï ÏÏι ÏÏ Î½Î±Î³ÏνίζεÏαι ÏÏην ÎµÎ¾Î¿Ï Ïία Ïον Ï ÏÎÏÏαÏο ÎÎµÏ ÏÎ¿Ï Î±ÏηÏεί ÏαÏÏμοια θÎμαÏα ÏÏην ιÏÏοÏία ÏÎ¿Ï Î ÏομηθÎα και Ïην ÏιμÏÏία ÏÎ¿Ï ÎµÏιβλήθηκε ÏÏον ανÏίÏÎ±Î»Ï ÏÎ¿Ï , Zahhak, με Ïον οÏοίο ÏÏ Î½Î´ÎεÏαι ÏÏενά, αÏοÏελÏνÏÎ±Ï ÏαÏάλληλο με Î±Ï ÏÏ ÏÎ¿Ï ÎµÎ¯Ïε ο Î¯Î´Î¹Î¿Ï Î¿ Î ÏομηθÎαÏ, ÎÏÏι ÏÏÏε Î±Ï ÏÏ ÏÎ¿Ï ÎµÎ¼ÏανίζεÏαι ÏÏ Î¹ÏÏοÏία για μια Î¼Ï Î¸Î¿Î»Î¿Î³Î¹ÎºÎ® ÏιγοÏÏα ÏÏÎ¹Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎÏ ÏηγÎÏ ÎµÎ¼ÏανίζεÏαι ÏÏ Î¹ÏÏοÏία για δÏο ÏÏ Î½Î´ÎµÎ´ÎµÎ¼ÎÎ½ÎµÏ Î¼Î¿ÏÏÎÏ ÏÏην ÏεÏÏική ÏηγÎÏ.ÎÏ Ïή η εÏγαÏία θα εÏικενÏÏÏθεί Ïε Îνα ÏÎ¿Î»Ï ÏÏενÏÏεÏο Ïεδίο ÏιθανοÏήÏÏν και θα αÏοÏÏγει λίγο ÏÎ¿Î»Ï ÏÎ¹Ï ÎµÎ¹ÎºÎ±ÏÎ¯ÎµÏ ÏÏεÏικά με μια κοινή Î¼Ï Î¸Î¿Î»Î¿Î³Î¹ÎºÎ® ÏÏοÎÎ»ÎµÏ Ïη. Î ÏÏÏÏÎ¿Ï ÎµÎ´Ï ÎµÎ¯Î½Î±Î¹ να εÏιÏÏήÏÎ¿Ï Î¼Îµ Ïην ÏÏοÏοÏή ÏÏην ÏÏαÏξη ÏÏν εξαιÏεÏικά ιÏÏÏ ÏÏν δομικÏν και ακÏμη και ÏιθανÏν γλÏÏÏικÏν ομοιοÏήÏÏν μεÏÎ±Î¾Ï Î¼Î¹Î±Ï ÏÎºÎ·Î½Î®Ï ÏÏο ÎÏγο ÏÎ¿Ï ÎμήÏÎ¿Ï ÎºÎ±Î¹ Î¼Î¹Î±Ï ÏÏο Shahnameh ÏÎ¿Ï Ferdowsi, και να ÏÏοÏÎµÎ¯Î½Î¿Ï Î¼Îµ ÏÏι οι ÏαÏαλληλιÏμοί μεÏÎ±Î¾Ï ÏÏν δÏο Ï ÏονοοÏν κάÏι ÏεÏιÏÏÏÏεÏο αÏÏ Ïην αÏλή εÏανάληÏη. ενÏÏ ÏÏÏÎ¿Ï ÏÏεÏικά ÎºÎ¿Î¹Î½Î¿Ï ÏÏην εÏική/ηÏÏική ÏοίηÏη. Îι ÏεÏιÏÏαÏιακÎÏ Î¼Î±ÏÏÏ ÏÎ¯ÎµÏ ÏÏν κειμÎνÏν ÏÏ ÎÏÎ¿Ï Î½ ÏÏÏα Ï ÏοδηλÏÎ½Î¿Ï Î½ ÏÏι Ïο ομηÏÎ¹ÎºÏ ÎµÏειÏÏδιο ήÏαν Ïε ÏημανÏÎ¹ÎºÏ Î²Î±Î¸Î¼Ï, μÎÏÏ ÎºÎ¬ÏοιÏν μη ανακÏήÏιμÏν ÏλÎον μÎÏÏν μεÏάδοÏηÏ, Îνα ÏÏ Î³ÎºÎµÎºÏιμÎνο ÏÏÏÏÏ Ïο για Ïη Ïκηνή ÏÏο Ïοίημα ÏÎ¿Ï Ferdowsi. Îεν μιλάμε, λοιÏÏν, για μια κοινή Î¼Ï Î¸Î¹ÎºÎ® Ïηγή ή για ÏÏμÏÏÏÏη ÏÎ·Ï ÏÏήÏÎ·Ï ÏÎ¿Ï ÎµÎ¯Î´Î¿Ï Ï, ÏÏο για Ïην αξιοÏοίηÏη αÏÏ Ïον Ferdowsi ÏÎ·Ï ÎμηÏÎ¹ÎºÎ®Ï ÏÎºÎ·Î½Î®Ï ÏÏ Î»Î¿Î³Î¿ÏεÏÎ½Î¹ÎºÎ¿Ï ÏÏοÏÏÏÎ¿Ï - Ï ÏοδείγμαÏοÏ.
----------------------------------------------------------------------------------------------------------------------------Marshak 1995, p. 104.southern walk. A well-preserved fragment was discovered on the northern wall of Room 55 (Fig. 52). It represents a battle: the king in his lamellar armour is stabbing his enemy with his sword. An arrow head (or the point of a spear) is directed at the king's breast. This scene is certainly not the first episode of the narrative. In the following episode another warrior in full lamellar armour is killed with an arrow (or a spear) (Fig. 53). In the third episode, a female warrior appears, sword in hand, but wearing rich garments (Fig. 54). The most probable interpretation is that she intends to support the partly defeated army of the king. Then, by the time we reach Room 55, she is shown in her full armour (Fig. 55). She is fencing with a man in chain mail. On the same wall there are figures of a slain warrior falling and two kneeling figures in full armour, one of which is female They are smaller than the figures of the fighters. However, {NEXT PAGE IS 105} it may be the same female warrior depicted in both scenes. She and another hero could be shown, kneeling before a king or their commander-in-chief. There are a number of warlike women in the Shah-nameh and in the epics of the Central Asian Turkic peoples. Î. M. Belenitskii thought that the woman could be Gurd-Afarid, the daughter of the ruler of the fortress Safid-Diz,43 In the Shah-nameh, she fights unsuccessfully with Suhrab the son of Rustam, alter the defeat of a young warrior from her father's garrison. It is hard to explain why her father could be presented as a possessor of the royal farn but in the mural only he, and not the heroine, has a halo and tongues of flame over his shoulders. Moreover, the father of Gurd-Afarid does not fight. More probably, the story from the Shah-nameh is only typologically similar to the subject of the murals in Rooms 42 and 55. In this house, including the 'Rustam Room' and these two additional rooms, we find illustrations to a whole library of the secular books so poorly represented among Sogdian and other Middle Iranian literary texts which have come down us.
Marshak 1995, p. 126 One of the Pendjikent epic subjects which is known from the study of the murals of the 'Rustam Room' has an approximate analogy among the murals in another hall (Room I / Sector XXI)" of the same period (c. AD 740), and its well-known 'Amazon' cycle is comparable with the murals in Rooms 42 and 55/Sector Vl. Room I/Sector XXI is a reception hall in one of the two Largest houses in the town (Fig. 6). In the long lobby fronting the main hall there were the cult scene with Nanaya on her lion, advancing riders, a scene of a banquet and dancing masked performers in theatrical dress. There is no proof that these fragments belong to an illustrative cycle. Their date is c. Al) 720. In the room for family gatherings there are later paintings (c. AD 740) which include the portraits of an ancestral couple (the parents of the owner of the house?) the two dancers, and battle episodes which may be illustrative (they are fragmentary, and it is impossible to tell how the events develop). In the main hall itself, there are paintings that belong to the later group (c. AD 740). Two registers of murals have been satisfactorily preserved: the upper one with a frieze-like composition and the lower one divided into several panels by double vertical lines (Pls. 12-13). The background is light blue and is brighter in the upper register. Sometimes in the lower register the priming coat without blue pigment serves as the background. The development of events in the frieze-like composition is right in left. In the lower part of the upper register, among the figures of the dead and wounded warriors, there are women with two long plaits. All the fighters are mounted and, unfortunately, the upper part of the composition with their heads and shoulders is completely gone. That is why only one scene, with a dead or wounded woman borne by two warriors on a carpet (?) is understandable (Pl. 13). The 'Amazon' stories in this hall and those in Rooms 42 avid 55/Sector VI are different. In Room I/Sector XXI the king (?) of the enemies of the Amazons is shown several times. His horse is white, his leggings are adorned with pearls. Fragments of the three episodes have been preserved: 1) he leads his army; 2) after the above mentioned scene with the wounded or killed Amazon, he is depicted in battle, falling from his horse; 3) in the final scene he is seated on a camp stool, and trophies lie before him.
----------------------------------------------------------------------------------------------------------------------------ILIAD 21.114-119 AND THE DEATH OF PENTHESILEAby G.M. Sifakis
The famous Penthesilea kylix in the Museum Antiker Kleinkunst, Munich (fig. I),1 shows a Greek killing an Amazon. Two more figures, a Greek on the left of the central group and a fallen Amazon on right, complete the picture. Whether the two main figures are Achilles and Penthesilea, as O. Jahn2 suggested more than a hundred years ago and is still widely believed, or the scene is better interpreted as an Athenian Amazonomachy derived from Mikon's painting with the same subject in the Stoa Poikile as von Bothmer,3 following Furtwängler,4 has argued, is a problem that will not concern us here.
The purpose of this paper is to relate the vase-painting with a Homeric passage, namely Iliad where the slaying of Lykaon by Achilles is described:
á½£Ï ÏάÏο, Ïοῦ δ᾽ αá½Ïοῦ λÏÏο γοÏναÏα καὶ Ïίλον ἦÏοÏÎ115 á¼Î³ÏÎ¿Ï Î¼Îν ῥ᾽ á¼ÏÎηκεν, ὠδ᾽ á¼Î¶ÎµÏο Ïεá¿Ïε ÏεÏάÏÏαÏá¼Î¼ÏοÏÎÏαÏÎ á¼ÏÎ¹Î»Îµá½ºÏ Î´á½² á¼ÏÏ ÏÏÎ¬Î¼ÎµÎ½Î¿Ï Î¾Î¯ÏÎ¿Ï á½Î¾á½ºÏÏÏε καÏá½° κληá¿Î´Î± ÏαÏá¾½ αá½ÏÎνα, Ïᾶν δΠοἱ εἴÏÏδῦ ξίÏÎ¿Ï á¼Î¼ÏηκεÏΠὠδ᾽ á¼Ïα ÏÏÎ·Î½á½´Ï á¼Ïὶ γαίá¿ÎºÎµá¿Ïο ÏαθείÏ, á¼Îº δ᾽ αἷμα μÎλαν á¿¥Îε, δεῦε δὲ γαá¿Î±Î½.
á¼Î¶ÎµÏο in line 115 does not mean 'sat' but 'sank to the ground' as in II. 13.653 and 14.495 (cf. L.S.J., s.v. Îζομαι, 1.3). Also, Ïεá¿Ïε ÏεÏάÏÏÎ±Ï probably implies a gesture of imploring (cf. κάÏÏεÏεν á¼Î¼ÏÏ Ïεá¿Ïε ÏÎ¯Î»Î¿Î¹Ï á¼ÏάÏοιÏι ÏεÏάÏÏαÏ, Il. 4.523, 13.549).The passage quoted above contains many formulas but as a configuration of formulas and a specific description of Achilles killing an opponent it is unique in Greek epic poetry. The arrangement of the two central figures on the Penthesilea cup is also unique in vase painting, although the subject of the picture is common. It seems to me that there is a striking correspondence between the cup scene and the Homeric description, which is unlikely to be accidental. I suggest, therefore, that the Penthesilea Painter, or the painter of his prototype, had in mind the above passage (or a similar one from the Aithiopis , if the figures are indeed Achilles and Penthesilea). In view of this passage 'Achilles' on the Penthesilea cup should not be described as plunging his sword into the breast of 'Penthesilea'5 but between her collar-bone and throat. The blade will presentlyreach her heart and cause instant death. Homer accurately describes a specific and efficient way of slaying an opponent who does not offer (or no longer offers) any resistance. Perhaps this method of execution should not be attributed to the poet's imagination but rather to observation of actual war practice.6 A similar use of the sword, although in a very different situation, is probably to be recognized on another Athenian vase, a 'Tyrrhenian' amphora by the Timiades Painter (fig. 2). 7 The subject of this picture is the sacrifice of Polyxena by Neoptolemos. Polyxena's body is held horizontally by three Greeks over the tomb-altar of Achilles while Neoptolemos performs the sacrifice. The blade has cut the carotid and a gush of blood comes out of the wound. No matter, however, whether Achilles' method of execution could be observed in real life, what links the Homeric description of Lykaon's death in the hands of Achilles to Penthesilea's similar fate shown on the Munich cup is the close correspondence in the rendition of the two scenes and their uniqueness in poetry and art respectively.
University of Thessaloniki----------------------------------------------------------------------------------------------------------------------------
WIKIPEDIA, s.v. Sogdian Art Sogdian terminology and the many images of gods suggest that the temples were considered by Sogdians "the house of the gods," similarly to the Greeks.[26: Shkoda, V. D. 1996. "The Sogdian Temple: Structure and Rituals," Bulletin of the Asia Institute (New Series) 10, pp. 195â206. <https://www.jstor.org/stable/24048896..., p. 201, n. 40 & final!]{40. B. I. Marshak, "Pod" emnaia mashina v khrame drevnego Pedzikenta" (An elevating machine in a temple in ancient Panjikenti, in Proshloe Srednei Azii: Alkheologiia, numizmatika i epigrafika, ernoraffiiq, ed, V. A. Rartuv (Dushanbe, 1987), pp. 95-103, The isometric plan and the reconstruction of the machine is also reproduced in M. Mode, "Das Enthulungsrituals des versteckten Gottin: Zur Darstellung einer sogdischen Kulstatue aus Metall", Hallesche Beiträge zur Orientwissenschaft 16 [1991], fig. 11 <https://menadoc.bibliothek.uni-halle....} According to Marshak, there was technology in the temple that allowed to raise the image of a god. There was also a room that was possibly assigned to theatrical effects. It is possible that the rituals had a theatrical nature, including special effects, with the Sogdians possibly performing religious/mythological scenes.[26] Two murals (found in a chapel and in the courtyard), dating to the 6th century, confirm the practice of theatrical worship.[26] All works at the temple were funded by private donors.[26] In the temple there was also a bakery.[26]
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Π«αÏÏ Î¼Î·ÏανήÏ» θεÏÏ (Deus ex machina)
ÎÎ½Ï ÏÏÏική μηÏανή («γÎÏανοÏ») ÏÎ¿Ï Î±ÏÏÎ±Î¯Î¿Ï Î¸ÎµÎ¬ÏÏÎ¿Ï (αÏÏ Ïην εÏοÏή ÏÎ¿Ï ÎιÏÏÏÎ»Î¿Ï ) ÏÎ¿Ï ÏÏηÏιμοÏοιÏÏαν για Ïην ενÏÏ ÏÏÏιακή αιÏÏηÏη και κάθοδο ÏÏη Ïκηνή καθοÏιÏÏικÏν για Ïη δÏάÏη ÏÎ¿Ï ÎÏÎ³Î¿Ï ÏÏοÏÏÏÏν (Ï.Ï. ήÏÏεÏ, θεοί, κ.ά), αλλά και ÏÏανιÏÏεÏα βαÏÏÏεÏÏν ÏοÏÏίÏν (Ï.Ï. άÏμαÏα ή άλογα με αναβάÏεÏ, εξÎδÏÎµÏ Î¼Îµ Ïο ÏοÏÏ, κ.ά.). ΣÏμÏÏνα με Ïο ÏÏ Î³ÎºÎµÏαÏÎ¼Ï Î²Î¹Î²Î»Î¹Î¿Î³ÏαÏικÏν και αγγειογÏαÏικÏν ÏληÏοÏοÏιÏν αÏοÏελοÏνÏαν αÏÏ Î¼Î¯Î± μακÏιά αÏθÏÏÏή Î´Î¿ÎºÏ ÏÎ¿Ï ÏÏηÏιζÏÏαν Ïε μια ÏεÏιÏÏÏεÏÏμενη καÏακÏÏÏ Ïη δοκÏ. Το ÏοÏÏίο Î±Î½Ï ÏÏνÏÏαν με ÏÏοινί («αιÏÏα») μÎÏÏ ÏÏοÏÎ±Î»Î¯Î±Ï ÎºÎ±Î¹ ÏειÏοκίνηÏÎ¿Ï Î²Î±ÏοÏÎ»ÎºÎ¿Ï ÏÎ¿Ï Î²ÏίÏκονÏαν εκαÏÎÏÏθεν ÏÎ·Ï Î´Î¿ÎºÎ¿Ï. ΠδοκÏÏ ÎÏεÏε ανÏίβαÏο για Ïην εξιÏοÏÏÏÏηÏη ÏÎ¿Ï Î±Î½Î±ÏÏÏÎ¼ÎµÎ½Î¿Ï ÏοÏÏÎ¯Î¿Ï . ΠμηÏανή ήÏαν ÏοÏοθεÏημÎνη ÏίÏÏ Î±ÏÏ Ïη Ïκηνή κονÏά ÏÏην αÏιÏÏεÏή ÏάÏοδο Ïε οÏιζÏνÏια ÏÏεδÏν θÎÏη. Î ÏειÏιÏÏÎ®Ï ÏÎ·Ï Î¼Î·ÏÎ±Î½Î®Ï («μηÏανοÏοιÏÏ»), αÏÎ¿Ï ÎµÎ¾Î¹ÏοÏÏοÏοÏÏε Ïο ÏοÏÏίο (με ανÏίβαÏα), αÏκοÏÏε (μÎÏÏ ÏÏν ÏειÏολαβÏν) Ïην αÏαιÏοÏμενη κλίÏη και ÏÏη ÏÏ Î½ÎÏεια Ïην αÏαιÏοÏμενη ÏεÏιÏÏÏοÏή ÏÏη Î´Î¿ÎºÏ ÏÏÏε Ïο ÏοÏÏίο να βÏεθεί ÏÎ¬Î½Ï Î±ÏÏ Ïο μÎÏον ÏÎ¿Ï ÏÏοÏÎºÎ·Î½Î¯Î¿Ï . ÎÎ½Î±Ï ÏÏοÏÏÏ ÏÏο άκÏο ÏÎ·Ï Ï ÏεÏÏÏαθμιÏμÎÎ½Î·Ï Î´Î¿ÎºÎ¿Ï Î¯ÏÏÏ Î´Î¹ÎµÏ ÎºÏÎ»Ï Î½Îµ Ïο ÏειÏιÏÏή ÏÏην ÏεÏιÏÏÏοÏή ÏηÏ. ÎÏαν η δÏάÏη Ïο αÏαιÏοÏÏε εκÏελοÏÏε και ÎºÎ»Ï Î´ÏνιÏμοÏÏ ÏÏο ÏÏαθμιÏμÎνο ÏοÏÏίο. ΤÎÎ»Î¿Ï ÎµÎ½Î±ÏÏθεÏε Ïο ÏοÏÏίο ÏÏο ÏÏοÏκήνιο με Ïη βοήθεια ÏÎ¿Ï Î²Î±ÏοÏÎ»ÎºÎ¿Ï .
ÎÎÎÎÎÎÎΡÎΦÎÎhttps://archive.org/details/legendsta..., B. 1995. Legends Tales & Fables In The Art Of Sogdiana, New York (Amazon).: fig. 54, 55; pp. 103â6, 126.
https://www.tandfonline.com/doi/full/..., P., and K. Maksymiuk. 2019. "GordÄfarid, Penthesilea and Athena: the identification of a Greek motif in FerdowsÄ«âs Å Äh-nÄma and its possible association with Hellenistic art in the East," Mediterranean Historical Review 34 (2), pp. 123-143.--------------------------------------------------------------------------------------------------------------------------- https://www.researchgate.net/publicat... Zalipour. 2005. "The Shahnameh of Ferdowsi: The Soul of Iran Saga" in Nationhood in Literature: Expressions of Realities, ed. Subramaniam, G, I. J. Azyze, S. I. Hamdan, Malaysia, pp. 221-232.
https://www.jstor.org/stable/4310801D..., D. 1992. "In the Enemy's Camp: Homer's Helen and Ferdowsi's Hojir," Iranian Studies 25 (3/4), pp. 17-26.
ÎονιδάÏηÏ, Î. Î. 2022. "ÎÎÎÎÎÎÎÎΣ ÎÎ ÎΡΡÎÎΣ ΣΤÎΠΣÎÎÎÎÎÎÎ & ΤÎÎ ÎΥΡΥΤÎΡΠΠÎΡÎÎΧÎ," <https://dnkonidaris.blogspot.com/2022... (8 Sept. 2023).
https://www.jstor.org/stable/24048774..., B. I. and V. I. Raspopova. 1994. "Worshipers from the Northern Shrine of Temple II, Panjikent," Bulletin of the Asia Institute (New Series) 8 (The Archaeology and Art of Central Asia Studies From the Former Soviet Union), pp. 187-207.--------------------------------------------------------------------------------------------------------------------------- https://www.jstor.org/stable/24048896..., V. D. 1996. "The Sogdian Temple: Structure and Rituals," Bulletin of the Asia Institute (New Series) 10, pp. 195â206.
p. 201sions.37 The numerous images of gods in the temples, as well as Sogdian religious terminology, indicate that temples were viewed by the Sogdians as the "place, dwelling of the gods"â vaghestan 38 which recalls the corresponding view on Greek temples: representations of sacred processions in Greek temples, accordrig to J. Harrison, were "prayers or praises translated into stone,"39 suggesting that all scenes had been part of the ritual. Materials of the fourth period from Temple II testify that images of the Panjikent temples might have been included in the ritual.
B. I. Marshal suggested that there had been some mechanicaI device at Panjikent that elevated a screen or an image of a god.40 A ritual involving the use of miracle-working machinery recalls a theatre performance with elements of the Mysteria rite,41 {41: It is worth mentioning that ancient Greeks regarded theatre performances as a part of the state cult; see S. I. Radtsig, Istoriia Drevnegrecheskoi literatury (Moscow 1982), p. 174; cf. Harrison, Ancient Art and Ritual, pp. 1-3} its center the moving image of a deity. A secret room in the interior of a fourth-period ramp that ascended to the top of the platform of Temple II might also have been used for scenic effects.42 Episodes from the lives of the gods were probably recited or acted out in the course of the service, thus allowing the audience watching the performance to become involved in it. One sixth-century mural painting from the northern chapel in the courtyard of Temple II represents this type of theatrical ritual. In front of a goddess seated on a throne shaped like a fantastic animal, a group of people who play the parts of different gods is represented. A group of people shown as smaller represent mortals. Another sixth-century painting from an auxiliary shrine in the northern part of the courtyard of Temple I (Room 10a) represents dancing people in animal masks, who hold musical instruments.44--------------------------------------------------------------------------------------------------------------------------- https://menadoc.bibliothek.uni-halle...., M. 1991. "Das Enthulungsrituals des versteckten Gottin: Zur Darstellung einer sogdischen Kulstatue aus Metall," Hallesche Beiträge zur Orientwissenschaft 16, pp. 53-76. <https://menadoc.bibliothek.uni-halle....
ÎÎÎÎΥΣÎÎÎÎ ÎΥΣΤÎΡÎÎ & ÎÎΤΡÎÎΠΤÎΣ ÎÎÎÎΤΡÎΣ ΣΤΠΣÎÎÎÎÎÎÎ PANJIKENT!
ΣÎÎÎÎÎÎÎ ÎÎÎÎÎÎÎΡÎΦÎÎ: ΣΤÎÎ ÎÎ ÎÎΧΠΤΩΠÎÎÎÎÎÎΣΤÎÎΩΠ& ÎÎΣΣÎÎÎÎΩΠΡÎÎΩΠΤÎΣ ..
ΣÎÎÎÎ ÎΡÎÎÎÎ¥ (ÎÎΠΤÎÎ ÎΠΩÎÎÎΠΤÎΣ Î ÎΡΣÎΦÎÎÎΣ ?) ÎΠΤÎÎ NANA & ΤÎÎ ÎÎÎÎΤΡΠÎΠΠΤÎÎΧÎÎΡÎΦÎΠΤÎÎ¥ ÎÎΡÎÎ¥ ÎΠΣΤΠPANJIKENT(Mourning Scene. Panjikent, Tajikistan, south wall of main hall of Temple II, Wall painting, 6th c. CE, The State Hermitage Museum, SA-16236)
ÎÎÎÎÎÎÎÎ ÎÎ ÎΡΡÎΠΣΤΠΣÎÎÎÎÎÎÎ PANJIKENT (ΤÎΤÎÎÎÎΣΤÎÎ, 7/8 αι. μ.Χ.)
ÎÎÎΤΡÎÎÎÎ ÎÎÎÎÎÎΣΤÎÎÎ ÎΥΡÎÎÎΤΠÎΠΠΤΠÎÎΡΠII ΤÎÎ¥ PENJIKENT
ΣÎÎÎÎÎÎÎ ÎÎΥΣÎÎÎ Î ÎΡÎÎÎΣΠ& ÎÎÎÎÎÎΣΤÎÎÎΣ Î ÎÎÎΤÎΣÎÎΣ
Î ÎÎÎÎÎΠΤÎÎ¥ ÎÎÎÎÎÎÎΡÎÎ¥ ΣΤÎÎ ÎÎÎΤΡÎÎÎ ÎΣÎÎ: ÎÎΠΤÎÎÎÎΡÎÎ (The Image of Alexander in Central Asia A New Document: A lecture by Frantz Grenet, Collège de France, Paris)
ÎÎÎΤΡÎÎÎ ÎΡΩÎÎÎΠΣΤΠÎÎΡΠΤÎÎ¥ PANJIKENT ΤÎΣ ΣÎÎÎÎÎÎÎΣ ΣΥÎΦΩÎÎ ÎΠΤΠÎÎÎÎÎÎÎΠΠΡÎΤΥΠΠ(THEATER PERFORMANCES & AUTOMATA PAINTED IN FRESCOES OF PENJIKENT TEMPLE - FOLLOWING THE GREEK PROTOTYPE - MODEL)
ΣΧÎÎÎÎΣÎÎΣ ΧΡΥΣÎΣ Î¥ÎΡÎÎΣ ÎΠΠΤÎÎ ÎΥΤÎÎÎ ÎÎÎΤΡÎÎÎ ÎΣÎÎ, ΠΡÎÎΡΧÎÎÎÎÎΣ ÎΠΠΤΠÎÎÎÎΤÎΡΠΤÎÎ¥ ÎÎÎÎΤ ΤÎÎ¥ 7/8 αι.(Allegories of Kingship: A Preliminary Study of a Western Central Asian Gold Ewer in the Royal Court of Tibet)
MOURNING SCENE WITH NANA, DEMETER & DEAD PERSEPHON FROM PANJIKENT MURAL (south wall of main hall of Temple II, Wall painting, 6th c. CE, The State Hermitage Museum, SA-16236)
ÎÎÎÎÎÎÎÎ ÎÎ ÎΡΡÎΠΣΤΠΣÎÎÎÎÎÎÎ PANJIKENT (ΤÎΤÎÎÎÎΣΤÎÎ, 7/8 αι. μ.Χ.)
G. M. Sifakis. 1976. "'ILIAD' 21.114-119 AND THE DEATH OF PENTHESILEA," Bulletin of the Institute of Classical Studies 23, pp. 55-57. https://www.jstor.org/stable/43646137 https://www.researchgate.net/publicat... https://www.logeion.upatras.gr/node/303
https://www.academia.edu/8717811/Deus..., A. S. , M. C. Tsakoumaki, T. G. Chondros. 2010. "'Deus-Ex-Machina' Mechanism Reconstruction in the Theater of Phlius, Corinthia," J. Mech. Des. Jan 2010, 132(1): 011001 (9 pages)https://doi.org/10.1115/1.4000530
https://www.researchgate.net/publicat... Ghazanfari. 2014. "Similar Portrayal of Two Invulnerable Heroes in Homerâs Iliad and Ferdowsiâs Shah-nameh," Iranian EFL Journal 10 (4), pp. 416-426.
https://fac.flinders.edu.au/dspace/ap..., Τ. 2009. "The Inverted World of the Amazons: Aspects of a Persistent Myth in Early Modern Greek Literature," in Greek Research in Australia: Proceedings of the Eighth Biennial International Conference of Greek Studies, Flinders University June 2009, ed. Rossetto, M., M. Tsianikas, G. Couvalis and M. Palaktsoglou, pp. 291-309.
Î ÎÎÎΠΠΡÎΣΦÎΤÎΣ ÎÎÎ ÎÎΥΤÎΣÎÎΣ - ÎÎ ÎÎÎÎÎÎÎ: 110923
Τα ÎÏη αÏοÏελοÏν μÎÏÎ¿Ï ÏÎ·Ï ÎµÎ¸Î½Î¹ÎºÎ®Ï ÏÎ±Ï ÏÏÏηÏÎ±Ï ÏολλÏν λαÏν Ïε Ïλο Ïον κÏÏμο. ÎνÏαÏκÏÎ½Î¿Ï Î½ Ïην ιÏÏοÏία, Ïον ÏολιÏιÏÎ¼Ï ÎºÎ±Î¹ ÏÎ¹Ï ÏÎ¹Î»Î¿Î´Î¿Î¾Î¯ÎµÏ ÎµÎ½ÏÏ ÎÎ¸Î½Î¿Ï Ï ÏÏην αÏÏαιÏÏηÏα, ÏÏαν οι ειδήÏÎµÎ¹Ï Î¼ÎµÏαδίδονÏαν αÏÏ ÏÏÏμα Ïε ÏÏÏμα Ïε ÏÏίÏÎ¿Ï Ï Î® ÏÏαγοÏδια, ÏÏαν Ïα ιÏÏοÏικά γεγονÏÏα Îγιναν θÏÏλοι και ÏÏαν οι θÏÏλοι άÏÏιÏαν Ïελικά να καÏαγÏάÏονÏαι. Το ενοÏοιηÏÎ¹ÎºÏ Î¸Îμα ÏλÏν ÏÏν εÏÏν είναι κάÏοια ηÏÏική δÏάÏη ενÏÏ Î®ÏÏα ή ήÏÏεÏ, ÏÏν οÏοίÏν οι ÏÏÎ¬Î¾ÎµÎ¹Ï ÎºÎ±Î¸Î¿ÏÎ¯Î¶Î¿Ï Î½ Ïην ÏοÏεία ÏÎ·Ï Î¹ÏÏοÏÎ¯Î±Ï ÎµÎ½ÏÏ ÎÎ¸Î½Î¿Ï Ï. ÎÏ Ïά Ïα ÎÏη ανÏικαÏοÏÏÏÎ¯Î¶Î¿Ï Î½ ÏÏη ÏÏ Î½ÎÏεια Ïην κοÏμοθεÏÏία ÏÎ·Ï ÎµÏοÏÎ®Ï ÏÏην οÏοία ÎγÏαÏε ο ÏοιηÏήÏ. Το ÏαλαιÏÏεÏο εÏÎ¹ÎºÏ ÎÏγο ÏÎ¿Ï ÎÏει διαÏÏθεί είναι ο Î£Î¿Ï Î¼ÎµÏίÏν ÎκιλγκαμÎÏ ÏÎ¿Ï Î¿ÏÎ¿Î¯Î¿Ï Î¿ ήÏÏÎ±Ï ÏÏοκαλεί Ïον θάναÏο για να ανακαλÏÏει Ïο Î¼Ï ÏÏÎ¹ÎºÏ ÏÎ·Ï Î±Î¸Î±Î½Î±ÏίαÏ. Τα Ïιο διάÏημα ÎÏη ÏÎ¿Ï Î´Ï ÏÎ¹ÎºÎ¿Ï ÎºÏÏÎ¼Î¿Ï ÎµÎ¯Î½Î±Î¹ η Îλιάδα και η ÎδÏÏÏεια ÏÎ¿Ï ÎμήÏÎ¿Ï . Î¦Ï Ïικά Ï ÏάÏÏÎ¿Ï Î½ Ïολλά άλλα ÎÏη ÏÎ¿Ï Î±ÏοÏελοÏν Ïην ÏαγκÏÏμια λογοÏεÏνία μαÏ: η ÎβÏαÏκή ÎÎ¯Î²Î»Î¿Ï (η ÏÏ Î»Î»Î¿Î³Î® εÏÏν ÏÏÏÏ Î· ιÏÏοÏία ÏÎ¿Ï Îαβίδ και ÏÎ¿Ï Îολιάθ και ÏÎ¿Ï ÎÏÏ Ïή και ÏÎ¿Ï Î¦Î±ÏαÏ). Î Îινειάδα ÏÎ¿Ï ÎιÏÎ³Î¯Î»Î¹Î¿Ï (οι ÏεÏιÏÎÏÎµÎ¹ÎµÏ ÏÎ¿Ï Îινεία μεÏά Ïον ΤÏÏÎ¹ÎºÏ ÏÏλεμο). Ïο ιÏÏÎ±Î½Î¹ÎºÏ ÎÏÎ¿Ï ÏÎ¿Ï Cid. Ïο Î³Î±Î»Î»Î¹ÎºÏ ÎÏÎ¿Ï ÏÎ¿Ï Roland· καθÏÏ ÎºÎ±Î¹ μια ÏειÏά αÏÏ Ïολλά διάÏημα ÎÏη αÏÏ Î¦Î¹Î½Î»Î±Î½Î´Î¿ÏÏ, ÎεÏμανοÏÏ, ÎοÏβηγοÏÏ, ÎνδοÏÏ, ÎÏλανδοÏÏ ÎºÎ±Î¹ άλλα αÏÏαία Îθνη (Cudden 225).----------------------------------------------------------------------------------------------------------------------------
Kaplanis 2009ΠμÏÎ¸Î¿Ï ÏÏν ÎμαζÏνÏν Ï ÏήÏξε ÎÎ½Î±Ï Î±ÏÏ ÏÎ¿Ï Ï Ïιο ιÏÏÏ ÏοÏÏ ÎºÎ±Î¹ δημοÏÎ¹Î»ÎµÎ¯Ï Î¼ÎµÏÎ±Î¾Ï ÏÏν ελληνικÏν μÏθÏν αÏÏ Ïην εμÏάνιÏή ÏÎ¿Ï Î¼ÎÏÏι ÏήμεÏα. ΣÏο ÏÏÏÏο μÎÏÎ¿Ï ÏÎ·Ï ÏαÏοÏÏÎ±Ï ÎµÏγαÏÎ¯Î±Ï ÎµÏιÏειÏείÏαι η ÏαÏÎ¿Ï ÏίαÏη ÏÏν βαÏικÏν ÏÏοιÏείÏν ÏÎ¿Ï . Î ÏαÏÎ¿Ï ÏίαÏη λαμβάνει Ï ÏÏÏη ÏÎ¹Ï Î¼ÎµÏαμοÏÏÏÏÎµÎ¹Ï ÏÏÏον ÏÎ¿Ï Î¼ÏÎ¸Î¿Ï ÏÏο και ÏÏν μÎÏÏν με Ïα οÏοία ÏαÏÎ¿Ï ÏιάζεÏαι (αÏÏ ÏÎ¹Ï Î±ÏÏαιοελληνικÎÏ Î±ÏηγήÏÎµÎ¹Ï ÎºÎ±Î¹ αÏεικονίÏÎµÎ¹Ï ÎÏÏ Ïα ÏημεÏινά κÏÎ¼Î¹ÎºÏ ÎºÎ±Î¹ graphic novels), ÏÏο Ïο Î´Ï Î½Î±ÏÏν Ïιο ολοκληÏÏμÎνα. Το δεÏÏεÏο μÎÏÎ¿Ï ÎµÏÏιάζει ÏÏÎ¹Ï ÎºÏÏÎ¹ÎµÏ ÎµÎ¼ÏανίÏÎµÎ¹Ï ÏÏν ÎμαζÏνÏν ÏÏην ÏÏÏιμη νεοελληνική λογοÏεÏνία και ÏαÏÎÏει μιαν Î±Î½Î¬Î»Ï Ïη, οÏειλÏμενη ÏÎ¿Î»Ï ÏÏη ÏεμινιÏÏική κÏιÏική και ÏÏον ÎÏαÏÏίν, ÏÎ¿Ï Î±Î½ÎµÏÏÏαμμÎÎ½Î¿Ï ÎºÏÏÎ¼Î¿Ï ÏÏν ÎμαζÏνÏν ÏÏο Chapbook of Alexander (ÏÎλη 17Î¿Ï Î±Î¹Ïνα), ÏÎ¿Ï Î±ÏοÏελεί Ïο κενÏÏÎ¹ÎºÏ ÏÎ¿Ï Î¸Îμα. ÎÏιÏÏÏÏθεÏα, εξεÏάζεÏαι εν ÏÏ Î½Ïομία η μονομαÏία ÏÎ¿Ï ÏÎµÎ»ÎµÏ ÏÎ±Î¯Î¿Ï ÎµÏÎ¹ÎºÎ¿Ï Î®ÏÏα ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î»Î¿Î³Î¿ÏεÏνίαÏ, ÏÎ¿Ï Îιγενή ÎκÏίÏη με Ïην μεγίÏÏη ÏÏν ÎμαζÏνÏν, ÏÏÏÏ ÏαÏÎ¿Ï ÏιάζεÏαι ÏÏην εÏκοÏιακή εκδοÏή ÏÎ¿Ï 15Î¿Ï Î±Î¹Ïνα.
Î ÎÎÎÎÎΩ ΩΣ ÎÎÎÎÎÎÎ .. ΠεÏÏÏική ÏÏ
νεÏÏεÏη ÏÎ·Ï ÎαξιμÏÏ ÎºÎ±Î¹ ÏοÏ
Îιγενή ÎκÏίÏα (ÎÏγο Î. ΣκοÏ
ÏÏÎλη)----------------------------------------------------------------------------------------------------------------------------Mohammad Ghazanfari. 2014
ÎÏÏ Ïην αÏÏή ÏÎ·Ï Î¶ÏÎ®Ï ÏÏη γη, ο άνθÏÏÏÎ¿Ï Îμαθε ÏÏι η ζÏή αÏ' ÎµÎ±Ï ÏÎ®Ï ÎµÎ¯Î½Î±Î¹ ÏολÏÏιμη. Î Îννοια ÏÎ¿Ï Î¬ÏÏÏÏÎ¿Ï Î±ÏοÏελεί μια ανÏανάκλαÏη ÏÎ·Ï ÎµÏÎ¹Î¸Ï Î¼Î¯Î±Ï ÏÏν ανθÏÏÏÏν να ζήÏÎ¿Ï Î½ ÏÏον Ïο Î´Ï Î½Î±ÏÏν ÏεÏιÏÏÏÏεÏο Ïε Î±Ï ÏÏν Ïον κÏÏμο και να εÏιÏÏÏÎ¿Ï Î½ Ïην αθαναÏία. ΠιδÎα μÏοÏεί εÏίÏÎ·Ï Î½Î± ÏÏοÏεγγιÏθεί αÏÏ Ïην άÏοÏη ÏÎ·Ï ÎµÏÎ¹Î¸Ï Î¼Î¯Î±Ï ÏÎ¿Ï Î±Î½Î¸ÏÏÏÎ¿Ï Î½Î± εÏιÏÏÏει Ïην Ï ÏεÏοÏή ÎνανÏι ÏÏν άλλÏν ανθÏÏÏινÏν ÏνÏÏν. Î¥ÏάÏÏÎ¿Ï Î½ λίγοι ήÏÏÎµÏ ÏÏην ÏαγκÏÏμια Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î± ÏÎ¿Ï ÏημίζονÏαι για Ïο άÏÏÏÏο ÏÎ¿Ï Ï, μεÏÎ±Î¾Ï ÏÏν οÏοίÏν μÏοÏεί ÎºÎ±Î½ÎµÎ¯Ï Î½Î± αναÏÎÏει Ïον ÎÏιλλÎα â Ïον ÏεÏίÏημο Îλληνα ήÏÏα ÏÏον ΤÏÏÎ¹ÎºÏ Î Ïλεμο, ο οÏοίοÏ, ÏÏμÏÏνα με ÏÎ¿Ï Ï Î¼ÏÎ¸Î¿Ï Ï, ήÏαν άÏÏÏÏÎ¿Ï ÎµÎºÏÏÏ Î±ÏÏ Ïην ÏÏÎÏνα â καθÏÏ ÎºÎ±Î¹ Îναν άλλον, ονÏμαÏι Esfandiar, θÏÏ Î»Î¹ÎºÏ Î ÎÏÏη ÏÏίγκιÏα και ηÏÏÎ¹ÎºÏ ÏαÏακÏήÏα ÏÏο Shah-nameh ÏÎ¿Ï Ferdowsi â Ïο ÎµÎ¸Î½Î¹ÎºÏ ÎÏÎ¿Ï ÏÎ·Ï Î ÎµÏÏÎ¯Î±Ï â ÏÎ¿Ï Î¿ÏÎ¿Î¯Î¿Ï Ïο άÏÏÏÏο οÏείλεÏαι ÏÏον ÎÏÏοάÏÏÏη, Ïον αÏÏαίο ÎÏÎ±Î½Ï ÏÏοÏήÏη. ΦαίνεÏαι ÏÏι, μεÏÎ±Î¾Ï ÏÏν άÏÏÏÏÏν ηÏÏÏν ÏÏην ÏαγκÏÏμια Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î±, Î±Ï Ïοί οι δÏο, καÏÎÏονÏÎ±Ï Î¿ÏιÏμÎÎ½Î¿Ï Ï Î´Î¹Î±ÎºÏιÏά ÏαÏακÏηÏιÏÏικά, Î¼Î¿Î¹Î¬Î¶Î¿Ï Î½ ÏεÏιÏÏÏÏεÏο αÏÏ Î¬Î»Î»Î¿Ï Ï Î®ÏÏÎµÏ Î±ÏÏ ÏολλÎÏ Î±ÏÏÏειÏ. Îια ÏαÏάδειγμα, αÏÎ¿Î»Î±Î¼Î²Î¬Î½Î¿Ï Î½ μια διακεκÏιμÎνη βαÏιλική καÏαγÏγή, είναι νÎοι, γενναίοι, ÏεÏιÏεÏειÏδειÏ, αλαζονικοί και αÏÏ Î½Î±Î³ÏνιÏÏοι κάÏοÏοι Ï ÏεÏÏÏ ÏικÏν, θεÏκÏν ιδιοÏήÏÏν, αÏοζηÏοÏνÏÎµÏ Ïην Ïήμη, είναι ÎµÏ Î¬Î»ÏÏοι Ïε Îνα ÏÏ Î³ÎºÎµÎºÏιμÎνο Ïημείο ÏÎ¿Ï ÏÏμαÏÎ¿Ï ÎºÎ±Î¹ Ïελικά, ÏÎµÎ¸Î±Î¯Î½Î¿Ï Î½ με ÏÏαγικÏ, ÏÏÏÏÏο θάναÏο. ÎÏ Ïή η μελÎÏη ÏÏ Î³ÎºÏίνει και ανÏιÏαÏαβάλλει Ïον ÎÏιλλÎα και Ïον Esfandiar με βάÏη Ïην ελληνική και ÏεÏÏική Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î±. ----------------------------------------------------------------------------------------------------------------------------
Davis 1992ÎÏ Ïή η εÏγαÏία θα εÏιÏειÏήÏει να ÏÏ Î³ÎºÏίνει μια διάÏημη Ïκηνή ÏÏο Shahnameh ÏÎ¿Ï Ferdowsi με μια εξίÏÎ¿Ï Î³Î½ÏÏÏή ÏÏην Îλιάδα ÏÎ¿Ï ÎμήÏÎ¿Ï . Î¥ÏάÏÏÎ¿Ï Î½ γενικά ÏÏÎµÎ¹Ï ÏÏÏÏοι με ÏÎ¿Ï Ï Î¿ÏÎ¿Î¯Î¿Ï Ï Î¼ÏοÏεί να γίνει μια ÏÎÏοια ÏÏγκÏιÏη. Îι ομοιÏÏηÏÎµÏ ÎºÎ±Î¹ οι διαÏοÏÎÏ Î¼ÏοÏοÏν να αÏοδοθοÏν Ïε λÏÎ³Î¿Ï Ï ÏÏεÏιζÏÎ¼ÎµÎ½Î¿Ï Ï Î¼Îµ Ïο λογοÏεÏÎ½Î¹ÎºÏ ÎµÎ¯Î´Î¿Ï Î® Ïην ÏÏÏη ÏÎ¿Ï Ï ÏÎ¿ÎºÎµÎ¯Î¼ÎµÎ½Î¿Ï Î¼Ï Î¸Î¹ÎºÎ¿Ï Ï Î»Î¹ÎºÎ¿Ï ÎºÎ±Î¹ ÏÏν ÏηγÏν ÏÎ¿Ï ÏÏηÏιμοÏοιήθηκαν αÏÏ ÏÎ¿Ï Ï ÎµÎ½ λÏÎ³Ï ÏοιηÏÎÏ Î® ÏÏην ÏÏ Î½ÎµÎ¯Î´Î·Ïη και ÏÏήÏη αÏÏ Ïον μεÏαγενÎÏÏεÏο ÏοιηÏή ÏÎ¿Ï ÎÏÎ³Î¿Ï ÏÎ¿Ï ÏÏοηγοÏÎ¼ÎµÎ½Î¿Ï ÏοιηÏή, Ïε οÏοιοδήÏοÏε ÏÏάδιο ÏÎ·Ï Î±ÏÏÏÏαÏηÏ. ÎÎ»Î»Î¿Ï Îθιξα Ïο λογοÏεÏÎ½Î¹ÎºÏ ÎµÎ¯Î´Î¿Ï (genre: λογοÏεÏνικά είδη - literary genres - εννoοÏμε Ïην ÏοίηÏη, Ïην ÏεζογÏαÏία και Ïο δÏάμα) ÏÏ Î±Î¹Ïία για εμÏÎ±Î½ÎµÎ¯Ï Î¿Î¼Î¿Î¹ÏÏηÏÎµÏ Î¼ÎµÏÎ±Î¾Ï ÏÏν δÏο εÏιÏανειακά ÏÎ¿Î»Ï Î´Î¹Î±ÏοÏεÏικÏν εÏικÏν ÏαÏαδÏÏεÏν ÏÎ·Ï ÎÎ»Î»Î¬Î´Î±Ï ÎºÎ±Î¹ ÏÎ¿Ï ÎÏάν, Ï ÏοδεικνÏονÏÎ±Ï ÏÏι η ÏÏγκÏÎ¿Ï Ïη βαÏιλιά/ÏÏÏÏαθληÏή ÏÎ¿Ï ÏεÏιγÏάÏεÏαι αÏÏ Ïον W. T. H. Jackson ÏÏ ÏÏ Ïική ÏÎ¿Ï ÎµÏ ÏÏÏαÏÎºÎ¿Ï ÎÏÎ¿Ï Ï ÎµÎ¯Î½Î±Î¹ εÏίÏÎ·Ï ÏαÏακÏηÏιÏÏική ÏÎ¿Ï Î¹ÏÎ±Î½Î¹ÎºÎ¿Ï Shahnameh.1 Το Ïιο ÏÏ Î½Î·Î¸Î¹ÏμÎνο και ίÏÏÏ Ïιο Ï ÏοδηλÏÏικά γÏνιμο ÎµÎ¯Î´Î¿Ï ÏÏγκÏιÏÎ·Ï ÎµÎ¯Î½Î±Î¹ Î±Ï ÏÏ ÏÎ¿Ï Ï Ïονοεί μια κοινή Ïηγή ÏÏον ÎÎ½Î´Î¿ÎµÏ ÏÏÏαÏÎºÏ Î¼Ïθο για εÏειÏÏδια ÏÏην ελληνική Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î± και εÏειÏÏδια ÏÏα ÏÏοηγοÏμενα Î¼Ï Î¸Î¹ÎºÎ¬ και θÏÏ Î»Î¹ÎºÎ¬ ÏÏάδια ÏÎ¿Ï Shahnameh: η ελληνική ιÏÏοÏία ÏÎ¿Ï Î ÏομηθÎα, για ÏαÏάδειγμα, ÏαίνεÏαι να είναι ÎÎ½Î±Ï ÏÏενÏÏ ÏαÏαλληλιÏμÏÏ Î¼Îµ Ïην ιÏÏοÏία ÏÎ¿Ï Jamshid & Zahhak - η ειÏαγÏγή ÏÎ¿Ï Jamshid ÏÏÎ¹Ï ÏÎÏÎ½ÎµÏ ÏÎ¿Ï ÏολιÏιÏÎ¼Î¿Ï ÎºÎ±Î¹ η αίÏθηÏη ÏÎ¿Ï ÏÏι ÏÏ Î½Î±Î³ÏνίζεÏαι ÏÏην ÎµÎ¾Î¿Ï Ïία Ïον Ï ÏÎÏÏαÏο ÎÎµÏ ÏÎ¿Ï Î±ÏηÏεί ÏαÏÏμοια θÎμαÏα ÏÏην ιÏÏοÏία ÏÎ¿Ï Î ÏομηθÎα και Ïην ÏιμÏÏία ÏÎ¿Ï ÎµÏιβλήθηκε ÏÏον ανÏίÏÎ±Î»Ï ÏÎ¿Ï , Zahhak, με Ïον οÏοίο ÏÏ Î½Î´ÎεÏαι ÏÏενά, αÏοÏελÏνÏÎ±Ï ÏαÏάλληλο με Î±Ï ÏÏ ÏÎ¿Ï ÎµÎ¯Ïε ο Î¯Î´Î¹Î¿Ï Î¿ Î ÏομηθÎαÏ, ÎÏÏι ÏÏÏε Î±Ï ÏÏ ÏÎ¿Ï ÎµÎ¼ÏανίζεÏαι ÏÏ Î¹ÏÏοÏία για μια Î¼Ï Î¸Î¿Î»Î¿Î³Î¹ÎºÎ® ÏιγοÏÏα ÏÏÎ¹Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎÏ ÏηγÎÏ ÎµÎ¼ÏανίζεÏαι ÏÏ Î¹ÏÏοÏία για δÏο ÏÏ Î½Î´ÎµÎ´ÎµÎ¼ÎÎ½ÎµÏ Î¼Î¿ÏÏÎÏ ÏÏην ÏεÏÏική ÏηγÎÏ.ÎÏ Ïή η εÏγαÏία θα εÏικενÏÏÏθεί Ïε Îνα ÏÎ¿Î»Ï ÏÏενÏÏεÏο Ïεδίο ÏιθανοÏήÏÏν και θα αÏοÏÏγει λίγο ÏÎ¿Î»Ï ÏÎ¹Ï ÎµÎ¹ÎºÎ±ÏÎ¯ÎµÏ ÏÏεÏικά με μια κοινή Î¼Ï Î¸Î¿Î»Î¿Î³Î¹ÎºÎ® ÏÏοÎÎ»ÎµÏ Ïη. Î ÏÏÏÏÎ¿Ï ÎµÎ´Ï ÎµÎ¯Î½Î±Î¹ να εÏιÏÏήÏÎ¿Ï Î¼Îµ Ïην ÏÏοÏοÏή ÏÏην ÏÏαÏξη ÏÏν εξαιÏεÏικά ιÏÏÏ ÏÏν δομικÏν και ακÏμη και ÏιθανÏν γλÏÏÏικÏν ομοιοÏήÏÏν μεÏÎ±Î¾Ï Î¼Î¹Î±Ï ÏÎºÎ·Î½Î®Ï ÏÏο ÎÏγο ÏÎ¿Ï ÎμήÏÎ¿Ï ÎºÎ±Î¹ Î¼Î¹Î±Ï ÏÏο Shahnameh ÏÎ¿Ï Ferdowsi, και να ÏÏοÏÎµÎ¯Î½Î¿Ï Î¼Îµ ÏÏι οι ÏαÏαλληλιÏμοί μεÏÎ±Î¾Ï ÏÏν δÏο Ï ÏονοοÏν κάÏι ÏεÏιÏÏÏÏεÏο αÏÏ Ïην αÏλή εÏανάληÏη. ενÏÏ ÏÏÏÎ¿Ï ÏÏεÏικά ÎºÎ¿Î¹Î½Î¿Ï ÏÏην εÏική/ηÏÏική ÏοίηÏη. Îι ÏεÏιÏÏαÏιακÎÏ Î¼Î±ÏÏÏ ÏÎ¯ÎµÏ ÏÏν κειμÎνÏν ÏÏ ÎÏÎ¿Ï Î½ ÏÏÏα Ï ÏοδηλÏÎ½Î¿Ï Î½ ÏÏι Ïο ομηÏÎ¹ÎºÏ ÎµÏειÏÏδιο ήÏαν Ïε ÏημανÏÎ¹ÎºÏ Î²Î±Î¸Î¼Ï, μÎÏÏ ÎºÎ¬ÏοιÏν μη ανακÏήÏιμÏν ÏλÎον μÎÏÏν μεÏάδοÏηÏ, Îνα ÏÏ Î³ÎºÎµÎºÏιμÎνο ÏÏÏÏÏ Ïο για Ïη Ïκηνή ÏÏο Ïοίημα ÏÎ¿Ï Ferdowsi. Îεν μιλάμε, λοιÏÏν, για μια κοινή Î¼Ï Î¸Î¹ÎºÎ® Ïηγή ή για ÏÏμÏÏÏÏη ÏÎ·Ï ÏÏήÏÎ·Ï ÏÎ¿Ï ÎµÎ¯Î´Î¿Ï Ï, ÏÏο για Ïην αξιοÏοίηÏη αÏÏ Ïον Ferdowsi ÏÎ·Ï ÎμηÏÎ¹ÎºÎ®Ï ÏÎºÎ·Î½Î®Ï ÏÏ Î»Î¿Î³Î¿ÏεÏÎ½Î¹ÎºÎ¿Ï ÏÏοÏÏÏÎ¿Ï - Ï ÏοδείγμαÏοÏ.
----------------------------------------------------------------------------------------------------------------------------Marshak 1995, p. 104.southern walk. A well-preserved fragment was discovered on the northern wall of Room 55 (Fig. 52). It represents a battle: the king in his lamellar armour is stabbing his enemy with his sword. An arrow head (or the point of a spear) is directed at the king's breast. This scene is certainly not the first episode of the narrative. In the following episode another warrior in full lamellar armour is killed with an arrow (or a spear) (Fig. 53). In the third episode, a female warrior appears, sword in hand, but wearing rich garments (Fig. 54). The most probable interpretation is that she intends to support the partly defeated army of the king. Then, by the time we reach Room 55, she is shown in her full armour (Fig. 55). She is fencing with a man in chain mail. On the same wall there are figures of a slain warrior falling and two kneeling figures in full armour, one of which is female They are smaller than the figures of the fighters. However, {NEXT PAGE IS 105} it may be the same female warrior depicted in both scenes. She and another hero could be shown, kneeling before a king or their commander-in-chief. There are a number of warlike women in the Shah-nameh and in the epics of the Central Asian Turkic peoples. Î. M. Belenitskii thought that the woman could be Gurd-Afarid, the daughter of the ruler of the fortress Safid-Diz,43 In the Shah-nameh, she fights unsuccessfully with Suhrab the son of Rustam, alter the defeat of a young warrior from her father's garrison. It is hard to explain why her father could be presented as a possessor of the royal farn but in the mural only he, and not the heroine, has a halo and tongues of flame over his shoulders. Moreover, the father of Gurd-Afarid does not fight. More probably, the story from the Shah-nameh is only typologically similar to the subject of the murals in Rooms 42 and 55. In this house, including the 'Rustam Room' and these two additional rooms, we find illustrations to a whole library of the secular books so poorly represented among Sogdian and other Middle Iranian literary texts which have come down us.
Marshak 1995, p. 126 One of the Pendjikent epic subjects which is known from the study of the murals of the 'Rustam Room' has an approximate analogy among the murals in another hall (Room I / Sector XXI)" of the same period (c. AD 740), and its well-known 'Amazon' cycle is comparable with the murals in Rooms 42 and 55/Sector Vl. Room I/Sector XXI is a reception hall in one of the two Largest houses in the town (Fig. 6). In the long lobby fronting the main hall there were the cult scene with Nanaya on her lion, advancing riders, a scene of a banquet and dancing masked performers in theatrical dress. There is no proof that these fragments belong to an illustrative cycle. Their date is c. Al) 720. In the room for family gatherings there are later paintings (c. AD 740) which include the portraits of an ancestral couple (the parents of the owner of the house?) the two dancers, and battle episodes which may be illustrative (they are fragmentary, and it is impossible to tell how the events develop). In the main hall itself, there are paintings that belong to the later group (c. AD 740). Two registers of murals have been satisfactorily preserved: the upper one with a frieze-like composition and the lower one divided into several panels by double vertical lines (Pls. 12-13). The background is light blue and is brighter in the upper register. Sometimes in the lower register the priming coat without blue pigment serves as the background. The development of events in the frieze-like composition is right in left. In the lower part of the upper register, among the figures of the dead and wounded warriors, there are women with two long plaits. All the fighters are mounted and, unfortunately, the upper part of the composition with their heads and shoulders is completely gone. That is why only one scene, with a dead or wounded woman borne by two warriors on a carpet (?) is understandable (Pl. 13). The 'Amazon' stories in this hall and those in Rooms 42 avid 55/Sector VI are different. In Room I/Sector XXI the king (?) of the enemies of the Amazons is shown several times. His horse is white, his leggings are adorned with pearls. Fragments of the three episodes have been preserved: 1) he leads his army; 2) after the above mentioned scene with the wounded or killed Amazon, he is depicted in battle, falling from his horse; 3) in the final scene he is seated on a camp stool, and trophies lie before him.
----------------------------------------------------------------------------------------------------------------------------ILIAD 21.114-119 AND THE DEATH OF PENTHESILEAby G.M. Sifakis
The famous Penthesilea kylix in the Museum Antiker Kleinkunst, Munich (fig. I),1 shows a Greek killing an Amazon. Two more figures, a Greek on the left of the central group and a fallen Amazon on right, complete the picture. Whether the two main figures are Achilles and Penthesilea, as O. Jahn2 suggested more than a hundred years ago and is still widely believed, or the scene is better interpreted as an Athenian Amazonomachy derived from Mikon's painting with the same subject in the Stoa Poikile as von Bothmer,3 following Furtwängler,4 has argued, is a problem that will not concern us here.
The purpose of this paper is to relate the vase-painting with a Homeric passage, namely Iliad where the slaying of Lykaon by Achilles is described:
á½£Ï ÏάÏο, Ïοῦ δ᾽ αá½Ïοῦ λÏÏο γοÏναÏα καὶ Ïίλον ἦÏοÏÎ115 á¼Î³ÏÎ¿Ï Î¼Îν ῥ᾽ á¼ÏÎηκεν, ὠδ᾽ á¼Î¶ÎµÏο Ïεá¿Ïε ÏεÏάÏÏαÏá¼Î¼ÏοÏÎÏαÏÎ á¼ÏÎ¹Î»Îµá½ºÏ Î´á½² á¼ÏÏ ÏÏÎ¬Î¼ÎµÎ½Î¿Ï Î¾Î¯ÏÎ¿Ï á½Î¾á½ºÏÏÏε καÏá½° κληá¿Î´Î± ÏαÏá¾½ αá½ÏÎνα, Ïᾶν δΠοἱ εἴÏÏδῦ ξίÏÎ¿Ï á¼Î¼ÏηκεÏΠὠδ᾽ á¼Ïα ÏÏÎ·Î½á½´Ï á¼Ïὶ γαίá¿ÎºÎµá¿Ïο ÏαθείÏ, á¼Îº δ᾽ αἷμα μÎλαν á¿¥Îε, δεῦε δὲ γαá¿Î±Î½.
á¼Î¶ÎµÏο in line 115 does not mean 'sat' but 'sank to the ground' as in II. 13.653 and 14.495 (cf. L.S.J., s.v. Îζομαι, 1.3). Also, Ïεá¿Ïε ÏεÏάÏÏÎ±Ï probably implies a gesture of imploring (cf. κάÏÏεÏεν á¼Î¼ÏÏ Ïεá¿Ïε ÏÎ¯Î»Î¿Î¹Ï á¼ÏάÏοιÏι ÏεÏάÏÏαÏ, Il. 4.523, 13.549).The passage quoted above contains many formulas but as a configuration of formulas and a specific description of Achilles killing an opponent it is unique in Greek epic poetry. The arrangement of the two central figures on the Penthesilea cup is also unique in vase painting, although the subject of the picture is common. It seems to me that there is a striking correspondence between the cup scene and the Homeric description, which is unlikely to be accidental. I suggest, therefore, that the Penthesilea Painter, or the painter of his prototype, had in mind the above passage (or a similar one from the Aithiopis , if the figures are indeed Achilles and Penthesilea). In view of this passage 'Achilles' on the Penthesilea cup should not be described as plunging his sword into the breast of 'Penthesilea'5 but between her collar-bone and throat. The blade will presentlyreach her heart and cause instant death. Homer accurately describes a specific and efficient way of slaying an opponent who does not offer (or no longer offers) any resistance. Perhaps this method of execution should not be attributed to the poet's imagination but rather to observation of actual war practice.6 A similar use of the sword, although in a very different situation, is probably to be recognized on another Athenian vase, a 'Tyrrhenian' amphora by the Timiades Painter (fig. 2). 7 The subject of this picture is the sacrifice of Polyxena by Neoptolemos. Polyxena's body is held horizontally by three Greeks over the tomb-altar of Achilles while Neoptolemos performs the sacrifice. The blade has cut the carotid and a gush of blood comes out of the wound. No matter, however, whether Achilles' method of execution could be observed in real life, what links the Homeric description of Lykaon's death in the hands of Achilles to Penthesilea's similar fate shown on the Munich cup is the close correspondence in the rendition of the two scenes and their uniqueness in poetry and art respectively.
University of Thessaloniki----------------------------------------------------------------------------------------------------------------------------
WIKIPEDIA, s.v. Sogdian Art Sogdian terminology and the many images of gods suggest that the temples were considered by Sogdians "the house of the gods," similarly to the Greeks.[26: Shkoda, V. D. 1996. "The Sogdian Temple: Structure and Rituals," Bulletin of the Asia Institute (New Series) 10, pp. 195â206. <https://www.jstor.org/stable/24048896..., p. 201, n. 40 & final!]{40. B. I. Marshak, "Pod" emnaia mashina v khrame drevnego Pedzikenta" (An elevating machine in a temple in ancient Panjikenti, in Proshloe Srednei Azii: Alkheologiia, numizmatika i epigrafika, ernoraffiiq, ed, V. A. Rartuv (Dushanbe, 1987), pp. 95-103, The isometric plan and the reconstruction of the machine is also reproduced in M. Mode, "Das Enthulungsrituals des versteckten Gottin: Zur Darstellung einer sogdischen Kulstatue aus Metall", Hallesche Beiträge zur Orientwissenschaft 16 [1991], fig. 11 <https://menadoc.bibliothek.uni-halle....} According to Marshak, there was technology in the temple that allowed to raise the image of a god. There was also a room that was possibly assigned to theatrical effects. It is possible that the rituals had a theatrical nature, including special effects, with the Sogdians possibly performing religious/mythological scenes.[26] Two murals (found in a chapel and in the courtyard), dating to the 6th century, confirm the practice of theatrical worship.[26] All works at the temple were funded by private donors.[26] In the temple there was also a bakery.[26]
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Π«αÏÏ Î¼Î·ÏανήÏ» θεÏÏ (Deus ex machina)ÎÎ½Ï ÏÏÏική μηÏανή («γÎÏανοÏ») ÏÎ¿Ï Î±ÏÏÎ±Î¯Î¿Ï Î¸ÎµÎ¬ÏÏÎ¿Ï (αÏÏ Ïην εÏοÏή ÏÎ¿Ï ÎιÏÏÏÎ»Î¿Ï ) ÏÎ¿Ï ÏÏηÏιμοÏοιÏÏαν για Ïην ενÏÏ ÏÏÏιακή αιÏÏηÏη και κάθοδο ÏÏη Ïκηνή καθοÏιÏÏικÏν για Ïη δÏάÏη ÏÎ¿Ï ÎÏÎ³Î¿Ï ÏÏοÏÏÏÏν (Ï.Ï. ήÏÏεÏ, θεοί, κ.ά), αλλά και ÏÏανιÏÏεÏα βαÏÏÏεÏÏν ÏοÏÏίÏν (Ï.Ï. άÏμαÏα ή άλογα με αναβάÏεÏ, εξÎδÏÎµÏ Î¼Îµ Ïο ÏοÏÏ, κ.ά.). ΣÏμÏÏνα με Ïο ÏÏ Î³ÎºÎµÏαÏÎ¼Ï Î²Î¹Î²Î»Î¹Î¿Î³ÏαÏικÏν και αγγειογÏαÏικÏν ÏληÏοÏοÏιÏν αÏοÏελοÏνÏαν αÏÏ Î¼Î¯Î± μακÏιά αÏθÏÏÏή Î´Î¿ÎºÏ ÏÎ¿Ï ÏÏηÏιζÏÏαν Ïε μια ÏεÏιÏÏÏεÏÏμενη καÏακÏÏÏ Ïη δοκÏ. Το ÏοÏÏίο Î±Î½Ï ÏÏνÏÏαν με ÏÏοινί («αιÏÏα») μÎÏÏ ÏÏοÏÎ±Î»Î¯Î±Ï ÎºÎ±Î¹ ÏειÏοκίνηÏÎ¿Ï Î²Î±ÏοÏÎ»ÎºÎ¿Ï ÏÎ¿Ï Î²ÏίÏκονÏαν εκαÏÎÏÏθεν ÏÎ·Ï Î´Î¿ÎºÎ¿Ï. ΠδοκÏÏ ÎÏεÏε ανÏίβαÏο για Ïην εξιÏοÏÏÏÏηÏη ÏÎ¿Ï Î±Î½Î±ÏÏÏÎ¼ÎµÎ½Î¿Ï ÏοÏÏÎ¯Î¿Ï . ΠμηÏανή ήÏαν ÏοÏοθεÏημÎνη ÏίÏÏ Î±ÏÏ Ïη Ïκηνή κονÏά ÏÏην αÏιÏÏεÏή ÏάÏοδο Ïε οÏιζÏνÏια ÏÏεδÏν θÎÏη. Î ÏειÏιÏÏÎ®Ï ÏÎ·Ï Î¼Î·ÏÎ±Î½Î®Ï («μηÏανοÏοιÏÏ»), αÏÎ¿Ï ÎµÎ¾Î¹ÏοÏÏοÏοÏÏε Ïο ÏοÏÏίο (με ανÏίβαÏα), αÏκοÏÏε (μÎÏÏ ÏÏν ÏειÏολαβÏν) Ïην αÏαιÏοÏμενη κλίÏη και ÏÏη ÏÏ Î½ÎÏεια Ïην αÏαιÏοÏμενη ÏεÏιÏÏÏοÏή ÏÏη Î´Î¿ÎºÏ ÏÏÏε Ïο ÏοÏÏίο να βÏεθεί ÏÎ¬Î½Ï Î±ÏÏ Ïο μÎÏον ÏÎ¿Ï ÏÏοÏÎºÎ·Î½Î¯Î¿Ï . ÎÎ½Î±Ï ÏÏοÏÏÏ ÏÏο άκÏο ÏÎ·Ï Ï ÏεÏÏÏαθμιÏμÎÎ½Î·Ï Î´Î¿ÎºÎ¿Ï Î¯ÏÏÏ Î´Î¹ÎµÏ ÎºÏÎ»Ï Î½Îµ Ïο ÏειÏιÏÏή ÏÏην ÏεÏιÏÏÏοÏή ÏηÏ. ÎÏαν η δÏάÏη Ïο αÏαιÏοÏÏε εκÏελοÏÏε και ÎºÎ»Ï Î´ÏνιÏμοÏÏ ÏÏο ÏÏαθμιÏμÎνο ÏοÏÏίο. ΤÎÎ»Î¿Ï ÎµÎ½Î±ÏÏθεÏε Ïο ÏοÏÏίο ÏÏο ÏÏοÏκήνιο με Ïη βοήθεια ÏÎ¿Ï Î²Î±ÏοÏÎ»ÎºÎ¿Ï .
ÎÎÎÎÎÎÎΡÎΦÎÎhttps://archive.org/details/legendsta..., B. 1995. Legends Tales & Fables In The Art Of Sogdiana, New York (Amazon).: fig. 54, 55; pp. 103â6, 126.
https://www.tandfonline.com/doi/full/..., P., and K. Maksymiuk. 2019. "GordÄfarid, Penthesilea and Athena: the identification of a Greek motif in FerdowsÄ«âs Å Äh-nÄma and its possible association with Hellenistic art in the East," Mediterranean Historical Review 34 (2), pp. 123-143.--------------------------------------------------------------------------------------------------------------------------- https://www.researchgate.net/publicat... Zalipour. 2005. "The Shahnameh of Ferdowsi: The Soul of Iran Saga" in Nationhood in Literature: Expressions of Realities, ed. Subramaniam, G, I. J. Azyze, S. I. Hamdan, Malaysia, pp. 221-232.
https://www.jstor.org/stable/4310801D..., D. 1992. "In the Enemy's Camp: Homer's Helen and Ferdowsi's Hojir," Iranian Studies 25 (3/4), pp. 17-26.
ÎονιδάÏηÏ, Î. Î. 2022. "ÎÎÎÎÎÎÎÎΣ ÎÎ ÎΡΡÎÎΣ ΣΤÎΠΣÎÎÎÎÎÎÎ & ΤÎÎ ÎΥΡΥΤÎΡΠΠÎΡÎÎΧÎ," <https://dnkonidaris.blogspot.com/2022... (8 Sept. 2023).
https://www.jstor.org/stable/24048774..., B. I. and V. I. Raspopova. 1994. "Worshipers from the Northern Shrine of Temple II, Panjikent," Bulletin of the Asia Institute (New Series) 8 (The Archaeology and Art of Central Asia Studies From the Former Soviet Union), pp. 187-207.--------------------------------------------------------------------------------------------------------------------------- https://www.jstor.org/stable/24048896..., V. D. 1996. "The Sogdian Temple: Structure and Rituals," Bulletin of the Asia Institute (New Series) 10, pp. 195â206.
p. 201sions.37 The numerous images of gods in the temples, as well as Sogdian religious terminology, indicate that temples were viewed by the Sogdians as the "place, dwelling of the gods"â vaghestan 38 which recalls the corresponding view on Greek temples: representations of sacred processions in Greek temples, accordrig to J. Harrison, were "prayers or praises translated into stone,"39 suggesting that all scenes had been part of the ritual. Materials of the fourth period from Temple II testify that images of the Panjikent temples might have been included in the ritual.
B. I. Marshal suggested that there had been some mechanicaI device at Panjikent that elevated a screen or an image of a god.40 A ritual involving the use of miracle-working machinery recalls a theatre performance with elements of the Mysteria rite,41 {41: It is worth mentioning that ancient Greeks regarded theatre performances as a part of the state cult; see S. I. Radtsig, Istoriia Drevnegrecheskoi literatury (Moscow 1982), p. 174; cf. Harrison, Ancient Art and Ritual, pp. 1-3} its center the moving image of a deity. A secret room in the interior of a fourth-period ramp that ascended to the top of the platform of Temple II might also have been used for scenic effects.42 Episodes from the lives of the gods were probably recited or acted out in the course of the service, thus allowing the audience watching the performance to become involved in it. One sixth-century mural painting from the northern chapel in the courtyard of Temple II represents this type of theatrical ritual. In front of a goddess seated on a throne shaped like a fantastic animal, a group of people who play the parts of different gods is represented. A group of people shown as smaller represent mortals. Another sixth-century painting from an auxiliary shrine in the northern part of the courtyard of Temple I (Room 10a) represents dancing people in animal masks, who hold musical instruments.44--------------------------------------------------------------------------------------------------------------------------- https://menadoc.bibliothek.uni-halle...., M. 1991. "Das Enthulungsrituals des versteckten Gottin: Zur Darstellung einer sogdischen Kulstatue aus Metall," Hallesche Beiträge zur Orientwissenschaft 16, pp. 53-76. <https://menadoc.bibliothek.uni-halle....
ÎÎÎÎΥΣÎÎÎÎ ÎΥΣΤÎΡÎÎ & ÎÎΤΡÎÎΠΤÎΣ ÎÎÎÎΤΡÎΣ ΣΤΠΣÎÎÎÎÎÎÎ PANJIKENT!
ΣÎÎÎÎÎÎÎ ÎÎÎÎÎÎÎΡÎΦÎÎ: ΣΤÎÎ ÎÎ ÎÎΧΠΤΩΠÎÎÎÎÎÎΣΤÎÎΩΠ& ÎÎΣΣÎÎÎÎΩΠΡÎÎΩΠΤÎΣ ..
ΣÎÎÎÎ ÎΡÎÎÎÎ¥ (ÎÎΠΤÎÎ ÎΠΩÎÎÎΠΤÎΣ Î ÎΡΣÎΦÎÎÎΣ ?) ÎΠΤÎÎ NANA & ΤÎÎ ÎÎÎÎΤΡΠÎΠΠΤÎÎΧÎÎΡÎΦÎΠΤÎÎ¥ ÎÎΡÎÎ¥ ÎΠΣΤΠPANJIKENT(Mourning Scene. Panjikent, Tajikistan, south wall of main hall of Temple II, Wall painting, 6th c. CE, The State Hermitage Museum, SA-16236)
ÎÎÎÎÎÎÎÎ ÎÎ ÎΡΡÎΠΣΤΠΣÎÎÎÎÎÎÎ PANJIKENT (ΤÎΤÎÎÎÎΣΤÎÎ, 7/8 αι. μ.Χ.)
ÎÎÎΤΡÎÎÎÎ ÎÎÎÎÎÎΣΤÎÎÎ ÎΥΡÎÎÎΤΠÎΠΠΤΠÎÎΡΠII ΤÎÎ¥ PENJIKENT
ΣÎÎÎÎÎÎÎ ÎÎΥΣÎÎÎ Î ÎΡÎÎÎΣΠ& ÎÎÎÎÎÎΣΤÎÎÎΣ Î ÎÎÎΤÎΣÎÎΣ
Î ÎÎÎÎÎΠΤÎÎ¥ ÎÎÎÎÎÎÎΡÎÎ¥ ΣΤÎÎ ÎÎÎΤΡÎÎÎ ÎΣÎÎ: ÎÎΠΤÎÎÎÎΡÎÎ (The Image of Alexander in Central Asia A New Document: A lecture by Frantz Grenet, Collège de France, Paris)
ÎÎÎΤΡÎÎÎ ÎΡΩÎÎÎΠΣΤΠÎÎΡΠΤÎÎ¥ PANJIKENT ΤÎΣ ΣÎÎÎÎÎÎÎΣ ΣΥÎΦΩÎÎ ÎΠΤΠÎÎÎÎÎÎÎΠΠΡÎΤΥΠΠ(THEATER PERFORMANCES & AUTOMATA PAINTED IN FRESCOES OF PENJIKENT TEMPLE - FOLLOWING THE GREEK PROTOTYPE - MODEL)
ΣΧÎÎÎÎΣÎÎΣ ΧΡΥΣÎΣ Î¥ÎΡÎÎΣ ÎΠΠΤÎÎ ÎΥΤÎÎÎ ÎÎÎΤΡÎÎÎ ÎΣÎÎ, ΠΡÎÎΡΧÎÎÎÎÎΣ ÎΠΠΤΠÎÎÎÎΤÎΡΠΤÎÎ¥ ÎÎÎÎΤ ΤÎÎ¥ 7/8 αι.(Allegories of Kingship: A Preliminary Study of a Western Central Asian Gold Ewer in the Royal Court of Tibet)
MOURNING SCENE WITH NANA, DEMETER & DEAD PERSEPHON FROM PANJIKENT MURAL (south wall of main hall of Temple II, Wall painting, 6th c. CE, The State Hermitage Museum, SA-16236)
ÎÎÎÎÎÎÎÎ ÎÎ ÎΡΡÎΠΣΤΠΣÎÎÎÎÎÎÎ PANJIKENT (ΤÎΤÎÎÎÎΣΤÎÎ, 7/8 αι. μ.Χ.)
G. M. Sifakis. 1976. "'ILIAD' 21.114-119 AND THE DEATH OF PENTHESILEA," Bulletin of the Institute of Classical Studies 23, pp. 55-57. https://www.jstor.org/stable/43646137 https://www.researchgate.net/publicat... https://www.logeion.upatras.gr/node/303
https://www.academia.edu/8717811/Deus..., A. S. , M. C. Tsakoumaki, T. G. Chondros. 2010. "'Deus-Ex-Machina' Mechanism Reconstruction in the Theater of Phlius, Corinthia," J. Mech. Des. Jan 2010, 132(1): 011001 (9 pages)https://doi.org/10.1115/1.4000530
https://www.researchgate.net/publicat... Ghazanfari. 2014. "Similar Portrayal of Two Invulnerable Heroes in Homerâs Iliad and Ferdowsiâs Shah-nameh," Iranian EFL Journal 10 (4), pp. 416-426.
https://fac.flinders.edu.au/dspace/ap..., Τ. 2009. "The Inverted World of the Amazons: Aspects of a Persistent Myth in Early Modern Greek Literature," in Greek Research in Australia: Proceedings of the Eighth Biennial International Conference of Greek Studies, Flinders University June 2009, ed. Rossetto, M., M. Tsianikas, G. Couvalis and M. Palaktsoglou, pp. 291-309.
Î ÎÎÎΠΠΡÎΣΦÎΤÎΣ ÎÎÎ ÎÎΥΤÎΣÎÎΣ - ÎÎ ÎÎÎÎÎÎÎ: 110923
September 6, 2023
HITTITE WATER CULT AND ARM-SHAPED VESSELS FROM CYPRUS
ÎΥΠΡÎÎÎÎ ÎÎÎÎÎÎ & Î¥ÎÎΤÎÎΠΣΤÎÎΧÎÎΠΣΤÎÎ ÎΡÎΣÎÎΥΤÎÎΠΤÎÎÎΤÎΥΡÎÎΠΤÎΣ ΧÎΤΤÎÎÎΣ ÎÎÎΤÎÎÎÎΣΣÏην ΧαÏοÏÏα, αλλά και Ïε Î¬Î»Î»ÎµÏ Î¸ÎÏÎµÎ¹Ï ÏÏην ÎναÏολία, ÎÏει αναÏκαÏεί ÏληθÏÏα κεÏαμεικÏν ÏÎ·Ï ÎµÏÏ
θÏÎ¬Ï ÏÏοÏήλαÏηÏ,[7_168] ÏÏÏον ÏοÏ
ιδιÏμοÏÏοÏ
ÏÏήμαÏÎ¿Ï ÎºÎ¿Î¯Î»Î¿Ï
βÏαÏÎ¯Î¿Î½Î¿Ï (ή και κοÏ
ÏαλÏÏÏημα),[7_169] ÏÏον και εκÏÏοÏÏÏÏν ÏÎ·Ï Î¬Î»Î»Î·Ï Î¼ÎµÎ³Î¬Î»Î·Ï ÎºÎ±ÏηγοÏÎ¯Î±Ï ÏÎ·Ï ÎºÎµÏÎ±Î¼ÎµÎ¹ÎºÎ®Ï RLWm, ήÏοι ÏÏν λεγομÎνÏν αÏÏακÏοειδÏν. ÎÏ
Ïά Ïα ιδιÏμοÏÏα εÏιμήκη αγγεία, ÎÏ
ÏÏιακÎÏ ÎµÎ¹ÏαγÏγÎÏ Î±Î»Î»Î¬ και ÏοÏικÏÏ ÏαÏαγÏÎ¼ÎµÎ½ÎµÏ Î±ÏομιμήÏειÏ,[7_170] ÏÏ
ÏÏεÏίζονÏαι με ÏελεÏοÏ
Ïγική δÏαÏÏηÏιÏÏηÏα θÏηÏκεÏ
ÏÎ¹ÎºÎ¿Ï ÏαÏακÏήÏοÏ,[7_171] ÏαίνεÏαι δε ÏÏι ÏημαÏοδοÏοÏν Ïην ÏÏαÏξη ιδιαίÏεÏÏν και ÏÏενÏν ÏÏÎÏεÏν ÏÏν ΧεÏÏαίÏν με Ïην ÎÏÏÏο,[7_172] οι οÏÎ¿Î¯ÎµÏ Î¼Îνει να αÏοÏαÏηνιÏθοÏν ÏεÏαιÏÎÏÏ ÏÏο μÎλλον.
Îικ. 1. (a) ΧάÏÏÎ·Ï ÎµÎ½Î´ÎµÎ¹ÎºÏικÏν θÎÏεÏν εÏ
ÏÎÏεÏÏ ÎÏ
ÏÏιακÏν αγγείÏν: 1, BoÄazköy; 2, KuÅakli; 3, Kilise Tepe; 4, Tel Tweini; 5, Memphis Saqqara. (b) ÎεγÎθÏ
νÏη για Ïην εÏίδειξη θÎÏεÏν ÏÏην ÎÏÏÏο: 6, ÎοÏ
κλιά; 7, ÎαλαβαÏÏÏÏ-ÎÎ³Î¹Î¿Ï ÎημήÏÏιοÏ; 8, ÎÏÏεÏα; 9, ÎλÏ
κή (Hala Sultan Tekke); 10, ÎγκÏμη; 11, ÎαζαÏάνηi; 12, Dhenia; 13, ÎÏÏÏοÏ
-ΠηγάδεÏ. (c) ÎξÏληκÏο αγγείο ÎÏÏÏοÏ
, (d) ÏακοειδÎÏ ÏλαÏκί ÎÏÏÏοÏ
, (e) Îγγεία ÏÏήμαÏÎ¿Ï Î²ÏαÏÎ¯Î¿Î½Î¿Ï Î±ÏÏ Ïο Kilise Tepe.
Το ιεÏÏ ÏÏ Î³ÎºÏÏÏημα Südburg ÏÏην ΧεÏÏιÏική ÏÏÏÏεÏÎ¿Ï Ïα αÏοÏελεί ÏημανÏÎ¹ÎºÏ Ïημείο ÏÏ ÏÏÏÏεÏÏεÏÏ ÏÏν ÏÏοαναÏεÏθÎνÏÏν ιδιαίÏεÏÏν ÎÏ ÏÏιακÏν αγγείÏν, θα ÏÏολιαÏθεί δε ÎµÎ´Ï ÏÏνÏομα λÏÎ³Ï ÏÎ¿Ï ÎµÎ½Î´Î¹Î±ÏÎÏονÏÎ¿Ï ÏÎ¿Ï ÎµÎ¼Ïανίζει για ÏÎ¹Ï Î¸ÏηÏÎºÎµÏ ÏικÎÏ ÎºÎ±Î¹ Î¬Î»Î»ÎµÏ ÏÏ ÏÏεÏίÏÎµÎ¹Ï ÏÎ¿Ï Î¼Îµ Ïο Îιγαίο, δηλαδή Ïον ÎÏ ÎºÎ·Î½Î±ÏÎºÏ ÎºÏÏμο και Ïην ÎÏÏÏο. Το ÏÏ Î³ÎºÏÏÏημα Südburg ÏÏην ḪattuÅ¡a, ÏÏμÏÏνα με Ïην ÏεÏιγÏαÏή ÏÎ¿Ï Beckman,[7_172a1] αÏοÏελεί εξ ολοκλήÏÎ¿Ï ÏεÏνηÏÏ ÎÏγο, ÏÏÏÎ¯Ï Ïο ÏλεονÎκÏημα ÏÏοÏÏάÏξεÏÏ Î¼Î¹Î±Ï ÏÏ ÏÎ¹ÎºÎ®Ï ÏηγήÏ. ÎÎ´Ï Î±Î½Î±ÏκάÏηκε οÏθογÏνια κοιλÏÏηÏα 6.000 Ï.μ. ÏÎ¿Ï Î¿ÏιοθεÏήθηκε με ÏονδÏÎÏ ÏÏμάÏÎ¹Î½ÎµÏ ÏÏÎ¸ÎµÏ ÎºÎ±Î¹ ÏÏην ÏÏ Î½ÎÏεια ÏληÏÏθηκε με νεÏÏ ÏÎ¿Ï ÎµÎ¹ÏήÏθη αÏÏ ÏÎ¹Ï Î´Î±ÏÏÎ´ÎµÎ¹Ï ÏλαγιÎÏ Î½ÏÏια ÏÎ·Ï ÏÏλεÏÏ. ΣÏα ιζήμαÏα ÏÎ¿Ï ÏÏ Î³ÎºÎµÎ½ÏÏÏθηκαν ÏÏη λιμνοÏλα ÏÎ¿Ï ÎºÎ±ÏαÏÎºÎµÏ Î¬ÏÏηκε ÎÏÏι, οι αÏÏαιολÏγοι βÏήκαν Ïολλά θÏαÏÏμαÏα αναθημαÏικÏν ÎÏ ÏÏιακÏν αγγείÏν. ΣÏην ÏÏ Î½ÎÏεια, ÏοÏοθεÏήθηκαν λιθÏκÏιÏÏοι θάλαμοι ÏÏÏον ÏÏην Î´Ï Ïική ÏÏον και ÏÏην βÏÏεια γÏνία ÏÎ¿Ï Î±Î½Î±ÏÏμαÏÎ¿Ï ÏÎ·Ï Î»Î¯Î¼Î½Î·Ï. Î Î´Ï Ïική καÏαÏÎºÎµÏ Î® ÎÏει καÏαÏÏÏαÏεί Ïε μεγάλο βαθμÏ, αλλά η βÏÏεια ÎÏει ÏÏθεί ÏÏεδÏν ανÎÏαÏη, ÏάÏη ÏÏην ÏÏοÏÏαÏία ÏÎ¿Ï ÏαÏείÏε Ïο μεÏαγενÎÏÏεÏο ΦÏÏ Î³Î¹ÎºÏ ÏείÏÎ¿Ï ÏÎ·Ï ÏÏλεÏÏ ÏÎ¿Ï ÎºÎ±ÏαÏÎºÎµÏ Î¬ÏÏηκε ÏÎ¬Î½Ï ÏηÏ. ÎÎÏα Ïε Î±Ï ÏÏν Ïον Îάλαμο 2 ανεγÎÏθηκαν δÏο Î±Î½Î¬Î³Î»Ï ÏÎµÏ ÏλάκεÏ, η μία ÏÎ¿Ï Î±ÏεικÏνιζε Ïον Î¸ÎµÏ Îλιο και η άλλη Ïον ÏÏοÏÏάÏη ÏÎ¿Ï ÎºÏιÏÎ¯Î¿Ï , Ïον Å uppiluliuma II, Ïον ÏÎµÎ»ÎµÏ Ïαίο βεβαιÏμÎνο ÎÎγα ÎαÏιλιά ÏÏν ΧεÏÏαίÏν.
Îικ. 2: British Museum reg. nr. 1898,1201.122, ÎαÏÏνι ÎάÏÎ½Î±ÎºÎ±Ï Î¥Î ÎÎ (1450-1200 Ï.Χ.), εÏÏ
θÏο-ÏÏιλβÏÏÏ ÎºÎ¿Î¯Î»Î¿ αγγείο ÏÏοÏήλαÏÎ·Ï ÎºÎµÏÎ±Î¼ÎµÎ¹ÎºÎ®Ï Î¼Î®ÎºÎ¿Ï
Ï 64.5 εκ. καÏαλήγον Ïε βÏαÏίονα ÏÎÏονÏα κÏÏελλο
ΠεξοÏλιÏμÏÏ ÏÏ Î¼ÏληÏÏνεÏαι αÏÏ Î¹ÎµÏÎ¿Î³Î»Ï Ïική εÏιγÏαÏή ÏÏÎ¿Ï Î±Ï ÏÏÏ Î¿ ηγεμÏÎ½Î±Ï ÎµÎºÎ¸ÎÏει Ïα μεγάλα Ïολεμικά καÏοÏθÏμαÏά ÏÎ¿Ï . ÎλοκληÏÏνει Ïο ÏÏεÏÎ¹ÎºÏ ÎºÎµÎ¯Î¼ÎµÎ½Î¿ με Ïην ÎµÎ¾Î®Ï Î´Î®Î»ÏÏη: âÎδÏ⦠καÏαÏκεÏαÏα Îναν âÎεÏÏ Îήινο ÎÏÏμοââ, ÏÏοÏανÏÏ Î±Î½Î±ÏεÏÏÎ¼ÎµÎ½Î¿Ï ÏÏον ίδιο Ïον θάλαμο. ÎÏ ÏÏÏ Î¿ ÏÏÎ¿Ï Î±Î½ÏιÏÏοιÏεί ÏÏο ÏÏηνοειδÎÏ Î¹Î´ÎµÏγÏαμμα KASKAL.KUR, ÎºÏ ÏιολεκÏικά, âÎδÏÏ ÏÏÎ¿Ï Ïον κάÏÏ ÎºÏÏμοâ, [7_172a2] Ïον οÏοίο ÏÏηÏιμοÏοιοÏÏαν οι ΧεÏÏαίοι για να ÏÏοÏδιοÏίÏÎ¿Ï Î½ εκείνα Ïα ανοίγμαÏα ÏÏο καÏÏÏÎ¹ÎºÏ ÏÎ¿Ï Ï ÏοÏίο μÎÏα ÏÏα οÏοία εξαÏανίÏÏηκαν Ïα ÏÏ Î¬ÎºÎ¹Î±, για να Î±Î½Î±Î´Ï Î¸Î¿Ïν ξανά Ïε κάÏοια αÏÏÏÏαÏη.Îια ÏÎ¿Ï Ï Î§ÎµÏÏÎ±Î¯Î¿Ï Ï, Î±Ï ÏÎÏ Î¿Î¹ καÏαβÏθÏÎµÏ (δολίνεÏ) ήÏαν ιεÏοί ÏÏÏοι, μονοÏάÏια ÏÏÎ¿Ï Ïο ÏθÏνιο βαÏίλειο, και καÏά ÏÏ Î½ÎÏειαν εÏÏγÏαναν ÎµÏ Î»Î±Î²Î¹ÎºÎ®Ï ÏÏοÏοÏήÏ. ΣÏο Südburg, ο Å uppiluliuma καÏαÏκεÏαÏε μια ÏÏοÏÏÏική ÏÏλη ÏÏÎ¿Ï Ïον κάÏÏ ÎºÏÏμο, ÏιθανÏÏ ÎµÎ½ αναμονή ÏÏν δικÏν ÏÎ¿Ï ÏαÏικÏν μνημείÏν. ÎάλιÏÏα ÏÏην αÏεικÏνιÏή ÏÎ¿Ï Î¼ÎÏα ÏÏο ιεÏÏ, ÏοÏάει Ïα κÎÏαÏα ÏÎ·Ï Î¸ÎµÏÏηÏαÏ, ÎµÎ½Ï ÏαÏαδοÏιακά οι ΧεÏÏαίοι μονάÏÏÎµÏ Î¸ÎµÎ¿ÏοιοÏνÏαν μÏνον μεÏά θάναÏÏν.Î Neve[7_172a3] αÏÏ Ïην ÏÎ»ÎµÏ Ïά ÏÎ¿Ï ÏημειÏνει Ïην ÏαÏÎ¿Ï Ïία οδογεÏÏ ÏÏν και Ïε άλλα ιεÏά, ÏÏÏÏ ÏÏην Sarissa, ÏÏÎ¿Ï Î±Ï Ïή ÏÏηÏÎ¯Î¼ÎµÏ Îµ ÏÏ Î¬Î½Ï Î´Î¹Î¬Î²Î±Ïη για μονοÏάÏι ÏÎ¿Ï Î¿Î´Î·Î³oÏÏε αÏÏ Ïην ÏÏλη ÏÏÎ¿Ï Ïο ιεÏÏ huwaÅ¡i εν είδει ÎεÏÎ¬Ï ÎδοÏ. Î Î¯Î´Î¹Î¿Ï ÏÏ Î¬Î½Ï ÎεÏμανÏÏ Î±ÏÏαιολÏÎ³Î¿Ï Î¸ÎµÏÏεί ÏÏ ÏεÏίÏÎ¿Ï ÏÏγÏÏονο, μη ΧεÏÏιÏÎ¹ÎºÏ ÏαÏάλληλο ÏÎÏÎ¿Î¹Î±Ï Î¿Î´Î¿Î³ÎÏÏ ÏÎ±Ï Ïην διάβαÏη ÏÎ¬Î½Ï Î±ÏÏ Ïο ÏÎμα ÏÎ¿Ï Î§Î¬Î²Î¿Ï ÎºÎ¬ÏÏ Î±ÏÏ Ïο κάÏÏÏο ÏÏν ÎÏ ÎºÎ·Î½Ïν. ÎÏ Ïήν ÏÏάγμαÏι ο J. Knauss ÏÏ Î½ÎδεÏε εÏίÏÎ·Ï Î¼Îµ Îνα ÏÏάγμα, με Ïο οÏοίο, ÏάνÏÏÏ, κάÏÎ¿Î¹ÎµÏ Î´Î¿Î¼Î¹ÎºÎÏ Î»ÎµÏÏομÎÏÎµÎ¹ÎµÏ ÏÎ·Ï ÏÎÏÏÎ¹Î½Î·Ï ÎºÎ±Î¹ βÏαÏÏÎ´Î¿Ï Ï Î±ÏÏιÏεκÏÎ¿Î½Î¹ÎºÎ®Ï ÏÎ¿Ï Ï ÏÎ¿Ï Î±ÏοÏά ÏαÏεμÏιÏÏÏνÏÏÏ ÎºÎ±Î¹ Ïε Î¬Î»Î»ÎµÏ ÎÏ ÎºÎ·Î½Î±ÏκÎÏ ÏοÏοθεÏÎ¯ÎµÏ (ÏÏÏÏ Ïην ΤίÏÏ Î½Î¸Î±) αÏοκαλÏÏÏÎ¿Ï Î½ καÏαÏληκÏικÎÏ Î¿Î¼Î¿Î¹ÏÏηÏÎµÏ Î¼Îµ Ïην ΧεÏÏιÏική οικοδομική.
Îικ. 3: ÎÏÏαιολογικÏÏ ÏÏÏÎ¿Ï ÎÏ
κηνÏν: ÏκαλοÏάÏια ÏοÏ
οδηγοÏν ÏÏην ΠεÏÏεία Ïηγή, 1960, ΦÏÏογÏαÏία, Draper, Gordon & Maria, ÎÎ»Î»Î·Î½Î¹ÎºÏ ÎογοÏεÏÎ½Î¹ÎºÏ & ÎÏÏοÏÎ¹ÎºÏ ÎÏÏείο.
Îικ. 4: HattuÅ¡a (BoÄazköy), Î¸Î¬Î»Î±Î¼Î¿Ï 2 ÏÎ·Ï Î¹ÎµÏÎ¬Ï Î»Î¯Î¼Î½Î·Ï ÏÏο ÏÏ
γκÏÏÏημα Südburg με ÎοÏ
βιανή ιεÏογλÏ
Ïική εÏιγÏαÏή
Îι Ï Î´Î¬ÏÎ¹Î½ÎµÏ ÏεÏνηÏÎÏ ÎºÎ±ÏαÏÎºÎµÏ ÎÏ ÏÎ¿Ï Südburg εκÏιμÏνÏαι εÏομÎνÏÏ ÏÏ Î¼Î¹Î¼Î·ÏικÎÏ ÏÎ·Ï ÏÏÏεÏÏ ÎºÎ±Î¹ ÎºÏ ÏιολεκÏικά θεÏÏήθηκαν ÏÏ ÎºÎ±ÏαÏÎºÎµÏ Î±ÏμÎÎ½ÎµÏ ÏεÏνηÏÎÏ ÏήÏÎ±Î³Î³ÎµÏ ÏÎ¿Ï ÏÏεδιάÏÏηκαν για ÏÏÏÏβαÏη ÏÏον ÎάÏÏ ÎÏÏμο.[7_172a4] ÎÏÏ Ïην άλλη οι Erbil και Mouton εξεÏάζονÏÎ±Ï Ïην ÏημαÏία και ÏÎ¹Ï ÏελεÏÎ¿Ï ÏγικÎÏ ÎµÏαÏμογÎÏ ÏÎ¿Ï ÏδαÏÎ¿Ï ÎºÎ±Î¹ ÏÏν ÏηγÏν ÏÏον ÏολιÏιÏÎ¼Ï ÏÏν ΧεÏÏαίÏν διÎκÏιναν ÏÏÎµÎ¹Ï ÏομείÏ: Ïο νεÏÏ ÏÏ Î¼Î¿Î½Î¿ÏάÏι ÏÏÎ¿Ï Ïον κάÏÏ ÎºÏÏμο, Ïο νεÏÏ ÏÏ Î¼ÎÏÎ¿Ï ÏÎ·Ï Î»Î±ÏÏÎµÏ ÏÎ¹ÎºÎ®Ï ÏÏακÏικήÏ, και ÏÎ¿Ï Ï ÏκοÏεινοÏÏ Î´ÎµÏμοÏÏ Î¼ÎµÏÎ±Î¾Ï ÏÎ¿Ï Î½ÎµÏÎ¿Ï ÎºÎ±Î¹ ÏÏν λαÏÏÎµÏ ÏικÏν ÏÏÏÏν ÏÏην αÏÏαιολογία).[7_172a5]Îν καÏακλείδι, ÏÏον αÏοÏά ÏÏο ÎµÎ´Ï ÏÏολιαζÏμενο θÎμα, Ï ÏογÏÎ±Î¼Î¼Î¯Î¶Î¿Ï Î¼Îµ Ïην ÏÏαÏξη κοινÏν ÏÏÏÏν μεÏÎ±Î¾Ï Î±ÏÏιÏεκÏονικÏν εÏιλογÏν ÏÏν ΧεÏÏαίÏν και ÎÏ ÎºÎ·Î½Î±Î¯Ïν, οι οÏοίοι ÏαÏαÏÎμÏÎ¿Ï Î½ Ïε εν μÎÏει κοινÎÏ Î¸ÎµÏÏήÏÎµÎ¹Ï ÏÎ¿Ï ÎάÏÏ ÎÏÏÎ¼Î¿Ï [7_172a6] ÏÏ ÏÏÏÎ¿Ï ÏÏÎ¿Ï ÎºÎ±ÏαÏεÏÎ³Î¿Ï Î½ οι ÏÏ ÏÎÏ, ÎµÎ½Ï Î¹Î´Î¹Î±Î¯ÏεÏη αλλά ÏÏι ακÏμη διαÏαÏηνιÏθείÏα είναι η Ï ÏÏ ÏÏν ΧεÏÏαίÏν Ï Î¹Î¿Î¸ÎÏηÏη ÎÏ ÏÏιακÏν αγγείÏν ÏÏÎ¿Î½Î´Î®Ï ÏÏήμαÏÎ¿Ï Î²ÏαÏÎ¯Î¿Î½Î¿Ï ÏÏ ÏÏοιÏείÏν ÏÏεÏικÏν ÏελεÏÎ¿Ï ÏγιÏν ÏÎ¿Ï Ï, εÏί ÏαÏαδείγμαÏι Î±Ï ÏÎ®Ï ÏÎ¿Ï ÎÎµÎ¿Ï ÏίνονÏοÏ![7_172a7] ΣÏο ίδιο ÏλαίÏιο Ï ÏογÏαμμίζεÏαι η ÏÏ ÏÏÎÏιÏη ÏÎ¿Ï Ï Î´Î¬ÏÎ¹Î½Î¿Ï ÏÏοιÏÎµÎ¯Î¿Ï ÏÏ Î¼ÎÏÎ¿Ï Î³Î¹Î± Ïην μεÏάβαÏη ÏÏον ÎάÏÏ ÎÏÏμο,[7_172a8] Ï ÏοÏημειÏνεÏαι δε η διαÏαινÏμενη ÎμÏαÏη Ïε ÏÎÏÎ¿Î¹ÎµÏ Î¸ÏηÏÎºÎµÏ ÏÎ¹ÎºÎ¿Ï ÏαÏακÏήÏα ÏÏοÏεγγίÏÎµÎ¹Ï Î¹Î´Î¹Î±Î¯ÏεÏα ÏÏην Kizzuwatna αλλά και ÏÏην TarhuntaÅ¡Å¡a. Îια Ïην ÏιθανολογοÏμενη ÎµÎ´Ï Î¹Î´Î¹Î±Î¯ÏεÏη ÏÏÎÏη ÏÎ·Ï ÏÎµÎ»ÎµÏ ÏÎ±Î¯Î±Ï Î¼Îµ δοξαÏÎ¯ÎµÏ ÏÏÎ¿Ï Ïο ÏδÏÏ ÎºÎ±ÏÎÏει ιδιαίÏεÏη θÎÏη ÏημειÏÎ½Î¿Ï Î¼Îµ ÏÏι Ïο ιεÏÏ Eflatun Pinar ανήκε ÏÏην εÏικÏάÏεια ÏÎ¿Ï Î²Î±ÏÎ¹Î»ÎµÎ¯Î¿Ï ÏÎ·Ï Tarhuntassa[7_172a9] ÎµÎ½Ï ÎºÎ±Î¹ ο pihassassis / ΠήγαÏÎ¿Ï ÏÏ Î½ÎµÎ´ÎεÏο με ÏÎ¹Ï ÏηγÎÏ! ÎξιοÏημείÏÏο είναι ακÏμη ÏÏι αμÏÏÏεÏÎµÏ Î¿Î¹ ÏεÏιοÏÎÏ, Kizzuwatna και TarhuntaÅ¡Å¡a, Ï ÏήÏξαν ÏεÏιÏεÏειακÎÏ ÏÏ ÏÏÎ¿Ï Ïον ÏÏ Ïήνα ÏÎ¿Ï Î§ÎµÏÏιÏÎ¹ÎºÎ¿Ï ÎºÏάÏÎ¿Ï Ï Î¸ÎµÏÏοÏνÏαι δε ÏÏ Î¸ÎÏÎµÎ¹Ï ÎνÏÎ¿Î½Î·Ï Î±Î»Î»Î·Î»ÎµÏιδÏάÏεÏÏ Î¼Îµ Ïο ÎÎ¹Î³Î±Î¹Î±ÎºÏ ÏÏοιÏείο!
Îικ. 5: ΣÏ
γκÏÏÏημα ιεÏÎ¬Ï Î»Î¯Î¼Î½Î·Ï ÏοÏ
Südburg
ΣÎÎÎÎΩΣÎÎΣ7_168. Kozal 2018, p. 223; Kozal 1999, pp. I, 52; Grave et al. 2014, fig. 1. ΣημειÏνεÏαι ÏÏι ÏÏο νεÏÏεÏο ÎÏγο ÏÎ·Ï Î· Kozal ÏαίνεÏαι να Ïείνει να θεÏÏήÏει Ïην ÎÏÏ Î¸Ïά ΤÏοÏήλαÏη ÎεÏαμεική (RLWm) ÏÏ Î§ÎµÏÏιÏική! 7_169. Bittel 1937a, p. 25, pl. 14: 1-5, n. 4; Van Wijngaarden 1999, p. 202, n. 289. Τα αγγεία ÏÏήμαÏÎ¿Ï ÏεÏÎ¹Î¿Ï (ÏεÏί Ïα ÏενήνÏα!) και Ïα Ï ÏÏλοιÏα ÏÎ·Ï ÎµÏÏ Î¸ÏοÏÏιλβÏÏÎ®Ï ÏÏοÏήλαÏÎ·Ï ÎºÎµÏÎ±Î¼ÎµÎ¹ÎºÎ®Ï ÎÏÎ¿Ï Î½ Ïα ανάλογά ÏÎ¿Ï Ï ÏÏον Îγιο ÎάκÏβο και Ïο Îδάλιο ÎÏÏÏÎ¿Ï (Murray, Smith and Walters 1900, p. 9, fig. 68:1108), ÏÏÎ¹Ï ÎÏ ÎºÎ®Î½ÎµÏ (Stais 1926, p. 118, εÏÏημα ÏηÏοÏμενο ÏÏα ÎÎ¸Î½Î¹ÎºÏ ÎÏÏÎ±Î¹Î¿Î»Î¿Î³Î¹ÎºÏ ÎÎ¿Ï Ïείο ÎθηνÏν Ï Ï. αÏ. 2633), ÏÏην ÎÏ Î±Î³Î¿ÏίÏιδα (Schaeffer 1929, fig. 3), Tell Abu Hawam και ÎÏκάλÏνα, Ïε θÎÏÎµÎ¹Ï Î´Î·Î»Î±Î´Î® ÏÎ¿Ï ÎÎ¹Î³Î±Î¯Î¿Ï Î® Ïε Ïημεία Î±Ï Î¾Î·Î¼ÎÎ½Î·Ï ÎÎ¹Î³Î±Î¹Î±ÎºÎ®Ï ÎµÏιÏÏοήÏ. ΤεκμήÏιο αÏÏ Ïο ÎαÏÏνι ÎάÏÎ½Î±ÎºÎ±Ï ÏÎ·Ï Î¥Î ÎÎ ÏÏ Î»Î¬ÏÏεÏαι ÏÏο ÎÏεÏÎ±Î½Î¹ÎºÏ ÎÎ¿Ï Ïείο (BM, reg. nr. 1898,1201.122). ÎÎ¿Ï ÏαλÏÏÏημα αγγεία ÎÏÎ¿Ï Î½ εÏίÏÎ·Ï ÎµÏ Ïεθεί ÏÏÎ¹Ï Î¸ÎÏÎµÎ¹Ï Alacahöyük, Kilise Tepe και Yumuktepe (Kozal 2012, nn. 75, 76, 77).7_170. Grave et al. 2014, p. 1182. ÎλλÏÏÏε Ïολλά ÏεκμήÏια ÏÎ·Ï RLWm ÎµÏ ÏÎθηÏαν Ïε ÏεÏνηÏή λίμνη ÏÎ·Ï Î§Î±ÏοÏÏαÏ, ÏαÏαÏÎμÏÎ¿Ï ÏÎ±Ï ÏιθανÏÏ ÏÏην ÏÏ Ïική Ïηγή και Ïο ÏÏεÏÎ¹ÎºÏ Î¹ÎµÏÏ ÏÏην θÎÏη Eflatun Pinar (ή κλαÏική Πηγή ÏÎ¿Ï Î Î»Î¬ÏÏνοÏ!).7_171. Manuelli 2009, pp. 253-255, 262; Steele and Stern 2019; Türkan Pilavcı 2017.7_172. Manuelli 2009, pp. 253, 262, n. 12; Glatz 2016, p. 192.7_172a1. Beckman 2013, p. 158, nn. 54-57, figs. 7.17-20.7_172a2. Karababa 2020; Ãmür Harmansah 2019; Erbil and Mouton 2012, p. 62. Îλ. και ÏÏεÏικά ÏÏÏλια ÏÎ¿Ï ÎοÏανιά (Kopanias 2012).7_172a3. Neve 2023, p. 10, n. 34.7_172a4. Harmansah 2019, p. 233.7_172a5. (Persida Hay 2021, p. 17.7_172a6. Gallou 2002, p. 122. 7_172a7. Heffron 2014; Pilavci 2017; Fantoni 2021.7_172a8. Erbil and Mouton 2012, p. 62, n. 53.7_172a9. Kennell 2006.
ÎÎÎÎÎÎΣÎικ. 1: Steele & Stern 2017, fig. 1.Îικ. 2:Îικ. 3:Îικ. 4: Harmansah 2019, fig. 9.3.Îικ. 5: Harmansah 2019, fig. 9.4.
ÎÎÎÎÎÎÎΡÎΦÎÎ
https://www.sciencedirect.com/science..., V. J. & B. Stern. 2017. "Red Lustrous Wheelmade ware: Analysis of organic residues in Late Bronze Age trade and storage vessels from the eastern Mediterranean," Journal of Archaeological Science: Reports 16, pp. 641-657.
ÎάÏμοÏ, Î. Î . 2013. "XÎ¬Î²Î¿Ï (ÎÎ¿Ï Î²Î¹Î¬ ή ΧÏνια) â ΠοÏαμÏÏ ÎÏ ÎºÎ®Î½ÎµÏ," ÎΡÎÎÎÎÎÎ ÎΡΧÎÎÎÎÎ ÎÎÎÎÎÎÎÎÎÎ ÎΣΤÎΡÎÎΣ ÎÎÎ Î ÎÎÎΤÎΣÎÎÎ¥, <https://argolikivivliothiki.gr/2015/0... (6 ΣεÏÏ. 2023).
https://www.academia.edu/49181664/S%C..., Î. Î. 2020. âSüdburg Chamber 2: May You Have A Safe Passage to the Netherworld,â Anatolian Archaeology (Archaeology), Inscriptions, Hattusa, Hittite Monuments, pp. 1-10.
https://www.researchgate.net/publicat... Harmansah. 2019. âCities, the Underworld, and the infrastructure: The ecology of water in the Hittite world,â in New Materialisms Ancient Urbanisms, ed. S. M. Alt and T. R. Pauketat, London / New Yorl, pp. 218-244.
https://publications.dainst.org/books..., P. 2023. Die Oberstadt von ḪattuÅ¡a. Die Bauwerke. III, Die Bebauung im südlichen Vorfeld von Büyükkale. NiÅantepe â Südburg â Ostplateau (Grabungen 1988â1993)(BoÄazköy-HattuÅ¡a 20), DAI, Berlin.
https://cdn.vanderbilt.edu/vu-my/wp-c... Beckman, G. 2013. âIntrinsic and Constructed Sacred Space in Hittite Anatolia,â in Heaven on Earth: Temples, Ritual, and Cosmic Symbolism in the Ancient World (Oriental Institute Seminarsâ9), Chicago, pp. 153-174.
https://eprints.nottingham.ac.uk/1118..., C. 2002. âThe Cult of the Dead in Central Greece during the Mycenaean Period I: Textâ (diss. Univ. of Nottingham).
https://uir.unisa.ac.za/bitstream/105... Persida Hay, A. 2021. âPhysical and Metaphorical Zones of Transition. Comparative Themes in Hittite and Greek Karst Landscapes in the Late Bronze and Early Iron Agesâ (diss. Univ. of South Africa).
http://scholar.uoa.gr/sites/default/f..., K. 2012. âParadise Lost. The Image of the Netherworld in the Near East and in the Aegean,â in ATHANASIA. The Earthly, the Celestial and the Underworld in the Mediterranean from the Late Bronze and the Early Iron Age. Proceedings of the International Archaeological Conference, Rhodes 28-31 May, 2009, ed. N. Stampolides, A. Kanta, and A. Giannikouri, pp. 169-179.
Heffron, Y. 2014. âThe Material Culture of Hittite âGod-drinkingâ,â Journal of Ancient Near Eastern Religions 14(2), pp. 164-185.DOI: 10.1163/15692124-12341261https://www....'
https://academiccommons.columbia.edu/..., Turkan. 2017. âDrinking a God and Sacrificing a Drink: Agency of the Hittite Libation Vesselsâ (diss. Univ. of Columbia).
https://www.academia.edu/78230537/The..., C. 2021. âThe arm-shaped vessels in Anatolia and the Eastern Mediterranean during the Late Bronze Age: a morphological and contextual analysis,â Asia Anteriore Antica. Journal of Ancient Near Eastern Cultures 3, pp. 93-123.
Kennell, S. A. F. 2006. Rev. of T. Bryce, The kingdom of the Hittites, in BMCR 2006.11.34, https://bmcr.brynmawr.edu/2006/2006.1... (5 Sept. 2023).
https://www.academia.edu/1526484/Wate... Erbil, Y. and Mouton, A. 2012. âWater in ancient Anatolian religions: an archaeological and philological inquiry on the Hittite evidence,â Journal of Near Eastern Studies 71.1, pp. 53â74.
Îικ. 1. (a) ΧάÏÏÎ·Ï ÎµÎ½Î´ÎµÎ¹ÎºÏικÏν θÎÏεÏν εÏ
ÏÎÏεÏÏ ÎÏ
ÏÏιακÏν αγγείÏν: 1, BoÄazköy; 2, KuÅakli; 3, Kilise Tepe; 4, Tel Tweini; 5, Memphis Saqqara. (b) ÎεγÎθÏ
νÏη για Ïην εÏίδειξη θÎÏεÏν ÏÏην ÎÏÏÏο: 6, ÎοÏ
κλιά; 7, ÎαλαβαÏÏÏÏ-ÎÎ³Î¹Î¿Ï ÎημήÏÏιοÏ; 8, ÎÏÏεÏα; 9, ÎλÏ
κή (Hala Sultan Tekke); 10, ÎγκÏμη; 11, ÎαζαÏάνηi; 12, Dhenia; 13, ÎÏÏÏοÏ
-ΠηγάδεÏ. (c) ÎξÏληκÏο αγγείο ÎÏÏÏοÏ
, (d) ÏακοειδÎÏ ÏλαÏκί ÎÏÏÏοÏ
, (e) Îγγεία ÏÏήμαÏÎ¿Ï Î²ÏαÏÎ¯Î¿Î½Î¿Ï Î±ÏÏ Ïο Kilise Tepe.Το ιεÏÏ ÏÏ Î³ÎºÏÏÏημα Südburg ÏÏην ΧεÏÏιÏική ÏÏÏÏεÏÎ¿Ï Ïα αÏοÏελεί ÏημανÏÎ¹ÎºÏ Ïημείο ÏÏ ÏÏÏÏεÏÏεÏÏ ÏÏν ÏÏοαναÏεÏθÎνÏÏν ιδιαίÏεÏÏν ÎÏ ÏÏιακÏν αγγείÏν, θα ÏÏολιαÏθεί δε ÎµÎ´Ï ÏÏνÏομα λÏÎ³Ï ÏÎ¿Ï ÎµÎ½Î´Î¹Î±ÏÎÏονÏÎ¿Ï ÏÎ¿Ï ÎµÎ¼Ïανίζει για ÏÎ¹Ï Î¸ÏηÏÎºÎµÏ ÏικÎÏ ÎºÎ±Î¹ Î¬Î»Î»ÎµÏ ÏÏ ÏÏεÏίÏÎµÎ¹Ï ÏÎ¿Ï Î¼Îµ Ïο Îιγαίο, δηλαδή Ïον ÎÏ ÎºÎ·Î½Î±ÏÎºÏ ÎºÏÏμο και Ïην ÎÏÏÏο. Το ÏÏ Î³ÎºÏÏÏημα Südburg ÏÏην ḪattuÅ¡a, ÏÏμÏÏνα με Ïην ÏεÏιγÏαÏή ÏÎ¿Ï Beckman,[7_172a1] αÏοÏελεί εξ ολοκλήÏÎ¿Ï ÏεÏνηÏÏ ÎÏγο, ÏÏÏÎ¯Ï Ïο ÏλεονÎκÏημα ÏÏοÏÏάÏξεÏÏ Î¼Î¹Î±Ï ÏÏ ÏÎ¹ÎºÎ®Ï ÏηγήÏ. ÎÎ´Ï Î±Î½Î±ÏκάÏηκε οÏθογÏνια κοιλÏÏηÏα 6.000 Ï.μ. ÏÎ¿Ï Î¿ÏιοθεÏήθηκε με ÏονδÏÎÏ ÏÏμάÏÎ¹Î½ÎµÏ ÏÏÎ¸ÎµÏ ÎºÎ±Î¹ ÏÏην ÏÏ Î½ÎÏεια ÏληÏÏθηκε με νεÏÏ ÏÎ¿Ï ÎµÎ¹ÏήÏθη αÏÏ ÏÎ¹Ï Î´Î±ÏÏÎ´ÎµÎ¹Ï ÏλαγιÎÏ Î½ÏÏια ÏÎ·Ï ÏÏλεÏÏ. ΣÏα ιζήμαÏα ÏÎ¿Ï ÏÏ Î³ÎºÎµÎ½ÏÏÏθηκαν ÏÏη λιμνοÏλα ÏÎ¿Ï ÎºÎ±ÏαÏÎºÎµÏ Î¬ÏÏηκε ÎÏÏι, οι αÏÏαιολÏγοι βÏήκαν Ïολλά θÏαÏÏμαÏα αναθημαÏικÏν ÎÏ ÏÏιακÏν αγγείÏν. ΣÏην ÏÏ Î½ÎÏεια, ÏοÏοθεÏήθηκαν λιθÏκÏιÏÏοι θάλαμοι ÏÏÏον ÏÏην Î´Ï Ïική ÏÏον και ÏÏην βÏÏεια γÏνία ÏÎ¿Ï Î±Î½Î±ÏÏμαÏÎ¿Ï ÏÎ·Ï Î»Î¯Î¼Î½Î·Ï. Î Î´Ï Ïική καÏαÏÎºÎµÏ Î® ÎÏει καÏαÏÏÏαÏεί Ïε μεγάλο βαθμÏ, αλλά η βÏÏεια ÎÏει ÏÏθεί ÏÏεδÏν ανÎÏαÏη, ÏάÏη ÏÏην ÏÏοÏÏαÏία ÏÎ¿Ï ÏαÏείÏε Ïο μεÏαγενÎÏÏεÏο ΦÏÏ Î³Î¹ÎºÏ ÏείÏÎ¿Ï ÏÎ·Ï ÏÏλεÏÏ ÏÎ¿Ï ÎºÎ±ÏαÏÎºÎµÏ Î¬ÏÏηκε ÏÎ¬Î½Ï ÏηÏ. ÎÎÏα Ïε Î±Ï ÏÏν Ïον Îάλαμο 2 ανεγÎÏθηκαν δÏο Î±Î½Î¬Î³Î»Ï ÏÎµÏ ÏλάκεÏ, η μία ÏÎ¿Ï Î±ÏεικÏνιζε Ïον Î¸ÎµÏ Îλιο και η άλλη Ïον ÏÏοÏÏάÏη ÏÎ¿Ï ÎºÏιÏÎ¯Î¿Ï , Ïον Å uppiluliuma II, Ïον ÏÎµÎ»ÎµÏ Ïαίο βεβαιÏμÎνο ÎÎγα ÎαÏιλιά ÏÏν ΧεÏÏαίÏν.
Îικ. 2: British Museum reg. nr. 1898,1201.122, ÎαÏÏνι ÎάÏÎ½Î±ÎºÎ±Ï Î¥Î ÎÎ (1450-1200 Ï.Χ.), εÏÏ
θÏο-ÏÏιλβÏÏÏ ÎºÎ¿Î¯Î»Î¿ αγγείο ÏÏοÏήλαÏÎ·Ï ÎºÎµÏÎ±Î¼ÎµÎ¹ÎºÎ®Ï Î¼Î®ÎºÎ¿Ï
Ï 64.5 εκ. καÏαλήγον Ïε βÏαÏίονα ÏÎÏονÏα κÏÏελλοΠεξοÏλιÏμÏÏ ÏÏ Î¼ÏληÏÏνεÏαι αÏÏ Î¹ÎµÏÎ¿Î³Î»Ï Ïική εÏιγÏαÏή ÏÏÎ¿Ï Î±Ï ÏÏÏ Î¿ ηγεμÏÎ½Î±Ï ÎµÎºÎ¸ÎÏει Ïα μεγάλα Ïολεμικά καÏοÏθÏμαÏά ÏÎ¿Ï . ÎλοκληÏÏνει Ïο ÏÏεÏÎ¹ÎºÏ ÎºÎµÎ¯Î¼ÎµÎ½Î¿ με Ïην ÎµÎ¾Î®Ï Î´Î®Î»ÏÏη: âÎδÏ⦠καÏαÏκεÏαÏα Îναν âÎεÏÏ Îήινο ÎÏÏμοââ, ÏÏοÏανÏÏ Î±Î½Î±ÏεÏÏÎ¼ÎµÎ½Î¿Ï ÏÏον ίδιο Ïον θάλαμο. ÎÏ ÏÏÏ Î¿ ÏÏÎ¿Ï Î±Î½ÏιÏÏοιÏεί ÏÏο ÏÏηνοειδÎÏ Î¹Î´ÎµÏγÏαμμα KASKAL.KUR, ÎºÏ ÏιολεκÏικά, âÎδÏÏ ÏÏÎ¿Ï Ïον κάÏÏ ÎºÏÏμοâ, [7_172a2] Ïον οÏοίο ÏÏηÏιμοÏοιοÏÏαν οι ΧεÏÏαίοι για να ÏÏοÏδιοÏίÏÎ¿Ï Î½ εκείνα Ïα ανοίγμαÏα ÏÏο καÏÏÏÎ¹ÎºÏ ÏÎ¿Ï Ï ÏοÏίο μÎÏα ÏÏα οÏοία εξαÏανίÏÏηκαν Ïα ÏÏ Î¬ÎºÎ¹Î±, για να Î±Î½Î±Î´Ï Î¸Î¿Ïν ξανά Ïε κάÏοια αÏÏÏÏαÏη.Îια ÏÎ¿Ï Ï Î§ÎµÏÏÎ±Î¯Î¿Ï Ï, Î±Ï ÏÎÏ Î¿Î¹ καÏαβÏθÏÎµÏ (δολίνεÏ) ήÏαν ιεÏοί ÏÏÏοι, μονοÏάÏια ÏÏÎ¿Ï Ïο ÏθÏνιο βαÏίλειο, και καÏά ÏÏ Î½ÎÏειαν εÏÏγÏαναν ÎµÏ Î»Î±Î²Î¹ÎºÎ®Ï ÏÏοÏοÏήÏ. ΣÏο Südburg, ο Å uppiluliuma καÏαÏκεÏαÏε μια ÏÏοÏÏÏική ÏÏλη ÏÏÎ¿Ï Ïον κάÏÏ ÎºÏÏμο, ÏιθανÏÏ ÎµÎ½ αναμονή ÏÏν δικÏν ÏÎ¿Ï ÏαÏικÏν μνημείÏν. ÎάλιÏÏα ÏÏην αÏεικÏνιÏή ÏÎ¿Ï Î¼ÎÏα ÏÏο ιεÏÏ, ÏοÏάει Ïα κÎÏαÏα ÏÎ·Ï Î¸ÎµÏÏηÏαÏ, ÎµÎ½Ï ÏαÏαδοÏιακά οι ΧεÏÏαίοι μονάÏÏÎµÏ Î¸ÎµÎ¿ÏοιοÏνÏαν μÏνον μεÏά θάναÏÏν.Î Neve[7_172a3] αÏÏ Ïην ÏÎ»ÎµÏ Ïά ÏÎ¿Ï ÏημειÏνει Ïην ÏαÏÎ¿Ï Ïία οδογεÏÏ ÏÏν και Ïε άλλα ιεÏά, ÏÏÏÏ ÏÏην Sarissa, ÏÏÎ¿Ï Î±Ï Ïή ÏÏηÏÎ¯Î¼ÎµÏ Îµ ÏÏ Î¬Î½Ï Î´Î¹Î¬Î²Î±Ïη για μονοÏάÏι ÏÎ¿Ï Î¿Î´Î·Î³oÏÏε αÏÏ Ïην ÏÏλη ÏÏÎ¿Ï Ïο ιεÏÏ huwaÅ¡i εν είδει ÎεÏÎ¬Ï ÎδοÏ. Î Î¯Î´Î¹Î¿Ï ÏÏ Î¬Î½Ï ÎεÏμανÏÏ Î±ÏÏαιολÏÎ³Î¿Ï Î¸ÎµÏÏεί ÏÏ ÏεÏίÏÎ¿Ï ÏÏγÏÏονο, μη ΧεÏÏιÏÎ¹ÎºÏ ÏαÏάλληλο ÏÎÏÎ¿Î¹Î±Ï Î¿Î´Î¿Î³ÎÏÏ ÏÎ±Ï Ïην διάβαÏη ÏÎ¬Î½Ï Î±ÏÏ Ïο ÏÎμα ÏÎ¿Ï Î§Î¬Î²Î¿Ï ÎºÎ¬ÏÏ Î±ÏÏ Ïο κάÏÏÏο ÏÏν ÎÏ ÎºÎ·Î½Ïν. ÎÏ Ïήν ÏÏάγμαÏι ο J. Knauss ÏÏ Î½ÎδεÏε εÏίÏÎ·Ï Î¼Îµ Îνα ÏÏάγμα, με Ïο οÏοίο, ÏάνÏÏÏ, κάÏÎ¿Î¹ÎµÏ Î´Î¿Î¼Î¹ÎºÎÏ Î»ÎµÏÏομÎÏÎµÎ¹ÎµÏ ÏÎ·Ï ÏÎÏÏÎ¹Î½Î·Ï ÎºÎ±Î¹ βÏαÏÏÎ´Î¿Ï Ï Î±ÏÏιÏεκÏÎ¿Î½Î¹ÎºÎ®Ï ÏÎ¿Ï Ï ÏÎ¿Ï Î±ÏοÏά ÏαÏεμÏιÏÏÏνÏÏÏ ÎºÎ±Î¹ Ïε Î¬Î»Î»ÎµÏ ÎÏ ÎºÎ·Î½Î±ÏκÎÏ ÏοÏοθεÏÎ¯ÎµÏ (ÏÏÏÏ Ïην ΤίÏÏ Î½Î¸Î±) αÏοκαλÏÏÏÎ¿Ï Î½ καÏαÏληκÏικÎÏ Î¿Î¼Î¿Î¹ÏÏηÏÎµÏ Î¼Îµ Ïην ΧεÏÏιÏική οικοδομική.
Îικ. 3: ÎÏÏαιολογικÏÏ ÏÏÏÎ¿Ï ÎÏ
κηνÏν: ÏκαλοÏάÏια ÏοÏ
οδηγοÏν ÏÏην ΠεÏÏεία Ïηγή, 1960, ΦÏÏογÏαÏία, Draper, Gordon & Maria, ÎÎ»Î»Î·Î½Î¹ÎºÏ ÎογοÏεÏÎ½Î¹ÎºÏ & ÎÏÏοÏÎ¹ÎºÏ ÎÏÏείο.
Îικ. 4: HattuÅ¡a (BoÄazköy), Î¸Î¬Î»Î±Î¼Î¿Ï 2 ÏÎ·Ï Î¹ÎµÏÎ¬Ï Î»Î¯Î¼Î½Î·Ï ÏÏο ÏÏ
γκÏÏÏημα Südburg με ÎοÏ
βιανή ιεÏογλÏ
Ïική εÏιγÏαÏήÎι Ï Î´Î¬ÏÎ¹Î½ÎµÏ ÏεÏνηÏÎÏ ÎºÎ±ÏαÏÎºÎµÏ ÎÏ ÏÎ¿Ï Südburg εκÏιμÏνÏαι εÏομÎνÏÏ ÏÏ Î¼Î¹Î¼Î·ÏικÎÏ ÏÎ·Ï ÏÏÏεÏÏ ÎºÎ±Î¹ ÎºÏ ÏιολεκÏικά θεÏÏήθηκαν ÏÏ ÎºÎ±ÏαÏÎºÎµÏ Î±ÏμÎÎ½ÎµÏ ÏεÏνηÏÎÏ ÏήÏÎ±Î³Î³ÎµÏ ÏÎ¿Ï ÏÏεδιάÏÏηκαν για ÏÏÏÏβαÏη ÏÏον ÎάÏÏ ÎÏÏμο.[7_172a4] ÎÏÏ Ïην άλλη οι Erbil και Mouton εξεÏάζονÏÎ±Ï Ïην ÏημαÏία και ÏÎ¹Ï ÏελεÏÎ¿Ï ÏγικÎÏ ÎµÏαÏμογÎÏ ÏÎ¿Ï ÏδαÏÎ¿Ï ÎºÎ±Î¹ ÏÏν ÏηγÏν ÏÏον ÏολιÏιÏÎ¼Ï ÏÏν ΧεÏÏαίÏν διÎκÏιναν ÏÏÎµÎ¹Ï ÏομείÏ: Ïο νεÏÏ ÏÏ Î¼Î¿Î½Î¿ÏάÏι ÏÏÎ¿Ï Ïον κάÏÏ ÎºÏÏμο, Ïο νεÏÏ ÏÏ Î¼ÎÏÎ¿Ï ÏÎ·Ï Î»Î±ÏÏÎµÏ ÏÎ¹ÎºÎ®Ï ÏÏακÏικήÏ, και ÏÎ¿Ï Ï ÏκοÏεινοÏÏ Î´ÎµÏμοÏÏ Î¼ÎµÏÎ±Î¾Ï ÏÎ¿Ï Î½ÎµÏÎ¿Ï ÎºÎ±Î¹ ÏÏν λαÏÏÎµÏ ÏικÏν ÏÏÏÏν ÏÏην αÏÏαιολογία).[7_172a5]Îν καÏακλείδι, ÏÏον αÏοÏά ÏÏο ÎµÎ´Ï ÏÏολιαζÏμενο θÎμα, Ï ÏογÏÎ±Î¼Î¼Î¯Î¶Î¿Ï Î¼Îµ Ïην ÏÏαÏξη κοινÏν ÏÏÏÏν μεÏÎ±Î¾Ï Î±ÏÏιÏεκÏονικÏν εÏιλογÏν ÏÏν ΧεÏÏαίÏν και ÎÏ ÎºÎ·Î½Î±Î¯Ïν, οι οÏοίοι ÏαÏαÏÎμÏÎ¿Ï Î½ Ïε εν μÎÏει κοινÎÏ Î¸ÎµÏÏήÏÎµÎ¹Ï ÏÎ¿Ï ÎάÏÏ ÎÏÏÎ¼Î¿Ï [7_172a6] ÏÏ ÏÏÏÎ¿Ï ÏÏÎ¿Ï ÎºÎ±ÏαÏεÏÎ³Î¿Ï Î½ οι ÏÏ ÏÎÏ, ÎµÎ½Ï Î¹Î´Î¹Î±Î¯ÏεÏη αλλά ÏÏι ακÏμη διαÏαÏηνιÏθείÏα είναι η Ï ÏÏ ÏÏν ΧεÏÏαίÏν Ï Î¹Î¿Î¸ÎÏηÏη ÎÏ ÏÏιακÏν αγγείÏν ÏÏÎ¿Î½Î´Î®Ï ÏÏήμαÏÎ¿Ï Î²ÏαÏÎ¯Î¿Î½Î¿Ï ÏÏ ÏÏοιÏείÏν ÏÏεÏικÏν ÏελεÏÎ¿Ï ÏγιÏν ÏÎ¿Ï Ï, εÏί ÏαÏαδείγμαÏι Î±Ï ÏÎ®Ï ÏÎ¿Ï ÎÎµÎ¿Ï ÏίνονÏοÏ![7_172a7] ΣÏο ίδιο ÏλαίÏιο Ï ÏογÏαμμίζεÏαι η ÏÏ ÏÏÎÏιÏη ÏÎ¿Ï Ï Î´Î¬ÏÎ¹Î½Î¿Ï ÏÏοιÏÎµÎ¯Î¿Ï ÏÏ Î¼ÎÏÎ¿Ï Î³Î¹Î± Ïην μεÏάβαÏη ÏÏον ÎάÏÏ ÎÏÏμο,[7_172a8] Ï ÏοÏημειÏνεÏαι δε η διαÏαινÏμενη ÎμÏαÏη Ïε ÏÎÏÎ¿Î¹ÎµÏ Î¸ÏηÏÎºÎµÏ ÏÎ¹ÎºÎ¿Ï ÏαÏακÏήÏα ÏÏοÏεγγίÏÎµÎ¹Ï Î¹Î´Î¹Î±Î¯ÏεÏα ÏÏην Kizzuwatna αλλά και ÏÏην TarhuntaÅ¡Å¡a. Îια Ïην ÏιθανολογοÏμενη ÎµÎ´Ï Î¹Î´Î¹Î±Î¯ÏεÏη ÏÏÎÏη ÏÎ·Ï ÏÎµÎ»ÎµÏ ÏÎ±Î¯Î±Ï Î¼Îµ δοξαÏÎ¯ÎµÏ ÏÏÎ¿Ï Ïο ÏδÏÏ ÎºÎ±ÏÎÏει ιδιαίÏεÏη θÎÏη ÏημειÏÎ½Î¿Ï Î¼Îµ ÏÏι Ïο ιεÏÏ Eflatun Pinar ανήκε ÏÏην εÏικÏάÏεια ÏÎ¿Ï Î²Î±ÏÎ¹Î»ÎµÎ¯Î¿Ï ÏÎ·Ï Tarhuntassa[7_172a9] ÎµÎ½Ï ÎºÎ±Î¹ ο pihassassis / ΠήγαÏÎ¿Ï ÏÏ Î½ÎµÎ´ÎεÏο με ÏÎ¹Ï ÏηγÎÏ! ÎξιοÏημείÏÏο είναι ακÏμη ÏÏι αμÏÏÏεÏÎµÏ Î¿Î¹ ÏεÏιοÏÎÏ, Kizzuwatna και TarhuntaÅ¡Å¡a, Ï ÏήÏξαν ÏεÏιÏεÏειακÎÏ ÏÏ ÏÏÎ¿Ï Ïον ÏÏ Ïήνα ÏÎ¿Ï Î§ÎµÏÏιÏÎ¹ÎºÎ¿Ï ÎºÏάÏÎ¿Ï Ï Î¸ÎµÏÏοÏνÏαι δε ÏÏ Î¸ÎÏÎµÎ¹Ï ÎνÏÎ¿Î½Î·Ï Î±Î»Î»Î·Î»ÎµÏιδÏάÏεÏÏ Î¼Îµ Ïο ÎÎ¹Î³Î±Î¹Î±ÎºÏ ÏÏοιÏείο!
Îικ. 5: ΣÏ
γκÏÏÏημα ιεÏÎ¬Ï Î»Î¯Î¼Î½Î·Ï ÏοÏ
SüdburgΣÎÎÎÎΩΣÎÎΣ7_168. Kozal 2018, p. 223; Kozal 1999, pp. I, 52; Grave et al. 2014, fig. 1. ΣημειÏνεÏαι ÏÏι ÏÏο νεÏÏεÏο ÎÏγο ÏÎ·Ï Î· Kozal ÏαίνεÏαι να Ïείνει να θεÏÏήÏει Ïην ÎÏÏ Î¸Ïά ΤÏοÏήλαÏη ÎεÏαμεική (RLWm) ÏÏ Î§ÎµÏÏιÏική! 7_169. Bittel 1937a, p. 25, pl. 14: 1-5, n. 4; Van Wijngaarden 1999, p. 202, n. 289. Τα αγγεία ÏÏήμαÏÎ¿Ï ÏεÏÎ¹Î¿Ï (ÏεÏί Ïα ÏενήνÏα!) και Ïα Ï ÏÏλοιÏα ÏÎ·Ï ÎµÏÏ Î¸ÏοÏÏιλβÏÏÎ®Ï ÏÏοÏήλαÏÎ·Ï ÎºÎµÏÎ±Î¼ÎµÎ¹ÎºÎ®Ï ÎÏÎ¿Ï Î½ Ïα ανάλογά ÏÎ¿Ï Ï ÏÏον Îγιο ÎάκÏβο και Ïο Îδάλιο ÎÏÏÏÎ¿Ï (Murray, Smith and Walters 1900, p. 9, fig. 68:1108), ÏÏÎ¹Ï ÎÏ ÎºÎ®Î½ÎµÏ (Stais 1926, p. 118, εÏÏημα ÏηÏοÏμενο ÏÏα ÎÎ¸Î½Î¹ÎºÏ ÎÏÏÎ±Î¹Î¿Î»Î¿Î³Î¹ÎºÏ ÎÎ¿Ï Ïείο ÎθηνÏν Ï Ï. αÏ. 2633), ÏÏην ÎÏ Î±Î³Î¿ÏίÏιδα (Schaeffer 1929, fig. 3), Tell Abu Hawam και ÎÏκάλÏνα, Ïε θÎÏÎµÎ¹Ï Î´Î·Î»Î±Î´Î® ÏÎ¿Ï ÎÎ¹Î³Î±Î¯Î¿Ï Î® Ïε Ïημεία Î±Ï Î¾Î·Î¼ÎÎ½Î·Ï ÎÎ¹Î³Î±Î¹Î±ÎºÎ®Ï ÎµÏιÏÏοήÏ. ΤεκμήÏιο αÏÏ Ïο ÎαÏÏνι ÎάÏÎ½Î±ÎºÎ±Ï ÏÎ·Ï Î¥Î ÎÎ ÏÏ Î»Î¬ÏÏεÏαι ÏÏο ÎÏεÏÎ±Î½Î¹ÎºÏ ÎÎ¿Ï Ïείο (BM, reg. nr. 1898,1201.122). ÎÎ¿Ï ÏαλÏÏÏημα αγγεία ÎÏÎ¿Ï Î½ εÏίÏÎ·Ï ÎµÏ Ïεθεί ÏÏÎ¹Ï Î¸ÎÏÎµÎ¹Ï Alacahöyük, Kilise Tepe και Yumuktepe (Kozal 2012, nn. 75, 76, 77).7_170. Grave et al. 2014, p. 1182. ÎλλÏÏÏε Ïολλά ÏεκμήÏια ÏÎ·Ï RLWm ÎµÏ ÏÎθηÏαν Ïε ÏεÏνηÏή λίμνη ÏÎ·Ï Î§Î±ÏοÏÏαÏ, ÏαÏαÏÎμÏÎ¿Ï ÏÎ±Ï ÏιθανÏÏ ÏÏην ÏÏ Ïική Ïηγή και Ïο ÏÏεÏÎ¹ÎºÏ Î¹ÎµÏÏ ÏÏην θÎÏη Eflatun Pinar (ή κλαÏική Πηγή ÏÎ¿Ï Î Î»Î¬ÏÏνοÏ!).7_171. Manuelli 2009, pp. 253-255, 262; Steele and Stern 2019; Türkan Pilavcı 2017.7_172. Manuelli 2009, pp. 253, 262, n. 12; Glatz 2016, p. 192.7_172a1. Beckman 2013, p. 158, nn. 54-57, figs. 7.17-20.7_172a2. Karababa 2020; Ãmür Harmansah 2019; Erbil and Mouton 2012, p. 62. Îλ. και ÏÏεÏικά ÏÏÏλια ÏÎ¿Ï ÎοÏανιά (Kopanias 2012).7_172a3. Neve 2023, p. 10, n. 34.7_172a4. Harmansah 2019, p. 233.7_172a5. (Persida Hay 2021, p. 17.7_172a6. Gallou 2002, p. 122. 7_172a7. Heffron 2014; Pilavci 2017; Fantoni 2021.7_172a8. Erbil and Mouton 2012, p. 62, n. 53.7_172a9. Kennell 2006.
ÎÎÎÎÎÎΣÎικ. 1: Steele & Stern 2017, fig. 1.Îικ. 2:Îικ. 3:Îικ. 4: Harmansah 2019, fig. 9.3.Îικ. 5: Harmansah 2019, fig. 9.4.
ÎÎÎÎÎÎÎΡÎΦÎÎ
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ÎάÏμοÏ, Î. Î . 2013. "XÎ¬Î²Î¿Ï (ÎÎ¿Ï Î²Î¹Î¬ ή ΧÏνια) â ΠοÏαμÏÏ ÎÏ ÎºÎ®Î½ÎµÏ," ÎΡÎÎÎÎÎÎ ÎΡΧÎÎÎÎÎ ÎÎÎÎÎÎÎÎÎÎ ÎΣΤÎΡÎÎΣ ÎÎÎ Î ÎÎÎΤÎΣÎÎÎ¥, <https://argolikivivliothiki.gr/2015/0... (6 ΣεÏÏ. 2023).
https://www.academia.edu/49181664/S%C..., Î. Î. 2020. âSüdburg Chamber 2: May You Have A Safe Passage to the Netherworld,â Anatolian Archaeology (Archaeology), Inscriptions, Hattusa, Hittite Monuments, pp. 1-10.
https://www.researchgate.net/publicat... Harmansah. 2019. âCities, the Underworld, and the infrastructure: The ecology of water in the Hittite world,â in New Materialisms Ancient Urbanisms, ed. S. M. Alt and T. R. Pauketat, London / New Yorl, pp. 218-244.
https://publications.dainst.org/books..., P. 2023. Die Oberstadt von ḪattuÅ¡a. Die Bauwerke. III, Die Bebauung im südlichen Vorfeld von Büyükkale. NiÅantepe â Südburg â Ostplateau (Grabungen 1988â1993)(BoÄazköy-HattuÅ¡a 20), DAI, Berlin.
https://cdn.vanderbilt.edu/vu-my/wp-c... Beckman, G. 2013. âIntrinsic and Constructed Sacred Space in Hittite Anatolia,â in Heaven on Earth: Temples, Ritual, and Cosmic Symbolism in the Ancient World (Oriental Institute Seminarsâ9), Chicago, pp. 153-174.
https://eprints.nottingham.ac.uk/1118..., C. 2002. âThe Cult of the Dead in Central Greece during the Mycenaean Period I: Textâ (diss. Univ. of Nottingham).
https://uir.unisa.ac.za/bitstream/105... Persida Hay, A. 2021. âPhysical and Metaphorical Zones of Transition. Comparative Themes in Hittite and Greek Karst Landscapes in the Late Bronze and Early Iron Agesâ (diss. Univ. of South Africa).
http://scholar.uoa.gr/sites/default/f..., K. 2012. âParadise Lost. The Image of the Netherworld in the Near East and in the Aegean,â in ATHANASIA. The Earthly, the Celestial and the Underworld in the Mediterranean from the Late Bronze and the Early Iron Age. Proceedings of the International Archaeological Conference, Rhodes 28-31 May, 2009, ed. N. Stampolides, A. Kanta, and A. Giannikouri, pp. 169-179.
Heffron, Y. 2014. âThe Material Culture of Hittite âGod-drinkingâ,â Journal of Ancient Near Eastern Religions 14(2), pp. 164-185.DOI: 10.1163/15692124-12341261https://www....'
https://academiccommons.columbia.edu/..., Turkan. 2017. âDrinking a God and Sacrificing a Drink: Agency of the Hittite Libation Vesselsâ (diss. Univ. of Columbia).
https://www.academia.edu/78230537/The..., C. 2021. âThe arm-shaped vessels in Anatolia and the Eastern Mediterranean during the Late Bronze Age: a morphological and contextual analysis,â Asia Anteriore Antica. Journal of Ancient Near Eastern Cultures 3, pp. 93-123.
Kennell, S. A. F. 2006. Rev. of T. Bryce, The kingdom of the Hittites, in BMCR 2006.11.34, https://bmcr.brynmawr.edu/2006/2006.1... (5 Sept. 2023).
https://www.academia.edu/1526484/Wate... Erbil, Y. and Mouton, A. 2012. âWater in ancient Anatolian religions: an archaeological and philological inquiry on the Hittite evidence,â Journal of Near Eastern Studies 71.1, pp. 53â74.
August 29, 2023
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ΠΦÎΣÎΣÎÎΣ ΤÎÎ¥ ΦÎÎΣÎÎ ÎÎ¥Î: ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis ÎÏ Î´ÎµÎ¯Ï ÎµÏ Ïήθηκε να καοÏν.. ÏμÏÏ ÎµÎ´Ï ÎÏÏεÏε - ανÏίθεÏα - να ÏονιÏÏεί ÏÏι δεν εÏιÏÏÎÏÎ¿Ï Î¼Îµ Ïε λαθÏοειÏÎ²Î¿Î»ÎµÎ¹Ï - ενεÏγοÏμενα ÏÎ¿Ï ÎÏνÏογάν να καÏÎ±ÎºÎ±Î¯Î¿Ï Î½ Ïην ÏαÏÏίδα Î¼Î±Ï Î±ÏιμÏÏηÏί και ανÏί ÏιμÏÏÎ¯Î±Ï Î½Î± εκÏÏάζεÏαι με Î ÎΡÎΣΣΠÎΡÎΣÎΣ η ανÏίθεÏη διάθεÏη. ÎÎÎ ÎÎÎÎÎ ÎÎÎΡΤÎΣΠΠÎÎ¥ ÎÎÎÎÎ ÎΤΡÎÎ Î ÎÎ ÎΠΡÎÎ Î ÎΠΦÎΡÎÎΠΣΤÎÎ ÎÎÎΡΤΩÎΤÎ!
ÎÎ ÎÎΤÎΣΠÎÎÎ¥ (ÎÎΦÎÎÎÎÎΤÎΠΣΤÎΠΠΡÎÎÎÎÎ¥ÎÎÎÎ ÎÎÎÎÎÎ - ΤÎÎ¥ÎÎΧÎΣΤÎÎ ÎΣΠÎΣΩΣΠÎÎÎΤÎÎ ÎΠΣΥÎÎΧÎÎÎ ÎÎÎÎΡÎΦÎÎÎ ÎΠΠΤÎΥΣ ÎÎÎÎÎΡÎΤÎΣ ΤΩΠΠΥΡÎÎÎΩÎ!) ΣΤΠÎÎÎÎÎÎ¥ÎΠΣΧÎÎÎΠΤÎÎ¥ ÎÎÎÎ¥ ÎΡÎÎÎΡÎΤΠ(Î ÎÎ ÎÎÎÏ Î Î¡ÎΦÎÎΩΣ ÎΠΤÎΥΣ ΣΥΠÎΥΤΩ ÎÎÎΡÎÎΣΠÎÎΠΤÎÎ ÎÎ ÎÎÎÎÎ Î ÎΡÎÎΡÎΣÎΩΠΣΤÎÎ ÎÎÎÎΡÎÎΣÎÎ ÎÎÎ¥ ÎÎΩ!: ÎκοÏγεÏαι: Τί και αν καοÏν. ΠαÏάνομοι μεÏανάÏÏÎµÏ ÎµÎ¯Î½Î±Î¹. Î ÏÏιÏÏιανιÏμÏÏ Î¼Î±Ï Î· ÏÏ Î¼ÏÏνοια η αγάÏη; ÎνθÏÏÏοι νηÏÏικοί αξιοδάκÏÏ Ïοι είναι. Athos KravaritisÎεν θα ÏÏολιάÏÏ ÎºÎ¬ÏÎ¿Î¹ÎµÏ Î±Î½Î±ÏÏήÏÎµÎ¹Ï Î¼Î±Î»Î»Î¿Î½ ÏÏοÏβληÏικÎÏ. ΠκαθÎÎ½Î±Ï ÎÏει Ïο δικαίÏμα διαÏÏ ÏÏÏεÏÏ ÏαÏαÏηÏήÏεÏν για ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ Î²ÎβαίÏÏ ÎºÎ±Î¹ Î±Ï ÏÏÏ ÎºÏίνεÏαι ÏÏ ÏÏÎ¿Ï Ïην ÏοιÏÏηÏά ÏÎ¿Ï Ï.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis Î ÎÎÎΠΣÎΣ ÎÎÎΡΤÎΣΠΠΡÎΣÎÎÎÎÎΠΤÎÎ ÎÎΥΤΠΣÎΣ ΠΡΩΤΠÎÎΩ ΠΡÎÎÎÎÎÎ ÎÎÎÎΠΣΤÎΥΣ ÎÎÎÎÎÎΣ, Î ÎΡΠÎΠΠΤÎÎ ÎÎΤÎΣΤΡÎΦΠΤÎΣ ÎÎÎÎÎΣ .... ÎΤΡÎΠΠΣÎΣ ÎÎÎÎ & ÎÎΤÎÎÎÎÎ!
Athos Kravaritis
ÎÏίμα κÏÏιε ÎονιδάÏη, Ï ÏήÏξαμε κάÏοÏε και ÏÏ Î½Î¬Î´ÎµÎ»Ïοι ÏÏη ÎÎÎ. Îαι Ïε Ïλη Î¼Î¿Ï Ïην διαδÏομή Î¿Ï Î´Îνα και Î¿Ï Î´ÎÏοÏε ÏÏοÏÎβαλα. ÎÏ ÏÏ ÏÏάÏÏÏ ÎºÎ±Î¹ ÏÏÏα.
ÎÎ ÎÎΤÎΣΠÎÎÎ¥ (ÎÎΦÎÎÎÎÎΤÎΠΣΤÎΠΠΡÎÎÎÎÎ¥ÎÎÎÎ ÎÎÎÎÎÎ - ΤÎÎ¥ÎÎΧÎΣΤÎÎ ÎΣΠÎΣΩΣΠÎÎÎΤÎÎ ÎΠΣΥÎÎΧÎÎÎ ÎÎÎÎΡÎΦÎÎÎ ÎΠΠΤÎΥΣ ÎÎÎÎÎΡÎΤÎΣ ΤΩΠΠΥΡÎÎÎΩÎ!) ΣΤΠÎÎÎÎÎÎ¥ÎΠΣΧÎÎÎΠΤÎÎ¥ ÎÎÎÎ¥ ÎΡÎÎÎΡÎΤΠ(Î ÎÎ ÎÎÎÏ Î Î¡ÎΦÎÎΩΣ ÎΠΤÎΥΣ ΣΥΠÎΥΤΩ ÎÎÎΡÎÎΣΠÎÎΠΤÎÎ ÎÎ ÎÎÎÎÎ Î ÎΡÎÎΡÎΣÎΩΠΣΤÎÎ ÎÎÎÎΡÎÎΣÎÎ ÎÎÎ¥ ÎÎΩ!: ÎÎÎΡΤÎΣΠÎÎΩ ÎΡÎÎÎΡÎΤΠÎκοÏγεÏαι: Τί και αν καοÏν. ΠαÏάνομοι μεÏανάÏÏÎµÏ ÎµÎ¯Î½Î±Î¹. Î ÏÏιÏÏιανιÏμÏÏ Î¼Î±Ï Î· ÏÏ Î¼ÏÏνοια η αγάÏη; ÎνθÏÏÏοι νηÏÏικοί αξιοδάκÏÏ Ïοι είναι.
Xeni Diamantopoulou
ÎνθÏÏÏÎ¿Ï ÎºÎ±Î¹ ÏαÏÎ¬Î½Î¿Î¼Î¿Ï Ï ÏάÏÏει?ÎÏ Ïή η μÏάλα δεν είναι κανενÏÏ Î¹Î´Î¹Î¿ÎºÏηÏία, είναι για ÏÎ»Î¿Ï Ï Î¼Î±Ï.ÎνιÏÏ ÏÏ ÏÎ¿Î»Ï Î³Î¹Î± Ïο ÏÏÏ ÎµÎºÏÏάζονÏαι κάÏοιοι ÏÏ Î¼ÏολίÏÎµÏ Î¼Î¿Ï . ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Xeni Diamantopoulou ÎÎ³Ï ÎºÎ»Î±Î¯Ï Î³Î¹Î± Ïην γλÏÏÏα μαÏ..
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Xeni Diamantopoulou Î¦Ï Ïικά και Ï ÏάÏÏει ÏÏÎ¹Ï ÎÎ½Î½Î¿Î¼ÎµÏ ÎºÎ¿Î¹Î½ÏνίεÏ.. Îα αÏÏίÏÎ¿Ï Î¼Îµ Ïάλι αÏÏ Ïο νηÏιαγÏγείο? ----------------------------------------------------------------------------------------------------------------------------Athos Kravaritis
Îεν θα ÏÏολιάÏÏ ÎºÎ¬ÏÎ¿Î¹ÎµÏ Î±Î½Î±ÏÏήÏÎµÎ¹Ï Î¼Î±Î»Î»Î¿Î½ ÏÏοÏβληÏικÎÏ. ΠκαθÎÎ½Î±Ï ÎÏει Ïο δικαίÏμα διαÏÏ ÏÏÏεÏÏ ÏαÏαÏηÏήÏεÏν για ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ Î²ÎβαίÏÏ ÎºÎ±Î¹ Î±Ï ÏÏÏ ÎºÏίνεÏαι ÏÏ ÏÏÎ¿Ï Ïην ÏοιÏÏηÏά ÏÎ¿Ï Ï.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis Î ÎÎÎΠΣÎΣ ÎÎÎΡΤÎΣΠΠΡÎΣÎÎÎÎÎΠΤÎÎ ÎÎΥΤΠΣÎΣ ΠΡΩΤΠÎÎΩ ΠΡÎÎÎÎÎÎ ÎÎÎÎΠΣΤÎΥΣ ÎÎÎÎÎÎΣ, Î ÎΡΠÎΠΠΤÎÎ ÎÎΤÎΣΤΡÎΦΠΤÎΣ ÎÎÎÎÎΣ .... ÎΤΡÎΠΠΣÎΣ ÎÎÎÎ & ÎÎΤÎÎÎÎÎ!
Athos Kravaritis --> ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
ÎÏίμα κÏÏιε ÎονιδάÏη, Ï ÏήÏξαμε κάÏοÏε και ÏÏ Î½Î¬Î´ÎµÎ»Ïοι ÏÏη ÎÎÎ. Îαι Ïε Ïλη Î¼Î¿Ï Ïην διαδÏομή Î¿Ï Î´Îνα και Î¿Ï Î´ÎÏοÏε ÏÏοÏÎβαλα. ÎÏ ÏÏ ÏÏάÏÏÏ ÎºÎ±Î¹ ÏÏÏα.
Athos Kravaritis
ÎαλÎÏ Î¼Î¿Ï ÏÎ¯Î»ÎµÏ ÎºÎ±Î¹ Ïίλοι. ÎεÏά Ïην καÏά Ïη γνÏμη Î¼Î¿Ï ÎµÏ ÏÏεÏή και ÏÏ Î½Î±Î¹ÏθημαÏική ανάÏÏηÏή Î¼Î¿Ï , εÏακολοÏθηÏαν αÏο καÏοιον "Ïίλο" ÏÏοÏβληÏικÎÏ ÏÏ Î´Î±Î¯ÎµÏ Î±ÏίÏÏÎµÏ ÏÎµÏ ÏÏÏÏοÏÎ±Î½ÎµÎ¯Ï Î±Î½Î±ÏÏήÏÎµÎ¹Ï Î³Î¹Î± ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ Î±Î¹Ïθάνομαι βαθÏÏαÏη θλίÏη και κάÏοια ενοÏή δεδομÎÎ½Î¿Ï ÏÏι διαÏÏ ÏÏθηκαν με αÏοÏμή δική Î¼Î¿Ï Î±Î½Î¬ÏÏηÏη. ÎÏ Ïάμαι ÏολÏ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis ÎνοÏή και θλίÏη θα ÎÏÏεÏε να αιÏθάνεÏÏε για Ïην Ï ÏÎ¿Î½Î¿Î¼ÎµÏ Ïική και άθλια, ÏÎµÏ Î´Î¿-ανθÏÏÏιÏÏική ανάÏÏηÏή ÏÎ±Ï Î· οÏοία αιÏιάÏαι Ïην Îλλάδα για Ïον θάναÏο λαθÏο-ειÏβολÎÏν οι οÏοίοι, ενÏελλÏμενοι αÏÏ Ïον ÎÏνÏογάν, ÏÏοκάλεÏαν Ïην καÏαÏÏÏοÏή μεγά⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
ÎÎΠΤÎΠΤÎÎÎ ÎÎÎΡΠÎÎÎ ÎÎÎÎ ÎÎ¥ÎÎΠΣΧÎÎÎÎ.. ÎÎ ÎÎΤÎΤÎÎΠΤÎÎ¥ ÎÎÎÎÎ¥ ÎÎÎ¥! ÎÎÎÎÎÎ Î - ÎÎ ÎÎÎÎΩΣ - Î ÎÎÎÎΣ ÎÎÎ Î ÎΡÎÎÎÎÎÎ ÎÎÎÎΠΠΠΡÎÎÎΣΠÎÎÎΧÎÎ ÎÎÎΣÎΩΣ ΤÎΣ ÎÎÎÎÎÎΣ & ΤΩΠÎÎÎÎÎΩΠÎÎΠΤΠÎÎÎÎÎÎÎΤΠÎÎÎΡÎ-ÎÎΣÎÎÎÎΩÎ
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Athos Kravaritis --> ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. ΠανάÏÏηÏή Î¼Î¿Ï ÏαÏÎÏÏαÏη. Îεν εÏιÏίÏÏει ÎµÏ Î¸ÏÎ½ÎµÏ ÏÏην Îλλάδα Î¿Ï Ïε Ïε κάÏοιον άλλο. Τα ελληνικά Î¼Î¿Ï ÏÎ¿Î»Ï ÎºÎ±Î»Î¬ Ïο νÏημα ξεκάθαÏο. Îάλλον ÏκÏÏιμα Ïην ÏαÏεÏμηνεÏεÏε. Îλήθεια ÏÏη ÎÎÎ Ïε Ïοιά ÎιεÏÎ¸Ï Î½Ïη ήÏαÏÏαν. ÎÏÏÏημα εκ ÏεÏιεÏγείαÏ.
Pavlos Pavlou --> Athos Kravaritis Îαμία θλίÏη και καμία ενοÏή δεν ÏÏÎÏει να αιÏθάνεÏÏε εÏειδή ÏαÏαμÎνεÏε ÎνθÏÏÏοÏ! ÎÏÏÏ Î¼Ïνο θα ÏÏÎÏει να ÏκεÏÏείÏε να ÏεÏάξεÏε κάÏοια αÏÏ Ïα "ÏÎºÎ¿Ï Ïίδια" ÏÎ¿Ï ÎÏÎ¿Ï Î½ Î¼Î±Î¶ÎµÏ Ïεί ÏÏην ÏÏμαÏεÏή ÏÏÎ¿Ï Î±Î½Î®ÎºÎ¿Ï Î½. Îλλοίμονο αν οι ÏÏÏÏοί άνθÏÏÏοι νιÏθ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis ΠεÏί ÏοÏÏÎ¿Ï Î¼ÏοÏείÏε εÏκολα να ÏληÏοÏοÏηθείÏε μÎÏÏ ÏÎ¿Ï Î´Î¹Î±Î´Î¹ÎºÏÏÎ¿Ï , ÏÎ¿Ï academia, researchegate, amazon, lulu κλÏ. ΣημειÏÏÏε ÏÏι άν και διαθÎÏÏν μοÏÏÏÏικά εÏÏδια αÏληÏίαÏÏα γιά Î¬Î»Î»Î¿Ï Ï, Î¿Ï Î´ÎÏοÏε ÎÏθαÏα μÎÏÏι Ïην θÎÏη ÏÎ¿Ï Ï, αÏÎ¿Ï Î±ÎºÏμη και⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
Athos Kravaritis --> ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. Î ÏÏε ÏÏονολογικά και Ïε Ïοιά Î/Ïη, μήÏÏÏ ÎºÎ±Î¹ κάÏÎ¿Ï ÏÏ Î¼ÏÎÏαμε Ï ÏηÏεÏιακά. ÎÎ³Ï Î®Î¼Î¿Î½Î± ÏÏη ÎÎΠαÏο Ïο 1959.
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Pavlos Pavlou Î ÎµÏ Î³Îνειά ÏÎ±Ï ÏαÏακÏηÏιÏÏική ÏÎ¿Ï Î±ÏÏÎ¼Î¿Ï ÏαÏ, Ïο ίδιο και η καλλιÎÏγειά ÏαÏ.. Îε Ïην ÎµÏ ÎºÎ±Î¹Ïία με ÏληÏοÏοÏείÏε για Ïο μοÏÏÏÏÎ¹ÎºÏ ÎµÏίÏÎµÎ´Ï ÏÎ±Ï (και Ïην αÏαÏÏÏληÏη) Ïο οÏοίο βεβαίÏÏ Î´ÎµÎ½ θα ομοιάζει με Ïο Î´Î¹ÎºÏ Î¼Î¿Ï ÏÎ·Ï Î±Î¼Î¿ÏÏÏÏιάÏ????
Pavlos Pavlou --> ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Îεν εÏικοινÏÎ½Ï Î¼Îµ άÏομα ÏÎ¿Ï ÏÎ±Î¼Î·Î»Î¿Ï Î´Î¹Î±Î½Î¿Î·ÏÎ¹ÎºÎ¿Ï ÎµÏιÏÎÎ´Î¿Ï ÏαÏ. ÎÏÏε ÏÎ±Ï Î±ÏεÏÎ¸Ï Î½Î± Ïον λÏγο
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Pavlos Pavlou Îεν εÏικοινÏÎ½ÎµÎ¯Ï Î´Î¹ÏÏι ÏÏεÏείÏαι ÏÎ¿Ï ÎλÏÎ³Î¿Ï ', είÏαι οÏαδÏÏ ÏÎ·Ï Î±Î½ÎµÎ»ÎµÏ Î¸ÎµÏÎ¯Î±Ï ÏÎ¿Ï Î»ÏÎ³Î¿Ï & διαλÏÎ³Î¿Ï , ÎÏÎµÎ¹Ï Î´Îµ ÏÏοÏανÏÏ Î¸ÎμαÏα να αÏοκÏÏÏειÏ.. Îαλήν διαμονή ÏÏην ÏÏλίÏÏα ÏÎ·Ï Î±Î³ÎµÎ½ÎµÎ¯Î±Ï .. ÎλλÏÏÏε Ïο μÎγιÏÏο ÏÎ¿Ï , ÏÏ ÏαίνεÏαι, μÏοÏÎµÎ¯Ï Î½Î± ÏÏ Î½ÎµÎ¹ÏÏÎ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
Annie Kravariti --> ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Î· ÎÏÏοÏή Ïλη είναι καθαÏά δική ÏαÏ!!!!!ÎÏ Ïάμαι ÏολÏ!!!
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Annie Kravariti ÎκÏληκÏικά Ïα εÏιÏειÏήμαÏα - δογμαÏικÎÏ Î±ÏοÏάνÏειÏ.... ÎναμÎÎ½Ï ÏÏÏλια εÏί ÏÎ·Ï ÏαμÏακÎÏαÏ, ÏÏν βιογÏαÏικÏν, ÏÏν μοÏÏÏÏικÏν εÏοδίÏν κλÏ! ÎÎÎΤΠÎÎ ÎΣΠΣÎÎÎ & ÎΡÎÎÎΣ??
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Efi Papathomaidi ÎÏαν άνθÏÏÏοι ÏαÏακÏηÏίζονÏαι 'ÏÏÏα' ÏÏÏε ο ÏαÏακÏηÏίζÏν ανήκει ÏÏο ÏÎºÏ Î»Î¿Î»Ïι ÏÎ¿Ï ÏαÏιÏμοÏ! ÎÎ¥ÎÎ Ïε Ïλα Ïα ÏαÏιÏÏοειδή!
Nikolaos Charalabopoulos --> Athos Kravaritis ÎÎ±Î»Î Î¼Î¿Ï Ïίλε! Îην αιÏθάνεÏαι καμμία ενοÏή. Î¥ÏάÏÏÎ¿Ï Î½ άνθÏÏÏοι και ανθÏÏÏάκια. ÎνÏÏÎ¯Î¶ÎµÎ¹Ï ÏÎ¹Ï Î´Î¹Î¬ÏοÏεÏ;
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis ÎÎ ÎΣΥÎÎΠΤΩ ÎÎΩ ÎÎÎÎ¥ÎÎ Î ÎÎ¥ ÎÎÎÎΣ ÎÎÎ¥ ÎÎ ÎΣΤÎÎÎÎ Î ÎÎΤΠÎÎÎΩΣÎΠΤÎÎ¥ ÎÎÎÎÎÎÎΤÎÎΣ Î ÎÎÎÎÎÎ¥ ΣΤΠMESSENGER: ÎÎÏÎµÎ¹Ï Ïί Ïά ÎºÎ¬Î½Î¿Ï Î½ Ïά αγενή ÏÏογλανάκια, ÏÎ¿Ï ÏÏοÏÏαθοÏν νά ÏÏοÏÎ²Î¬Î»Î¿Ï Î½ ÏοÏÏ ÏÏ Î½Î¿Î¼Î¹Î»Î·ÏÎÏ ÏÎ¿Ï Ï, οί ÏμήναÏÏοι ÏÎ®Ï Î Î¿Î»ÎµÎ¼Î¹ÎºÎ®Ï ÎεÏοÏοÏÎ¯Î±Ï ? Τ⦠Î
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï -->Nikolaos Charalabopoulos ÎγαÏηÏΠκÏÏιε, μεÏÎ±Î¾Ï ÏÏν άλλÏν ÏÏ Î¼Î¼ÎµÏαÏÏÏνÏα ÏÏÎ¿Ï Ï ÎÎÎÎÎ 2004, εÏγε για Ïην Î´Ï Î½Î±ÏÏÏηÏα ÏÎ±Ï Î½Î± διακÏίνεÏε ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Ïε 'ανθÏÏÏÎ¿Ï Ï ÎºÎ±Î¹ ανθÏÏÏάκια': Î Î¿Ï ÏοÏοθεÏείÏε Ïο άÏÎ¿Î¼Ï ÏαÏ? ÎήÏÏÏ Ïε καμμία καÏηγοÏία???
Emmy Kravariti
ÎÏÏ ÏÏα Î´Î¹Î±Î²Î¬Î¶Ï Î¸Î»Î¯Î²Î¿Î¼Î±Î¹ και νιÏÎ¸Ï Î±ÏÏγνÏÏη για Î±Ï ÏÏ Ïο εÏίÏεδο και για Î±Ï ÏÏν Ïον ÏÏÎ¿Ï Î»Î¿ εκÏαÏιÏÎ¼Ï ÏÎ·Ï ÎºÎ¿Î¹Î½ÏÎ½Î¯Î±Ï Î¼Î±Ï. ÎÏÏÎÏομαι για ÏÏα γÏάÏαÏε Ïε μιά καθαÏά ανθÏÏÏιÏÏική ανάÏÏηÏη, αÏÏ Îναν άνθÏÏÏο βαθιά ÎÎÎÎÎΡÎΤÎÎÎ ÎÎÎ ÎÎ¥ÎÎΣÎÎΤÎ. Î ÏÏοδοÏία Î¼Î¹Î±Ï ÏÏÏÎ±Ï Î¾ÎµÎºÎ¹Î½Î¬ÎµÎ¹ ÏάνÏα αÏÏ Î´Î®Î¸ÎµÎ½ εθνικιÏÏικÎÏ ÎºÎ¿ÏÏÎ½ÎµÏ ÏÎ¿Ï Î´ÎµÎ½ ÏÏοÏεÏÎ¿Ï Î½ ÏοÏÎ ÏÏη ÏÏÏηÏία ÏηÏ. Î ÏÏÏα Î¼Î±Ï ÎºÎ±ÏαÏÏÏÎÏεÏαι αÏÏ Î´Î¹ÎºÎ® ÏÎ·Ï ÎºÏ Î²ÎµÏνηÏική ανικανÏÏηÏα και ÏολιÏική βοÏληÏη.ÎÏει καεί ÏÏεδÏν Ïλη η Îλλάδα και ÏÎ¯Î³Î¿Ï Ïα ÏÏι αÏÏ 10 μεÏανάÏÏεÏ. Îίμαι Ï ÏεÏήÏανη για Ïον ÏαÏÎÏα Î¼Î¿Ï , ÏÎ¿Ï ÏÏην ηλικία ÏÎ¿Ï Ïολμάει να μιλάει ανθÏÏÏινα, διÏÏι ÏÏοÏανÏÏ ÏÏειάζεÏαι ÏλÎον ÏÏλμη για να ÏαÏÎ±Î¼ÎµÎ¯Î½ÎµÎ¹Ï ÎÎÎΡΩΠÎΣ.
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ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Emmy Kravariti ÎÏάνÏηÏη ÏÏÏÎ¯Ï Î±Î½Î±ÏοÏά Ïε ÏÏαγμαÏικά ÏεÏιÏÏαÏικά.. αÏÏ ÏοÏÏάÏον.. ÎÎΦÎΣÎΣÎÎΣ ÎÎÎÎÎ Î ÎÎ ÎΦΥÎΠΤÎÎ¥ ÎÎÎÎÎÎÎÎ¥ ÎÎΠΥΠÎΣΤÎΡÎÎΠΤÎÏ ÎÎÎΡÎÎÎΣÎÎÎÎΣ ÎÎÎÎΤΠÎÎΥΠÎÎÎΩΠΠÎÎ¥ ÎÎΣΠΡÎΤΤÎΥΠÎÎ ÎÎÎÎΣÎÎΤÎΣ.. ÎÎÎΡΩΠÎΣÎÎΣ? Î ÎÎÎΣ ÎÎÎΡΩΠÎΣÎÎΣ?
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis Î£Ï Î½ÎµÏίÏÏε Ïο θεάÏεÏÏο ÎÏγο ÏαÏ, άν δε βÏείÏε ÏÏÏνο και άν ÏÎ±Ï ÎµÏιÏÏαÏεί αÏανÏήÏÏε ÏÏα εÏÏÏήμαÏά Î¼Î¿Ï , ομÏλογα ÏÏν δικÏν ÏÎ±Ï Î¬Î»Î»ÏÏÏε .. Î£Î±Ï Î±ÏιεÏÏÎ½Ï ÎµÎ¹ÎºÏνα αÏÏ Ïην καμμÎνη Îαδιά για να Ïην κÏαÏήÏεÏε ÏÏα αÏÏεία ÏÎ±Ï ..
Athos Kravaritis
ÎαλÎÏ Î¼Î¿Ï ÏÎ¯Î»ÎµÏ ÎºÎ±Î¹ Ïίλοι. ÎεÏά Ïην καÏά Ïη γνÏμη Î¼Î¿Ï ÎµÏ ÏÏεÏή και ÏÏ Î½Î±Î¹ÏθημαÏική ανάÏÏηÏή Î¼Î¿Ï , εÏακολοÏθηÏαν αÏο καÏοιον "Ïίλο" ÏÏοÏβληÏικÎÏ ÏÏ Î´Î±Î¯ÎµÏ Î±ÏίÏÏÎµÏ ÏÎµÏ ÏÏÏÏοÏÎ±Î½ÎµÎ¯Ï Î±Î½Î±ÏÏήÏÎµÎ¹Ï Î³Î¹Î± ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ Î±Î¹Ïθάνομαι βαθÏÏαÏη θλίÏη και κάÏοια ενοÏή δεδομÎÎ½Î¿Ï ÏÏι διαÏÏ ÏÏθηκαν με αÏοÏμή δική Î¼Î¿Ï Î±Î½Î¬ÏÏηÏη. ÎÏ Ïάμαι ÏολÏ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis ÎνοÏή και θλίÏη θα ÎÏÏεÏε να αιÏθάνεÏÏε για Ïην Ï ÏÎ¿Î½Î¿Î¼ÎµÏ Ïική και άθλια, ÏÎµÏ Î´Î¿-ανθÏÏÏιÏÏική ανάÏÏηÏή ÏÎ±Ï Î· οÏοία αιÏιάÏαι Ïην Îλλάδα για Ïον θάναÏο λαθÏο-ειÏβολÎÏν οι οÏοίοι, ενÏελλÏμενοι αÏÏ Ïον ÎÏνÏογάν, ÏÏοκάλεÏαν Ïην καÏαÏÏÏοÏή μεγά⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
ÎÎΠΤÎΠΤÎÎÎ ÎÎÎΡΠÎÎÎ ÎÎÎÎ ÎÎ¥ÎÎΠΣΧÎÎÎÎ.. ÎÎ ÎÎΤÎΤÎÎΠΤÎÎ¥ ÎÎÎÎÎ¥ ÎÎÎ¥! ÎÎÎÎÎÎ Î - ÎÎ ÎÎÎÎΩΣ - Î ÎÎÎÎΣ ÎÎÎ Î ÎΡÎÎÎÎÎÎ ÎÎÎÎΠΠΠΡÎÎÎΣΠÎÎÎΧÎÎ ÎÎÎΣÎΩΣ ΤÎΣ ÎÎÎÎÎÎΣ & ΤΩΠÎÎÎÎÎΩΠÎÎΠΤΠÎÎÎÎÎÎÎΤΠÎÎÎΡÎ-ÎÎΣÎÎÎÎΩÎ
Athos Kravaritis --> ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏΠανάÏÏηÏή Î¼Î¿Ï ÏαÏÎÏÏαÏη. Îεν εÏιÏίÏÏει ÎµÏ Î¸ÏÎ½ÎµÏ ÏÏην Îλλάδα Î¿Ï Ïε Ïε κάÏοιον άλλο. Τα ελληνικά Î¼Î¿Ï ÏÎ¿Î»Ï ÎºÎ±Î»Î¬ Ïο νÏημα ξεκάθαÏο. Îάλλον ÏκÏÏιμα Ïην ÏαÏεÏμηνεÏεÏε. Îλήθεια ÏÏη ÎÎÎ Ïε Ïοιά ÎιεÏÎ¸Ï Î½Ïη ήÏαÏÏαν. ÎÏÏÏημα εκ ÏεÏιεÏγείαÏ.
Pavlos Pavlou --> Athos Kravaritis Îαμία θλίÏη και καμία ενοÏή δεν ÏÏÎÏει να αιÏθάνεÏÏε εÏειδή ÏαÏαμÎνεÏε ÎνθÏÏÏοÏ! ÎÏÏÏ Î¼Ïνο θα ÏÏÎÏει να ÏκεÏÏείÏε να ÏεÏάξεÏε κάÏοια αÏÏ Ïα "ÏÎºÎ¿Ï Ïίδια" ÏÎ¿Ï ÎÏÎ¿Ï Î½ Î¼Î±Î¶ÎµÏ Ïεί ÏÏην ÏÏμαÏεÏή ÏÏÎ¿Ï Î±Î½Î®ÎºÎ¿Ï Î½. Îλλοίμονο αν οι ÏÏÏÏοί άνθÏÏÏοι νιÏθ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis ΠεÏί ÏοÏÏÎ¿Ï Î¼ÏοÏείÏε εÏκολα να ÏληÏοÏοÏηθείÏε μÎÏÏ ÏÎ¿Ï Î´Î¹Î±Î´Î¹ÎºÏÏÎ¿Ï , ÏÎ¿Ï academia, researchegate, amazon, lulu κλÏ. ΣημειÏÏÏε ÏÏι άν και διαθÎÏÏν μοÏÏÏÏικά εÏÏδια αÏληÏίαÏÏα γιά Î¬Î»Î»Î¿Ï Ï, Î¿Ï Î´ÎÏοÏε ÎÏθαÏα μÎÏÏι Ïην θÎÏη ÏÎ¿Ï Ï, αÏÎ¿Ï Î±ÎºÏμη και⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
Athos Kravaritis -->ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. Î ÏÏε ÏÏονολογικά και Ïε Ïοιά Î/Ïη, μήÏÏÏ ÎºÎ±Î¹ κάÏÎ¿Ï ÏÏ Î¼ÏÎÏαμε Ï ÏηÏεÏιακά. ÎÎ³Ï Î®Î¼Î¿Î½Î± ÏÏη ÎÎΠαÏο Ïο 1959.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï -->Pavlos Pavlou Î ÎµÏ Î³Îνειά ÏÎ±Ï ÏαÏακÏηÏιÏÏική ÏÎ¿Ï Î±ÏÏÎ¼Î¿Ï ÏαÏ, Ïο ίδιο και η καλλιÎÏγειά ÏαÏ.. Îε Ïην ÎµÏ ÎºÎ±Î¹Ïία με ÏληÏοÏοÏείÏε για Ïο μοÏÏÏÏÎ¹ÎºÏ ÎµÏίÏÎµÎ´Ï ÏÎ±Ï (και Ïην αÏαÏÏÏληÏη) Ïο οÏοίο βεβαίÏÏ Î´ÎµÎ½ θα ομοιάζει με Ïο Î´Î¹ÎºÏ Î¼Î¿Ï ÏÎ·Ï Î±Î¼Î¿ÏÏÏÏιάÏ????
Pavlos Pavlou --> ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Îεν εÏικοινÏÎ½Ï Î¼Îµ άÏομα ÏÎ¿Ï ÏÎ±Î¼Î·Î»Î¿Ï Î´Î¹Î±Î½Î¿Î·ÏÎ¹ÎºÎ¿Ï ÎµÏιÏÎÎ´Î¿Ï ÏαÏ. ÎÏÏε ÏÎ±Ï Î±ÏεÏÎ¸Ï Î½Î± Ïον λÏγο
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Pavlos Pavlou Îεν εÏικοινÏÎ½ÎµÎ¯Ï Î´Î¹ÏÏι ÏÏεÏείÏαι ÏÎ¿Ï ÎλÏÎ³Î¿Ï ', είÏαι οÏαδÏÏ ÏÎ·Ï Î±Î½ÎµÎ»ÎµÏ Î¸ÎµÏÎ¯Î±Ï ÏÎ¿Ï Î»ÏÎ³Î¿Ï & διαλÏÎ³Î¿Ï , ÎÏÎµÎ¹Ï Î´Îµ ÏÏοÏανÏÏ Î¸ÎμαÏα να αÏοκÏÏÏειÏ.. Îαλήν διαμονή ÏÏην ÏÏλίÏÏα ÏÎ·Ï Î±Î³ÎµÎ½ÎµÎ¯Î±Ï .. ÎλλÏÏÏε Ïο μÎγιÏÏο ÏÎ¿Ï , ÏÏ ÏαίνεÏαι, μÏοÏÎµÎ¯Ï Î½Î± ÏÏ Î½ÎµÎ¹ÏÏÎ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
Annie Kravariti --> ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Î· ÎÏÏοÏή Ïλη είναι καθαÏά δική ÏαÏ!!!!!ÎÏ Ïάμαι ÏολÏ!!!
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Annie Kravariti ÎκÏληκÏικά Ïα εÏιÏειÏήμαÏα - δογμαÏικÎÏ Î±ÏοÏάνÏειÏ.... ÎναμÎÎ½Ï ÏÏÏλια εÏί ÏÎ·Ï ÏαμÏακÎÏαÏ, ÏÏν βιογÏαÏικÏν, ÏÏν μοÏÏÏÏικÏν εÏοδίÏν κλÏ! ÎÎÎΤΠÎÎ ÎΣΠΣÎÎÎ & ÎΡÎÎÎΣ??
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï -->Efi Papathomaidi ÎÏαν άνθÏÏÏοι ÏαÏακÏηÏίζονÏαι 'ÏÏÏα' ÏÏÏε ο ÏαÏακÏηÏίζÏν ανήκει ÏÏο ÏÎºÏ Î»Î¿Î»Ïι ÏÎ¿Ï ÏαÏιÏμοÏ! ÎÎ¥ÎÎ Ïε Ïλα Ïα ÏαÏιÏÏοειδή!
Nikolaos Charalabopoulos -->Athos Kravaritis ÎÎ±Î»Î Î¼Î¿Ï Ïίλε! Îην αιÏθάνεÏαι καμμία ενοÏή. Î¥ÏάÏÏÎ¿Ï Î½ άνθÏÏÏοι και ανθÏÏÏάκια. ÎνÏÏÎ¯Î¶ÎµÎ¹Ï ÏÎ¹Ï Î´Î¹Î¬ÏοÏεÏ;
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis ÎÎ ÎΣΥÎÎΠΤΩ ÎÎΩ ÎÎÎÎ¥ÎÎ Î ÎÎ¥ ÎÎÎÎΣ ÎÎÎ¥ ÎÎ ÎΣΤÎÎÎÎ Î ÎÎΤΠÎÎÎΩΣÎΠΤÎÎ¥ ÎÎÎÎÎÎÎΤÎÎΣ Î ÎÎÎÎÎÎ¥ ΣΤΠMESSENGER: ÎÎÏÎµÎ¹Ï Ïί Ïά ÎºÎ¬Î½Î¿Ï Î½ Ïά αγενή ÏÏογλανάκια, ÏÎ¿Ï ÏÏοÏÏαθοÏν νά ÏÏοÏÎ²Î¬Î»Î¿Ï Î½ ÏοÏÏ ÏÏ Î½Î¿Î¼Î¹Î»Î·ÏÎÏ ÏÎ¿Ï Ï, οί ÏμήναÏÏοι ÏÎ®Ï Î Î¿Î»ÎµÎ¼Î¹ÎºÎ®Ï ÎεÏοÏοÏÎ¯Î±Ï ? Τ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Nikolaos Charalabopoulos ÎγαÏηÏΠκÏÏιε, μεÏÎ±Î¾Ï ÏÏν άλλÏν ÏÏ Î¼Î¼ÎµÏαÏÏÏνÏα ÏÏÎ¿Ï Ï ÎÎÎÎÎ 2004, εÏγε για Ïην Î´Ï Î½Î±ÏÏÏηÏα ÏÎ±Ï Î½Î± διακÏίνεÏε ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Ïε 'ανθÏÏÏÎ¿Ï Ï ÎºÎ±Î¹ ανθÏÏÏάκια': Î Î¿Ï ÏοÏοθεÏείÏε Ïο άÏÎ¿Î¼Ï ÏαÏ? ÎήÏÏÏ Ïε καμμία καÏηγοÏία???
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Emmy KravaritiÎÏÏ ÏÏα Î´Î¹Î±Î²Î¬Î¶Ï Î¸Î»Î¯Î²Î¿Î¼Î±Î¹ και νιÏÎ¸Ï Î±ÏÏγνÏÏη για Î±Ï ÏÏ Ïο εÏίÏεδο και για Î±Ï ÏÏν Ïον ÏÏÎ¿Ï Î»Î¿ εκÏαÏιÏÎ¼Ï ÏÎ·Ï ÎºÎ¿Î¹Î½ÏÎ½Î¯Î±Ï Î¼Î±Ï. ÎÏÏÎÏομαι για ÏÏα γÏάÏαÏε Ïε μιά καθαÏά ανθÏÏÏιÏÏική ανάÏÏηÏη, αÏÏ Îναν άνθÏÏÏο βαθιά ÎÎÎÎÎΡÎΤÎÎÎ ÎÎÎ ÎÎ¥ÎÎΣÎÎΤÎ. Î ÏÏοδοÏία Î¼Î¹Î±Ï ÏÏÏÎ±Ï Î¾ÎµÎºÎ¹Î½Î¬ÎµÎ¹ ÏάνÏα αÏÏ Î´Î®Î¸ÎµÎ½ εθνικιÏÏικÎÏ ÎºÎ¿ÏÏÎ½ÎµÏ ÏÎ¿Ï Î´ÎµÎ½ ÏÏοÏεÏÎ¿Ï Î½ ÏοÏÎ ÏÏη ÏÏÏηÏία ÏηÏ. Î ÏÏÏα Î¼Î±Ï ÎºÎ±ÏαÏÏÏÎÏεÏαι αÏÏ Î´Î¹ÎºÎ® ÏÎ·Ï ÎºÏ Î²ÎµÏνηÏική ανικανÏÏηÏα και ÏολιÏική βοÏληÏη.ÎÏει καεί ÏÏεδÏν Ïλη η Îλλάδα και ÏÎ¯Î³Î¿Ï Ïα ÏÏι αÏÏ 10 μεÏανάÏÏεÏ. Îίμαι Ï ÏεÏήÏανη για Ïον ÏαÏÎÏα Î¼Î¿Ï , ÏÎ¿Ï ÏÏην ηλικία ÏÎ¿Ï Ïολμάει να μιλάει ανθÏÏÏινα, διÏÏι ÏÏοÏανÏÏ ÏÏειάζεÏαι ÏλÎον ÏÏλμη για να ÏαÏÎ±Î¼ÎµÎ¯Î½ÎµÎ¹Ï ÎÎÎΡΩΠÎΣ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Emmy Kravariti ÎÏάνÏηÏη ÏÏÏÎ¯Ï Î±Î½Î±ÏοÏά Ïε ÏÏαγμαÏικά ÏεÏιÏÏαÏικά.. αÏÏ ÏοÏÏάÏον.. ÎÎΦÎΣÎΣÎÎΣ ÎÎÎÎÎ Î ÎÎ ÎΦΥÎΠΤÎÎ¥ ÎÎÎÎÎÎÎÎ¥ ÎÎΠΥΠÎΣΤÎΡÎÎΠΤÎÏ ÎÎÎΡÎÎÎΣÎÎÎÎΣ ÎÎÎÎΤΠÎÎΥΠÎÎÎΩΠΠÎÎ¥ ÎÎΣΠΡÎΤΤÎΥΠÎÎ ÎÎÎÎΣÎÎΤÎΣ.. ÎÎÎΡΩΠÎΣÎÎΣ? Î ÎÎÎΣ ÎÎÎΡΩΠÎΣÎÎΣ?
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï --> Athos Kravaritis Î£Ï Î½ÎµÏίÏÏε Ïο θεάÏεÏÏο ÎÏγο ÏαÏ, άν δε βÏείÏε ÏÏÏνο και άν ÏÎ±Ï ÎµÏιÏÏαÏεί αÏανÏήÏÏε ÏÏα εÏÏÏήμαÏά Î¼Î¿Ï , ομÏλογα ÏÏν δικÏν ÏÎ±Ï Î¬Î»Î»ÏÏÏε .. Î£Î±Ï Î±ÏιεÏÏÎ½Ï ÎµÎ¹ÎºÏνα αÏÏ Ïην καμμÎνη Îαδιά για να Ïην κÏαÏήÏεÏε ÏÏα αÏÏεία ÏÎ±Ï ..
ÎÏάνÏηÏη
12 λ.ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
-- Athos Kravaritis
ÎαλÎÏ Î¼Î¿Ï ÏÎ¯Î»ÎµÏ ÎºÎ±Î¹ Ïίλοι. ÎεÏά Ïην καÏά Ïη γνÏμη Î¼Î¿Ï ÎµÏ ÏÏεÏή και ÏÏ Î½Î±Î¹ÏθημαÏική ανάÏÏηÏή Î¼Î¿Ï , εÏακολοÏθηÏαν αÏο καÏοιον "Ïίλο" ÏÏοÏβληÏικÎÏ ÏÏ Î´Î±Î¯ÎµÏ Î±ÏίÏÏÎµÏ ÏÎµÏ ÏÏÏÏοÏÎ±Î½ÎµÎ¯Ï Î±Î½Î±ÏÏήÏÎµÎ¹Ï Î³Î¹Î± ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ Î±Î¹Ïθάνομαι βαθÏÏαÏη θλίÏη και κάÏοια ενοÏή δεδομÎÎ½Î¿Ï ÏÏι διαÏÏ ÏÏθηκαν με αÏοÏμή δική Î¼Î¿Ï Î±Î½Î¬ÏÏηÏη. ÎÏ Ïάμαι ÏολÏ.
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ÎνοÏή και θλίÏη θα ÎÏÏεÏε να αιÏθάνεÏÏε για Ïην Ï ÏÎ¿Î½Î¿Î¼ÎµÏ Ïική και άθλια, ÏÎµÏ Î´Î¿-ανθÏÏÏιÏÏική ανάÏÏηÏή ÏÎ±Ï Î· οÏοία αιÏιάÏαι Ïην Îλλάδα για Ïον θάναÏο λαθÏο-ειÏβολÎÏν οι οÏοίοι, ενÏελλÏμενοι αÏÏ Ïον ÎÏνÏογάν, ÏÏοκάλεÏαν Ïην καÏαÏÏÏοÏή μεγά⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
ÎÎΠΤÎΠΤÎÎÎ ÎÎÎΡΠÎÎÎ ÎÎÎÎ ÎÎ¥ÎÎΠΣΧÎÎÎÎ.. ÎÎ ÎÎΤÎΤÎÎΠΤÎÎ¥ ÎÎÎÎÎ¥ ÎÎÎ¥! ÎÎÎÎÎÎ Î - ÎÎ ÎÎÎÎΩΣ - Î ÎÎÎÎΣ ÎÎÎ Î ÎΡÎÎÎÎÎÎ ÎÎÎÎΠΠΠΡÎÎÎΣΠÎÎÎΧÎÎ ÎÎÎΣÎΩΣ ΤÎΣ ÎÎÎÎÎÎΣ & ΤΩΠÎÎÎÎÎΩΠÎÎΠΤΠÎÎÎÎÎÎÎΤΠÎÎÎΡÎ-ÎÎΣÎÎÎÎΩÎ
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Athos Kravaritis
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. ΠανάÏÏηÏή Î¼Î¿Ï ÏαÏÎÏÏαÏη. Îεν εÏιÏίÏÏει ÎµÏ Î¸ÏÎ½ÎµÏ ÏÏην Îλλάδα Î¿Ï Ïε Ïε κάÏοιον άλλο. Τα ελληνικά Î¼Î¿Ï ÏÎ¿Î»Ï ÎºÎ±Î»Î¬ Ïο νÏημα ξεκάθαÏο. Îάλλον ÏκÏÏιμα Ïην ÏαÏεÏμηνεÏεÏε. Îλήθεια ÏÏη ÎÎÎ Ïε Ïοιά ÎιεÏÎ¸Ï Î½Ïη ήÏαÏÏαν. ÎÏÏÏημα εκ ÏεÏιεÏγείαÏ.
ÎÏάνÏηÏη
2 ημ.
Pavlos Pavlou
Athos Kravaritis Îαμία θλίÏη και καμία ενοÏή δεν ÏÏÎÏει να αιÏθάνεÏÏε εÏειδή ÏαÏαμÎνεÏε ÎνθÏÏÏοÏ! ÎÏÏÏ Î¼Ïνο θα ÏÏÎÏει να ÏκεÏÏείÏε να ÏεÏάξεÏε κάÏοια αÏÏ Ïα "ÏÎºÎ¿Ï Ïίδια" ÏÎ¿Ï ÎÏÎ¿Ï Î½ Î¼Î±Î¶ÎµÏ Ïεί ÏÏην ÏÏμαÏεÏή ÏÏÎ¿Ï Î±Î½Î®ÎºÎ¿Ï Î½. Îλλοίμονο αν οι ÏÏÏÏοί άνθÏÏÏοι νιÏθ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ΠεÏί ÏοÏÏÎ¿Ï Î¼ÏοÏείÏε εÏκολα να ÏληÏοÏοÏηθείÏε μÎÏÏ ÏÎ¿Ï Î´Î¹Î±Î´Î¹ÎºÏÏÎ¿Ï , ÏÎ¿Ï academia, researchegate, amazon, lulu κλÏ. ΣημειÏÏÏε ÏÏι άν και διαθÎÏÏν μοÏÏÏÏικά εÏÏδια αÏληÏίαÏÏα γιά Î¬Î»Î»Î¿Ï Ï, Î¿Ï Î´ÎÏοÏε ÎÏθαÏα μÎÏÏι Ïην θÎÏη ÏÎ¿Ï Ï, αÏÎ¿Ï Î±ÎºÏμη και⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Athos Kravaritis
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. Î ÏÏε ÏÏονολογικά και Ïε Ïοιά Î/Ïη, μήÏÏÏ ÎºÎ±Î¹ κάÏÎ¿Ï ÏÏ Î¼ÏÎÏαμε Ï ÏηÏεÏιακά. ÎÎ³Ï Î®Î¼Î¿Î½Î± ÏÏη ÎÎΠαÏο Ïο 1959.
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏPavlos Pavlou Î ÎµÏ Î³Îνειά ÏÎ±Ï ÏαÏακÏηÏιÏÏική ÏÎ¿Ï Î±ÏÏÎ¼Î¿Ï ÏαÏ, Ïο ίδιο και η καλλιÎÏγειά ÏαÏ.. Îε Ïην ÎµÏ ÎºÎ±Î¹Ïία με ÏληÏοÏοÏείÏε για Ïο μοÏÏÏÏÎ¹ÎºÏ ÎµÏίÏÎµÎ´Ï ÏÎ±Ï (και Ïην αÏαÏÏÏληÏη) Ïο οÏοίο βεβαίÏÏ Î´ÎµÎ½ θα ομοιάζει με Ïο Î´Î¹ÎºÏ Î¼Î¿Ï ÏÎ·Ï Î±Î¼Î¿ÏÏÏÏιάÏ????
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Pavlos Pavlou
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Îεν εÏικοινÏÎ½Ï Î¼Îµ άÏομα ÏÎ¿Ï ÏÎ±Î¼Î·Î»Î¿Ï Î´Î¹Î±Î½Î¿Î·ÏÎ¹ÎºÎ¿Ï ÎµÏιÏÎÎ´Î¿Ï ÏαÏ. ÎÏÏε ÏÎ±Ï Î±ÏεÏÎ¸Ï Î½Î± Ïον λÏγο
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Pavlos Pavlou Îεν εÏικοινÏÎ½ÎµÎ¯Ï Î´Î¹ÏÏι ÏÏεÏείÏαι ÏÎ¿Ï ÎλÏÎ³Î¿Ï ', είÏαι οÏαδÏÏ ÏÎ·Ï Î±Î½ÎµÎ»ÎµÏ Î¸ÎµÏÎ¯Î±Ï ÏÎ¿Ï Î»ÏÎ³Î¿Ï & διαλÏÎ³Î¿Ï , ÎÏÎµÎ¹Ï Î´Îµ ÏÏοÏανÏÏ Î¸ÎμαÏα να αÏοκÏÏÏειÏ.. Îαλήν διαμονή ÏÏην ÏÏλίÏÏα ÏÎ·Ï Î±Î³ÎµÎ½ÎµÎ¯Î±Ï .. ÎλλÏÏÏε Ïο μÎγιÏÏο ÏÎ¿Ï , ÏÏ ÏαίνεÏαι, μÏοÏÎµÎ¯Ï Î½Î± ÏÏ Î½ÎµÎ¹ÏÏÎ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Annie Kravariti
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Î· ÎÏÏοÏή Ïλη είναι καθαÏά δική ÏαÏ!!!!!ÎÏ Ïάμαι ÏολÏ!!!
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Annie Kravariti ÎκÏληκÏικά Ïα εÏιÏειÏήμαÏα - δογμαÏικÎÏ Î±ÏοÏάνÏειÏ.... ÎναμÎÎ½Ï ÏÏÏλια εÏί ÏÎ·Ï ÏαμÏακÎÏαÏ, ÏÏν βιογÏαÏικÏν, ÏÏν μοÏÏÏÏικÏν εÏοδίÏν κλÏ! ÎÎÎΤΠÎÎ ÎΣΠΣÎÎÎ & ÎΡÎÎÎΣ??
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Efi Papathomaidi ÎÏαν άνθÏÏÏοι ÏαÏακÏηÏίζονÏαι 'ÏÏÏα' ÏÏÏε ο ÏαÏακÏηÏίζÏν ανήκει ÏÏο ÏÎºÏ Î»Î¿Î»Ïι ÏÎ¿Ï ÏαÏιÏμοÏ! ÎÎ¥ÎÎ Ïε Ïλα Ïα ÏαÏιÏÏοειδή!
ÎÏάνÏηÏη
1 ημ.
Nikolaos Charalabopoulos
Athos Kravaritis ÎÎ±Î»Î Î¼Î¿Ï Ïίλε! Îην αιÏθάνεÏαι καμμία ενοÏή. Î¥ÏάÏÏÎ¿Ï Î½ άνθÏÏÏοι και ανθÏÏÏάκια. ÎνÏÏÎ¯Î¶ÎµÎ¹Ï ÏÎ¹Ï Î´Î¹Î¬ÏοÏεÏ;
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ÎÎ ÎΣΥÎÎΠΤΩ ÎÎΩ ÎÎÎÎ¥ÎÎ Î ÎÎ¥ ÎÎÎÎΣ ÎÎÎ¥ ÎÎ ÎΣΤÎÎÎÎ Î ÎÎΤΠÎÎÎΩΣÎΠΤÎÎ¥ ÎÎÎÎÎÎÎΤÎÎΣ Î ÎÎÎÎÎÎ¥ ΣΤΠMESSENGER: ÎÎÏÎµÎ¹Ï Ïί Ïά ÎºÎ¬Î½Î¿Ï Î½ Ïά αγενή ÏÏογλανάκια, ÏÎ¿Ï ÏÏοÏÏαθοÏν νά ÏÏοÏÎ²Î¬Î»Î¿Ï Î½ ÏοÏÏ ÏÏ Î½Î¿Î¼Î¹Î»Î·ÏÎÏ ÏÎ¿Ï Ï, οί ÏμήναÏÏοι ÏÎ®Ï Î Î¿Î»ÎµÎ¼Î¹ÎºÎ®Ï ÎεÏοÏοÏÎ¯Î±Ï ? Τ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Nikolaos Charalabopoulos ÎγαÏηÏΠκÏÏιε, μεÏÎ±Î¾Ï ÏÏν άλλÏν ÏÏ Î¼Î¼ÎµÏαÏÏÏνÏα ÏÏÎ¿Ï Ï ÎÎÎÎÎ 2004, εÏγε για Ïην Î´Ï Î½Î±ÏÏÏηÏα ÏÎ±Ï Î½Î± διακÏίνεÏε ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Ïε 'ανθÏÏÏÎ¿Ï Ï ÎºÎ±Î¹ ανθÏÏÏάκια': Î Î¿Ï ÏοÏοθεÏείÏε Ïο άÏÎ¿Î¼Ï ÏαÏ? ÎήÏÏÏ Ïε καμμία
καÏηγοÏία??? --------------------------ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ27 ÎÏ Î³ 2023
@[1036084270:2048:Pavlos Pavlou] Îεν εÏικοινÏÎ½ÎµÎ¯Ï Î´Î¹ÏÏι ÏÏεÏείÏαι ÏÎ¿Ï ÎλÏÎ³Î¿Ï ', είÏαι οÏαδÏÏ ÏÎ·Ï Î±Î½ÎµÎ»ÎµÏ Î¸ÎµÏÎ¯Î±Ï ÏÎ¿Ï Î»ÏÎ³Î¿Ï & διαλÏÎ³Î¿Ï , ÎÏÎµÎ¹Ï Î´Îµ ÏÏοÏανÏÏ Î¸ÎμαÏα να αÏοκÏÏÏειÏ.. Îαλήν
Pavlos Pavlou Î ÎµÏ Î³Îνειά ÏÎ±Ï ÏαÏακÏηÏιÏÏική ÏÎ¿Ï Î±ÏÏÎ¼Î¿Ï ÏαÏ, Ïο ίδιο και η καλλιÎÏγειά ÏαÏ.. Îε Ïην ÎµÏ ÎºÎ±Î¹Ïία με ÏληÏοÏοÏείÏε για Ïο μοÏÏÏÏÎ¹ÎºÏ ÎµÏίÏÎµÎ´Ï ÏÎ±Ï (και Ïην αÏαÏÏÏληÏη) Ïο οÏοίο βεβαίÏÏ Î´ÎµÎ½ θα ομοιάζει με Ïο Î´Î¹ÎºÏ Î¼Î¿Ï ÏÎ·Ï Î±Î¼Î¿ÏÏÏÏιάÏ????
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Pavlos Pavlou
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Îεν εÏικοινÏÎ½Ï Î¼Îµ άÏομα ÏÎ¿Ï ÏÎ±Î¼Î·Î»Î¿Ï Î´Î¹Î±Î½Î¿Î·ÏÎ¹ÎºÎ¿Ï ÎµÏιÏÎÎ´Î¿Ï ÏαÏ. ÎÏÏε ÏÎ±Ï Î±ÏεÏÎ¸Ï Î½Î± Ïον λÏγο
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Pavlos Pavlou Îεν εÏικοινÏÎ½ÎµÎ¯Ï Î´Î¹ÏÏι ÏÏεÏείÏαι ÏÎ¿Ï ÎλÏÎ³Î¿Ï ', είÏαι οÏαδÏÏ ÏÎ·Ï Î±Î½ÎµÎ»ÎµÏ Î¸ÎµÏÎ¯Î±Ï ÏÎ¿Ï Î»ÏÎ³Î¿Ï & διαλÏÎ³Î¿Ï , ÎÏÎµÎ¹Ï Î´Îµ ÏÏοÏανÏÏ Î¸ÎμαÏα να αÏοκÏÏÏειÏ.. Îαλήν διαμονή ÏÏην ÏÏλίÏÏα ÏÎ·Ï Î±Î³ÎµÎ½ÎµÎ¯Î±Ï .. ÎλλÏÏÏε Ïο μÎγιÏÏο ÏÎ¿Ï , ÏÏ ÏαίνεÏαι, μÏοÏÎµÎ¯Ï Î½Î± ÏÏ Î½ÎµÎ¹ÏÏÎ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Annie Kravariti
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Î· ÎÏÏοÏή Ïλη είναι καθαÏά δική ÏαÏ!!!!!ÎÏ Ïάμαι ÏολÏ!!!
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Annie Kravariti ÎκÏληκÏικά Ïα εÏιÏειÏήμαÏα - δογμαÏικÎÏ Î±ÏοÏάνÏειÏ.... ÎναμÎÎ½Ï ÏÏÏλια εÏί ÏÎ·Ï ÏαμÏακÎÏαÏ, ÏÏν βιογÏαÏικÏν, ÏÏν μοÏÏÏÏικÏν εÏοδίÏν κλÏ! ÎÎÎΤΠÎÎ ÎΣΠΣÎÎÎ & ÎΡÎÎÎΣ??
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Efi Papathomaidi ÎÏαν άνθÏÏÏοι ÏαÏακÏηÏίζονÏαι 'ÏÏÏα' ÏÏÏε ο ÏαÏακÏηÏίζÏν ανήκει ÏÏο ÏÎºÏ Î»Î¿Î»Ïι ÏÎ¿Ï ÏαÏιÏμοÏ! ÎÎ¥ÎÎ Ïε Ïλα Ïα ÏαÏιÏÏοειδή!
ÎÏάνÏηÏη
1 ημ.
Nikolaos Charalabopoulos
Athos Kravaritis ÎÎ±Î»Î Î¼Î¿Ï Ïίλε! Îην αιÏθάνεÏαι καμμία ενοÏή. Î¥ÏάÏÏÎ¿Ï Î½ άνθÏÏÏοι και ανθÏÏÏάκια. ÎνÏÏÎ¯Î¶ÎµÎ¹Ï ÏÎ¹Ï Î´Î¹Î¬ÏοÏεÏ;
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ÎÎ ÎΣΥÎÎΠΤΩ ÎÎΩ ÎÎÎÎ¥ÎÎ Î ÎÎ¥ ÎÎÎÎΣ ÎÎÎ¥ ÎÎ ÎΣΤÎÎÎÎ Î ÎÎΤΠÎÎÎΩΣÎΠΤÎÎ¥ ÎÎÎÎÎÎÎΤÎÎΣ Î ÎÎÎÎÎÎ¥ ΣΤΠMESSENGER: ÎÎÏÎµÎ¹Ï Ïί Ïά ÎºÎ¬Î½Î¿Ï Î½ Ïά αγενή ÏÏογλανάκια, ÏÎ¿Ï ÏÏοÏÏαθοÏν νά ÏÏοÏÎ²Î¬Î»Î¿Ï Î½ ÏοÏÏ ÏÏ Î½Î¿Î¼Î¹Î»Î·ÏÎÏ ÏÎ¿Ï Ï, οί ÏμήναÏÏοι ÏÎ®Ï Î Î¿Î»ÎµÎ¼Î¹ÎºÎ®Ï ÎεÏοÏοÏÎ¯Î±Ï ? Τ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Nikolaos Charalabopoulos ÎγαÏηÏΠκÏÏιε, μεÏÎ±Î¾Ï ÏÏν άλλÏν ÏÏ Î¼Î¼ÎµÏαÏÏÏνÏα ÏÏÎ¿Ï Ï ÎÎÎÎÎ 2004, εÏγε για Ïην Î´Ï Î½Î±ÏÏÏηÏα ÏÎ±Ï Î½Î± διακÏίνεÏε ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Ïε 'ανθÏÏÏÎ¿Ï Ï ÎºÎ±Î¹ ανθÏÏÏάκια': Î Î¿Ï ÏοÏοθεÏείÏε Ïο άÏÎ¿Î¼Ï ÏαÏ? ÎήÏÏÏ Ïε καμμία καÏηγοÏία??? --------------------------ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ-----------------------------------------
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏAthos Kravaritis Î£Ï Î½ÎµÏίÏÏε Ïο θεάÏεÏÏο ÎÏγο ÏαÏ, άν δε βÏείÏε ÏÏÏνο και άν ÏÎ±Ï ÎµÏιÏÏαÏεί αÏανÏήÏÏε ÏÏα εÏÏÏήμαÏά Î¼Î¿Ï , ομÏλογα ÏÏν δικÏν ÏÎ±Ï Î¬Î»Î»ÏÏÏε .. Î£Î±Ï Î±ÏιεÏÏÎ½Ï ÎµÎ¹ÎºÏνα αÏÏ Ïην καμμÎνη Îαδιά για να Ïην κÏαÏήÏεÏε ÏÏα αÏÏεία ÏÎ±Ï ..
ÎνεÏγÏÏ
ΦÎΣÎΣÎÎΣ ÎÎΥΡÎΣ & ÎÎÎÎÎÎÎΣΠΦ...
ΦÎΣÎΣÎÎΣ ÎÎΥΡÎΣ & ÎÎÎÎÎÎÎΣ
ΠΦÎΣÎΣÎÎΣ ΤÎÎ¥ ΦÎÎΣÎÎ ÎÎ¥Î: ÎÏ Î´ÎµÎ¯Ï ÎµÏ Ïήθηκε να καοÏν.. ÏμÏÏ ÎµÎ´Ï ÎÏÏεÏε - ανÏίθεÏα - να ÏονιÏÏεί ÏÏι δεν εÏιÏÏÎÏÎ¿Ï Î¼Îµ Ïε λαθÏοειÏÎ²Î¿Î»ÎµÎ¹Ï - ενεÏγοÏμενα ÏÎ¿Ï ÎÏνÏογάν να καÏÎ±ÎºÎ±Î¯Î¿Ï Î½ Ïην ÏαÏÏίδα Î¼Î±Ï Î±ÏιμÏÏηÏί και ανÏί ÏιμÏÏÎ¯Î±Ï Î½Î± εκÏÏάζεÏαι με Î ÎΡÎΣΣΠÎΡÎΣÎΣ η ανÏίθεÏη διάθεÏη. ÎÎÎ ÎÎÎÎÎ ÎÎÎΡΤÎΣΠΠÎÎ¥ ÎÎÎÎÎ ÎΤΡÎÎ Î ÎÎ ÎΠΡÎÎ Î ÎΠΦÎΡÎÎΠΣΤÎÎ ÎÎÎΡΤΩÎΤÎ!
ÎÎ ÎÎΤÎΣΠÎÎÎ¥ (ÎÎΦÎÎÎÎÎΤÎΠΣΤÎΠΠΡÎÎÎÎÎ¥ÎÎÎÎ ÎÎÎÎÎÎ - ΤÎÎ¥ÎÎΧÎΣΤÎÎ ÎΣΠÎΣΩΣΠÎÎÎΤÎÎ ÎΠΣΥÎÎΧÎÎÎ ÎÎÎÎΡÎΦÎÎÎ ÎΠΠΤÎΥΣ ÎÎÎÎÎΡÎΤÎΣ ΤΩΠΠΥΡÎÎÎΩÎ!) ΣΤΠÎÎÎÎÎÎ¥ÎΠΣΧÎÎÎΠΤÎÎ¥ ÎÎÎÎ¥ ÎΡÎÎÎΡÎΤΠ(Î ÎÎ ÎÎÎÏ Î Î¡ÎΦÎÎΩΣ ÎΠΤÎΥΣ ΣΥΠÎΥΤΩ ÎÎÎΡÎÎΣΠÎÎΠΤÎÎ ÎÎ ÎÎÎÎÎ Î ÎΡÎÎΡÎΣÎΩΠΣΤÎÎ ÎÎÎÎΡÎÎΣÎÎ ÎÎÎ¥ ÎÎΩ!: ÎκοÏγεÏαι: Τί και αν καοÏν. ΠαÏάνομοι μεÏανάÏÏÎµÏ ÎµÎ¯Î½Î±Î¹. Î ÏÏιÏÏιανιÏμÏÏ Î¼Î±Ï Î· ÏÏ Î¼ÏÏνοια η αγάÏη; ÎνθÏÏÏοι νηÏÏικοί αξιοδάκÏÏ Ïοι είναι. ---------------------------------------------------------------------------------------------------------------------------- Xeni Diamantopoulou
ÎνθÏÏÏÎ¿Ï ÎºÎ±Î¹ ÏαÏÎ¬Î½Î¿Î¼Î¿Ï Ï ÏάÏÏει?ÎÏ Ïή η μÏάλα δεν είναι κανενÏÏ Î¹Î´Î¹Î¿ÎºÏηÏία, είναι για ÏÎ»Î¿Ï Ï Î¼Î±Ï.ÎνιÏÏ ÏÏ ÏÎ¿Î»Ï Î³Î¹Î± Ïο ÏÏÏ ÎµÎºÏÏάζονÏαι κάÏοιοι ÏÏ Î¼ÏολίÏÎµÏ Î¼Î¿Ï . ----------------------------------------------------------------------------------------------------------------------------ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Xeni Diamantopoulou ÎÎ³Ï ÎºÎ±Î¯Ï Î³Î¹Î± Ïην γλÏÏÏα μαÏ..
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Xeni Diamantopoulou Î¦Ï Ïικά και Ï ÏάÏÏει ÏÏÎ¹Ï ÎÎ½Î½Î¿Î¼ÎµÏ ÎºÎ¿Î¹Î½ÏνίεÏ.. Îα αÏÏίÏÎ¿Ï Î¼Îµ Ïάλι αÏÏ Ïο νηÏιαγÏγείο? ---------------------------------------------------------------------------------------------------------------------------- Athos Kravaritis
Îεν θα ÏÏολιάÏÏ ÎºÎ¬ÏÎ¿Î¹ÎµÏ Î±Î½Î±ÏÏήÏÎµÎ¹Ï Î¼Î±Î»Î»Î¿Î½ ÏÏοÏβληÏικÎÏ. ΠκαθÎÎ½Î±Ï ÎÏει Ïο δικαίÏμα διαÏÏ ÏÏÏεÏÏ ÏαÏαÏηÏήÏεÏν για ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ Î²ÎβαίÏÏ ÎºÎ±Î¹ Î±Ï ÏÏÏ ÎºÏίνεÏαι ÏÏ ÏÏÎ¿Ï Ïην ÏοιÏÏηÏά ÏÎ¿Ï Ï.
ÎÏάνÏηÏη
2 ημ.----------------------------------------------------------------------------------------------------------------------------
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis Î ÎÎÎΠΣÎΣ ÎÎÎΡΤÎΣΠΠΡÎΣÎÎÎÎÎΠΤÎÎ ÎÎΥΤΠΣÎΣ ΠΡΩΤΠÎÎΩ ΠΡÎÎÎÎÎÎ ÎÎÎÎΠΣΤÎΥΣ ÎÎÎÎÎÎΣ, Î ÎΡΠÎΠΠΤÎÎ ÎÎΤÎΣΤΡÎΦΠΤÎΣ ÎÎÎÎÎΣ .... ÎΤΡÎΠΠΣÎΣ ÎÎÎÎ & ÎÎΤÎÎÎÎÎ!
ÎÏάνÏηÏη
2 ημ.
Athos Kravaritis
ÎÏίμα κÏÏιε ÎονιδάÏη, Ï ÏήÏξαμε κάÏοÏε και ÏÏ Î½Î¬Î´ÎµÎ»Ïοι ÏÏη ÎÎÎ. Îαι Ïε Ïλη Î¼Î¿Ï Ïην διαδÏομή Î¿Ï Î´Îνα και Î¿Ï Î´ÎÏοÏε ÏÏοÏÎβαλα. ÎÏ ÏÏ ÏÏάÏÏÏ ÎºÎ±Î¹ ÏÏÏα. ----------------------------------------------------------------------------------------------------------------------------
ÎÎ ÎÎΤÎΣΠÎÎÎ¥ (ÎÎΦÎÎÎÎÎΤÎΠΣΤÎΠΠΡÎÎÎÎÎ¥ÎÎÎÎ ÎÎÎÎÎÎ - ΤÎÎ¥ÎÎΧÎΣΤÎÎ ÎΣΠÎΣΩΣΠÎÎÎΤÎÎ ÎΠΣΥÎÎΧÎÎÎ ÎÎÎÎΡÎΦÎÎÎ ÎΠΠΤÎΥΣ ÎÎÎÎÎΡÎΤÎΣ ΤΩΠΠΥΡÎÎÎΩÎ!) ΣΤΠÎÎÎÎÎÎ¥ÎΠΣΧÎÎÎΠΤÎÎ¥ ÎÎÎÎ¥ ÎΡÎÎÎΡÎΤΠ(Î ÎÎ ÎÎÎÏ Î Î¡ÎΦÎÎΩΣ ÎΠΤÎΥΣ ΣΥΠÎΥΤΩ ÎÎÎΡÎÎΣΠÎÎΠΤÎÎ ÎÎ ÎÎÎÎÎ Î ÎΡÎÎΡÎΣÎΩΠΣΤÎÎ ÎÎÎÎΡÎÎΣÎÎ ÎÎÎ¥ ÎÎΩ!: ÎÎÎΡΤÎΣΠÎÎΩ ÎΡÎÎÎΡÎΤΠÎκοÏγεÏαι: Τί και αν καοÏν. ΠαÏάνομοι μεÏανάÏÏÎµÏ ÎµÎ¯Î½Î±Î¹. Î ÏÏιÏÏιανιÏμÏÏ Î¼Î±Ï Î· ÏÏ Î¼ÏÏνοια η αγάÏη; ÎνθÏÏÏοι νηÏÏικοί αξιοδάκÏÏ Ïοι είναι.---------------------------------------------------------------------------------------------------------------------------- Xeni Diamantopoulou
ÎνθÏÏÏÎ¿Ï ÎºÎ±Î¹ ÏαÏÎ¬Î½Î¿Î¼Î¿Ï Ï ÏάÏÏει?ÎÏ Ïή η μÏάλα δεν είναι κανενÏÏ Î¹Î´Î¹Î¿ÎºÏηÏία, είναι για ÏÎ»Î¿Ï Ï Î¼Î±Ï.ÎνιÏÏ ÏÏ ÏÎ¿Î»Ï Î³Î¹Î± Ïο ÏÏÏ ÎµÎºÏÏάζονÏαι κάÏοιοι ÏÏ Î¼ÏολίÏÎµÏ Î¼Î¿Ï . ----------------------------------------------------------------------------------------------------------------------------ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Xeni Diamantopoulou ÎÎ³Ï ÎºÎ±Î¯Ï Î³Î¹Î± Ïην γλÏÏÏα μαÏ..
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Xeni Diamantopoulou Î¦Ï Ïικά και Ï ÏάÏÏει ÏÏÎ¹Ï ÎÎ½Î½Î¿Î¼ÎµÏ ÎºÎ¿Î¹Î½ÏνίεÏ.. Îα αÏÏίÏÎ¿Ï Î¼Îµ Ïάλι αÏÏ Ïο νηÏιαγÏγείο? ----------------------------------------------------------------------------------------------------------------------------Athos Kravaritis
Îεν θα ÏÏολιάÏÏ ÎºÎ¬ÏÎ¿Î¹ÎµÏ Î±Î½Î±ÏÏήÏÎµÎ¹Ï Î¼Î±Î»Î»Î¿Î½ ÏÏοÏβληÏικÎÏ. ΠκαθÎÎ½Î±Ï ÎÏει Ïο δικαίÏμα διαÏÏ ÏÏÏεÏÏ ÏαÏαÏηÏήÏεÏν για ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ Î²ÎβαίÏÏ ÎºÎ±Î¹ Î±Ï ÏÏÏ ÎºÏίνεÏαι ÏÏ ÏÏÎ¿Ï Ïην ÏοιÏÏηÏά ÏÎ¿Ï Ï.
ÎÏάνÏηÏη
----------------------------------------------------------------------------------------------------------------------------
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis Î ÎÎÎΠΣÎΣ ÎÎÎΡΤÎΣΠΠΡÎΣÎÎÎÎÎΠΤÎÎ ÎÎΥΤΠΣÎΣ ΠΡΩΤΠÎÎΩ ΠΡÎÎÎÎÎÎ ÎÎÎÎΠΣΤÎΥΣ ÎÎÎÎÎÎΣ, Î ÎΡΠÎΠΠΤÎÎ ÎÎΤÎΣΤΡÎΦΠΤÎΣ ÎÎÎÎÎΣ .... ÎΤΡÎΠΠΣÎΣ ÎÎÎÎ & ÎÎΤÎÎÎÎÎ!
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2 ημ.
Athos Kravaritis
ÎÏίμα κÏÏιε ÎονιδάÏη, Ï ÏήÏξαμε κάÏοÏε και ÏÏ Î½Î¬Î´ÎµÎ»Ïοι ÏÏη ÎÎÎ. Îαι Ïε Ïλη Î¼Î¿Ï Ïην διαδÏομή Î¿Ï Î´Îνα και Î¿Ï Î´ÎÏοÏε ÏÏοÏÎβαλα. ÎÏ ÏÏ ÏÏάÏÏÏ ÎºÎ±Î¹ ÏÏÏα. -------------------------------------------------------------------
ÎÎ¿Ï Î±ÏÎÏει!
ÎÏάνÏηÏη
13 λ.
ΤÏοÏοÏοιήθηκε
ÎνεÏγÏÏ
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
-- Athos Kravaritis
ÎαλÎÏ Î¼Î¿Ï ÏÎ¯Î»ÎµÏ ÎºÎ±Î¹ Ïίλοι. ÎεÏά Ïην καÏά Ïη γνÏμη Î¼Î¿Ï ÎµÏ ÏÏεÏή και ÏÏ Î½Î±Î¹ÏθημαÏική ανάÏÏηÏή Î¼Î¿Ï , εÏακολοÏθηÏαν αÏο καÏοιον "Ïίλο" ÏÏοÏβληÏικÎÏ ÏÏ Î´Î±Î¯ÎµÏ Î±ÏίÏÏÎµÏ ÏÎµÏ ÏÏÏÏοÏÎ±Î½ÎµÎ¯Ï Î±Î½Î±ÏÏήÏÎµÎ¹Ï Î³Î¹Î± ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ Î±Î¹Ïθάνομαι βαθÏÏαÏη θλίÏη και κάÏοια ενοÏή δεδομÎÎ½Î¿Ï ÏÏι διαÏÏ ÏÏθηκαν με αÏοÏμή δική Î¼Î¿Ï Î±Î½Î¬ÏÏηÏη. ÎÏ Ïάμαι ÏολÏ.
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ÎνοÏή και θλίÏη θα ÎÏÏεÏε να αιÏθάνεÏÏε για Ïην Ï ÏÎ¿Î½Î¿Î¼ÎµÏ Ïική και άθλια, ÏÎµÏ Î´Î¿-ανθÏÏÏιÏÏική ανάÏÏηÏή ÏÎ±Ï Î· οÏοία αιÏιάÏαι Ïην Îλλάδα για Ïον θάναÏο λαθÏο-ειÏβολÎÏν οι οÏοίοι, ενÏελλÏμενοι αÏÏ Ïον ÎÏνÏογάν, ÏÏοκάλεÏαν Ïην καÏαÏÏÏοÏή μεγά⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
ÎÎΠΤÎΠΤÎÎÎ ÎÎÎΡΠÎÎÎ ÎÎÎÎ ÎÎ¥ÎÎΠΣΧÎÎÎÎ.. ÎÎ ÎÎΤÎΤÎÎΠΤÎÎ¥ ÎÎÎÎÎ¥ ÎÎÎ¥! ÎÎÎÎÎÎ Î - ÎÎ ÎÎÎÎΩΣ - Î ÎÎÎÎΣ ÎÎÎ Î ÎΡÎÎÎÎÎÎ ÎÎÎÎΠΠΠΡÎÎÎΣΠÎÎÎΧÎÎ ÎÎÎΣÎΩΣ ΤÎΣ ÎÎÎÎÎÎΣ & ΤΩΠÎÎÎÎÎΩΠÎÎΠΤΠÎÎÎÎÎÎÎΤΠÎÎÎΡÎ-ÎÎΣÎÎÎÎΩÎ
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Athos Kravaritis
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. ΠανάÏÏηÏή Î¼Î¿Ï ÏαÏÎÏÏαÏη. Îεν εÏιÏίÏÏει ÎµÏ Î¸ÏÎ½ÎµÏ ÏÏην Îλλάδα Î¿Ï Ïε Ïε κάÏοιον άλλο. Τα ελληνικά Î¼Î¿Ï ÏÎ¿Î»Ï ÎºÎ±Î»Î¬ Ïο νÏημα ξεκάθαÏο. Îάλλον ÏκÏÏιμα Ïην ÏαÏεÏμηνεÏεÏε. Îλήθεια ÏÏη ÎÎÎ Ïε Ïοιά ÎιεÏÎ¸Ï Î½Ïη ήÏαÏÏαν. ÎÏÏÏημα εκ ÏεÏιεÏγείαÏ.
ÎÏάνÏηÏη
2 ημ.
Pavlos Pavlou
Athos Kravaritis Îαμία θλίÏη και καμία ενοÏή δεν ÏÏÎÏει να αιÏθάνεÏÏε εÏειδή ÏαÏαμÎνεÏε ÎνθÏÏÏοÏ! ÎÏÏÏ Î¼Ïνο θα ÏÏÎÏει να ÏκεÏÏείÏε να ÏεÏάξεÏε κάÏοια αÏÏ Ïα "ÏÎºÎ¿Ï Ïίδια" ÏÎ¿Ï ÎÏÎ¿Ï Î½ Î¼Î±Î¶ÎµÏ Ïεί ÏÏην ÏÏμαÏεÏή ÏÏÎ¿Ï Î±Î½Î®ÎºÎ¿Ï Î½. Îλλοίμονο αν οι ÏÏÏÏοί άνθÏÏÏοι νιÏθ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ΠεÏί ÏοÏÏÎ¿Ï Î¼ÏοÏείÏε εÏκολα να ÏληÏοÏοÏηθείÏε μÎÏÏ ÏÎ¿Ï Î´Î¹Î±Î´Î¹ÎºÏÏÎ¿Ï , ÏÎ¿Ï academia, researchegate, amazon, lulu κλÏ. ΣημειÏÏÏε ÏÏι άν και διαθÎÏÏν μοÏÏÏÏικά εÏÏδια αÏληÏίαÏÏα γιά Î¬Î»Î»Î¿Ï Ï, Î¿Ï Î´ÎÏοÏε ÎÏθαÏα μÎÏÏι Ïην θÎÏη ÏÎ¿Ï Ï, αÏÎ¿Ï Î±ÎºÏμη και⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Athos Kravaritis
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. Î ÏÏε ÏÏονολογικά και Ïε Ïοιά Î/Ïη, μήÏÏÏ ÎºÎ±Î¹ κάÏÎ¿Ï ÏÏ Î¼ÏÎÏαμε Ï ÏηÏεÏιακά. ÎÎ³Ï Î®Î¼Î¿Î½Î± ÏÏη ÎÎΠαÏο Ïο 1959.
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Pavlos Pavlou Î ÎµÏ Î³Îνειά ÏÎ±Ï ÏαÏακÏηÏιÏÏική ÏÎ¿Ï Î±ÏÏÎ¼Î¿Ï ÏαÏ, Ïο ίδιο και η καλλιÎÏγειά ÏαÏ.. Îε Ïην ÎµÏ ÎºÎ±Î¹Ïία με ÏληÏοÏοÏείÏε για Ïο μοÏÏÏÏÎ¹ÎºÏ ÎµÏίÏÎµÎ´Ï ÏÎ±Ï (και Ïην αÏαÏÏÏληÏη) Ïο οÏοίο βεβαίÏÏ Î´ÎµÎ½ θα ομοιάζει με Ïο Î´Î¹ÎºÏ Î¼Î¿Ï ÏÎ·Ï Î±Î¼Î¿ÏÏÏÏιάÏ????
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Pavlos Pavlou
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Îεν εÏικοινÏÎ½Ï Î¼Îµ άÏομα ÏÎ¿Ï ÏÎ±Î¼Î·Î»Î¿Ï Î´Î¹Î±Î½Î¿Î·ÏÎ¹ÎºÎ¿Ï ÎµÏιÏÎÎ´Î¿Ï ÏαÏ. ÎÏÏε ÏÎ±Ï Î±ÏεÏÎ¸Ï Î½Î± Ïον λÏγο
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Pavlos Pavlou Îεν εÏικοινÏÎ½ÎµÎ¯Ï Î´Î¹ÏÏι ÏÏεÏείÏαι ÏÎ¿Ï ÎλÏÎ³Î¿Ï ', είÏαι οÏαδÏÏ ÏÎ·Ï Î±Î½ÎµÎ»ÎµÏ Î¸ÎµÏÎ¯Î±Ï ÏÎ¿Ï Î»ÏÎ³Î¿Ï & διαλÏÎ³Î¿Ï , ÎÏÎµÎ¹Ï Î´Îµ ÏÏοÏανÏÏ Î¸ÎμαÏα να αÏοκÏÏÏειÏ.. Îαλήν διαμονή ÏÏην ÏÏλίÏÏα ÏÎ·Ï Î±Î³ÎµÎ½ÎµÎ¯Î±Ï .. ÎλλÏÏÏε Ïο μÎγιÏÏο ÏÎ¿Ï , ÏÏ ÏαίνεÏαι, μÏοÏÎµÎ¯Ï Î½Î± ÏÏ Î½ÎµÎ¹ÏÏÎ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Annie Kravariti
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Î· ÎÏÏοÏή Ïλη είναι καθαÏά δική ÏαÏ!!!!!ÎÏ Ïάμαι ÏολÏ!!!
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Annie Kravariti ÎκÏληκÏικά Ïα εÏιÏειÏήμαÏα - δογμαÏικÎÏ Î±ÏοÏάνÏειÏ.... ÎναμÎÎ½Ï ÏÏÏλια εÏί ÏÎ·Ï ÏαμÏακÎÏαÏ, ÏÏν βιογÏαÏικÏν, ÏÏν μοÏÏÏÏικÏν εÏοδίÏν κλÏ! ÎÎÎΤΠÎÎ ÎΣΠΣÎÎÎ & ÎΡÎÎÎΣ??
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Efi Papathomaidi ÎÏαν άνθÏÏÏοι ÏαÏακÏηÏίζονÏαι 'ÏÏÏα' ÏÏÏε ο ÏαÏακÏηÏίζÏν ανήκει ÏÏο ÏÎºÏ Î»Î¿Î»Ïι ÏÎ¿Ï ÏαÏιÏμοÏ! ÎÎ¥ÎÎ Ïε Ïλα Ïα ÏαÏιÏÏοειδή!
ÎÏάνÏηÏη
1 ημ.
Nikolaos Charalabopoulos
Athos Kravaritis ÎÎ±Î»Î Î¼Î¿Ï Ïίλε! Îην αιÏθάνεÏαι καμμία ενοÏή. Î¥ÏάÏÏÎ¿Ï Î½ άνθÏÏÏοι και ανθÏÏÏάκια. ÎνÏÏÎ¯Î¶ÎµÎ¹Ï ÏÎ¹Ï Î´Î¹Î¬ÏοÏεÏ;
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ÎÎ ÎΣΥÎÎΠΤΩ ÎÎΩ ÎÎÎÎ¥ÎÎ Î ÎÎ¥ ÎÎÎÎΣ ÎÎÎ¥ ÎÎ ÎΣΤÎÎÎÎ Î ÎÎΤΠÎÎÎΩΣÎΠΤÎÎ¥ ÎÎÎÎÎÎÎΤÎÎΣ Î ÎÎÎÎÎÎ¥ ΣΤΠMESSENGER: ÎÎÏÎµÎ¹Ï Ïί Ïά ÎºÎ¬Î½Î¿Ï Î½ Ïά αγενή ÏÏογλανάκια, ÏÎ¿Ï ÏÏοÏÏαθοÏν νά ÏÏοÏÎ²Î¬Î»Î¿Ï Î½ ÏοÏÏ ÏÏ Î½Î¿Î¼Î¹Î»Î·ÏÎÏ ÏÎ¿Ï Ï, οί ÏμήναÏÏοι ÏÎ®Ï Î Î¿Î»ÎµÎ¼Î¹ÎºÎ®Ï ÎεÏοÏοÏÎ¯Î±Ï ? Τ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Nikolaos Charalabopoulos ÎγαÏηÏΠκÏÏιε, μεÏÎ±Î¾Ï ÏÏν άλλÏν ÏÏ Î¼Î¼ÎµÏαÏÏÏνÏα ÏÏÎ¿Ï Ï ÎÎÎÎÎ 2004, εÏγε για Ïην Î´Ï Î½Î±ÏÏÏηÏα ÏÎ±Ï Î½Î± διακÏίνεÏε ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Ïε 'ανθÏÏÏÎ¿Ï Ï ÎºÎ±Î¹ ανθÏÏÏάκια': Î Î¿Ï ÏοÏοθεÏείÏε Ïο άÏÎ¿Î¼Ï ÏαÏ? ÎήÏÏÏ Ïε καμμία καÏηγοÏία??? -------------------------------------------------------------------
ÎÎ¿Ï Î±ÏÎÏει!
ÎÏάνÏηÏη
13 λ.
ÎνεÏγÏÏ
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Emmy Kravariti
ÎÏÏ ÏÏα Î´Î¹Î±Î²Î¬Î¶Ï Î¸Î»Î¯Î²Î¿Î¼Î±Î¹ και νιÏÎ¸Ï Î±ÏÏγνÏÏη για Î±Ï ÏÏ Ïο εÏίÏεδο και για Î±Ï ÏÏν Ïον ÏÏÎ¿Ï Î»Î¿ εκÏαÏιÏÎ¼Ï ÏÎ·Ï ÎºÎ¿Î¹Î½ÏÎ½Î¯Î±Ï Î¼Î±Ï. ÎÏÏÎÏομαι για ÏÏα γÏάÏαÏε Ïε μιά καθαÏά ανθÏÏÏιÏÏική ανάÏÏηÏη, αÏÏ Îναν άνθÏÏÏο βαθιά ÎÎÎÎÎΡÎΤÎÎÎ ÎÎÎ ÎÎ¥ÎÎΣÎÎΤÎ. Î ÏÏοδοÏία Î¼Î¹Î±Ï ÏÏÏÎ±Ï Î¾ÎµÎºÎ¹Î½Î¬ÎµÎ¹ ÏάνÏα αÏÏ Î´Î®Î¸ÎµÎ½ εθνικιÏÏικÎÏ ÎºÎ¿ÏÏÎ½ÎµÏ ÏÎ¿Ï Î´ÎµÎ½ ÏÏοÏεÏÎ¿Ï Î½ ÏοÏÎ ÏÏη ÏÏÏηÏία ÏηÏ. Î ÏÏÏα Î¼Î±Ï ÎºÎ±ÏαÏÏÏÎÏεÏαι αÏÏ Î´Î¹ÎºÎ® ÏÎ·Ï ÎºÏ Î²ÎµÏνηÏική ανικανÏÏηÏα και ÏολιÏική βοÏληÏη.ÎÏει καεί ÏÏεδÏν Ïλη η Îλλάδα και ÏÎ¯Î³Î¿Ï Ïα ÏÏι αÏÏ 10 μεÏανάÏÏεÏ. Îίμαι Ï ÏεÏήÏανη για Ïον ÏαÏÎÏα Î¼Î¿Ï , ÏÎ¿Ï ÏÏην ηλικία ÏÎ¿Ï Ïολμάει να μιλάει ανθÏÏÏινα, διÏÏι ÏÏοÏανÏÏ ÏÏειάζεÏαι ÏλÎον ÏÏλμη για να ÏαÏÎ±Î¼ÎµÎ¯Î½ÎµÎ¹Ï ÎÎÎΡΩΠÎΣ.
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Emmy Kravariti ÎÏάνÏηÏη ÏÏÏÎ¯Ï Î±Î½Î±ÏοÏά Ïε ÏÏαγμαÏικά ÏεÏιÏÏαÏικά.. αÏÏ ÏοÏÏάÏον.. ÎÎΦÎΣÎΣÎÎΣ ÎÎÎÎÎ Î ÎÎ ÎΦΥÎΠΤÎÎ¥ ÎÎÎÎÎÎÎÎ¥ ÎÎΠΥΠÎΣΤÎΡÎÎΠΤÎÏ ÎÎÎΡÎÎÎΣÎÎÎÎΣ ÎÎÎÎΤΠÎÎΥΠÎÎÎΩΠΠÎÎ¥ ÎÎΣΠΡÎΤΤÎΥΠÎÎ ÎÎÎÎΣÎÎΤÎΣ.. ÎÎÎΡΩΠÎΣÎÎΣ? Î ÎÎÎΣ ÎÎÎΡΩΠÎΣÎÎΣ? -------------------------------------------------------------------- ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis Î£Ï Î½ÎµÏίÏÏε Ïο θεάÏεÏÏο ÎÏγο ÏαÏ, άν δε βÏείÏε ÏÏÏνο και άν ÏÎ±Ï ÎµÏιÏÏαÏεί αÏανÏήÏÏε ÏÏα εÏÏÏήμαÏά Î¼Î¿Ï , ομÏλογα ÏÏν δικÏν ÏÎ±Ï Î¬Î»Î»ÏÏÏε .. Î£Î±Ï Î±ÏιεÏÏÎ½Ï ÎµÎ¹ÎºÏνα αÏÏ Ïην καμμÎνη Îαδιά για να Ïην κÏαÏήÏεÏε ÏÏα αÏÏεία ÏÎ±Ï ..
ÎÏάνÏηÏη
12 λ.
ΤÏοÏοÏοιήθηκε
ÎνεÏγÏÏ
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
-- Athos Kravaritis
ÎαλÎÏ Î¼Î¿Ï ÏÎ¯Î»ÎµÏ ÎºÎ±Î¹ Ïίλοι. ÎεÏά Ïην καÏά Ïη γνÏμη Î¼Î¿Ï ÎµÏ ÏÏεÏή και ÏÏ Î½Î±Î¹ÏθημαÏική ανάÏÏηÏή Î¼Î¿Ï , εÏακολοÏθηÏαν αÏο καÏοιον "Ïίλο" ÏÏοÏβληÏικÎÏ ÏÏ Î´Î±Î¯ÎµÏ Î±ÏίÏÏÎµÏ ÏÎµÏ ÏÏÏÏοÏÎ±Î½ÎµÎ¯Ï Î±Î½Î±ÏÏήÏÎµÎ¹Ï Î³Î¹Î± ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ Î±Î¹Ïθάνομαι βαθÏÏαÏη θλίÏη και κάÏοια ενοÏή δεδομÎÎ½Î¿Ï ÏÏι διαÏÏ ÏÏθηκαν με αÏοÏμή δική Î¼Î¿Ï Î±Î½Î¬ÏÏηÏη. ÎÏ Ïάμαι ÏολÏ.
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ÎνοÏή και θλίÏη θα ÎÏÏεÏε να αιÏθάνεÏÏε για Ïην Ï ÏÎ¿Î½Î¿Î¼ÎµÏ Ïική και άθλια, ÏÎµÏ Î´Î¿-ανθÏÏÏιÏÏική ανάÏÏηÏή ÏÎ±Ï Î· οÏοία αιÏιάÏαι Ïην Îλλάδα για Ïον θάναÏο λαθÏο-ειÏβολÎÏν οι οÏοίοι, ενÏελλÏμενοι αÏÏ Ïον ÎÏνÏογάν, ÏÏοκάλεÏαν Ïην καÏαÏÏÏοÏή μεγά⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
ÎÎΠΤÎΠΤÎÎÎ ÎÎÎΡΠÎÎÎ ÎÎÎÎ ÎÎ¥ÎÎΠΣΧÎÎÎÎ.. ÎÎ ÎÎΤÎΤÎÎΠΤÎÎ¥ ÎÎÎÎÎ¥ ÎÎÎ¥! ÎÎÎÎÎÎ Î - ÎÎ ÎÎÎÎΩΣ - Î ÎÎÎÎΣ ÎÎÎ Î ÎΡÎÎÎÎÎÎ ÎÎÎÎΠΠΠΡÎÎÎΣΠÎÎÎΧÎÎ ÎÎÎΣÎΩΣ ΤÎΣ ÎÎÎÎÎÎΣ & ΤΩΠÎÎÎÎÎΩΠÎÎΠΤΠÎÎÎÎÎÎÎΤΠÎÎÎΡÎ-ÎÎΣÎÎÎÎΩÎ
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Athos Kravaritis
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. ΠανάÏÏηÏή Î¼Î¿Ï ÏαÏÎÏÏαÏη. Îεν εÏιÏίÏÏει ÎµÏ Î¸ÏÎ½ÎµÏ ÏÏην Îλλάδα Î¿Ï Ïε Ïε κάÏοιον άλλο. Τα ελληνικά Î¼Î¿Ï ÏÎ¿Î»Ï ÎºÎ±Î»Î¬ Ïο νÏημα ξεκάθαÏο. Îάλλον ÏκÏÏιμα Ïην ÏαÏεÏμηνεÏεÏε. Îλήθεια ÏÏη ÎÎÎ Ïε Ïοιά ÎιεÏÎ¸Ï Î½Ïη ήÏαÏÏαν. ÎÏÏÏημα εκ ÏεÏιεÏγείαÏ.
ÎÏάνÏηÏη
2 ημ.
Pavlos Pavlou
Athos Kravaritis Îαμία θλίÏη και καμία ενοÏή δεν ÏÏÎÏει να αιÏθάνεÏÏε εÏειδή ÏαÏαμÎνεÏε ÎνθÏÏÏοÏ! ÎÏÏÏ Î¼Ïνο θα ÏÏÎÏει να ÏκεÏÏείÏε να ÏεÏάξεÏε κάÏοια αÏÏ Ïα "ÏÎºÎ¿Ï Ïίδια" ÏÎ¿Ï ÎÏÎ¿Ï Î½ Î¼Î±Î¶ÎµÏ Ïεί ÏÏην ÏÏμαÏεÏή ÏÏÎ¿Ï Î±Î½Î®ÎºÎ¿Ï Î½. Îλλοίμονο αν οι ÏÏÏÏοί άνθÏÏÏοι νιÏθ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ΠεÏί ÏοÏÏÎ¿Ï Î¼ÏοÏείÏε εÏκολα να ÏληÏοÏοÏηθείÏε μÎÏÏ ÏÎ¿Ï Î´Î¹Î±Î´Î¹ÎºÏÏÎ¿Ï , ÏÎ¿Ï academia, researchegate, amazon, lulu κλÏ. ΣημειÏÏÏε ÏÏι άν και διαθÎÏÏν μοÏÏÏÏικά εÏÏδια αÏληÏίαÏÏα γιά Î¬Î»Î»Î¿Ï Ï, Î¿Ï Î´ÎÏοÏε ÎÏθαÏα μÎÏÏι Ïην θÎÏη ÏÎ¿Ï Ï, αÏÎ¿Ï Î±ÎºÏμη και⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Athos Kravaritis
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. Î ÏÏε ÏÏονολογικά και Ïε Ïοιά Î/Ïη, μήÏÏÏ ÎºÎ±Î¹ κάÏÎ¿Ï ÏÏ Î¼ÏÎÏαμε Ï ÏηÏεÏιακά. ÎÎ³Ï Î®Î¼Î¿Î½Î± ÏÏη ÎÎΠαÏο Ïο 1959.
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Pavlos Pavlou Î ÎµÏ Î³Îνειά ÏÎ±Ï ÏαÏακÏηÏιÏÏική ÏÎ¿Ï Î±ÏÏÎ¼Î¿Ï ÏαÏ, Ïο ίδιο και η καλλιÎÏγειά ÏαÏ.. Îε Ïην ÎµÏ ÎºÎ±Î¹Ïία με ÏληÏοÏοÏείÏε για Ïο μοÏÏÏÏÎ¹ÎºÏ ÎµÏίÏÎµÎ´Ï ÏÎ±Ï (και Ïην αÏαÏÏÏληÏη) Ïο οÏοίο βεβαίÏÏ Î´ÎµÎ½ θα ομοιάζει με Ïο Î´Î¹ÎºÏ Î¼Î¿Ï ÏÎ·Ï Î±Î¼Î¿ÏÏÏÏιάÏ????
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Pavlos Pavlou
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Îεν εÏικοινÏÎ½Ï Î¼Îµ άÏομα ÏÎ¿Ï ÏÎ±Î¼Î·Î»Î¿Ï Î´Î¹Î±Î½Î¿Î·ÏÎ¹ÎºÎ¿Ï ÎµÏιÏÎÎ´Î¿Ï ÏαÏ. ÎÏÏε ÏÎ±Ï Î±ÏεÏÎ¸Ï Î½Î± Ïον λÏγο
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Pavlos Pavlou Îεν εÏικοινÏÎ½ÎµÎ¯Ï Î´Î¹ÏÏι ÏÏεÏείÏαι ÏÎ¿Ï ÎλÏÎ³Î¿Ï ', είÏαι οÏαδÏÏ ÏÎ·Ï Î±Î½ÎµÎ»ÎµÏ Î¸ÎµÏÎ¯Î±Ï ÏÎ¿Ï Î»ÏÎ³Î¿Ï & διαλÏÎ³Î¿Ï , ÎÏÎµÎ¹Ï Î´Îµ ÏÏοÏανÏÏ Î¸ÎμαÏα να αÏοκÏÏÏειÏ.. Îαλήν διαμονή ÏÏην ÏÏλίÏÏα ÏÎ·Ï Î±Î³ÎµÎ½ÎµÎ¯Î±Ï .. ÎλλÏÏÏε Ïο μÎγιÏÏο ÏÎ¿Ï , ÏÏ ÏαίνεÏαι, μÏοÏÎµÎ¯Ï Î½Î± ÏÏ Î½ÎµÎ¹ÏÏÎ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Annie Kravariti
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Î· ÎÏÏοÏή Ïλη είναι καθαÏά δική ÏαÏ!!!!!ÎÏ Ïάμαι ÏολÏ!!!
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Annie Kravariti ÎκÏληκÏικά Ïα εÏιÏειÏήμαÏα - δογμαÏικÎÏ Î±ÏοÏάνÏειÏ.... ÎναμÎÎ½Ï ÏÏÏλια εÏί ÏÎ·Ï ÏαμÏακÎÏαÏ, ÏÏν βιογÏαÏικÏν, ÏÏν μοÏÏÏÏικÏν εÏοδίÏν κλÏ! ÎÎÎΤΠÎÎ ÎΣΠΣÎÎÎ & ÎΡÎÎÎΣ??
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Efi Papathomaidi ÎÏαν άνθÏÏÏοι ÏαÏακÏηÏίζονÏαι 'ÏÏÏα' ÏÏÏε ο ÏαÏακÏηÏίζÏν ανήκει ÏÏο ÏÎºÏ Î»Î¿Î»Ïι ÏÎ¿Ï ÏαÏιÏμοÏ! ÎÎ¥ÎÎ Ïε Ïλα Ïα ÏαÏιÏÏοειδή!
ÎÏάνÏηÏη
1 ημ.
Nikolaos Charalabopoulos
Athos Kravaritis ÎÎ±Î»Î Î¼Î¿Ï Ïίλε! Îην αιÏθάνεÏαι καμμία ενοÏή. Î¥ÏάÏÏÎ¿Ï Î½ άνθÏÏÏοι και ανθÏÏÏάκια. ÎνÏÏÎ¯Î¶ÎµÎ¹Ï ÏÎ¹Ï Î´Î¹Î¬ÏοÏεÏ;
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ÎÎ ÎΣΥÎÎΠΤΩ ÎÎΩ ÎÎÎÎ¥ÎÎ Î ÎÎ¥ ÎÎÎÎΣ ÎÎÎ¥ ÎÎ ÎΣΤÎÎÎÎ Î ÎÎΤΠÎÎÎΩΣÎΠΤÎÎ¥ ÎÎÎÎÎÎÎΤÎÎΣ Î ÎÎÎÎÎÎ¥ ΣΤΠMESSENGER: ÎÎÏÎµÎ¹Ï Ïί Ïά ÎºÎ¬Î½Î¿Ï Î½ Ïά αγενή ÏÏογλανάκια, ÏÎ¿Ï ÏÏοÏÏαθοÏν νά ÏÏοÏÎ²Î¬Î»Î¿Ï Î½ ÏοÏÏ ÏÏ Î½Î¿Î¼Î¹Î»Î·ÏÎÏ ÏÎ¿Ï Ï, οί ÏμήναÏÏοι ÏÎ®Ï Î Î¿Î»ÎµÎ¼Î¹ÎºÎ®Ï ÎεÏοÏοÏÎ¯Î±Ï ? Τ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Nikolaos Charalabopoulos ÎγαÏηÏΠκÏÏιε, μεÏÎ±Î¾Ï ÏÏν άλλÏν ÏÏ Î¼Î¼ÎµÏαÏÏÏνÏα ÏÏÎ¿Ï Ï ÎÎÎÎÎ 2004, εÏγε για Ïην Î´Ï Î½Î±ÏÏÏηÏα ÏÎ±Ï Î½Î± διακÏίνεÏε ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Ïε 'ανθÏÏÏÎ¿Ï Ï ÎºÎ±Î¹ ανθÏÏÏάκια': Î Î¿Ï ÏοÏοθεÏείÏε Ïο άÏÎ¿Î¼Ï ÏαÏ? ÎήÏÏÏ Ïε καμμία καÏηγοÏία???----------------------------------------------------------------------------------------------------------------------------ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏEmmy KravaritiÎÏÏ ÏÏα Î´Î¹Î±Î²Î¬Î¶Ï Î¸Î»Î¯Î²Î¿Î¼Î±Î¹ και νιÏÎ¸Ï Î±ÏÏγνÏÏη για Î±Ï ÏÏ Ïο εÏίÏεδο και για Î±Ï ÏÏν Ïον ÏÏÎ¿Ï Î»Î¿ εκÏαÏιÏÎ¼Ï ÏÎ·Ï ÎºÎ¿Î¹Î½ÏÎ½Î¯Î±Ï Î¼Î±Ï. ÎÏÏÎÏομαι για ÏÏα γÏάÏαÏε Ïε μιά καθαÏά ανθÏÏÏιÏÏική ανάÏÏηÏη, αÏÏ Îναν άνθÏÏÏο βαθιά ÎÎÎÎÎΡÎΤÎÎÎ ÎÎÎ ÎÎ¥ÎÎΣÎÎΤÎ. Î ÏÏοδοÏία Î¼Î¹Î±Ï ÏÏÏÎ±Ï Î¾ÎµÎºÎ¹Î½Î¬ÎµÎ¹ ÏάνÏα αÏÏ Î´Î®Î¸ÎµÎ½ εθνικιÏÏικÎÏ ÎºÎ¿ÏÏÎ½ÎµÏ ÏÎ¿Ï Î´ÎµÎ½ ÏÏοÏεÏÎ¿Ï Î½ ÏοÏÎ ÏÏη ÏÏÏηÏία ÏηÏ. Î ÏÏÏα Î¼Î±Ï ÎºÎ±ÏαÏÏÏÎÏεÏαι αÏÏ Î´Î¹ÎºÎ® ÏÎ·Ï ÎºÏ Î²ÎµÏνηÏική ανικανÏÏηÏα και ÏολιÏική βοÏληÏη.ÎÏει καεί ÏÏεδÏν Ïλη η Îλλάδα και ÏÎ¯Î³Î¿Ï Ïα ÏÏι αÏÏ 10 μεÏανάÏÏεÏ. Îίμαι Ï ÏεÏήÏανη για Ïον ÏαÏÎÏα Î¼Î¿Ï , ÏÎ¿Ï ÏÏην ηλικία ÏÎ¿Ï Ïολμάει να μιλάει ανθÏÏÏινα, διÏÏι ÏÏοÏανÏÏ ÏÏειάζεÏαι ÏλÎον ÏÏλμη για να ÏαÏÎ±Î¼ÎµÎ¯Î½ÎµÎ¹Ï ÎÎÎΡΩΠÎΣ.----------------------------------------------------------------------------------------------------------------------------ÎÏάνÏηÏη1 ημ.ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏEmmy Kravariti ÎÏάνÏηÏη ÏÏÏÎ¯Ï Î±Î½Î±ÏοÏά Ïε ÏÏαγμαÏικά ÏεÏιÏÏαÏικά.. αÏÏ ÏοÏÏάÏον.. ÎÎΦÎΣÎΣÎÎΣ ÎÎÎÎÎ Î ÎÎ ÎΦΥÎΠΤÎÎ¥ ÎÎÎÎÎÎÎÎ¥ ÎÎΠΥΠÎΣΤÎΡÎÎΠΤÎÏ ÎÎÎΡÎÎÎΣÎÎÎÎΣ ÎÎÎÎΤΠÎÎΥΠÎÎÎΩΠΠÎÎ¥ ÎÎΣΠΡÎΤΤÎΥΠÎÎ ÎÎÎÎΣÎÎΤÎΣ.. ÎÎÎΡΩΠÎΣÎÎΣ? Î ÎÎÎΣ ÎÎÎΡΩΠÎΣÎÎΣ? ----------------------------------------------------------------------------------------------------------------------------ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏAthos Kravaritis Î£Ï Î½ÎµÏίÏÏε Ïο θεάÏεÏÏο ÎÏγο ÏαÏ, άν δε βÏείÏε ÏÏÏνο και άν ÏÎ±Ï ÎµÏιÏÏαÏεί αÏανÏήÏÏε ÏÏα εÏÏÏήμαÏά Î¼Î¿Ï , ομÏλογα ÏÏν δικÏν ÏÎ±Ï Î¬Î»Î»ÏÏÏε .. Î£Î±Ï Î±ÏιεÏÏÎ½Ï ÎµÎ¹ÎºÏνα αÏÏ Ïην καμμÎνη Îαδιά για να Ïην κÏαÏήÏεÏε ÏÏα αÏÏεία ÏÎ±Ï ..
ÎÏάνÏηÏη
12 λ.ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
-- Athos Kravaritis
ÎαλÎÏ Î¼Î¿Ï ÏÎ¯Î»ÎµÏ ÎºÎ±Î¹ Ïίλοι. ÎεÏά Ïην καÏά Ïη γνÏμη Î¼Î¿Ï ÎµÏ ÏÏεÏή και ÏÏ Î½Î±Î¹ÏθημαÏική ανάÏÏηÏή Î¼Î¿Ï , εÏακολοÏθηÏαν αÏο καÏοιον "Ïίλο" ÏÏοÏβληÏικÎÏ ÏÏ Î´Î±Î¯ÎµÏ Î±ÏίÏÏÎµÏ ÏÎµÏ ÏÏÏÏοÏÎ±Î½ÎµÎ¯Ï Î±Î½Î±ÏÏήÏÎµÎ¹Ï Î³Î¹Î± ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ Î±Î¹Ïθάνομαι βαθÏÏαÏη θλίÏη και κάÏοια ενοÏή δεδομÎÎ½Î¿Ï ÏÏι διαÏÏ ÏÏθηκαν με αÏοÏμή δική Î¼Î¿Ï Î±Î½Î¬ÏÏηÏη. ÎÏ Ïάμαι ÏολÏ.
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ÎνοÏή και θλίÏη θα ÎÏÏεÏε να αιÏθάνεÏÏε για Ïην Ï ÏÎ¿Î½Î¿Î¼ÎµÏ Ïική και άθλια, ÏÎµÏ Î´Î¿-ανθÏÏÏιÏÏική ανάÏÏηÏή ÏÎ±Ï Î· οÏοία αιÏιάÏαι Ïην Îλλάδα για Ïον θάναÏο λαθÏο-ειÏβολÎÏν οι οÏοίοι, ενÏελλÏμενοι αÏÏ Ïον ÎÏνÏογάν, ÏÏοκάλεÏαν Ïην καÏαÏÏÏοÏή μεγά⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
ÎÎΠΤÎΠΤÎÎÎ ÎÎÎΡΠÎÎÎ ÎÎÎÎ ÎÎ¥ÎÎΠΣΧÎÎÎÎ.. ÎÎ ÎÎΤÎΤÎÎΠΤÎÎ¥ ÎÎÎÎÎ¥ ÎÎÎ¥! ÎÎÎÎÎÎ Î - ÎÎ ÎÎÎÎΩΣ - Î ÎÎÎÎΣ ÎÎÎ Î ÎΡÎÎÎÎÎÎ ÎÎÎÎΠΠΠΡÎÎÎΣΠÎÎÎΧÎÎ ÎÎÎΣÎΩΣ ΤÎΣ ÎÎÎÎÎÎΣ & ΤΩΠÎÎÎÎÎΩΠÎÎΠΤΠÎÎÎÎÎÎÎΤΠÎÎÎΡÎ-ÎÎΣÎÎÎÎΩÎ
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Athos Kravaritis
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. ΠανάÏÏηÏή Î¼Î¿Ï ÏαÏÎÏÏαÏη. Îεν εÏιÏίÏÏει ÎµÏ Î¸ÏÎ½ÎµÏ ÏÏην Îλλάδα Î¿Ï Ïε Ïε κάÏοιον άλλο. Τα ελληνικά Î¼Î¿Ï ÏÎ¿Î»Ï ÎºÎ±Î»Î¬ Ïο νÏημα ξεκάθαÏο. Îάλλον ÏκÏÏιμα Ïην ÏαÏεÏμηνεÏεÏε. Îλήθεια ÏÏη ÎÎÎ Ïε Ïοιά ÎιεÏÎ¸Ï Î½Ïη ήÏαÏÏαν. ÎÏÏÏημα εκ ÏεÏιεÏγείαÏ.
ÎÏάνÏηÏη
2 ημ.
Pavlos Pavlou
Athos Kravaritis Îαμία θλίÏη και καμία ενοÏή δεν ÏÏÎÏει να αιÏθάνεÏÏε εÏειδή ÏαÏαμÎνεÏε ÎνθÏÏÏοÏ! ÎÏÏÏ Î¼Ïνο θα ÏÏÎÏει να ÏκεÏÏείÏε να ÏεÏάξεÏε κάÏοια αÏÏ Ïα "ÏÎºÎ¿Ï Ïίδια" ÏÎ¿Ï ÎÏÎ¿Ï Î½ Î¼Î±Î¶ÎµÏ Ïεί ÏÏην ÏÏμαÏεÏή ÏÏÎ¿Ï Î±Î½Î®ÎºÎ¿Ï Î½. Îλλοίμονο αν οι ÏÏÏÏοί άνθÏÏÏοι νιÏθ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ΠεÏί ÏοÏÏÎ¿Ï Î¼ÏοÏείÏε εÏκολα να ÏληÏοÏοÏηθείÏε μÎÏÏ ÏÎ¿Ï Î´Î¹Î±Î´Î¹ÎºÏÏÎ¿Ï , ÏÎ¿Ï academia, researchegate, amazon, lulu κλÏ. ΣημειÏÏÏε ÏÏι άν και διαθÎÏÏν μοÏÏÏÏικά εÏÏδια αÏληÏίαÏÏα γιά Î¬Î»Î»Î¿Ï Ï, Î¿Ï Î´ÎÏοÏε ÎÏθαÏα μÎÏÏι Ïην θÎÏη ÏÎ¿Ï Ï, αÏÎ¿Ï Î±ÎºÏμη και⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Athos Kravaritis
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ. Î ÏÏε ÏÏονολογικά και Ïε Ïοιά Î/Ïη, μήÏÏÏ ÎºÎ±Î¹ κάÏÎ¿Ï ÏÏ Î¼ÏÎÏαμε Ï ÏηÏεÏιακά. ÎÎ³Ï Î®Î¼Î¿Î½Î± ÏÏη ÎÎΠαÏο Ïο 1959.
ÎÏάνÏηÏη
2 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Pavlos Pavlou Î ÎµÏ Î³Îνειά ÏÎ±Ï ÏαÏακÏηÏιÏÏική ÏÎ¿Ï Î±ÏÏÎ¼Î¿Ï ÏαÏ, Ïο ίδιο και η καλλιÎÏγειά ÏαÏ.. Îε Ïην ÎµÏ ÎºÎ±Î¹Ïία με ÏληÏοÏοÏείÏε για Ïο μοÏÏÏÏÎ¹ÎºÏ ÎµÏίÏÎµÎ´Ï ÏÎ±Ï (και Ïην αÏαÏÏÏληÏη) Ïο οÏοίο βεβαίÏÏ Î´ÎµÎ½ θα ομοιάζει με Ïο Î´Î¹ÎºÏ Î¼Î¿Ï ÏÎ·Ï Î±Î¼Î¿ÏÏÏÏιάÏ????
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Pavlos Pavlou
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Îεν εÏικοινÏÎ½Ï Î¼Îµ άÏομα ÏÎ¿Ï ÏÎ±Î¼Î·Î»Î¿Ï Î´Î¹Î±Î½Î¿Î·ÏÎ¹ÎºÎ¿Ï ÎµÏιÏÎÎ´Î¿Ï ÏαÏ. ÎÏÏε ÏÎ±Ï Î±ÏεÏÎ¸Ï Î½Î± Ïον λÏγο
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Pavlos Pavlou Îεν εÏικοινÏÎ½ÎµÎ¯Ï Î´Î¹ÏÏι ÏÏεÏείÏαι ÏÎ¿Ï ÎλÏÎ³Î¿Ï ', είÏαι οÏαδÏÏ ÏÎ·Ï Î±Î½ÎµÎ»ÎµÏ Î¸ÎµÏÎ¯Î±Ï ÏÎ¿Ï Î»ÏÎ³Î¿Ï & διαλÏÎ³Î¿Ï , ÎÏÎµÎ¹Ï Î´Îµ ÏÏοÏανÏÏ Î¸ÎμαÏα να αÏοκÏÏÏειÏ.. Îαλήν διαμονή ÏÏην ÏÏλίÏÏα ÏÎ·Ï Î±Î³ÎµÎ½ÎµÎ¯Î±Ï .. ÎλλÏÏÏε Ïο μÎγιÏÏο ÏÎ¿Ï , ÏÏ ÏαίνεÏαι, μÏοÏÎµÎ¯Ï Î½Î± ÏÏ Î½ÎµÎ¹ÏÏÎ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
2 ημ.
ΤÏοÏοÏοιήθηκε
Annie Kravariti
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏÎ·Ï Î· ÎÏÏοÏή Ïλη είναι καθαÏά δική ÏαÏ!!!!!ÎÏ Ïάμαι ÏολÏ!!!
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Annie Kravariti ÎκÏληκÏικά Ïα εÏιÏειÏήμαÏα - δογμαÏικÎÏ Î±ÏοÏάνÏειÏ.... ÎναμÎÎ½Ï ÏÏÏλια εÏί ÏÎ·Ï ÏαμÏακÎÏαÏ, ÏÏν βιογÏαÏικÏν, ÏÏν μοÏÏÏÏικÏν εÏοδίÏν κλÏ! ÎÎÎΤΠÎÎ ÎΣΠΣÎÎÎ & ÎΡÎÎÎΣ??
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Efi Papathomaidi ÎÏαν άνθÏÏÏοι ÏαÏακÏηÏίζονÏαι 'ÏÏÏα' ÏÏÏε ο ÏαÏακÏηÏίζÏν ανήκει ÏÏο ÏÎºÏ Î»Î¿Î»Ïι ÏÎ¿Ï ÏαÏιÏμοÏ! ÎÎ¥ÎÎ Ïε Ïλα Ïα ÏαÏιÏÏοειδή!
ÎÏάνÏηÏη
1 ημ.
Nikolaos Charalabopoulos
Athos Kravaritis ÎÎ±Î»Î Î¼Î¿Ï Ïίλε! Îην αιÏθάνεÏαι καμμία ενοÏή. Î¥ÏάÏÏÎ¿Ï Î½ άνθÏÏÏοι και ανθÏÏÏάκια. ÎνÏÏÎ¯Î¶ÎµÎ¹Ï ÏÎ¹Ï Î´Î¹Î¬ÏοÏεÏ;
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Athos Kravaritis ÎÎ ÎΣΥÎÎΠΤΩ ÎÎΩ ÎÎÎÎ¥ÎÎ Î ÎÎ¥ ÎÎÎÎΣ ÎÎÎ¥ ÎÎ ÎΣΤÎÎÎÎ Î ÎÎΤΠÎÎÎΩΣÎΠΤÎÎ¥ ÎÎÎÎÎÎÎΤÎÎΣ Î ÎÎÎÎÎÎ¥ ΣΤΠMESSENGER: ÎÎÏÎµÎ¹Ï Ïί Ïά ÎºÎ¬Î½Î¿Ï Î½ Ïά αγενή ÏÏογλανάκια, ÏÎ¿Ï ÏÏοÏÏαθοÏν νά ÏÏοÏÎ²Î¬Î»Î¿Ï Î½ ÏοÏÏ ÏÏ Î½Î¿Î¼Î¹Î»Î·ÏÎÏ ÏÎ¿Ï Ï, οί ÏμήναÏÏοι ÏÎ®Ï Î Î¿Î»ÎµÎ¼Î¹ÎºÎ®Ï ÎεÏοÏοÏÎ¯Î±Ï ? Τ⦠ÎείÏε ÏεÏιÏÏÏÏεÏα
ÎÏάνÏηÏη
1 ημ.
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Nikolaos Charalabopoulos ÎγαÏηÏΠκÏÏιε, μεÏÎ±Î¾Ï ÏÏν άλλÏν ÏÏ Î¼Î¼ÎµÏαÏÏÏνÏα ÏÏÎ¿Ï Ï ÎÎÎÎÎ 2004, εÏγε για Ïην Î´Ï Î½Î±ÏÏÏηÏα ÏÎ±Ï Î½Î± διακÏίνεÏε ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Ïε 'ανθÏÏÏÎ¿Ï Ï ÎºÎ±Î¹ ανθÏÏÏάκια': Î Î¿Ï ÏοÏοθεÏείÏε Ïο άÏÎ¿Î¼Ï ÏαÏ? ÎήÏÏÏ Ïε καμμία καÏηγοÏία??? -------------------------------------------------------------------
ÎνεÏγÏÏ
ÎημήÏÏÎ¹Î¿Ï ÎονιδάÏηÏ
Emmy Kravariti
ÎÏÏ ÏÏα Î´Î¹Î±Î²Î¬Î¶Ï Î¸Î»
July 9, 2023
DIAN CULTURE, YUNNAN: GREEK ECHOES
Î Î ÎÎÎΤÎΣÎÎΣ DIAN ΣΤΠYAHHAN ÎÎÎ ÎÎ ÎÎÎÎÎÎÎÎÎ ÎÎ ÎÎΧÎÎ
Îικ. 1: Dian and the southwestern peoples in the early Han period. Red means nomadic, yellow is semi-nomadic, and purple is sedentary[1]
Το βαÏίλειο ÏÎ¿Ï Dian Ï ÏήÏξε Îνα κÏαÏίδιο γÏÏÏ Î±ÏÏ Ïο οÏοÏÎδιο ÏÎ·Ï Î¿Î¼ÏÎ½Ï Î¼Î·Ï Î»Î¯Î¼Î½Î·Ï ÏÎ¿Ï ÎºÎµÎ½ÏÏÎ¹ÎºÎ¿Ï - βÏÏÎµÎ¹Î¿Ï Yunnan ÏÎ·Ï ÎίναÏ, ÏÎ¿Ï Î¹Î´ÏÏθηκε αÏÏ Ïο μη ÎÎ¹Î½ÎµÎ¶Î¹ÎºÏ ÏÏλο Î±Ï ÏοÏθÏνÏν και διήÏκεÏε αÏÏ Ïην ÏÏÏεÏη ΠεÏίοδο ÎνοίξεÏÏ ÎºÎ±Î¹ ΦθινοÏÏÏÎ¿Ï (ή και ενÏÏίÏεÏα) ÎÏÏ Ïην ÏεÏίοδο ÏÏν ÎναÏολικÏν Han. Îι Dian είÏαν ÎµÎ¹Î´Î¯ÎºÎµÏ Ïη ÏÏην μεÏαλλοÏεÏνία,[7_45] μάλιÏÏα δε ο ÏαÏαγÏÎ¼ÎµÎ½Î¿Ï ÏÏÏ ÎºÏαÏίδιο οÏείÏÎ±Î»ÎºÎ¿Ï Î®Ïαν κÏάμα ÏÎ±Î»ÎºÎ¿Ï Î¼Îµ καÏÏίÏεÏο, διαÏοÏοÏοιοÏÎ¼ÎµÎ½Î¿Ï Î±ÏÏ Ïον ÏÏÏÏÏγονο ÏÏÏο με αÏÏενικÏ, ÎµÎ½Ï ÏÏοÎβαιναν Ïε ÏÏήÏη ÏÏοηγμÎνÏν ÏεÏνικÏν ÏÏÏÏ ÏÏ ÏεÏÏεÏÏ, ÏÏηÏηλαÏήÏεÏÏ, Î±Î½Î¬Î³Î»Ï ÏÎ·Ï Î´Î¹Î±ÎºÎ¿ÏμήÏεÏÏ (repoussé), εÏιÏÏÏ ÏÏÏεÏÏ Î¼Îµ αμάλγαμα κ.λÏ., μεÏÎ±Î¾Ï Î´Îµ ÏÏν διακοÏμηÏικÏν θεμάÏÏν ÏÎ¿Ï Ï ÏεÏιελαμβάνονÏο γεÏμεÏÏικά ÏÏÎδια (ÏÏίγÏνα, ομÏκενÏÏοι κÏκλοι), μαίανδÏοι, ÏÏείÏÎµÏ Îº.ά. Το βαÏίλειο διÎθεÏε οικιÏμοÏÏ Î¼ÏÎ½Î¹Î¼Î·Ï ÎµÎ³ÎºÎ±ÏαÏÏάÏεÏÏ, και οι κάÏοικοι εÏιδίδονÏο εÏίÏÎ·Ï ÏÏην γεÏÏγία και κÏηνοÏÏοÏία, ÎµÎ½Ï Ï ÏήÏξαν άÏιÏÏοι ιÏÏείÏ. ΠδημοÏιλία ÏÏν ÏκηνÏν ÎºÏ Î½Î·Î³Î¯Î¿Ï [7_46] και ÏÎ¿Ï Î»ÎµÎ³Î¿Î¼ÎÎ½Î¿Ï Î¸Î·ÏιÏμοÏÏÎ¿Ï ÏÏÎ¿Ï Ï Î¼ÎµÏÎ±Î¾Ï ÏÏν ÏεÏÎ½Î¿Ï ÏγημάÏÏν ÏÎ¿Ï Ï ÎÏει οδηγήÏει ÏÎ¿Ï Ï ÎµÏÎµÏ Î½Î·ÏÎÏ ÏÏην άÏοÏη ÏÏι Ï ÏήÏξε εÏαÏή ÏÎ¿Ï Ï Î¼Îµ Ïα νομαδικά ÏÏλα ÏÏν ÏÏεÏÏν.[7_47] Πιο ÏÏοÏθημÎνη είναι η Ï ÏÏθεÏη ÏÏν Lebedynsky και Mair ÏÏι ενδεÏομÎνÏÏ Î¼ÎµÏίδα ÏÏν ΣακÏν μεÏανάÏÏÎµÏ Ïε ÏÏο Yunnan μεÏά Ïην ήÏÏα και εκδίÏξή ÏÎ¿Ï Ï Î±ÏÏ ÏÎ¿Ï Ï Yuezhi.[7_48] ÎμοίÏÏ Î±ÏÏ Ïον Zhang Zengqi ÎÏει ÏÏοÏαθεί ÏÏι Ïα οÏειÏάλκινα ÏεÏÎ½Î¿Ï ÏγήμαÏα με Ïο ÏÏ ÏιοκÏαÏÎ¹ÎºÏ ÏÏÎ¿Ï ÏÎ¿Ï ÏαÏήγαγε ο ÏολιÏιÏμÏÏ Dian και ÏεÏιελάμβαναν ÏολÏÏÎ»Î¿ÎºÎµÏ Î¿Î¼Î¬Î´ÎµÏ Î¸Î·ÏίÏν Ïε ανÏιÏαÏάθεÏη, είναι αÏοÏÎλεÏμα ÏÎ·Ï Î¼ÎµÏαναÏÏεÏÏεÏÏ Î£Î±ÎºÏν ÏÏα νοÏÎ¹Î¿Î´Ï Ïικά ÏÎ·Ï ÎίναÏ, ÏÏιν αÏÏ Ïον ÏÏÏÏο αι. Ï.Χ.[7_49]
Îκ. 3: Î ÏÏÏη με δÏο ÏολεμιÏÏÎÏ ÎºÎ±Î¹ ÏαÏÏο[5]
Îικ. 7: ÎιακοÏμηÏική Ïλάκα με ÏαÏ
ÏομαÏία[7]
ΣÏμÏÏνα με αναÏοÏά ÏÎ¿Ï Shiji ÏÏαν Ïο 122 Ï.Χ. αÏεÏÏαλμÎνοι ÏÏν Han, ÏÏην ÏÏοÏÏάθειά ÏÎ¿Ï Ï Î½Î± ανακαλÏÏÎ¿Ï Î½ ηÏειÏÏÏική Î¿Î´Ï ÏÏÎ¿Ï Ïην ÎακÏÏία, εÏεÏείÏηÏαν να διαÏÏίÏÎ¿Ï Î½ Ïην εÏικÏάÏεια ÏÎ¿Ï Dian, οι ÏÎµÎ»ÎµÏ Ïαίοι ÏÎ¿Ï Ï ÎµÏεÏÎθηÏαν και Ïελικά ÏÎ¿Ï Ï Î±Î½Î±ÏαίÏιÏαν, μάλιÏÏα δε οι ίδιοι εÏιÏείÏηÏαν να ανεÏÏÎ¿Ï Î½ μια ÏÎÏοια οδÏ![7_50] Îξίζει να ÏημειÏθεί, ÏάνÏÏÏ, ÏÏι ÏÏο κÏαÏίδιο ενÏοÏίζονÏαι κάÏοια ιδιαίÏεÏα ÏαÏακÏηÏιÏÏικά Ïα οÏοία ÎµÎ¼Î²Î¬Î»Î»Î¿Ï Î½ ÏκÎÏÎµÎ¹Ï Î³Î¹Î± ÏιθανÎÏ ÎµÏαÏÎÏ ÎºÎ±Î¹ αλληλεÏιδÏάÏÎµÎ¹Ï Î¼Îµ ÏÏίÏÎ¿Ï Ï.[7_51] ÎÏÏι ÎµÎ½Ï ÏαÏÎÏονÏαι αÏÎ¿Î´ÎµÎ¯Î¾ÎµÎ¹Ï Î³Î¹Î± Ïην ÏήÏηÏη εθίμÏν Ïα οÏοία είναι ενδεικÏικά βαÏβαÏÏÏηÏαÏ, ÏÏÏÏ ÎµÏί ÏαÏαδείγμαÏι ο αÏοκεÏαλιÏμÏÏ ÏÏν εÏθÏÏν, η διεξαγÏγή ÎºÏ Î½Î·Î³Î¯Î¿Ï Î±Î½Î¸ÏÏÏίνÏν κεÏαλÏν (!)[7_52] και ανθÏÏÏÎ¿Î¸Ï ÏιÏν[7_53] - οι οÏÎ¿Î¯ÎµÏ ÏαÏαÏÎμÏÎ¿Ï Î½ ίÏÏÏ ÏÏην ÎÏ ÏαÏιαÏική ÏÏÎÏα - ÏαÏαÏηÏοÏνÏαι εÏιÏÏÏÏθεÏα ÏαÏακÏηÏιÏÏικά ÏÏÏÏ Î· Ï Î¹Î¿Î¸ÎÏηÏη ÏÏ Î¼ÏοÏιαÏÏικÏν ÏÏακÏικÏν,[7_54] η εναÏÏÏληÏη με Ïον ÏοÏÏ ÎºÎ±Î¹ Ïην Î¼Î¿Ï Ïική,[7_55] αλλά και ÏÎ¹Ï ÏÎ±Ï ÏομαÏίεÏ,[7_56] Ïα οÏοία ÏαÏÎÏÎ¿Ï Î½ ÎδαÏÎ¿Ï ÏÏ ÏÏεÏίÏεÏÏ Î¼Îµ ÏÏοηγμÎÎ½ÎµÏ ÏολιÏιÏμÎÎ½ÎµÏ ÎºÎ¿Î¹Î½ÏνίεÏ! ΣÏεÏÎ¹ÎºÏ Î¼Îµ Ïην Î¼Î¿Ï Ïική είναι Ïο γεγονÏÏ ÏÏι ÏÏο κÏαÏίδιο ήÏαν αγαÏηÏά Ïα Ïαλκεία (ÏÏμÏανα ή gong) Ïα οÏοία Ïε αÏκεÏÎÏ ÏεÏιÏÏÏÏÎµÎ¹Ï ÎµÎ¼ÏανίζονÏαι να ÏÏ Î½Î¿Î´ÎµÏÎ¿Ï Î½ δÏαÏÏηÏιÏÏηÏÎµÏ ÏÏν καÏοίκÏν. ÎάλιÏÏα Î±Ï Ïή η δημοÏικÏÏηÏα ÏÏν ÏαλκείÏν â ÏÏ Î¼ÏάνÏν άÏοÏελεί γεγονÏÏ ÎµÎºÏεινÏμενο Ïε μεγάλο αÏÎ¹Î¸Î¼Ï Î¸ÎÏεÏν, αÏÏίζονÏÎ±Ï Î±ÏÏ Ïο ÏολιÏιÏÏÎ¹ÎºÏ ÏÏήμα Dong Son ÎÏÏ Ïολλά Ïημεία ÏÎ·Ï ÎÏίαÏ. Îία αÏÏ ÏÎ¹Ï Î±Î³Î±ÏηÏÎÏ Î´Î¹Î±ÎºÎ¿ÏμήÏÎµÎ¹Ï Î±Ï ÏÏν ÏÏν οÏειÏάλκινÏν ÏÏ Î¼ÏάνÏν ÏεÏιελάμβανε ÏκηνÎÏ Î¼Îµ λÎÎ¼Î²Î¿Ï Ï ÎºÎ±Î¹ κÏÏηλάÏεÏ,[7_57] ÎµÎ½Ï Î¼Î® αναμενÏμενο είναι Ïο γεγονÏÏ ÏÏι ÏÏ Ïνά η ÏλÏÏη και η ÏÏÏμνη Î±Ï ÏÏν ÏÏν λÎμβÏν διακοÏμείÏαι με ÏÏηνά,[7_58] ÏÏ Î½Î®Î¸ÎµÎ¹Î± η οÏοία αÏανÏάÏαι ÏÏο Îιγαίο αλλά και Ïε θÎÏÎµÎ¹Ï ÏÎ¿Ï ÏολιÏιÏÎ¼Î¿Ï ÏÎ¿Ï ÎνδοÏ![7_59]
Îικ. 9: ÎιακÏÏμηÏη οÏειÏÎ¬Î»ÎºÎ¹Î½Î·Ï ÏÏÏÏÎ·Ï Î¼Îµ ÏαÏάÏÏαÏη κÏ
νηγίοÏ
ελαÏιÏν[9]
ΣÏολιάζονÏÎ±Ï Ïο Ïάλκινο ÏÎ·Ï Îικ. 3 ο ΧÏιÏÏÏÏÎ¿Ï Î»Î¿Ï Î±Î½Î±ÏÎÏει:[11]ÎÏο ÏολεμιÏÏÎÏ ÏÎ¿Ï Î±ÏεικονίζονÏαι Ïε μια ÏαÏÏμοια Ïάλκινη ÏÏÏÏη για ζÏνη αÏοδεικνÏÎ¿Ï Î½ ÏÏι Ïο βαÏίλειο ÏÏν Dian διοικοÏνÏαν αÏÏ Î±ÏÎ¿Î¯ÎºÎ¿Ï Ï ÏÎ¿Ï ÏιθανÏÏαÏα ÏÏ Î½Î´ÎονÏαν με Îλληνο-Î£Î¬ÎºÎµÏ Î±ÏÎ¿Î¯ÎºÎ¿Ï Ï. Î Ïολεμική αÏιÏÏοκÏαÏία ÏÏηÏιμοÏοίηÏε Ïην μÏδα ÏÏν καÏάÏÏακÏÏν ιÏÏÎÏν[13] ÏαÏÏμοια με Ïην ελληνιÏÏική ÎενÏÏική ÎÏία αÏÏ ÏεÏίÏÎ¿Ï Ïο 250 Ï.Χ. ÎκÏÏÏ Î±ÏÏ Ïην βαÏιά ÏανοÏλία, Ïα κÏάνη ÏÎ¿Ï ÏοÏοÏν είναι εÏίÏÎ·Ï ÎµÎ½Î´Î¹Î±ÏÎÏονÏα καθÏÏ ÏαίνονÏαι ÎοιÏÏικά, ÏÏι ÏÏν Qin (ÎÏ Ïικά), Han ή ΦÏÏ Î³Î¹ÎºÎ¬. ΠαÏεικÏνιÏη ÏÎ¿Ï ÏθÏÎ½Î¹Î¿Ï ÏÎ¹Î´Î¹Î¿Ï ÎµÎ¯Î½Î±Î¹ εÏηÏεαÏμÎνη αÏÏ Ïην ελληνιÏÏική ÏÎÏνη. Îι ÏολεμιÏÏÎÏ ÎºÏαÏοÏν Ïα κεÏάλια ÏÏν εÏθÏÏν ÏÎ¿Ï Ï ÏÏο αÏιÏÏεÏÏ ÏÎ¿Ï Ï ÏÎÏι, ÏαÏÏμοια με Ïη Î´Ï Î½Î±ÏÏεία ÏÏν Qin και Ïην Ïολεμική ÏÏ Î½Î®Î¸ÎµÎ¹Î± ÏÏν Xiongnu και ο γενειοÏÏÏÎ¿Ï ÏολεμιÏÏÎ®Ï ÏÏην ÏλάÏη ÏαίνεÏαι να κÏαÏά Îναν ÏÏÏο «ξιÏÎ¹Î´Î¯Î¿Ï - ÏελÎκεÏÏ» (ge) ή Îνα δÏεÏάνι, ÏÎ¿Ï ÏÏ Î¼Î²Î¿Î»Î¯Î¶ÎµÎ¹ Ïην ÏÏ Î³ÎºÎ¿Î¼Î¹Î´Î®. Î Ïκηνή αναÏαÏιÏÏά Îναν Î¤Î±Ï ÏοκÏÏνο ÏÏÏÏ ÏÏ Î½Îβαινε ÏÏα ελληνικά Î¼Ï ÏÏήÏια ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÏÏÎ¹ÎºÎ®Ï ÏεÏιÏÎ´Î¿Ï . Τα μεÏαγενÎÏÏεÏα ÏÏμαÏκά 'ÎιθÏαÏκά Î¼Ï ÏÏήÏια' (ειδικά ÏÎ·Ï Î¡ÏμηÏ, δεÏÏεÏοÏ-ÏÎÏαÏÏÎ¿Ï Î±Î¹ÏÎ½Î±Ï Î¼.Χ.) αÏεικονίζονÏαι με Ïα ÏÎ¿Î»Ï Î¬Ïιθμα Î³Î»Ï ÏÏά ÏÎ¿Ï ÏÏÏÎ¿Ï 'Î ÎίθÏÎ±Ï ÏÎ¿Ï ÏκοÏÏνει Ïον ÏαÏÏο' ÏÎ¿Ï ÎµÏηÏεαÏμÎνο αÏÏ ÏÏοηγοÏμενα ελληνικά Ï ÏοδείγμαÏα, δανείÏÏηκε ÏαÏÏμοια ÏÏ Î¼Î²Î¿Î»Î¹ÎºÎ¬ ÏÏοιÏεία ÏÏοÏθÎÏονÏÎ±Ï Ïην μοÏÏή ÏÎ¿Ï ÎίθÏα ÏÏ ÎÎ»Î¯Î¿Ï .[15]
ÎξιοÏημείÏÏη είναι η ÏαÏαÏήÏηÏη ÏÎ¿Ï Î§ÏιÏÏÏÏÎ¿Ï Î»Î¿Ï :[17]ÎεÏικά αÏÏ Ïα Ïάλκινα Î³Î»Ï ÏÏά ÏÎ¿Ï Î²ÏÎθηκαν ÏÏÎ¿Ï Ï ÏάÏÎ¿Ï Ï Lijiashan (æ家山) ÏÏην εÏαÏÏία ÎÎ¹Î¿Ï Î½Î¬Î½, ÏÎ¿Ï ÏÏοÎÏÏονÏαι αÏÏ Ïον Î»Î±Ï Dian (æ») και ÏÏονολογοÏνÏαι ÏÏην εÏοÏή ÏÎ¿Ï Î¤Ïιν, δείÏÎ½Î¿Ï Î½ μια εκÏληκÏική ομοιÏÏηÏα με Ïο αÏÏαίο μινÏÎ¹ÎºÏ ÏελεÏÎ¿Ï ÏÎ³Î¹ÎºÏ ÏοÏÎ¿Ï ÏÎ¿Ï ÎεÏανοÏ. Î ÏθÏÎ½Î¹Î¿Ï ÏÏÎ¹Ï (δÏάκοÏ) ÏÎ¿Ï Î¼Î¿Î¹Î¬Î¶ÎµÎ¹ με Î ÏθÏνα γλιÏÏÏά γÏÏÏ Î±ÏÏ Îναν Î¸Ï ÏιαζÏμενο ÏαÏÏο και ανθÏÏÏÎ¿Ï Ï, ÎµÎ½Ï Î¼Î¹Î± ÏÏθια ÏÏήλη ÏÏηÏίζει Îναν ÏαÏÏο, ÏÏμβολο ÏÎ·Ï ÏÏ Î³ÎºÎ¿Î¼Î¹Î´Î®Ï ÎºÎ±Î¹ ÏÎ·Ï Î³Î¿Î½Î¹Î¼ÏÏηÏαÏ. ÎÏ ÏÏ ÏÏοήλθε αÏÏ Ïην εÏοÏή ÏÏν Îλληνο-ΣακÏν και ÏÏν Îνδο-ÎλλήνÏν, ÏÎ¿Ï ÎµÎ¯Ïαν ÎδÏα ÏÏι μακÏιά αÏÏ Ïο ÎÎ¹Î¿Ï Î½Î¬Î½.Îν και ο ÏοÏÏÏ Î±Î½Î±ÏÎÏεÏαι ονομαÏÏικά αÏÏ Ïον ΠλοÏÏαÏÏο (Plut. Thes. 21) ÏÏ Î½Î´ÎεÏαι δε με Ïον ÎηÏÎα, εÏίÏÏÏÎÏονÏα αÏÏ Ïην ÎÏήÏη, Îλαβε δε ÏÏÏαν καÏά Ïην άÏιξή ÏÎ¿Ï ÏÏην Îήλο,[19] οι μελεÏηÏÎÏ Ïον ÎÏÎ¿Ï Î½ ÏÏ ÏÏεÏίÏει ακÏμη και με Ïην ÎινÏÏκή ÎÏήÏη![21]
Stefania Goulioti in The âBirdsâ by Aristophanes, directed by Nikos Karathanos[23]
ÎÏÎ³Ï ÏÎÏ ÏÎ¹Î¬Î»ÎµÏ Î¼Îµ λοβÏÏÏημη διακÏÏμηÏηÎν ÏÏοκειμÎÎ½Ï Î¹Î´Î¹Î±Î¯ÏεÏη ÏημαÏία ÎÏει αÏοδοθεί ÏÏην αναÏκαÏή ÏÏον ÎÎ¹Î½ÎµÎ¶Î¹ÎºÏ ÏεÏÎ¯Î³Ï Ïο αÏÎ³Ï ÏÏν ÏιαλÏν με διακÏÏμηÏη ÏεÏάλÏν λÏÏοÏ, δακÏÏÏν ή λοβÏν εν γÎνει, οι οÏÎ¿Î¯ÎµÏ ÎÏÎ¿Ï Î½ θεÏÏηθεί ξÎÎ½ÎµÏ ÏÏÎ¿Ï Ïην ÏαÏάδοÏη ÏÏν ÏεÏιοÏÏν Î±Ï ÏÏν. Îι αναÏκαÏείÏÎµÏ Î¼ÎÏÏι ÏήμεÏα αÏÎ³Ï ÏÎÏ ÏÎ¹Î¬Î»ÎµÏ Î¼Îµ Ïην ιδιÏμοÏÏη διακÏÏμηÏη ÏÏν ÏεÏάλÏν λÏÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ οι ακÏÎ»Î¿Ï Î¸ÎµÏ:
α) οι ÏαλαιÏÏεÏÎµÏ ÏÎ·Ï ÎºÎ±ÏηγοÏÎ¯Î±Ï ÏÏονολογοÏνÏαι ÏÏην ÏεÏίοδο ÏÏν ÎνÏιμαÏομÎνÏν ÎÏαÏιδίÏν και ανεÏκάÏηÏαν ÏÏο Xixin (Qingzhou, Shandong), ÏÏοÎÏÏονÏαι δε αÏÏ Ïο βαÏÎ¹Î»Î¹ÎºÏ Î¼Î±Ï ÏÏλείο ÏÎ¿Ï ÎºÏαÏÎ¹Î´Î¯Î¿Ï Qi,[7_118]
β) αÏÏ Ïο κÏαÏίδιο ÏÎ¿Ï Nanyue,7_119 ÏÏοÎÏÏεÏαι ÏÏεÏÎ¹ÎºÏ ÏεκμήÏιο ÏÎ¿Ï ÏοÏÎ¹ÎºÎ¿Ï Î²Î±ÏιλÎα Zhao Mo, ÏÏγÏÏονο με Ïην ÏεÏίοδο ÏÏν ÎÏ ÏικÏν Han,7_120 Ïο οÏοίο ÏÏ Î½Î¿Î´ÎµÏ ÏÏαν, μεÏÎ±Î¾Ï ÏÏν άλλÏν, και αÏÏ ÏÏÏ Ïά Î±Î½Î¬Î³Î»Ï Ïα κομβία με αναÏοÏÎÏ ÏÏην εξελληνιÏμÎνη ÎναÏολή,[7_121]
γ) αÏÏ Ïο Î¼Î±Ï ÏÏλείο ÏÎ¿Ï Liu Fei, ÏÏÏÏÎ¿Ï Î²Î±ÏιλÎα ÏÎ¿Ï ÎºÏαÏÎ¹Î´Î¯Î¿Ï Jiangdu,[7_122] ÏÏοÎÏÏεÏαι Ïιάλη με ÎºÎ¬Î»Ï Î¼Î¼Î± ÏÎÏÎ¿Ï Ïα εÏιγÏαÏÎÏ, ÏÏÏÏθεÏα κομβία ÏÏο ÎºÎ¬Î»Ï Î¼Î¼Î± και βάÏη,
δ) Ïε ÏαÏÎ¹ÎºÏ ÏεÏιβάλλον ανεÏκάÏη αÏÎ³Ï ÏÏ ÎºÎ¹Î²ÏÏιο Ïο οÏοίο ÏÏονολογείÏαι ÏÏην ÏÏÏιμη ή μÎÏη ÏεÏίοδο ÏÏν Han, ÎµÏ ÏÎθη ÏÏην Chaohu (ÏÏλη ÏαÏά Ïην ÏÏθη ÏÎ·Ï Î¿Î¼ÏÎ½Ï Î¼Î·Ï Î»Î¯Î¼Î½Î·Ï ÏÏο Anhui) και ÏÏοÏομοιάζει με Î±Ï ÏÏ ÏÎ¿Ï Î²Î±ÏιλÎα ÏÎ¿Ï Nanyue,[7_123]
ε) δÏο οÏειÏάλκινα Î±Ï Ïήν Ïην ÏοÏά κιβÏÏια αναÏκαÏÎνÏα ÏÏον ÏάÏο ÏÎ¿Ï Î²Î±ÏιλÎÏÏ ÏÎ¿Ï Dian ÏÏο ÏÏÎ¿Ï Shizhai (Jinning) εμÏÎ±Î½Î¯Î¶Î¿Ï Î½ Ïο ίδιο ÏεÏίÏÎ¿Ï ÏÏήμα και διακÏÏμηÏη με Ïο εÏÏημα ÏÎ¿Ï Nanyue.[7_124]
Îι ανÏÏÎÏÏ Î±ÏÎ³Ï ÏÎÏ ÏÎ¹Î¬Î»ÎµÏ ÏαÏαβάλλονÏαι με ÏαÏÏÎ¼Î¿Î¹ÎµÏ ÏÏν ÎÏαιμενιδÏν,[7_125] ανάλογοι δε ÏÏÏοι (âαναÏολίζονÏεÏâ) ÎºÏ ÎºÎ»Î¿ÏοÏοÏÏαν ÏÏην Îλλάδα αÏÏ Ïον ÎκÏο αι. Ï.Χ.[7_126] ΣÏενή ομοιÏÏηÏα, ÏμÏÏ ÎÏει ÏαÏαÏηÏηθεί και αÏÏ Ïην Îινεζική αÏÏαιολογία[7_127]ΣÎÎÎÎΩΣÎÎΣ
[1]. https://en.wikipedia.org/wiki/Dian_Ki.... Higham 1996, p. 173; Bunker 1993, p. 47, fig. 27.
7_46. Higham 1996, p. 160, fig. 5.21. ΣÏεÏική ÏαÏάÏÏαÏη αÏεικονίζεÏαι Ïε ÏÏÏÏη αναÏκαÏείÏα ÏÏον ÏάÏο 17 ÏÎ·Ï Î½ÎµÎºÏοÏÏλεÏÏ Shizhaishan.
7_47. Chiou-Peng 2004, p. 298.
7_48. Lebedynsky 2006, p. 73.
7_49. Zhang Zengqi, 1994 pp. 666-699. Îια ÏεÏαιÏÎÏÏ ÏÏολιαÏÎ¼Ï ÏÎ¿Ï Î¸ÎμαÏÎ¿Ï Î²Î». Hein (Hein 2014, p. 6).[5]. Christopoulos 2022, fig. 28 bottom.[7]. Christopoulos 2022, fig. 28 up. MET Accession Number: SL.1.2017.6.2 (Lijiashan Museum of Bronzes). ÎÏÏημα αÏÏ Ïον ÏάÏο 68 ÏÎ¿Ï Lijiashan (æ家山) κÏÏαÏÎºÎµÏ Î±ÏμÎνο αÏÏ ÎºÎ±Î»Î»Î¹ÏÎÏÎ½ÎµÏ ÏÎ¿Ï ÎαÏÎ¹Î»ÎµÎ¯Î¿Ï Dian (279 â109 Ï.Χ.), Î´Ï Î½Î±ÏÏεία Qin (ή ÎÏ ÏικÏν Han).
7_50. Allard 2006, p. 245. Την ÏεÏίοδο Î±Ï Ïή είÏε μÏÎ»Î¹Ï ÎºÎ±ÏÎ±Î»Ï Î¸ÎµÎ¯ Ïο Îλληνο â ÎακÏÏÎ¹Î±Î½Ï Î²Î±Ïίλειο.
7_51. ÎÏει Ï ÏοÏÏηÏιÏθεί η ÏÏαÏξη ομοιοÏήÏÏν μεÏÎ±Î¾Ï ÏÏν βαÏιλικÏν ÏάÏÏν ÏÎ¿Ï Dian, και Î±Ï ÏÏν ÏÎ¿Ï Liu Fei (κÏαÏίδιο Jiangdu) και ÏÎ¿Ï Zhao Mo (κÏαÏίδιο ÏÎ¿Ï Nanyue), βλ. Liu Huan (Liu Huan 2011).
7_52. Îλ. Ïην λαβή οÏειÏÎ¬Î»ÎºÎ¹Î½Î¿Ï Î¾Î¯ÏÎ¿Ï Ï Î´Î¹Î±ÎºÎ¿ÏμημÎνη με Î±Ï ÏÏ Ïο θÎμα, η οÏοία ανεÏκάÏη ÏÏο Jiancheng και ÏÏ Î»Î¬ÏÏεÏαι ÏÏο Yunnan Provincial Museum, Guandu, Kunming (<https://en.wikipedia.org/wiki/Dian_Ki...).
7_53. Higham 1996, p. 154, fig. 5.14.
7_54. Higham 1996, p. 159, fig. 5.19.
7_55. Higham 1996, p. 160, fig. 5.20. ΣÏεÏÎ¹ÎºÏ ÎµÎ¯Î½Î±Î¹ εÏιÏÏÏ ÏÏμÎνο οÏειÏάλκινο διακοÏμηÏÎ¹ÎºÏ Î¼Îµ δÏο ÏοÏÎµÏ ÏÎÏ, αναÏκαÏÎν ÏÏον ÏάÏο 13, Shizhaishan, Jinning, εÏαÏÏία Yunnan και ÏÏ Î»Î±ÏÏÏμενο ÏÏο Yunnan Provincial Museum, Guandu, Kunming.
7_56. Higham 1996, p. 161, fig. 5.22. Î ÏÏκειÏαι για ÏαÏάÏÏαÏη ÏÎ»Î®Î¸Î¿Ï Ï ÏαÏÎ±ÎºÎ¿Î»Î¿Ï Î¸Î¿ÏνÏÎ¿Ï ÏÎ±Ï ÏομαÏία, ÏÏοεÏÏÏμενη αÏÏ ÏÏÏÏη αναÏκαÏείÏα ÏÏον ÏάÏο 6 ÏÎ·Ï Î½ÎµÎºÏοÏÏλεÏÏ Shizhaishan. ÎναÏαÏάÏÏαÏη ÏÎ±Ï ÏομαÏÎ¯Î±Ï Î±Î½ÎµÏ ÏίÏκεÏαι εÏίÏÎ·Ï Ïε εγÏάÏακÏη λίθινη Ïλάκα ÏÎ·Ï Nanyang ÏÎ·Ï ÏεÏιÏÎ´Î¿Ï ÏÏν ÎναÏολικÏν Han (Wang 1994, p. 521, fig. 11; Hongjie and Yujian 2007, fig. 40).7_57. Han Xiaorong 2013; Psarras 2015, n. 109. ΠδημοÏικÏÏηÏα ÏÎ¿Ï Î´Î¹Î±ÎºÎ¿ÏμηÏÎ¹ÎºÎ¿Ï Î¸ÎμαÏÎ¿Ï ÏÏν λÎμβÏν ενδεÏομÎνÏÏ ÏÏεÏίζεÏαι με Ïην ÏÏήÏη θαλάÏÏιÏν και ÏοÏάμιÏν οδÏν για Ïην Î½Î±Ï Ïική εÏικοινÏνία ÏÏα ÏλαίÏια ÏÎ¿Ï ÏολιÏιÏÏÎ¹ÎºÎ¿Ï ÎºÏÎºÎ»Î¿Ï Dong Son ÏεÏί Ïον κÏλÏο ÏÎ¿Ï Tonkin, βλ. Shelach-Lavi (Shelach-Lavi 2015, p. 333). Το ίδιο θÎμα αÏανÏάÏαι και ÏÏÎ¿Ï Ï Yue / Baiyue ÏÎ·Ï Î. ÎίναÏ, μεÏικÎÏ ÏοÏÎÏ ÎµÎ½ ÏÏ Î½Î´Ï Î±ÏÎ¼Ï ÏÏÎ¿Ï ÏαÏαÏÏάÏÎµÎ¹Ï ÎµÏÏεÏÏν (Li Xueqin 1991, pp. 18-19).7_58. Han Xiaorong 2013, fig. 6.
7_59. Î ÏÏ Î½Î®Î¸ÎµÎ¹Î± ÏÎ·Ï ÎµÎ¹ÎºÎ¿Î½Î¿Î³ÏαÏήÏεÏÏ ÏÏηνÏν ÏÏην ÏλÏÏη και Ïην ÏÏÏμνη ÏÎ¿Ï ÏÎ»Î¿Î¯Î¿Ï Î±ÎºÎ¿Î»Î¿Ï Î¸ÎµÎ¯Ïο αÏÏ Ïον ÏολιÏιÏÎ¼Ï ÏÎ¿Ï ÎÎ½Î´Î¿Ï (ÏÏιÏμαÏική ÏÏÏαγίδα MD-602, The Huntington Archive, <https://news.osu.edu/huntington-archi...) και Ïον ÎÎ¹Î³Î±Î¹Î±ÎºÏ (θÏαÏÏμα ÏÏ Î¾Î¯Î´Î±Ï Î±ÏÏ Ïην ΤÏαγάνα ΥΠÎÎÎc), αλλά ÏÏ Î½Î±Î½ÏάÏαι και ÏÏην ΤÏλο (ÎÏαÏÏÎιν).
[9]. ÎÏÏημα αÏÏ Ïον ÏάÏο 68 ÏÎ¿Ï Lijiashan. http://yn.chinadaily.com.cn/a/202208/...
[11]. Christopoulos 2022, p. 108.
[13] Oι καÏάÏÏακÏοι ιÏÏÎµÎ¯Ï ÎµÎ¼ÏανίζονÏαι ÏÏ ÏÏÏαÏιÏÏική μονάδα και ÏÏ ÏÏÎ¿Ï ÏÏην ιÏÏοÏία, ÏÏο βαÏίλειο ÏÏν ΠάÏθÏν.
[15]. Christopoulos 2022, n. 147. ÎλλÏÏÏε ο Beck (Beck 2001) ÏημειÏνει:
Î Ïιν αÏÏ ÏÏία ÏÏÏνια ÏÏÏÏεινα Îνα ÏενάÏιο για ÏÎ¹Ï Î±ÏαÏÏÎÏ ÏÎ¿Ï ÎιθÏαÏÏÎ¼Î¿Ï ÏÎ¿Ï ÎµÏÏίαζε εκ νÎÎ¿Ï ÏÏην ÎναÏολία και ÏÏ Î³ÎºÎµÎºÏιμÎνα ÏÏον μεικÏÏ ÎµÎ»Î»Î·Î½Î¹ÎºÏ ÎºÎ±Î¹ ιÏÎ±Î½Î¹ÎºÏ ÏολιÏιÏÎ¼Ï ÏÎ·Ï Î²Î±ÏÎ¹Î»Î¹ÎºÎ®Ï Î´Ï Î½Î±ÏÏÎµÎ¯Î±Ï ÏÎ·Ï ÎÎ¿Î¼Î¼Î±Î³Î·Î½Î®Ï (Beck 1998). Î£Ï Î½Î¿ÏίζονÏαÏ, ÏÏÏÏεινα ÏÏι Ïα ÎÏ ÏÏήÏια ÏÎ¿Ï ÎίθÏα ÏÏημαÏίÏÏηκαν ÏÏο ÏÏÏαÏιÏÏÎ¹ÎºÏ ÎºÎ±Î¹ ÏολιÏÎ¹ÎºÏ ÏεÏιβάλλον ÏÎ·Ï Î´Ï Î½Î±ÏÏÎµÎ¯Î±Ï ÏÏον αÏÏηÏο ÏÎ¿Ï ÎÎ¿Ï Î´Î±ÏÎºÎ¿Ï ÎºÎ±Î¹ ÏÎ¿Ï ÎμÏÏ Î»Î¯Î¿Ï ÏολÎÎ¼Î¿Ï (ÏÏÎ¿Ï Ï Î¿ÏÎ¿Î¯Î¿Ï Ï ÏÏ Î¼Î¼ÎµÏείÏαν και οι Îομμαγηνοί) και Ïην εÏακÏÎ»Î¿Ï Î¸Î· εξοÏία και διαμονή ÏÎ·Ï Î´Ï Î½Î±ÏÏÎµÎ¯Î±Ï ÏÏη ΡÏμη Ï ÏÏ Ïον ÎεÏÏαÏιανÏ.[17]. Christopoulos 2022, pp. 86-87.
[19]. Ragazzi 2019.
[21]. Ragazzi 2019.
[23]. https://www.behance.net/gallery/93603...
7_118. Shandong Institute of Cultural Relics and Archaeology, Qingzhou Municipal Museum 2015; Li Ling 2014.
7_119. Tο κÏαÏίδιο ÏÎ¿Ï Nanyue Ï ÏήÏξε βÏαÏÏβια ÏολιÏική ονÏÏÏηÏα η οÏοία ÏεÏιελάμβανε Ïμήμα ÏÎ·Ï ÏÏγÏÏÎ¿Î½Î·Ï ÎÏÏÎ¹Î±Ï ÎÎ¯Î½Î±Ï ÎºÎ±Î¹ ÏÎ¿Ï Î. ÎιεÏνάμ, είÏε δε ÏÏÏÏεÏÎ¿Ï Ïα Ïο Panyu (ÏÏγÏÏονο Guangzhou).
7_120. Nickel 2012. Το αÏÎ³Ï ÏÏ ÎºÎ¹Î²ÏÏιο, ήÏοι Ïιάλη με ÎºÎ¬Î»Ï Î¼Î¼Î±, ÏÏ Î»Î¬ÏÏεÏαι ÏÏο Museum of the Western Han Dynasty, βλ. <https://artsandculture.google.com/ass....
7_121. Demandt 2015, p. 311; Marshall 1951; Pfrommer 1993, pp. 210â212; Li Jianwei 2010, fig. 19. ΠαÏÏμοια ÏεκμήÏια ÏÏοÎÏÏονÏαι αÏÏ Ïα Τάξιλα και Î¬Î»Î»ÎµÏ Î¸ÎÏÎµÎ¹Ï ÏÎ¿Ï Îλληνο â ÎακÏÏÎ¹Î±Î½Î¿Ï ÎºÏÏÎ¼Î¿Ï .
7_122. Î Liu Fei (169-128 Ï.Χ.) Îγινε ο ÏÏÏÏÎ¿Ï Î²Î±ÏιλÎÎ±Ï ÏÎ¿Ï Jiangdu Ïο 153, Ï ÏήÏξε δε ÎÎ½Î±Ï Î±ÏÏ ÏÎ¿Ï Ï Î¼ÎµÎ³Î±Î»ÏÏεÏÎ¿Ï Ï Î±Î´ÎµÎ»ÏοÏÏ ÏÎ¿Ï Wu, Î±Ï ÏοκÏάÏοÏα ÏÎ·Ï ÎÎ¯Î½Î±Ï ÎºÎ±Ïά Ïην ÏεÏίοδο ÏÏν ÎÏ ÏικÏν Han.
7_123. Jiangsu Wangyun Mountain, Dayun Mountain 2012.
7_124. Liu Huan 2011.
7_125. Î ÏÏÏ Ïή Ïιάλη ÏÎ¿Ï ÎαÏÎµÎ¯Î¿Ï ÏÏ Î»Î¬ÏÏεÏαι ÏÏο ÎηÏÏοÏολιÏÎ¹ÎºÏ ÎÎ¿Ï Ïείο ÏÎ·Ï ÎÎÎ±Ï Î¥ÏÏÎºÎ·Ï (No. 54.3.1) ÏÎÏει δε εÏιγÏαÏή ÏÏην ΠεÏÏική, ÎÎ±Î²Ï Î»Ïνιακή και ÎλαμιÏική, βλ. < https://www.metmuseum.org/art/collect.... ΣÏο ÎÏÎ»Î±Î½Î´Î¹ÎºÏ ÎÎ¿Ï Ïείο ÏÏ Î»Î¬ÏÏεÏαι άλλη λεγομÎνη ÏÎ¿Ï ÎÎÏξη, η οÏοία ÏÏοÎÏÏεÏαι αÏÏ Ïα ÎκβάÏανα (No. 7985), ÎµÎ½Ï ÏÏο ÎÏεÏÏÎ±Î½Î¹ÎºÏ ÎÎ¿Ï Ïείο Ï ÏάÏÏει και ÏÏίÏη (No. ANE 1994-1-27), βλ. <https://www.britishmuseum.org/researc.... Sideris 2008, p. 342.
7_127. Li Ling 2014, p. 59.ÎÎÎÎÎÎÎΡÎΦÎÎhttps://books.google.gr/books?id=drot..., Tze-huey. 2004. âHorsemen in the Dian Culture of Yunnan,â in Gender and Chinese Archaeology, ed. K. M. Linduff and Y. Sun, Walnut Creek â Lanham - New York â Toronto â Oxford, pp. 289-314.
ÎονιδάÏηÏ, Î. Î. 2020. Î ÎινεζικÏÏ ÏολιÏιÏμÏÏ ÎºÎ±Î¹ οι ÎλλαδικÎÏ ÎµÏιδÏάÏειÏ, Îθήνα.
https://sino-platonic.org/complete/sp..., L. 2022. "Dionysian Rituals and the Golden Zeus of China," Sino-Platonic Papers 326, pp. 1-123.
doi : https://doi.org/10.3406/topoi.2001.19..., R. L. 2001. "New thoughts on the genesis of the mysteries of Mithras," Topoi 11/1, pp. 59-76.
Beck, R. B. 1988. Planetary Gods and Planetary Orders in the Mysteries of Mithras (Ãtudes préliminaires aux religions orientales dans lâEmpire romain 109), Leyden: Brill.
https://brill.com/view/journals/aas/2... Wu, Peng Zhu, Yu Tian, and Haitao Lin. 2022. "Lost and Gone: A Representational Study of Bronze Ornaments in the Ancient Dian Kingdom, China," African and Asian Studies 21 (3)
https://www.researchgate.net/publicat... Cremin. 2010. "Seeing Dian through Barbarian eyes," Bulletin of the Indo-Pacific Prehistory Association 30, pp. 114-121.p. 115: The many turquoise and jadeite items found in the Dian tombs may have come from the Hetian region, which had access to textiles of Hellenistic style in at least the 1st century BCE (Wagner et al. 2009).
https://publikationen.ub.uni-frankfur..., M., B. Wang, P. Trasov, S. Westh-Hansen, E. Völling and J. Heller. 2009. "The ornamental trousersfrom Sampula (Xinjiang, China): Their origins and biography," Antiquity 83, pp. 1065-1075.
https://www.jstor.org/stable/283449Brady Lawler, L. 1946. "The Geranos Dance - A New Interpretation," Transactions and Proceedings of the American Philological Association 77, pp. 112-130.
Gaudenzio Ragazzi. G. 2019. "The Crane, Ariadneâs thread, labyrinth and dance," Danja dell Origin, <https://danzadelleorigini.com/en/2019... (10 July 2023).
https://www.jstor.org/stable/10.1086/..., D. 2011. "Dancing with the Stars: Choreia in the third stasimon of Euripides' Helen," Classical Philology 106 (4), pp. 299-323. p. 314: Latent in this, Muellner suggests, is Homerâs familiarity with the so-called geranos or crane dance, identifed by the scholia as the dance performed by the chorus of youths and maidens on the penultimate ring on the shield of Achilles (Il. 18.590â606). According to ancient commentators, this geranos was the dance that Theseus first devised (or, in the scholiastâs terms, âwoveâ) with a chorus made up of the seven maidens and seven youths whom he rescued from the Labyrinth.83 .......... p. 314: In Plutarchâs account, the geranos presents a mimêma of the twists and turns of the Labyrinth, with the dancers moving in a syncopated rhythm that features alternating, spiral-like motions (ÏαÏÎ±Î»Î»Î¬Î¾ÎµÎ¹Ï ÎºÎ±á½¶ á¼Î½ÎµÎ»Î¯Î¾ÎµÎ¹Ï, Thes. 21).
https://escholarship.org/content/qt1b... Olsen, S. 2016. "Beyond Choreia: Dance in Ancient Greek Literature and Culture" (diss. Univ. of Berkeley).
https://www.jstor.org/stable/3292318L..., L. B.1942. "The Dance of the Holy Birds," The Classical Journal 37 (6), pp. 351-361.
Îικ. 1: Dian and the southwestern peoples in the early Han period. Red means nomadic, yellow is semi-nomadic, and purple is sedentary[1]Το βαÏίλειο ÏÎ¿Ï Dian Ï ÏήÏξε Îνα κÏαÏίδιο γÏÏÏ Î±ÏÏ Ïο οÏοÏÎδιο ÏÎ·Ï Î¿Î¼ÏÎ½Ï Î¼Î·Ï Î»Î¯Î¼Î½Î·Ï ÏÎ¿Ï ÎºÎµÎ½ÏÏÎ¹ÎºÎ¿Ï - βÏÏÎµÎ¹Î¿Ï Yunnan ÏÎ·Ï ÎίναÏ, ÏÎ¿Ï Î¹Î´ÏÏθηκε αÏÏ Ïο μη ÎÎ¹Î½ÎµÎ¶Î¹ÎºÏ ÏÏλο Î±Ï ÏοÏθÏνÏν και διήÏκεÏε αÏÏ Ïην ÏÏÏεÏη ΠεÏίοδο ÎνοίξεÏÏ ÎºÎ±Î¹ ΦθινοÏÏÏÎ¿Ï (ή και ενÏÏίÏεÏα) ÎÏÏ Ïην ÏεÏίοδο ÏÏν ÎναÏολικÏν Han. Îι Dian είÏαν ÎµÎ¹Î´Î¯ÎºÎµÏ Ïη ÏÏην μεÏαλλοÏεÏνία,[7_45] μάλιÏÏα δε ο ÏαÏαγÏÎ¼ÎµÎ½Î¿Ï ÏÏÏ ÎºÏαÏίδιο οÏείÏÎ±Î»ÎºÎ¿Ï Î®Ïαν κÏάμα ÏÎ±Î»ÎºÎ¿Ï Î¼Îµ καÏÏίÏεÏο, διαÏοÏοÏοιοÏÎ¼ÎµÎ½Î¿Ï Î±ÏÏ Ïον ÏÏÏÏÏγονο ÏÏÏο με αÏÏενικÏ, ÎµÎ½Ï ÏÏοÎβαιναν Ïε ÏÏήÏη ÏÏοηγμÎνÏν ÏεÏνικÏν ÏÏÏÏ ÏÏ ÏεÏÏεÏÏ, ÏÏηÏηλαÏήÏεÏÏ, Î±Î½Î¬Î³Î»Ï ÏÎ·Ï Î´Î¹Î±ÎºÎ¿ÏμήÏεÏÏ (repoussé), εÏιÏÏÏ ÏÏÏεÏÏ Î¼Îµ αμάλγαμα κ.λÏ., μεÏÎ±Î¾Ï Î´Îµ ÏÏν διακοÏμηÏικÏν θεμάÏÏν ÏÎ¿Ï Ï ÏεÏιελαμβάνονÏο γεÏμεÏÏικά ÏÏÎδια (ÏÏίγÏνα, ομÏκενÏÏοι κÏκλοι), μαίανδÏοι, ÏÏείÏÎµÏ Îº.ά. Το βαÏίλειο διÎθεÏε οικιÏμοÏÏ Î¼ÏÎ½Î¹Î¼Î·Ï ÎµÎ³ÎºÎ±ÏαÏÏάÏεÏÏ, και οι κάÏοικοι εÏιδίδονÏο εÏίÏÎ·Ï ÏÏην γεÏÏγία και κÏηνοÏÏοÏία, ÎµÎ½Ï Ï ÏήÏξαν άÏιÏÏοι ιÏÏείÏ. ΠδημοÏιλία ÏÏν ÏκηνÏν ÎºÏ Î½Î·Î³Î¯Î¿Ï [7_46] και ÏÎ¿Ï Î»ÎµÎ³Î¿Î¼ÎÎ½Î¿Ï Î¸Î·ÏιÏμοÏÏÎ¿Ï ÏÏÎ¿Ï Ï Î¼ÎµÏÎ±Î¾Ï ÏÏν ÏεÏÎ½Î¿Ï ÏγημάÏÏν ÏÎ¿Ï Ï ÎÏει οδηγήÏει ÏÎ¿Ï Ï ÎµÏÎµÏ Î½Î·ÏÎÏ ÏÏην άÏοÏη ÏÏι Ï ÏήÏξε εÏαÏή ÏÎ¿Ï Ï Î¼Îµ Ïα νομαδικά ÏÏλα ÏÏν ÏÏεÏÏν.[7_47] Πιο ÏÏοÏθημÎνη είναι η Ï ÏÏθεÏη ÏÏν Lebedynsky και Mair ÏÏι ενδεÏομÎνÏÏ Î¼ÎµÏίδα ÏÏν ΣακÏν μεÏανάÏÏÎµÏ Ïε ÏÏο Yunnan μεÏά Ïην ήÏÏα και εκδίÏξή ÏÎ¿Ï Ï Î±ÏÏ ÏÎ¿Ï Ï Yuezhi.[7_48] ÎμοίÏÏ Î±ÏÏ Ïον Zhang Zengqi ÎÏει ÏÏοÏαθεί ÏÏι Ïα οÏειÏάλκινα ÏεÏÎ½Î¿Ï ÏγήμαÏα με Ïο ÏÏ ÏιοκÏαÏÎ¹ÎºÏ ÏÏÎ¿Ï ÏÎ¿Ï ÏαÏήγαγε ο ÏολιÏιÏμÏÏ Dian και ÏεÏιελάμβαναν ÏολÏÏÎ»Î¿ÎºÎµÏ Î¿Î¼Î¬Î´ÎµÏ Î¸Î·ÏίÏν Ïε ανÏιÏαÏάθεÏη, είναι αÏοÏÎλεÏμα ÏÎ·Ï Î¼ÎµÏαναÏÏεÏÏεÏÏ Î£Î±ÎºÏν ÏÏα νοÏÎ¹Î¿Î´Ï Ïικά ÏÎ·Ï ÎίναÏ, ÏÏιν αÏÏ Ïον ÏÏÏÏο αι. Ï.Χ.[7_49]
Îκ. 3: Î ÏÏÏη με δÏο ÏολεμιÏÏÎÏ ÎºÎ±Î¹ ÏαÏÏο[5]
Îικ. 7: ÎιακοÏμηÏική Ïλάκα με ÏαÏ
ÏομαÏία[7]ΣÏμÏÏνα με αναÏοÏά ÏÎ¿Ï Shiji ÏÏαν Ïο 122 Ï.Χ. αÏεÏÏαλμÎνοι ÏÏν Han, ÏÏην ÏÏοÏÏάθειά ÏÎ¿Ï Ï Î½Î± ανακαλÏÏÎ¿Ï Î½ ηÏειÏÏÏική Î¿Î´Ï ÏÏÎ¿Ï Ïην ÎακÏÏία, εÏεÏείÏηÏαν να διαÏÏίÏÎ¿Ï Î½ Ïην εÏικÏάÏεια ÏÎ¿Ï Dian, οι ÏÎµÎ»ÎµÏ Ïαίοι ÏÎ¿Ï Ï ÎµÏεÏÎθηÏαν και Ïελικά ÏÎ¿Ï Ï Î±Î½Î±ÏαίÏιÏαν, μάλιÏÏα δε οι ίδιοι εÏιÏείÏηÏαν να ανεÏÏÎ¿Ï Î½ μια ÏÎÏοια οδÏ![7_50] Îξίζει να ÏημειÏθεί, ÏάνÏÏÏ, ÏÏι ÏÏο κÏαÏίδιο ενÏοÏίζονÏαι κάÏοια ιδιαίÏεÏα ÏαÏακÏηÏιÏÏικά Ïα οÏοία ÎµÎ¼Î²Î¬Î»Î»Î¿Ï Î½ ÏκÎÏÎµÎ¹Ï Î³Î¹Î± ÏιθανÎÏ ÎµÏαÏÎÏ ÎºÎ±Î¹ αλληλεÏιδÏάÏÎµÎ¹Ï Î¼Îµ ÏÏίÏÎ¿Ï Ï.[7_51] ÎÏÏι ÎµÎ½Ï ÏαÏÎÏονÏαι αÏÎ¿Î´ÎµÎ¯Î¾ÎµÎ¹Ï Î³Î¹Î± Ïην ÏήÏηÏη εθίμÏν Ïα οÏοία είναι ενδεικÏικά βαÏβαÏÏÏηÏαÏ, ÏÏÏÏ ÎµÏί ÏαÏαδείγμαÏι ο αÏοκεÏαλιÏμÏÏ ÏÏν εÏθÏÏν, η διεξαγÏγή ÎºÏ Î½Î·Î³Î¯Î¿Ï Î±Î½Î¸ÏÏÏίνÏν κεÏαλÏν (!)[7_52] και ανθÏÏÏÎ¿Î¸Ï ÏιÏν[7_53] - οι οÏÎ¿Î¯ÎµÏ ÏαÏαÏÎμÏÎ¿Ï Î½ ίÏÏÏ ÏÏην ÎÏ ÏαÏιαÏική ÏÏÎÏα - ÏαÏαÏηÏοÏνÏαι εÏιÏÏÏÏθεÏα ÏαÏακÏηÏιÏÏικά ÏÏÏÏ Î· Ï Î¹Î¿Î¸ÎÏηÏη ÏÏ Î¼ÏοÏιαÏÏικÏν ÏÏακÏικÏν,[7_54] η εναÏÏÏληÏη με Ïον ÏοÏÏ ÎºÎ±Î¹ Ïην Î¼Î¿Ï Ïική,[7_55] αλλά και ÏÎ¹Ï ÏÎ±Ï ÏομαÏίεÏ,[7_56] Ïα οÏοία ÏαÏÎÏÎ¿Ï Î½ ÎδαÏÎ¿Ï ÏÏ ÏÏεÏίÏεÏÏ Î¼Îµ ÏÏοηγμÎÎ½ÎµÏ ÏολιÏιÏμÎÎ½ÎµÏ ÎºÎ¿Î¹Î½ÏνίεÏ! ΣÏεÏÎ¹ÎºÏ Î¼Îµ Ïην Î¼Î¿Ï Ïική είναι Ïο γεγονÏÏ ÏÏι ÏÏο κÏαÏίδιο ήÏαν αγαÏηÏά Ïα Ïαλκεία (ÏÏμÏανα ή gong) Ïα οÏοία Ïε αÏκεÏÎÏ ÏεÏιÏÏÏÏÎµÎ¹Ï ÎµÎ¼ÏανίζονÏαι να ÏÏ Î½Î¿Î´ÎµÏÎ¿Ï Î½ δÏαÏÏηÏιÏÏηÏÎµÏ ÏÏν καÏοίκÏν. ÎάλιÏÏα Î±Ï Ïή η δημοÏικÏÏηÏα ÏÏν ÏαλκείÏν â ÏÏ Î¼ÏάνÏν άÏοÏελεί γεγονÏÏ ÎµÎºÏεινÏμενο Ïε μεγάλο αÏÎ¹Î¸Î¼Ï Î¸ÎÏεÏν, αÏÏίζονÏÎ±Ï Î±ÏÏ Ïο ÏολιÏιÏÏÎ¹ÎºÏ ÏÏήμα Dong Son ÎÏÏ Ïολλά Ïημεία ÏÎ·Ï ÎÏίαÏ. Îία αÏÏ ÏÎ¹Ï Î±Î³Î±ÏηÏÎÏ Î´Î¹Î±ÎºÎ¿ÏμήÏÎµÎ¹Ï Î±Ï ÏÏν ÏÏν οÏειÏάλκινÏν ÏÏ Î¼ÏάνÏν ÏεÏιελάμβανε ÏκηνÎÏ Î¼Îµ λÎÎ¼Î²Î¿Ï Ï ÎºÎ±Î¹ κÏÏηλάÏεÏ,[7_57] ÎµÎ½Ï Î¼Î® αναμενÏμενο είναι Ïο γεγονÏÏ ÏÏι ÏÏ Ïνά η ÏλÏÏη και η ÏÏÏμνη Î±Ï ÏÏν ÏÏν λÎμβÏν διακοÏμείÏαι με ÏÏηνά,[7_58] ÏÏ Î½Î®Î¸ÎµÎ¹Î± η οÏοία αÏανÏάÏαι ÏÏο Îιγαίο αλλά και Ïε θÎÏÎµÎ¹Ï ÏÎ¿Ï ÏολιÏιÏÎ¼Î¿Ï ÏÎ¿Ï ÎνδοÏ![7_59]
Îικ. 9: ÎιακÏÏμηÏη οÏειÏÎ¬Î»ÎºÎ¹Î½Î·Ï ÏÏÏÏÎ·Ï Î¼Îµ ÏαÏάÏÏαÏη κÏ
νηγίοÏ
ελαÏιÏν[9]ΣÏολιάζονÏÎ±Ï Ïο Ïάλκινο ÏÎ·Ï Îικ. 3 ο ΧÏιÏÏÏÏÎ¿Ï Î»Î¿Ï Î±Î½Î±ÏÎÏει:[11]ÎÏο ÏολεμιÏÏÎÏ ÏÎ¿Ï Î±ÏεικονίζονÏαι Ïε μια ÏαÏÏμοια Ïάλκινη ÏÏÏÏη για ζÏνη αÏοδεικνÏÎ¿Ï Î½ ÏÏι Ïο βαÏίλειο ÏÏν Dian διοικοÏνÏαν αÏÏ Î±ÏÎ¿Î¯ÎºÎ¿Ï Ï ÏÎ¿Ï ÏιθανÏÏαÏα ÏÏ Î½Î´ÎονÏαν με Îλληνο-Î£Î¬ÎºÎµÏ Î±ÏÎ¿Î¯ÎºÎ¿Ï Ï. Î Ïολεμική αÏιÏÏοκÏαÏία ÏÏηÏιμοÏοίηÏε Ïην μÏδα ÏÏν καÏάÏÏακÏÏν ιÏÏÎÏν[13] ÏαÏÏμοια με Ïην ελληνιÏÏική ÎενÏÏική ÎÏία αÏÏ ÏεÏίÏÎ¿Ï Ïο 250 Ï.Χ. ÎκÏÏÏ Î±ÏÏ Ïην βαÏιά ÏανοÏλία, Ïα κÏάνη ÏÎ¿Ï ÏοÏοÏν είναι εÏίÏÎ·Ï ÎµÎ½Î´Î¹Î±ÏÎÏονÏα καθÏÏ ÏαίνονÏαι ÎοιÏÏικά, ÏÏι ÏÏν Qin (ÎÏ Ïικά), Han ή ΦÏÏ Î³Î¹ÎºÎ¬. ΠαÏεικÏνιÏη ÏÎ¿Ï ÏθÏÎ½Î¹Î¿Ï ÏÎ¹Î´Î¹Î¿Ï ÎµÎ¯Î½Î±Î¹ εÏηÏεαÏμÎνη αÏÏ Ïην ελληνιÏÏική ÏÎÏνη. Îι ÏολεμιÏÏÎÏ ÎºÏαÏοÏν Ïα κεÏάλια ÏÏν εÏθÏÏν ÏÎ¿Ï Ï ÏÏο αÏιÏÏεÏÏ ÏÎ¿Ï Ï ÏÎÏι, ÏαÏÏμοια με Ïη Î´Ï Î½Î±ÏÏεία ÏÏν Qin και Ïην Ïολεμική ÏÏ Î½Î®Î¸ÎµÎ¹Î± ÏÏν Xiongnu και ο γενειοÏÏÏÎ¿Ï ÏολεμιÏÏÎ®Ï ÏÏην ÏλάÏη ÏαίνεÏαι να κÏαÏά Îναν ÏÏÏο «ξιÏÎ¹Î´Î¯Î¿Ï - ÏελÎκεÏÏ» (ge) ή Îνα δÏεÏάνι, ÏÎ¿Ï ÏÏ Î¼Î²Î¿Î»Î¯Î¶ÎµÎ¹ Ïην ÏÏ Î³ÎºÎ¿Î¼Î¹Î´Î®. Î Ïκηνή αναÏαÏιÏÏά Îναν Î¤Î±Ï ÏοκÏÏνο ÏÏÏÏ ÏÏ Î½Îβαινε ÏÏα ελληνικά Î¼Ï ÏÏήÏια ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÏÏÎ¹ÎºÎ®Ï ÏεÏιÏÎ´Î¿Ï . Τα μεÏαγενÎÏÏεÏα ÏÏμαÏκά 'ÎιθÏαÏκά Î¼Ï ÏÏήÏια' (ειδικά ÏÎ·Ï Î¡ÏμηÏ, δεÏÏεÏοÏ-ÏÎÏαÏÏÎ¿Ï Î±Î¹ÏÎ½Î±Ï Î¼.Χ.) αÏεικονίζονÏαι με Ïα ÏÎ¿Î»Ï Î¬Ïιθμα Î³Î»Ï ÏÏά ÏÎ¿Ï ÏÏÏÎ¿Ï 'Î ÎίθÏÎ±Ï ÏÎ¿Ï ÏκοÏÏνει Ïον ÏαÏÏο' ÏÎ¿Ï ÎµÏηÏεαÏμÎνο αÏÏ ÏÏοηγοÏμενα ελληνικά Ï ÏοδείγμαÏα, δανείÏÏηκε ÏαÏÏμοια ÏÏ Î¼Î²Î¿Î»Î¹ÎºÎ¬ ÏÏοιÏεία ÏÏοÏθÎÏονÏÎ±Ï Ïην μοÏÏή ÏÎ¿Ï ÎίθÏα ÏÏ ÎÎ»Î¯Î¿Ï .[15]
ÎξιοÏημείÏÏη είναι η ÏαÏαÏήÏηÏη ÏÎ¿Ï Î§ÏιÏÏÏÏÎ¿Ï Î»Î¿Ï :[17]ÎεÏικά αÏÏ Ïα Ïάλκινα Î³Î»Ï ÏÏά ÏÎ¿Ï Î²ÏÎθηκαν ÏÏÎ¿Ï Ï ÏάÏÎ¿Ï Ï Lijiashan (æ家山) ÏÏην εÏαÏÏία ÎÎ¹Î¿Ï Î½Î¬Î½, ÏÎ¿Ï ÏÏοÎÏÏονÏαι αÏÏ Ïον Î»Î±Ï Dian (æ») και ÏÏονολογοÏνÏαι ÏÏην εÏοÏή ÏÎ¿Ï Î¤Ïιν, δείÏÎ½Î¿Ï Î½ μια εκÏληκÏική ομοιÏÏηÏα με Ïο αÏÏαίο μινÏÎ¹ÎºÏ ÏελεÏÎ¿Ï ÏÎ³Î¹ÎºÏ ÏοÏÎ¿Ï ÏÎ¿Ï ÎεÏανοÏ. Î ÏθÏÎ½Î¹Î¿Ï ÏÏÎ¹Ï (δÏάκοÏ) ÏÎ¿Ï Î¼Î¿Î¹Î¬Î¶ÎµÎ¹ με Î ÏθÏνα γλιÏÏÏά γÏÏÏ Î±ÏÏ Îναν Î¸Ï ÏιαζÏμενο ÏαÏÏο και ανθÏÏÏÎ¿Ï Ï, ÎµÎ½Ï Î¼Î¹Î± ÏÏθια ÏÏήλη ÏÏηÏίζει Îναν ÏαÏÏο, ÏÏμβολο ÏÎ·Ï ÏÏ Î³ÎºÎ¿Î¼Î¹Î´Î®Ï ÎºÎ±Î¹ ÏÎ·Ï Î³Î¿Î½Î¹Î¼ÏÏηÏαÏ. ÎÏ ÏÏ ÏÏοήλθε αÏÏ Ïην εÏοÏή ÏÏν Îλληνο-ΣακÏν και ÏÏν Îνδο-ÎλλήνÏν, ÏÎ¿Ï ÎµÎ¯Ïαν ÎδÏα ÏÏι μακÏιά αÏÏ Ïο ÎÎ¹Î¿Ï Î½Î¬Î½.Îν και ο ÏοÏÏÏ Î±Î½Î±ÏÎÏεÏαι ονομαÏÏικά αÏÏ Ïον ΠλοÏÏαÏÏο (Plut. Thes. 21) ÏÏ Î½Î´ÎεÏαι δε με Ïον ÎηÏÎα, εÏίÏÏÏÎÏονÏα αÏÏ Ïην ÎÏήÏη, Îλαβε δε ÏÏÏαν καÏά Ïην άÏιξή ÏÎ¿Ï ÏÏην Îήλο,[19] οι μελεÏηÏÎÏ Ïον ÎÏÎ¿Ï Î½ ÏÏ ÏÏεÏίÏει ακÏμη και με Ïην ÎινÏÏκή ÎÏήÏη![21]
Stefania Goulioti in The âBirdsâ by Aristophanes, directed by Nikos Karathanos[23]
ÎÏÎ³Ï ÏÎÏ ÏÎ¹Î¬Î»ÎµÏ Î¼Îµ λοβÏÏÏημη διακÏÏμηÏηÎν ÏÏοκειμÎÎ½Ï Î¹Î´Î¹Î±Î¯ÏεÏη ÏημαÏία ÎÏει αÏοδοθεί ÏÏην αναÏκαÏή ÏÏον ÎÎ¹Î½ÎµÎ¶Î¹ÎºÏ ÏεÏÎ¯Î³Ï Ïο αÏÎ³Ï ÏÏν ÏιαλÏν με διακÏÏμηÏη ÏεÏάλÏν λÏÏοÏ, δακÏÏÏν ή λοβÏν εν γÎνει, οι οÏÎ¿Î¯ÎµÏ ÎÏÎ¿Ï Î½ θεÏÏηθεί ξÎÎ½ÎµÏ ÏÏÎ¿Ï Ïην ÏαÏάδοÏη ÏÏν ÏεÏιοÏÏν Î±Ï ÏÏν. Îι αναÏκαÏείÏÎµÏ Î¼ÎÏÏι ÏήμεÏα αÏÎ³Ï ÏÎÏ ÏÎ¹Î¬Î»ÎµÏ Î¼Îµ Ïην ιδιÏμοÏÏη διακÏÏμηÏη ÏÏν ÏεÏάλÏν λÏÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ οι ακÏÎ»Î¿Ï Î¸ÎµÏ:
α) οι ÏαλαιÏÏεÏÎµÏ ÏÎ·Ï ÎºÎ±ÏηγοÏÎ¯Î±Ï ÏÏονολογοÏνÏαι ÏÏην ÏεÏίοδο ÏÏν ÎνÏιμαÏομÎνÏν ÎÏαÏιδίÏν και ανεÏκάÏηÏαν ÏÏο Xixin (Qingzhou, Shandong), ÏÏοÎÏÏονÏαι δε αÏÏ Ïο βαÏÎ¹Î»Î¹ÎºÏ Î¼Î±Ï ÏÏλείο ÏÎ¿Ï ÎºÏαÏÎ¹Î´Î¯Î¿Ï Qi,[7_118]
β) αÏÏ Ïο κÏαÏίδιο ÏÎ¿Ï Nanyue,7_119 ÏÏοÎÏÏεÏαι ÏÏεÏÎ¹ÎºÏ ÏεκμήÏιο ÏÎ¿Ï ÏοÏÎ¹ÎºÎ¿Ï Î²Î±ÏιλÎα Zhao Mo, ÏÏγÏÏονο με Ïην ÏεÏίοδο ÏÏν ÎÏ ÏικÏν Han,7_120 Ïο οÏοίο ÏÏ Î½Î¿Î´ÎµÏ ÏÏαν, μεÏÎ±Î¾Ï ÏÏν άλλÏν, και αÏÏ ÏÏÏ Ïά Î±Î½Î¬Î³Î»Ï Ïα κομβία με αναÏοÏÎÏ ÏÏην εξελληνιÏμÎνη ÎναÏολή,[7_121]
γ) αÏÏ Ïο Î¼Î±Ï ÏÏλείο ÏÎ¿Ï Liu Fei, ÏÏÏÏÎ¿Ï Î²Î±ÏιλÎα ÏÎ¿Ï ÎºÏαÏÎ¹Î´Î¯Î¿Ï Jiangdu,[7_122] ÏÏοÎÏÏεÏαι Ïιάλη με ÎºÎ¬Î»Ï Î¼Î¼Î± ÏÎÏÎ¿Ï Ïα εÏιγÏαÏÎÏ, ÏÏÏÏθεÏα κομβία ÏÏο ÎºÎ¬Î»Ï Î¼Î¼Î± και βάÏη,
δ) Ïε ÏαÏÎ¹ÎºÏ ÏεÏιβάλλον ανεÏκάÏη αÏÎ³Ï ÏÏ ÎºÎ¹Î²ÏÏιο Ïο οÏοίο ÏÏονολογείÏαι ÏÏην ÏÏÏιμη ή μÎÏη ÏεÏίοδο ÏÏν Han, ÎµÏ ÏÎθη ÏÏην Chaohu (ÏÏλη ÏαÏά Ïην ÏÏθη ÏÎ·Ï Î¿Î¼ÏÎ½Ï Î¼Î·Ï Î»Î¯Î¼Î½Î·Ï ÏÏο Anhui) και ÏÏοÏομοιάζει με Î±Ï ÏÏ ÏÎ¿Ï Î²Î±ÏιλÎα ÏÎ¿Ï Nanyue,[7_123]
ε) δÏο οÏειÏάλκινα Î±Ï Ïήν Ïην ÏοÏά κιβÏÏια αναÏκαÏÎνÏα ÏÏον ÏάÏο ÏÎ¿Ï Î²Î±ÏιλÎÏÏ ÏÎ¿Ï Dian ÏÏο ÏÏÎ¿Ï Shizhai (Jinning) εμÏÎ±Î½Î¯Î¶Î¿Ï Î½ Ïο ίδιο ÏεÏίÏÎ¿Ï ÏÏήμα και διακÏÏμηÏη με Ïο εÏÏημα ÏÎ¿Ï Nanyue.[7_124]
Îι ανÏÏÎÏÏ Î±ÏÎ³Ï ÏÎÏ ÏÎ¹Î¬Î»ÎµÏ ÏαÏαβάλλονÏαι με ÏαÏÏÎ¼Î¿Î¹ÎµÏ ÏÏν ÎÏαιμενιδÏν,[7_125] ανάλογοι δε ÏÏÏοι (âαναÏολίζονÏεÏâ) ÎºÏ ÎºÎ»Î¿ÏοÏοÏÏαν ÏÏην Îλλάδα αÏÏ Ïον ÎκÏο αι. Ï.Χ.[7_126] ΣÏενή ομοιÏÏηÏα, ÏμÏÏ ÎÏει ÏαÏαÏηÏηθεί και αÏÏ Ïην Îινεζική αÏÏαιολογία[7_127]ΣÎÎÎÎΩΣÎÎΣ
[1]. https://en.wikipedia.org/wiki/Dian_Ki.... Higham 1996, p. 173; Bunker 1993, p. 47, fig. 27.
7_46. Higham 1996, p. 160, fig. 5.21. ΣÏεÏική ÏαÏάÏÏαÏη αÏεικονίζεÏαι Ïε ÏÏÏÏη αναÏκαÏείÏα ÏÏον ÏάÏο 17 ÏÎ·Ï Î½ÎµÎºÏοÏÏλεÏÏ Shizhaishan.
7_47. Chiou-Peng 2004, p. 298.
7_48. Lebedynsky 2006, p. 73.
7_49. Zhang Zengqi, 1994 pp. 666-699. Îια ÏεÏαιÏÎÏÏ ÏÏολιαÏÎ¼Ï ÏÎ¿Ï Î¸ÎμαÏÎ¿Ï Î²Î». Hein (Hein 2014, p. 6).[5]. Christopoulos 2022, fig. 28 bottom.[7]. Christopoulos 2022, fig. 28 up. MET Accession Number: SL.1.2017.6.2 (Lijiashan Museum of Bronzes). ÎÏÏημα αÏÏ Ïον ÏάÏο 68 ÏÎ¿Ï Lijiashan (æ家山) κÏÏαÏÎºÎµÏ Î±ÏμÎνο αÏÏ ÎºÎ±Î»Î»Î¹ÏÎÏÎ½ÎµÏ ÏÎ¿Ï ÎαÏÎ¹Î»ÎµÎ¯Î¿Ï Dian (279 â109 Ï.Χ.), Î´Ï Î½Î±ÏÏεία Qin (ή ÎÏ ÏικÏν Han).
7_50. Allard 2006, p. 245. Την ÏεÏίοδο Î±Ï Ïή είÏε μÏÎ»Î¹Ï ÎºÎ±ÏÎ±Î»Ï Î¸ÎµÎ¯ Ïο Îλληνο â ÎακÏÏÎ¹Î±Î½Ï Î²Î±Ïίλειο.
7_51. ÎÏει Ï ÏοÏÏηÏιÏθεί η ÏÏαÏξη ομοιοÏήÏÏν μεÏÎ±Î¾Ï ÏÏν βαÏιλικÏν ÏάÏÏν ÏÎ¿Ï Dian, και Î±Ï ÏÏν ÏÎ¿Ï Liu Fei (κÏαÏίδιο Jiangdu) και ÏÎ¿Ï Zhao Mo (κÏαÏίδιο ÏÎ¿Ï Nanyue), βλ. Liu Huan (Liu Huan 2011).
7_52. Îλ. Ïην λαβή οÏειÏÎ¬Î»ÎºÎ¹Î½Î¿Ï Î¾Î¯ÏÎ¿Ï Ï Î´Î¹Î±ÎºÎ¿ÏμημÎνη με Î±Ï ÏÏ Ïο θÎμα, η οÏοία ανεÏκάÏη ÏÏο Jiancheng και ÏÏ Î»Î¬ÏÏεÏαι ÏÏο Yunnan Provincial Museum, Guandu, Kunming (<https://en.wikipedia.org/wiki/Dian_Ki...).
7_53. Higham 1996, p. 154, fig. 5.14.
7_54. Higham 1996, p. 159, fig. 5.19.
7_55. Higham 1996, p. 160, fig. 5.20. ΣÏεÏÎ¹ÎºÏ ÎµÎ¯Î½Î±Î¹ εÏιÏÏÏ ÏÏμÎνο οÏειÏάλκινο διακοÏμηÏÎ¹ÎºÏ Î¼Îµ δÏο ÏοÏÎµÏ ÏÎÏ, αναÏκαÏÎν ÏÏον ÏάÏο 13, Shizhaishan, Jinning, εÏαÏÏία Yunnan και ÏÏ Î»Î±ÏÏÏμενο ÏÏο Yunnan Provincial Museum, Guandu, Kunming.
7_56. Higham 1996, p. 161, fig. 5.22. Î ÏÏκειÏαι για ÏαÏάÏÏαÏη ÏÎ»Î®Î¸Î¿Ï Ï ÏαÏÎ±ÎºÎ¿Î»Î¿Ï Î¸Î¿ÏνÏÎ¿Ï ÏÎ±Ï ÏομαÏία, ÏÏοεÏÏÏμενη αÏÏ ÏÏÏÏη αναÏκαÏείÏα ÏÏον ÏάÏο 6 ÏÎ·Ï Î½ÎµÎºÏοÏÏλεÏÏ Shizhaishan. ÎναÏαÏάÏÏαÏη ÏÎ±Ï ÏομαÏÎ¯Î±Ï Î±Î½ÎµÏ ÏίÏκεÏαι εÏίÏÎ·Ï Ïε εγÏάÏακÏη λίθινη Ïλάκα ÏÎ·Ï Nanyang ÏÎ·Ï ÏεÏιÏÎ´Î¿Ï ÏÏν ÎναÏολικÏν Han (Wang 1994, p. 521, fig. 11; Hongjie and Yujian 2007, fig. 40).7_57. Han Xiaorong 2013; Psarras 2015, n. 109. ΠδημοÏικÏÏηÏα ÏÎ¿Ï Î´Î¹Î±ÎºÎ¿ÏμηÏÎ¹ÎºÎ¿Ï Î¸ÎμαÏÎ¿Ï ÏÏν λÎμβÏν ενδεÏομÎνÏÏ ÏÏεÏίζεÏαι με Ïην ÏÏήÏη θαλάÏÏιÏν και ÏοÏάμιÏν οδÏν για Ïην Î½Î±Ï Ïική εÏικοινÏνία ÏÏα ÏλαίÏια ÏÎ¿Ï ÏολιÏιÏÏÎ¹ÎºÎ¿Ï ÎºÏÎºÎ»Î¿Ï Dong Son ÏεÏί Ïον κÏλÏο ÏÎ¿Ï Tonkin, βλ. Shelach-Lavi (Shelach-Lavi 2015, p. 333). Το ίδιο θÎμα αÏανÏάÏαι και ÏÏÎ¿Ï Ï Yue / Baiyue ÏÎ·Ï Î. ÎίναÏ, μεÏικÎÏ ÏοÏÎÏ ÎµÎ½ ÏÏ Î½Î´Ï Î±ÏÎ¼Ï ÏÏÎ¿Ï ÏαÏαÏÏάÏÎµÎ¹Ï ÎµÏÏεÏÏν (Li Xueqin 1991, pp. 18-19).7_58. Han Xiaorong 2013, fig. 6.
7_59. Î ÏÏ Î½Î®Î¸ÎµÎ¹Î± ÏÎ·Ï ÎµÎ¹ÎºÎ¿Î½Î¿Î³ÏαÏήÏεÏÏ ÏÏηνÏν ÏÏην ÏλÏÏη και Ïην ÏÏÏμνη ÏÎ¿Ï ÏÎ»Î¿Î¯Î¿Ï Î±ÎºÎ¿Î»Î¿Ï Î¸ÎµÎ¯Ïο αÏÏ Ïον ÏολιÏιÏÎ¼Ï ÏÎ¿Ï ÎÎ½Î´Î¿Ï (ÏÏιÏμαÏική ÏÏÏαγίδα MD-602, The Huntington Archive, <https://news.osu.edu/huntington-archi...) και Ïον ÎÎ¹Î³Î±Î¹Î±ÎºÏ (θÏαÏÏμα ÏÏ Î¾Î¯Î´Î±Ï Î±ÏÏ Ïην ΤÏαγάνα ΥΠÎÎÎc), αλλά ÏÏ Î½Î±Î½ÏάÏαι και ÏÏην ΤÏλο (ÎÏαÏÏÎιν).
[9]. ÎÏÏημα αÏÏ Ïον ÏάÏο 68 ÏÎ¿Ï Lijiashan. http://yn.chinadaily.com.cn/a/202208/...
[11]. Christopoulos 2022, p. 108.
[13] Oι καÏάÏÏακÏοι ιÏÏÎµÎ¯Ï ÎµÎ¼ÏανίζονÏαι ÏÏ ÏÏÏαÏιÏÏική μονάδα και ÏÏ ÏÏÎ¿Ï ÏÏην ιÏÏοÏία, ÏÏο βαÏίλειο ÏÏν ΠάÏθÏν.
[15]. Christopoulos 2022, n. 147. ÎλλÏÏÏε ο Beck (Beck 2001) ÏημειÏνει:
Î Ïιν αÏÏ ÏÏία ÏÏÏνια ÏÏÏÏεινα Îνα ÏενάÏιο για ÏÎ¹Ï Î±ÏαÏÏÎÏ ÏÎ¿Ï ÎιθÏαÏÏÎ¼Î¿Ï ÏÎ¿Ï ÎµÏÏίαζε εκ νÎÎ¿Ï ÏÏην ÎναÏολία και ÏÏ Î³ÎºÎµÎºÏιμÎνα ÏÏον μεικÏÏ ÎµÎ»Î»Î·Î½Î¹ÎºÏ ÎºÎ±Î¹ ιÏÎ±Î½Î¹ÎºÏ ÏολιÏιÏÎ¼Ï ÏÎ·Ï Î²Î±ÏÎ¹Î»Î¹ÎºÎ®Ï Î´Ï Î½Î±ÏÏÎµÎ¯Î±Ï ÏÎ·Ï ÎÎ¿Î¼Î¼Î±Î³Î·Î½Î®Ï (Beck 1998). Î£Ï Î½Î¿ÏίζονÏαÏ, ÏÏÏÏεινα ÏÏι Ïα ÎÏ ÏÏήÏια ÏÎ¿Ï ÎίθÏα ÏÏημαÏίÏÏηκαν ÏÏο ÏÏÏαÏιÏÏÎ¹ÎºÏ ÎºÎ±Î¹ ÏολιÏÎ¹ÎºÏ ÏεÏιβάλλον ÏÎ·Ï Î´Ï Î½Î±ÏÏÎµÎ¯Î±Ï ÏÏον αÏÏηÏο ÏÎ¿Ï ÎÎ¿Ï Î´Î±ÏÎºÎ¿Ï ÎºÎ±Î¹ ÏÎ¿Ï ÎμÏÏ Î»Î¯Î¿Ï ÏολÎÎ¼Î¿Ï (ÏÏÎ¿Ï Ï Î¿ÏÎ¿Î¯Î¿Ï Ï ÏÏ Î¼Î¼ÎµÏείÏαν και οι Îομμαγηνοί) και Ïην εÏακÏÎ»Î¿Ï Î¸Î· εξοÏία και διαμονή ÏÎ·Ï Î´Ï Î½Î±ÏÏÎµÎ¯Î±Ï ÏÏη ΡÏμη Ï ÏÏ Ïον ÎεÏÏαÏιανÏ.[17]. Christopoulos 2022, pp. 86-87.
[19]. Ragazzi 2019.
[21]. Ragazzi 2019.
[23]. https://www.behance.net/gallery/93603...
7_118. Shandong Institute of Cultural Relics and Archaeology, Qingzhou Municipal Museum 2015; Li Ling 2014.
7_119. Tο κÏαÏίδιο ÏÎ¿Ï Nanyue Ï ÏήÏξε βÏαÏÏβια ÏολιÏική ονÏÏÏηÏα η οÏοία ÏεÏιελάμβανε Ïμήμα ÏÎ·Ï ÏÏγÏÏÎ¿Î½Î·Ï ÎÏÏÎ¹Î±Ï ÎÎ¯Î½Î±Ï ÎºÎ±Î¹ ÏÎ¿Ï Î. ÎιεÏνάμ, είÏε δε ÏÏÏÏεÏÎ¿Ï Ïα Ïο Panyu (ÏÏγÏÏονο Guangzhou).
7_120. Nickel 2012. Το αÏÎ³Ï ÏÏ ÎºÎ¹Î²ÏÏιο, ήÏοι Ïιάλη με ÎºÎ¬Î»Ï Î¼Î¼Î±, ÏÏ Î»Î¬ÏÏεÏαι ÏÏο Museum of the Western Han Dynasty, βλ. <https://artsandculture.google.com/ass....
7_121. Demandt 2015, p. 311; Marshall 1951; Pfrommer 1993, pp. 210â212; Li Jianwei 2010, fig. 19. ΠαÏÏμοια ÏεκμήÏια ÏÏοÎÏÏονÏαι αÏÏ Ïα Τάξιλα και Î¬Î»Î»ÎµÏ Î¸ÎÏÎµÎ¹Ï ÏÎ¿Ï Îλληνο â ÎακÏÏÎ¹Î±Î½Î¿Ï ÎºÏÏÎ¼Î¿Ï .
7_122. Î Liu Fei (169-128 Ï.Χ.) Îγινε ο ÏÏÏÏÎ¿Ï Î²Î±ÏιλÎÎ±Ï ÏÎ¿Ï Jiangdu Ïο 153, Ï ÏήÏξε δε ÎÎ½Î±Ï Î±ÏÏ ÏÎ¿Ï Ï Î¼ÎµÎ³Î±Î»ÏÏεÏÎ¿Ï Ï Î±Î´ÎµÎ»ÏοÏÏ ÏÎ¿Ï Wu, Î±Ï ÏοκÏάÏοÏα ÏÎ·Ï ÎÎ¯Î½Î±Ï ÎºÎ±Ïά Ïην ÏεÏίοδο ÏÏν ÎÏ ÏικÏν Han.
7_123. Jiangsu Wangyun Mountain, Dayun Mountain 2012.
7_124. Liu Huan 2011.
7_125. Î ÏÏÏ Ïή Ïιάλη ÏÎ¿Ï ÎαÏÎµÎ¯Î¿Ï ÏÏ Î»Î¬ÏÏεÏαι ÏÏο ÎηÏÏοÏολιÏÎ¹ÎºÏ ÎÎ¿Ï Ïείο ÏÎ·Ï ÎÎÎ±Ï Î¥ÏÏÎºÎ·Ï (No. 54.3.1) ÏÎÏει δε εÏιγÏαÏή ÏÏην ΠεÏÏική, ÎÎ±Î²Ï Î»Ïνιακή και ÎλαμιÏική, βλ. < https://www.metmuseum.org/art/collect.... ΣÏο ÎÏÎ»Î±Î½Î´Î¹ÎºÏ ÎÎ¿Ï Ïείο ÏÏ Î»Î¬ÏÏεÏαι άλλη λεγομÎνη ÏÎ¿Ï ÎÎÏξη, η οÏοία ÏÏοÎÏÏεÏαι αÏÏ Ïα ÎκβάÏανα (No. 7985), ÎµÎ½Ï ÏÏο ÎÏεÏÏÎ±Î½Î¹ÎºÏ ÎÎ¿Ï Ïείο Ï ÏάÏÏει και ÏÏίÏη (No. ANE 1994-1-27), βλ. <https://www.britishmuseum.org/researc.... Sideris 2008, p. 342.
7_127. Li Ling 2014, p. 59.ÎÎÎÎÎÎÎΡÎΦÎÎhttps://books.google.gr/books?id=drot..., Tze-huey. 2004. âHorsemen in the Dian Culture of Yunnan,â in Gender and Chinese Archaeology, ed. K. M. Linduff and Y. Sun, Walnut Creek â Lanham - New York â Toronto â Oxford, pp. 289-314.
ÎονιδάÏηÏ, Î. Î. 2020. Î ÎινεζικÏÏ ÏολιÏιÏμÏÏ ÎºÎ±Î¹ οι ÎλλαδικÎÏ ÎµÏιδÏάÏειÏ, Îθήνα.
https://sino-platonic.org/complete/sp..., L. 2022. "Dionysian Rituals and the Golden Zeus of China," Sino-Platonic Papers 326, pp. 1-123.
doi : https://doi.org/10.3406/topoi.2001.19..., R. L. 2001. "New thoughts on the genesis of the mysteries of Mithras," Topoi 11/1, pp. 59-76.
Beck, R. B. 1988. Planetary Gods and Planetary Orders in the Mysteries of Mithras (Ãtudes préliminaires aux religions orientales dans lâEmpire romain 109), Leyden: Brill.
https://brill.com/view/journals/aas/2... Wu, Peng Zhu, Yu Tian, and Haitao Lin. 2022. "Lost and Gone: A Representational Study of Bronze Ornaments in the Ancient Dian Kingdom, China," African and Asian Studies 21 (3)
https://www.researchgate.net/publicat... Cremin. 2010. "Seeing Dian through Barbarian eyes," Bulletin of the Indo-Pacific Prehistory Association 30, pp. 114-121.p. 115: The many turquoise and jadeite items found in the Dian tombs may have come from the Hetian region, which had access to textiles of Hellenistic style in at least the 1st century BCE (Wagner et al. 2009).
https://publikationen.ub.uni-frankfur..., M., B. Wang, P. Trasov, S. Westh-Hansen, E. Völling and J. Heller. 2009. "The ornamental trousersfrom Sampula (Xinjiang, China): Their origins and biography," Antiquity 83, pp. 1065-1075.
https://www.jstor.org/stable/283449Brady Lawler, L. 1946. "The Geranos Dance - A New Interpretation," Transactions and Proceedings of the American Philological Association 77, pp. 112-130.
Gaudenzio Ragazzi. G. 2019. "The Crane, Ariadneâs thread, labyrinth and dance," Danja dell Origin, <https://danzadelleorigini.com/en/2019... (10 July 2023).
https://www.jstor.org/stable/10.1086/..., D. 2011. "Dancing with the Stars: Choreia in the third stasimon of Euripides' Helen," Classical Philology 106 (4), pp. 299-323. p. 314: Latent in this, Muellner suggests, is Homerâs familiarity with the so-called geranos or crane dance, identifed by the scholia as the dance performed by the chorus of youths and maidens on the penultimate ring on the shield of Achilles (Il. 18.590â606). According to ancient commentators, this geranos was the dance that Theseus first devised (or, in the scholiastâs terms, âwoveâ) with a chorus made up of the seven maidens and seven youths whom he rescued from the Labyrinth.83 .......... p. 314: In Plutarchâs account, the geranos presents a mimêma of the twists and turns of the Labyrinth, with the dancers moving in a syncopated rhythm that features alternating, spiral-like motions (ÏαÏÎ±Î»Î»Î¬Î¾ÎµÎ¹Ï ÎºÎ±á½¶ á¼Î½ÎµÎ»Î¯Î¾ÎµÎ¹Ï, Thes. 21).
https://escholarship.org/content/qt1b... Olsen, S. 2016. "Beyond Choreia: Dance in Ancient Greek Literature and Culture" (diss. Univ. of Berkeley).
https://www.jstor.org/stable/3292318L..., L. B.1942. "The Dance of the Holy Birds," The Classical Journal 37 (6), pp. 351-361.
June 28, 2023
FORMATION OF JAPANESE IDENTITY IN NARA PERIOD - THE GREEK CONNECTION
ÎÎÎÎÎΡΦΩΣΠÎÎΠΩÎÎÎÎΣ ΤÎΥΤÎΤÎΤÎΣ ÎÎΤΠΤÎÎ Î ÎΡÎÎÎÎ NARA (7/8 αι.) & ÎÎ ÎÎÎÎΣÎΣ ÎÎÎÎÎÎÎÎΣ ÎÎ ÎΡΡÎÎΣ ΣΤΠÎΡÎÎÎ, ΤÎÎ ÎÎÎÎÎÎÎÎÎ, ΤÎÎ ÎΡΧÎΤÎÎΤÎÎÎÎΠκ.α.
Signs of the Intangible by Miro Ito (Body-mind-scapes from 1400 years of performing arts in Japan)
ÎάÏα, η ÏÏÏÏη Î±Ï ÏοκÏαÏοÏική ÏÏÏÏεÏÎ¿Ï Ïα ÏÎ·Ï ÎαÏÏÎ½Î¯Î±Ï ÎºÎ±Î¹ Ïο αναÏÎ¿Î»Î¹ÎºÏ ÏÎÏμα ÏÎ¿Ï ÎÏÏÎ¼Î¿Ï ÏÎ¿Ï ÎεÏαξιοÏ[1b1]ΠαÏÏαία ÎάÏα ήÏαν κάÏοÏε Ïο αναÏÎ¿Î»Î¹ÎºÏ ÏÎÏμα ÏÏν ÎÏÏμÏν ÏÎ¿Ï ÎεÏαξιοÏ.
Îι εμÏοÏικοί δÏÏμοι αÏÏ Ïην ÎλεξάνδÏεια ÏÏον νÏÏο, αÏÏ Ïην ÎÏνÏÏανÏινοÏÏολη ÏÏÎ¿Ï Ïην ÎεοδοÏία ÏÏην ακÏή ÏÎ·Ï ÎαÏÏÎ·Ï ÎάλαÏÏÎ±Ï ÏÏα βÏÏεια, αÏÏ Ïην Îθήνα και Ïην ΡÏμη ÏÏα Î´Ï Ïικά, Ïε Ïλη Ïη διαδÏομή ÏÏο Chang'an και Luoyang ÏÏα αναÏολικά είναι ÏÏ Ïνά γνÏÏÏά ÏÏ Î»Î»Î¿Î³Î¹ÎºÎ¬ ÏÏ Â«ÎÏÏμοÏ(οι) ÏÎ¿Ï ÎεÏαξιοÏ».
ÎÎ½Î±Ï ÎºÎ»Î¬Î´Î¿Ï Î±Ï ÏÎ¿Ï ÏÎ¿Ï Â«Î´ÏÏÎ¼Î¿Ï Â» εκÏεινÏÏαν αναÏολικÏÏεÏα ÏÏÎ¹Ï Î¸Î¬Î»Î±ÏÏÎµÏ Î¼ÎÏÏι Ïο Naniwa-tsu (ÎÏάκα) και αÏÏ ÎµÎºÎµÎ¯ ÏÏ Î½ÎÏιζε ÏÏην Asuka (Nara) μÎÏÏ Î¼Î¹Î±Ï ÏλÏÏÎ®Ï Î¿Î´Î¿Ï.
Î ÎάÏα διαÏηÏεί Ï ÏολείμμαÏα ÏÎ¿Ï ÎµÎ»Î»Î·Î½Î¹ÏÏÎ¹ÎºÎ¿Ï ÏολιÏιÏÎ¼Î¿Ï ÏÎ¿Ï ÎÏÏαÏαν ÏÏην ÎαÏÏνία αÏÎ¿Ï Î´Î¹ÎÏÏιÏε Ïην ÎÏ ÏαÏιαÏική ÎÏειÏο. ΠεÏί Ïα μÎÏα ÏÎ¿Ï 6Î¿Ï Î±Î¹Ïνα, ο ÎÎ¿Ï Î´Î¹ÏμÏÏ ÎÏÏαÏε και αÏÎκÏηÏε βαθιÎÏ ÏÎ¯Î¶ÎµÏ ÏÏη ÎάÏα ÏÏÎ¿Ï Î¿ ΣινÏοÏÏμÏÏ ÎºÎ±Î¹ ο ÎÎ¿Ï Î´Î¹ÏμÏÏ ÏÏ Î½Ï ÏάÏÏÎ¿Ï Î½ ακÏμη και ÏήμεÏα. ÎÏ ÏÏÏ Î¿ «ÎÏÏÎ¼Î¿Ï ÏÎ¿Ï ÎεÏαξιοÏ» ÏÏηÏÎ¯Î¼ÎµÏ Ïε ÏÏ ÎÎ½Î±Ï Ï ÏÎÏοÏÎ¿Ï ÏολιÏιÏÏικÏÏ Î´Î¹Î¬Î´ÏÎ¿Î¼Î¿Ï Î³Î¹Î± 14 αιÏÎ½ÎµÏ ÏÎ½ÎµÏ Î¼Î±ÏÎ¹ÎºÎ®Ï ÏαÏαδÏÏεÏÏ.
ΣÏην ÎάÏα, οι αναμνήÏÎµÎ¹Ï ÏÎ·Ï Î³ÎµÎ½Î½Î®ÏεÏÏ ÏÎ·Ï ÎαÏÏÎ½Î¯Î±Ï ÏÏ ÎÎ¸Î½Î¿Ï Ï Î±ÏÏ Ïον 7ο ÎÏÏ Ïον 8ο αιÏνα âκαθιεÏÏνονÏÎ±Ï Ïο 1ο γνÏÏÏÏ ÎºÎµÎ½ÏÏικά διοικοÏμενο κÏάÏÎ¿Ï ÏÏο ιαÏÏÎ½Î¹ÎºÏ ÎδαÏοÏâ είναι ακÏμα ζÏνÏανÎÏ, ÏÏÏο ÏÏ Ï Î»Î¹ÎºÎ® ÏÏο και ÏÏ Î¬Ï Î»Î· ÏολιÏιÏÏική κληÏονομιά --με Ïη ÏοÏία και Ïα μεγάλα ιδανικά ÏÏν ÏÏοκαÏÏÏÏν ÏÎ¿Ï .ΣÏμÏÏνα με Ïο Ï Î»Î¹ÎºÏ ÏÎ¿Ï ÎµÎ¾ÎµÏÎθη με Ïην ÎµÏ ÎºÎ±Î¹Ïία ÏÎ·Ï ÏÏεÏÎ¹ÎºÎ®Ï ÎµÎºÎ¸ÎÏεÏÏ ÏÏο ÎÏ Î¶Î±Î½ÏÎ¹Î½Ï ÎÎ¿Ï Ïείο εκÏιμάÏαι ÏÏι:[1b2]
Îν αναζηÏοÏÏαμε Îναν ÏολιÏιÏÏÎ¹ÎºÏ ÏÏνδεÏμο ÏÎ¿Ï nα ÏÏ Î½Î´Îει Ïην ΡÏμη, Î´Ï ÏικÏÏεÏο άκÏο ÏÎ·Ï ÎÎ´Î¿Ï ÏÎ¿Ï ÎεÏαξιοÏ, με Ïην Nara, θα μÏοÏοÏÏε να βÏεθεί ÏÏα ÎÏγα Î³Î»Ï ÏÏÎ¹ÎºÎ®Ï ÏÎÏÎ½Î·Ï ÏÎ¿Ï ÏÎ³Î´Î¿Î¿Ï Î±Î¹Ïνα, ενÏÏμαÏÏνονÏÎ±Ï Ïα ιδανικά ÏÎ¿Ï Î±Î½Î¸ÏÏÏÎ¹Î½Î¿Ï ÏνεÏμαÏÎ¿Ï ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ ÏÎ¹Ï ÎµÎ»ÎµÏθεÏÎµÏ ÎºÎ±Î¹ ζÏνÏανÎÏ ÎºÎ¹Î½Î®ÏÎµÎ¹Ï ÏÎ¿Ï ÎµÏηÏεάÏÏηκαν αÏÏ Ïο κλαÏÎ¹ÎºÏ ÏÏÎ¿Ï ÏÎ·Ï Î±ÏÏÎ±Î¯Î±Ï ÎλλάδοÏ.ÎεÏικά ÏαÏαδείγμαÏα θα ήÏαν: ÎÎ¿Ï Î´Î¹ÏÏικά αγάλμαÏα εÏηÏεαÏμÎνα αÏÏ Ïον ÎλληνιÏÏÎ¹ÎºÏ ÏολιÏιÏμÏ, ο ÎοÏÎ´Î±Ï Vairocana ÏÎ¿Ï Î¿ÏÎ¿Î¯Î¿Ï Î¿Î¹ ÏÎ¯Î¶ÎµÏ Î¼ÏοÏοÏν να ενÏοÏιÏÏοÏν καÏά Î¼Î®ÎºÎ¿Ï ÏÎ·Ï ÎÎ´Î¿Ï ÏÎ¿Ï ÎεÏÎ±Î¾Î¹Î¿Ï ÏÏο αÏÏαίο Îλληνο - ÎακÏÏÎ¹Î±Î½Î¹ÎºÏ ÎαÏίλειο. Το FukÅ«kensaku Kannon, Ïο οÏοίο οÏιÏμÎνοι ÏιÏÏεÏÎ¿Ï Î½ ÏÏι μÏοÏεί να ÎÏει ελληνική ÏÏοÎÎ»ÎµÏ Ïη μÎÏÏ ÏÎ¿Ï Shiva, Î¼Î¹Î±Ï Î±ÏÏ ÏÎ¹Ï ÎºÏÏÎ¹ÎµÏ Î¹Î½Î´Î¹ÎºÎÏ Î¸ÎµÏÏηÏεÏ, ÏÎ¿Ï ÏιθανÏÏ ÏÏ Î½Î´ÎεÏαι με Ïον ÎÏακλή ÏÎ·Ï ÎÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î±Ï. Îι μάÏÎºÎµÏ Gigaku ÏÏν οÏοίÏν η ÏÏοÎÎ»ÎµÏ Ïη ανάγεÏαι ÏÏο θÎαÏÏο ÏÎ·Ï Î±ÏÏÎ±Î¯Î±Ï ÎλλάδοÏ, ÎÏÏαÏαν μÎÏÏι Ïην ÎαÏÏνία μÎÏÏ ÏÎ·Ï "ÎÎ´Î¿Ï ÏÎ¿Ï ÎεÏÎ±Î¾Î¹Î¿Ï Î¼ÎÏÏ ÏÎ·Ï ÎάÏεÏÏ', ÎµÎ½Ï Î±Î½Î±Î¼ÎµÎ¹Î³Î½ÏονÏαι με Ïη λαογÏαÏία και Ïον ÏοÏÏ ÏÏν ΣογδιανÏν (οι οÏοίοι Ï ÏήÏξαν μεÏάζονÏÎµÏ ÏÏÎ¹Ï ÎµÎ¼ÏοÏικÎÏ Î´Î¹Î±Î´ÏομÎÏ) και διάÏοÏα θÎαÏÏα με μάÏÎºÎµÏ ÎºÎ±Ïά Î¼Î®ÎºÎ¿Ï ÏÏν ÎιαδÏομÏν ÏÎ¿Ï ÎεÏÎ±Î¾Î¹Î¿Ï ÏÏÏο αÏÏ Î¾Î·ÏÎ¬Ï ÏÏο και αÏÏ Ïην θάλαÏÏα.ΣÏμÏÏνα με Ïην ειÏαγÏγή - ÏαÏÎ¿Ï ÏίαÏη ÏÎ¿Ï ÏÏ Î¬Î½Ï Î²Î¹Î²Î»Î¯Î¿Ï :[1]
Îια Ïολλά ÏÏÏνια, η ÏÏÏογÏάÏÎ¿Ï ÎºÎ±Î¹ ÏÏ Î³Î³ÏαÏÎαÏ, Miro Ito εξεÏÎµÏ Î½Î¬ Ïημεία ÏÎ¿Ï Î¬Ï Î»Î¿Ï ÎºÎ±Î¸ÏÏ ÏÏηÏιμοÏοιεί Ïην κάμεÏά ÏÎ·Ï Î³Î¹Î± να αÏαθαναÏίÏει μεÏαμοÏÏÏÏÎµÎ¹Ï ÏÏην ÎºÎ¿Ï Î»ÏοÏÏα ÏÎ¿Ï ÏÏμαÏοÏ, ÏÏην ÏÏÏογÏαÏική ÏÎ·Ï ÏειÏά ÏÎ¿Ï Î±Ïοκαλεί ÏÏμα-Î¼Ï Î±Î»Ï-ÏοÏία ÏÏοÏÎµÏ ÏÎ®Ï ÎºÎ±Î¹ αÏιεÏÏÏεÏÏ ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ εκÏÏάÏειÏ. ÏÎ¿Ï Î´Î¹Î±ÏÏÏιÏμοÏ, ÏÏ Î¼ÏεÏιλαμβανομÎνÏν Î²Î¿Ï Î´Î¹ÏÏικÏν αγαλμάÏÏν και ανÏικειμÎνÏν λαÏÏÎµÎ¯Î±Ï ÏÎ¿Ï Î±Î½Î±ÏÎÏονÏαι ÏÏ Îθνικοί ÎηÏÎ±Ï Ïοί και ΣημανÏική ΠολιÏιÏÏική ΠεÏÎ¹Î¿Ï Ïία ÏÎ·Ï ÎαÏÏνίαÏ.
Î Ito ÎÏει εÏίÏÎ·Ï ÎµÎ¾ÎµÏÎµÏ Î½Î®Ïει Ïην ιÏÏοÏία ÏÏν ιαÏÏνικÏν ÏαÏαÏÏαÏικÏν ÏεÏνÏν και Ïην καÏαγÏγή ÏÎ¿Ï Ï Î±ÏÏ ÏÎ¿Ï Ï Î±ÏÏÎ±Î¯Î¿Ï Ï ÎÏÏÎ¼Î¿Ï Ï ÏÎ¿Ï ÎεÏαξιοÏ.
ÎÏÏ Ïο Gigaku, Ïο ÏαλαιÏÏεÏο γνÏÏÏÏ ÎµÏ ÏαÏιαÏÎ¹ÎºÏ Î¸ÎαÏÏο με μάÏÎºÎµÏ ÏÎ¿Ï ÎÏÏαÏε ÏÏην ÎαÏÏνία ÏÏιν αÏÏ 1400 ÏÏÏνια â αÏÏ Ïο οÏοίο μÏνο μεÏικÎÏ Î¼Î¬ÏÎºÎµÏ ÏÏζονÏαι ÏήμεÏα â μÎÏÏι Ïον ÏοÏÏ Bugaku και Ïην ÎºÎ¿Ï Î»ÏοÏÏα ÏÎ·Ï Î¼Î¬ÏÎºÎ±Ï ÏÎ¿Ï ÎµÎ½ÏÏμαÏÏνει διάÏοÏÎµÏ Î±ÏÏÎ±Î¯ÎµÏ Î±Î½Î±ÎºÏοÏικÎÏ ÏαÏαÏÏαÏικÎÏ ÏÎÏÎ½ÎµÏ ÎºÎ±Î¹ Î¼Î¿Ï Ïική â ÏÎ¿Ï ÏÏÏα δεν λειÏÎ¿Ï Ïγεί ÏÏην ηÏειÏÏÏική ÎÏία, ÏÏο θÎαÏÏο Noh ÏÎ¿Ï ÎµÎ¾ÎµÎ»Î¯Ïθηκε Ïε θεαÏÏÎ¹ÎºÏ Î´Ïάμα Ïον 14ο/15ο αιÏνα, ÏÏην ÏÏγÏÏονη avant-garde Butoh: μια αναζήÏηÏη για Ïην ÏÏ Ïή ÏÏ Î±Î¹Ïνιο ÏÏÏ ÏÏην ÎºÎ¿Ï Î»ÏοÏÏα ÏÎ¿Ï ÏÏμαÏοÏ. Î Ito ÎÏει αÏεικονίÏει Ïην Î¬Ï Î»Î· ÏÎ»ÎµÏ Ïά ÏÎ·Ï ÏÎ½ÎµÏ Î¼Î±ÏικÏÏηÏÎ±Ï ÎºÎ±Î¹ Ïην ÎÏει μεÏαÏÏÎÏει Ïε ÏÏÏογÏαÏικά αÏιÏÏÎ¿Ï ÏγήμαÏα. ÎÏ ÏÏ Ïο ÏÏÏογÏαÏÎ¹ÎºÏ Î¬Î»Î¼ÏÎ¿Ï Î¼ ÏÎ¿Ï Î¼ÎµÏαÏÎÏει Îνα μÎÏÎ¿Ï ÏÎ¿Ï ÏÎ±Î¾Î¹Î´Î¹Î¿Ï ÏÎ¿Ï ÏÏ Î³Î³ÏαÏÎα ÏÏο ÏÏμα-ÏÏμÏαν λειÏÎ¿Ï Ïγεί ÏÏ ÎºÎ±ÏÎ¬Î»Î¿Î³Î¿Ï ÏÎ¿Ï ÏÏ Î½Î¿Î´ÎµÏει Ïην ÏαγκÏÏμια ÏεÏιοδεÏÎ¿Ï Ïα ÎκθεÏη Signs of the Intangible. Î ÏÏκειÏαι για Îνα ÏαÏÏοÏÏ Î»Î¬ÎºÎ¹Î¿ με νÎα και αδημοÏÎ¯ÎµÏ Ïα ÎÏγα, ÏÏ Î¼ÏεÏιλαμβανομÎÎ½Î¿Ï ÏÎ¿Ï Quick Silver (Ï Î´ÏάÏÎ³Ï ÏοÏ), μια ÏÏ Î½ÎµÏγαÏία με Ïον ÏοÏÎµÏ Ïή Ko Murobushi ÏÎ¿Ï Butoh, ÏÎ¿Ï Îγινε η εÏίÏημη εικÏνα ÏÎ·Ï ÎÏιενάλε ÏÎ·Ï ÎενεÏÎ¯Î±Ï (Ïμήμα ÏοÏοÏ) Ïο 2006 â ÏÏ Î½Î¿Î´ÎµÏ Ïμενο αÏÏ Ïα ÏÏÏÏÏαÏα καλλιÏεÏνικά δοκίμια ÏÎ¿Ï ÏÏ Î³Î³ÏαÏÎα.
ÎÏ ÏÏ Ïο άλμÏÎ¿Ï Î¼ ÏÏÏογÏαÏιÏν ÏÏοÏκαλεί ÏÎ¿Ï Ï Î¸ÎµÎ±ÏÎÏ Î½Î± Î²Ï Î¸Î¹ÏÏοÏν ÏÏα 1400 ÏÏÏνια ιαÏÏÎ½Î¹ÎºÎ®Ï ÏÏ ÏÎ¹ÎºÎ®Ï ÎκÏÏαÏηÏ, ÏÎ¿Ï ÏÏÏίζεÏαι αÏÏ Ïο αιÏνÏβιο ÏÏÏ ÏÎ·Ï Î±Î½ÏÎ±Î»Î»Î±Î³Î®Ï ÎναÏολήÏ-ÎÏÏÎ·Ï ÎºÎ±Ïά Î¼Î®ÎºÎ¿Ï ÏÏν ÎÏÏμÏν ÏÎ¿Ï ÎεÏαξιοÏ.
ð Î ÏοοÏÏική ÏÎ¿Ï Î´ÎµÎ½ ÎÏει ξαναÏαÏÎ¿Ï ÏιαÏÏεί!ΠμοναδικÏÏηÏα Î±Ï ÏÎ®Ï ÏÎ·Ï ÏαÏÎ¿Ï ÏιάÏεÏÏ Ïονίζει Î±Ï Ïήν η Î¬Î½ÎµÏ ÏÏÎ¿Î·Î³Î¿Ï Î¼ÎÎ½Î¿Ï ÏÏοοÏÏική για Ïο ÏÏÏ Î±Î»Î»Î·Î»ÎµÏιδÏοÏν Î±Ï ÏÎÏ Î¿Î¹ εξαιÏεÏικÎÏ Ï Î»Î¹ÎºÎÏ Î® Î¬Ï Î»ÎµÏ ÏÎÏÎ½ÎµÏ ÎºÎ±Î¹ ÏαÏαδÏÏειÏ: Î³Î»Ï ÏÏά ÏÎ¿Ï 8Î¿Ï Î±Î¹Ïνα εÏηÏεαÏμÎνα αÏÏ Ïον ελληνιÏÏÎ¹ÎºÏ ÏολιÏιÏÎ¼Ï ÏÏÏÏ Î¿Î¹ μάÏÎºÎµÏ Gigaku[2] και Bugaku ÏÎ¿Ï Î®Î»Î¸Î±Î½ ÏÏην ÎαÏÏνία Ïον 6/7ο αιÏνα μÎÏÏ ÏÏν αÏÏαίÏν ÎÏÏμÏν ÏÎ¿Ï ÎεÏαξιοÏ, ÏÏν θεαÏÏικÏν ÏαÏαÏÏάÏεÏν Noh και ÏÏν ÏολεμικÏν ÏεÏνÏν Kobudo με Ïην 600ÏÏονη ÏαÏάδοÏή ÏÎ¿Ï Ï ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ με ÏαÏαÏÏάÏÎµÎ¹Ï ÏÏγÏÏÎ¿Î½Î¿Ï ÏοÏÎ¿Ï ÏÏÏÏ Ïο Butoh.ÎεγαλÏμÎνο Ïε Îνα ÏεÏιβάλλον λαÏÏÎµÎ¯Î±Ï ÏÎ·Ï ÏÏÏεÏÏ (ΣινÏοÏÏμÏÏ) ÏÏÎ¿Ï Ïα ÏάνÏα θεÏÏοÏνÏαι ÏÏ ÎµÎºÎ´Î®Î»ÏÏη ÏÎ¿Ï kami, και εÏηÏεαÏμÎνο αÏÏ Ïον ÎÎ¿Ï Î´Î¹ÏμÏ, Ïο βαÏÎ¹ÎºÏ ÏÏοιÏείο ÎµÎ´Ï ÎµÎ¯Î½Î±Î¹ η ÏÏ Î½ÎÏεια ÏÎ·Ï Î±ÏιεÏÏÏÎ¹ÎºÎ®Ï ÏαÏάδοÏÎ·Ï ÏαÏÏÏ ÎµÎ¼ÏÎ±Î½Î®Ï Î¼ÎÏα ÏÏη μοναδικά ιαÏÏνική μοÏÏή ÏÎ¿Ï Î£Î¹Î½Ïο-ÎÎ¿Ï Î´Î¹ÏÏÎ¹ÎºÎ¿Ï ÏÏ Î³ÎºÏηÏιÏÎ¼Î¿Ï ÏÎ¿Ï Ï ÏάÏÏει αÏÏ ÏÏÏε Ïον 7ο αιÏνα.
ð ÎμÏνεÏÏÎµÎ¹Ï ÏÎ¿Ï Î¼ÏοÏοÏν να ξεκλειδÏÏÎ¿Ï Î½ Ïο ÏÏμαÎÏ ÏÏ Ïο βιβλίο ÏαÏÎ¿Ï Ïιάζει ÏοÏία διανοηÏικά και ÏÏμαÏÎ¿Ï Ï ÏαÏμÎνα αÏÏ Â«Î¼Î±ÎºÏινή αλλά ÏÏενή ÎκÏÏαÏη ÏÎ¿Ï ÏÏμαÏοÏ»[3], για Ïα οÏοία 1400 ÏÏÏνια ιαÏÏνικÏν ÏαÏαÏÏαÏικÏν ÏεÏνÏν ÏÏηÏιμεÏÎ¿Ï Î½ ÏÏ ÏαÏάδειγμαâαÏÏ Gigaku/Bugaku ÎÏÏ Nogaku, Butoh, μÎÏÏι ÏÏγÏÏονο ÏοÏÏ, ακÏμη και ÏÏÎ¹Ï Î¼Î¹ÎºÏÎÏ ÏÎÏÎ½ÎµÏ ÏÎ¿Ï Î¸ÎµÎ¬Î¼Î±ÏοÏ.ÎλÏÎ¯Î¶Î¿Ï Î¼Îµ ÏÏι Ïα Σημάδια ÏÎ¿Ï ÎÏ Î»Î¿Ï [5] μÏοÏοÏν να ÏαÏÎÏÎ¿Ï Î½ αναλαμÏÎÏ Î±ÏοδείξεÏν για Ïην ανÏαλλαγή ÎναÏολήÏ-ÎÏÏÎ·Ï â ÏÎ¿Ï Ïηγαίνει ÏίÏÏ Î±Î¹ÏÎ½ÎµÏ â και Ïην μακÏά ιÏÏοÏία ÏÏν ιαÏÏνικÏν ÏαÏαÏÏαÏικÏν ÏεÏνÏν, ενÏÏÏ ÎµÏιδιÏκεÏο ÎÎ½Î±Ï Î´ÏÏÎ¼Î¿Ï ÏÏÎ¿Ï Ïη ÏÏÏιÏη ενÏÏμαÏÏμÎνη ÏÏα βαθιά ÏÏÏÏμαÏα ÏÎ¿Ï Î¹Î±ÏÏÎ½Î¹ÎºÎ¿Ï ÏολιÏιÏμοÏ.
ÎÏÏιÏεκÏÎ¿Î½Î¹ÎºÎµÏ ÏÏ ÏÏεÏίÏειÏ[10]ÎΡΧÎÎÎ ÎÎÎÎÎÎ ÎÎÎ ÎÎÎΣ HORYUJI
ΠναÏÏ Horyaji κÏίÏÏηκε ÏÏÎ¹Ï Î±ÏÏÎÏ ÏÎ¿Ï ÎÎ²Î´Î¿Î¼Î¿Ï Î±Î¹Ïνα. ÎάÏοÏε καÏαÏÏÏάÏηκε ολοÏÏεÏÏÏ Î±ÏÏ ÏÏ Ïκαγιά, αλλά ξανακÏίÏÏηκε ÏÏη ÏημεÏινή ÏÎ¿Ï Î¼Î¿ÏÏή μεÏÎ±Î¾Ï ÏÎ¿Ï ÏÎÎ»Î¿Ï Ï ÏÎ¿Ï ÎÎ²Î´Î¿Î¼Î¿Ï ÎºÎ±Î¹ ÏÏν αÏÏÏν ÏÎ¿Ï 8Î¿Ï Î±Î¹Ïνα. Î Haryfiji είναι Î±Ï Ïή Ïη ÏÏιγμή η ÏαλαιÏÏεÏη ξÏλινη καÏαÏÎºÎµÏ Î® ÏÏην ÎαÏÏνία και ÏιθανÏÏ Î¿ ÏαλαιÏÏεÏÎ¿Ï Î¾ÏÎ»Î¹Î½Î¿Ï Î½Î±ÏÏ ÏÏον κÏÏμο. ÎÎγεÏαι ÏÏ Ïνά ÏÏι οι Horyaii εÏηÏεάÏÏηκαν αÏÏ Ïην αÏÏαία ελληνική αÏÏιÏεκÏονική. Î ÏÏ Î¸Î± μÏοÏοÏÏε να μεÏαÏεÏθεί ο ελληνιÏμÏÏ Ïε Îναν Î²Î¿Ï Î´Î¹ÏÏÎ¹ÎºÏ Î½Î±Ï ÏÏην ÎÏÏ ÎναÏολή; ÎναμÏίβολα, για Îνα άÏομο ÏÎ¿Ï Ïο ακοÏει Î±Ï ÏÏ Î³Î¹Î± ÏÏÏÏη ÏοÏά, Î±Ï ÏÏ Î¸Î± ÏαινÏÏαν κάÏÏÏ Î±Î¼Ïίβολο. ΩÏÏÏÏο, είναι αλήθεια ÏÏι ο Horyiiji θεÏÏείÏαι ÏÎ¿Î»Ï ÎλληνικÏÏ. Îια διαÏομή ÏÏν ÏÏ Î»ÏνÏν ÏÎ¿Ï ÏÏηÏιμοÏοιοÏνÏαι ÏÏο Horyaii δείÏνει ÏÏι είναι ÏÏÏÎ¿Î³Î³Ï Î»Î¿Î¯. Îι κολÏνεÏ, δηλαδή, είναι ÏÏÏÎ¿Î³Î³Ï Î»ÎÏ ÎºÎ¿Î»ÏνεÏ. ΩÏÏÏÏο, δεν είναι ενÏελÏÏ ÎµÏ Î¸ÎµÎ¯ÎµÏ ÏÏήλεÏ. Το μÎÏο Ïημείο κάθε ÏÏÎ®Î»Î·Ï Ïείνει να καμÏÏ Î»ÏνεÏαι ÏÏÎ¿Ï Ïα ÎξÏ. ÎÏ ÏÏ ÎµÎ¯Î½Î±Î¹ ιδιαίÏεÏα αιÏθηÏÏ ÏÏÎ¿Ï Ï ÏÏ Î»ÏÎ½ÎµÏ ÏÎ·Ï Î ÏÎ»Î·Ï Churnon και ÏÎ¿Ï Kondo (ÎενÏÏική ÎÎ¯Î¸Î¿Ï Ïα). ΣÏην αÏÏιÏεκÏονική οÏολογία Î±Ï ÏÏ Î±Î½Î±ÏÎÏεÏαι ÏÏ dobari ÏÏα ιαÏÏνικά. ÎεÏικÎÏ ÏοÏÎÏ ÏÏηÏιμοÏοιείÏαι και ο Î´Ï ÏικÏÏ ÏÏÎ¿Ï ÎνÏαÏιÏ. ÎÏ Ïή η ÏεÏνική ÏÎ·Ï Î´Î¹Î¿Î³ÎºÏÏεÏÏ ÏÏο μÎÏο ÏÏν κιÏνÏν ÏαÏαÏηÏήθηκε εÏίÏÎ·Ï ÏÏην αÏÏαία ελληνική αÏÏιÏεκÏονική. Îενικά θεÏÏείÏαι ÏÏι Î±Ï Ïή η μÎÎ¸Î¿Î´Î¿Ï ÏÏηÏιμοÏοιήθηκε για να κάνει Ïο εξÏÏεÏÎ¹ÎºÏ Î¼Î¹Î±Ï ÎºÎ±ÏαÏÎºÎµÏ Î®Ï Î½Î± ÏαίνεÏαι οÏÏικά ÏÏαθεÏÏ. ÎÏ ÏÏ Ïήμαινε αÏÏικά ο ÏÏÎ¿Ï ÎνÏαÏιÏ. Î ÏÏÎ¿Ï Î±ÏÏικά ÏÏηÏιμοÏοιήθηκε για να αναÏεÏθεί ÏÏην αÏÏαία Î´Ï Ïική αÏÏιÏεκÏονική, αλλά ÎÏει εÏίÏÎ·Ï Î¼ÎµÏαÏÏαÏÏεί ÏÏα ιαÏÏνικά για να ÏεÏιγÏάÏει ÏÎ¹Ï ÏÏÎ®Î»ÎµÏ Horyuji. Î ÏάγμαÏι, οι ÏÏÎ®Î»ÎµÏ Horyuji Î¼Î¿Î¹Î¬Î¶Î¿Ï Î½ ÏÎ¿Î»Ï Î¼Îµ ÏÎ¹Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎÏ ÏÏήλεÏ. Îεν είναι λοιÏÏν ÏεÏίεÏγο ÏÎ¿Ï Î· διÏγκÏÏη ÏÏÎ¹Ï ÏÏÎ®Î»ÎµÏ ÏÎ¿Ï Horyuji αναÏÎÏεÏαι ÏÏ Ïνά ÏÏ ÎνÏαÏιÏ. ÎÏ ÏÎÏ Î¿Î¹ ÏÏÎ®Î»ÎµÏ ÎµÎ¯Î½Î±Î¹ ÏÎ¿Ï ÎºÎ¬Î½Î¿Ï Î½ ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Î½Î± λÎνε ÏÏι Ïο Horyuji εÏηÏεάÏÏηκε αÏÏ Ïην αÏÏαία Îλλάδα.
Σε κάθε ÏεÏίÏÏÏÏη, δεν Ï ÏάÏÏει Î»Î¬Î¸Î¿Ï Î½Î± αναÏÎÏÎ¿Ï Î¼Îµ ÏÏι Î±Ï Ïή η εÏμηνεία είναι ÎµÏ ÏÎÏÏ Î³Î½ÏÏÏή και αÏοδεκÏή. Î£Î¯Î³Î¿Ï Ïα Ï ÏάÏÏει κάÏι Ïε Î±Ï Ïή Ïην ιÏÏοÏία ÏÎ¿Ï ÏÏοÏελκÏει κÏÏμο. Îι' Î±Ï ÏÏ Î· δÏναμη ÏÎ¿Ï ÎºÎ±ÏÎÏει Î±Ï Ïή η ιÏÏοÏία, ÏαÏÏλο ÏÎ¿Ï Î±Î³Î½Î¿ÎµÎ¯Ïαι αÏÏ ÏÎ¿Ï Ï Î±ÎºÎ±Î´Î·Î¼Î±ÏκοÏÏ, ÏαÏαμÎνει ιÏÏÏ Ïή. ÎÏÏ ÏÎ¿Ï ÏÏοήλθε λοιÏÏν Î±Ï Ïή η εξήγηÏη; Î£Î¯Î³Î¿Ï Ïα οι ÏÎ¯Î¶ÎµÏ Î±Ï ÏÎ®Ï ÏÎ·Ï Î¹Î´ÎÎ±Ï Î¼Î¿Î¹Î¬Î¶ÎµÎ¹ να είναι ενδιαÏÎÏÎ¿Ï ÏεÏ. ÎÏ Ïή η θεÏÏία λÎγεÏαι γενικά ÏÏι είναι η ιδÎα ÏÎ¿Ï Ito Chuta, ενÏÏ Î¹ÏÏοÏÎ¹ÎºÎ¿Ï Î±ÏÏιÏεκÏονικήÏ. Î Ito Ïο ανÎÏεÏε για ÏÏÏÏη ÏοÏά ÏÏην εÏγαÏία ÏÎ¿Ï "Horyuji kenchikuron" (A Study of Horyuji Architecture, 1893). ÎÏ ÏÏ ÎµÏÏÏκειÏο να καÏαÏÏεί γενικÏÏ Î±ÏοδεκÏή δήλÏÏη ÏÎ¿Ï ÎÏÏεÏε να αναÏÎÏεÏαι ÏÏαν ÏÏολιάζαμε Ïην ÏÏγÏÏονη ιαÏÏνική αÏÏιÏεκÏονική. ÎÏ ÏÏηÏά μιλÏνÏαÏ, δεν είναι αÏολÏÏÏÏ ÏÏÏÏÏ Î½Î± ÏοÏμε ÏÏι Î±Ï Ïή η ιδÎα εÏινοήθηκε αÏοκλειÏÏικά αÏÏ Ïον Ito. Î Ishii Keikichi, ιÏÏοÏικÏÏ Î±ÏÏιÏεκÏονικήÏ, διακήÏÏ Î¾Îµ μια ÏαÏÏμοια θεÏÏία Ïε ÏÎ¿Î»Ï ÏÏογενÎÏÏεÏο ÏÏάδιο. ÎÏ Ïή η ιÏÏοÏία Î¼Î¹Î±Ï ÏÏοÏÎ´Î¿Ï ÏÏÎ¿Ï Ïην ÎναÏολή ÏÏοελθοÏÏα αÏÏ Ïον ÎλληνιÏÎ¼Ï ÎµÎ¯Ïε εÏίÏÎ·Ï ÏÏοÏαθεί ÏÏον Ito αÏÏ Ïον καλλιÏÎÏνη Okakura Tenshin. Îίναι η ÏÏαγμαÏεία Ites, ÏÏÏÏÏο, ÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ Ïιο διάÏημη για Ïη ÏÏ ÏÏÎÏιÏη ÏÏν κιÏνÏν Horyuji με Ïην αÏÏαία Îλλάδα. ÎÏαν ο Ito ÏÎ¿Ï Îκανε ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Î½Î± Ïο ÏÏ Î½ÎµÎ¹Î´Î·ÏοÏοιήÏÎ¿Ï Î½, ÏÎ¿Ï Î®Ïαν η ÏÏαγμαÏική Ïηγή Î±Ï ÏÎ®Ï ÏÎ·Ï Î¹ÏÏοÏίαÏ. ÎÏ ÏÎ¯Î¾Î¿Ï Î¼Îµ μια μαÏιά Ïε μεÏικά αÏÏ Ïα ÎÏγα ÏÎ¿Ï Ito ÏÏÏÎ¯Ï Î½Î± εξεÏάÏÎ¿Ï Î¼Îµ ÏÏαγμαÏικά ÏÎ¹Ï Î»ÎµÏÏομÎÏÎµÎ¹ÎµÏ ÏÎ·Ï Î¹ÏÏοÏÎ¯Î±Ï ÏÎ·Ï Î¸ÎµÏÏÎ¯Î±Ï ÏÎ¿Ï ....
ΠάÏοÏη ÏÎ¿Ï Ortolani για Ïο ÎαÏÏÎ½Î¹ÎºÏ Î¸ÎαÏÏο[15]ÎÏοια και αν είναι η άμεÏη ÏÏοÎÎ»ÎµÏ Ïη ÏÏν μαÏκÏν και ÏÏν ÏαÏαÏÏάÏεÏν gigaku, αÏκεÏά εÏÏÏήμαÏα ÏÏεÏικά με Ïην αÏομακÏÏ ÏμÎνη ÏÏοÎÎ»ÎµÏ Ïή ÏÎ¿Ï Ï ÏαÏαμÎÎ½Î¿Ï Î½ ανοιÏÏά. Îια μελÎÏη ÏÏν ÏαÏακÏηÏιÏÏικÏν ÏÏν μάÏÎºÎµÏ gigaku αÏοκαλÏÏÏει ÏÏι ανÏιÏÏοÏÏÏεÏÎ¿Ï Î½ μÏÎ¸Î¿Ï Ï ÎºÎ±Î¹ ÏÏÏÎ¿Ï Ï ÏÎ¿Ï ÏÎ¯Î³Î¿Ï Ïα δεν είναι κινÎζικοι. Îι μάÏÎºÎµÏ ÏÏοÏÏÏÎ¿Ï ÏαίνεÏαι να ÏÏ Î½Î´ÎονÏαι με Ïηn Î¾Ï Î»Î¿Î³Î»Ï ÏÏική ÏÎÏνη ÏÏν Î£ÎºÏ Î¸Ïν. Îι μάÏÎºÎµÏ ÎºÎµÏÎ±Î»Î®Ï ÎÏÎ¿Ï Î½ ÏÏοκαλÎÏει ÏολλÎÏ Î±ÏÏÏειÏÎµÏ Î¼Îµ ÏκοÏÏ Î½Î± αÏοδειÏθεί η ÏÏαÏξη Î¼Î¹Î±Ï Î³ÎÏÏ ÏÎ±Ï Î¼ÎµÏÎ±Î¾Ï ÏÎ¿Ï Î¸ÎµÎ¬ÏÏÎ¿Ï ÏÎ·Ï ÎÎ¯Î½Î±Ï ÎºÎ±Î¹ ÏÎ·Ï ÎαÏÏνίαÏ, και ÏÎ¿Ï Î¸ÎµÎ¬ÏÏÎ¿Ï ÏÎ·Ï ÎÎ»Î»Î¬Î´Î±Ï ÎºÎ±Î¹ ÏÎ·Ï Î¡ÏμηÏ, Ïε Ïλη Ïην ÎγγÏÏ ÎναÏολή και Ïην Îνδία. ΣÏην ÏÏαγμαÏικÏÏηÏα, μια ÏÏενή ÏÏγκÏιÏη ή κάÏÎ¿Î¹ÎµÏ Î¼Î¬ÏÎºÎµÏ gigiaku με ÏÏÎ¹Î¼ÎµÏ ÏÏμαÏκÎÏ ÎºÏμικÎÏ Î¼Î¬ÏÎºÎµÏ ÏαÏÎ¿Ï Ïιάζει μεÏικÎÏ ÎµÎ½ÏÏ ÏÏÏιακÎÏ Î¿Î¼Î¿Î¹ÏÏηÏεÏ. Îια Ï ÏÏθεÏη βλÎÏει ÏÏο εÏειÏÏδιο ÏÎ¿Ï Konron, ÏÏν Î³Ï Î½Î±Î¹ÎºÏν ÏÎ¿Ï Wu και ÏÎ¿Ï Rikishi μια μεÏαμÏÏÏÏÏη ενÏÏ ÎµÎ»Î»Î·Î½Î¹ÎºÎ¿Ï Î¼ÏÎ¸Î¿Ï .[17]
Î ÏοÏÏÏείο Gigaku ÏοÏ
Konron, 9Î¿Ï Î±Î¹.[19]
ΣημειÏνεÏαι ÏÏι Ï ÏάÏÏÎ¿Ï Î½ δÏο αÏÏÎÏÏ Ïοι ÏαÏακÏήÏÎµÏ ÏαλαιÏÏÏν, ο KongÅ (éå) ή ο "Vajra- yaká¹£a" ÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ με Ïο ÏÏÏμα ανοιÏÏÏ, και ο Rikishi (å士) ÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ με κλειÏÏÏ ÏÏÏμα. ÎÏ Ïά Ïα δÏο λÎγεÏαι ÏÏι είναι ανάλογα με Ïα δÏο αγάλμαÏα ÏÎ¿Ï NiŠή ÏÏν ÏÏ Î»Î¬ÎºÏν ÏÏÎ»Î·Ï ÏÎ¿Ï Î±Î½ÏίÏÏοιÏα ÏÏημαÏÎ¯Î¶Î¿Ï Î½ Ïα ανοιÏÏά και κλειÏÏά ÏÏήμαÏα A-un ÏÏο ÏÏÏμα ÏÎ¿Ï Ï.Î ÎÏα και η ÎÏÎ¹Ï Î¸Î± ήÏαν Ïα ÏÏÏÏÏ Ïα για ÏÎ¹Ï Î³Ï Î½Î±Î¯ÎºÎµÏ ÏÎ¿Ï Wu, οι ÏάÏÏ Ïοι για Ïον Konron, ο ÎÏÎ±ÎºÎ»Î®Ï Î³Î¹Î± Ïον Rikishi. Î ÏιθανÏÏηÏα Î¼Î¹Î±Ï Î¼Î±ÎºÏÎ¬Ï Î³ÏÎ±Î¼Î¼Î®Ï ÎµÏιÏÏοÏν ÏÎ¿Ï ÎµÎºÏείνεÏαι αÏÏ Ïην ÎγγÏÏ ÎναÏολή ÎÏÏ Ïην ÎαÏÏνία â ÏÏÎ¿Ï ÏαξίδεÏαν νομαδικοί ÏÎ»Î·Î¸Ï Ïμοί ÏÎ¿Ï ÏÏ Î½Î´Ïαζαν Ïην Î´Ï Ïική ÏÎÏνη ÏÎ·Ï Î¾Ï Î»Î¿Î³Î»Ï ÏÏÎ¹ÎºÎ®Ï ÏÏοÏÏÏείÏν με Ïην ινδική Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î± και Ïην Î²Î¿Ï Î´Î¹ÏÏική ÏίÏÏη â ÏαÏαμÎνει ÏÏÏο ÏÏ Î½Î±ÏÏαÏÏική και ÏÏο η εκÏληκÏική ÏαÏÎ¿Ï Ïία Î¼Î¹Î±Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î¼Î¿Î½ÏελοÏοιήÏεÏÏ ÎµÎ½ÏÏ ÏÏ Î»Ïνα ÏÏον Î½Î±Ï Horyi.iji ÏÎ·Ï Nara, ή η Î±Î½Î±ÎºÎ¬Î»Ï Ïη ÏÏην ÎαÏÏνία ÏÎ¿Ï ÏÏεÏÏÏÎ¿Ï Î±Î»ÏÎ³Î¿Ï , ÏιθανÏÏ Î´Î¹Î±ÎºÎ¿ÏμηÏÎ¹ÎºÏ Î¸Îμα ÏÎ¿Ï Î Î·Î³Î¬ÏÎ¿Ï , Ïε διακοÏμηÏικά ÏÏÎδια ÏÏγÏÏονα ÏÎ¿Ï gigaku.[21]
ÎÎÎΦÎΡÎΣ - ΣÎÎÎÎΩΣÎÎΣ[1b1]. https://japan-authentic-heritage-init.... https://www.byzantinemuseum.gr/en/tem.... Miro Ito 2023.[2]. Tsaras, Chrysafidis, Giouzepas 2016, p. 51, n. 12. Î¥ÏάÏÏÎ¿Ï Î½ ÏολλÎÏ Î±Î½Î±ÏοÏÎÏ Î³Î¹Î± Ïην ÏÏοÎÎ»ÎµÏ Ïη ÏÏν μαÏκÏν ÏÎ¿Ï Î¸ÎµÎ¬ÏÏÎ¿Ï Noh ÏÎ¿Ï ÎµÏÏÎ¹Î¬Î¶Î¿Ï Î½ ÏÏην ομοιÏÏηÏα με ÏÎ¹Ï Î³ÎºÏοÏÎÏÎºÎµÏ ÎºÏμικÎÏ Î¼Î¬ÏÎºÎµÏ ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÏÏÎ¹ÎºÎ®Ï ÎµÏοÏήÏ. Î ÏημείÏÏη αναÏÎÏεÏαι ÏÏο: Benito Ortolani, International Bibliography of Theatre, 1985, Ïελ. 326.[3]. ΡηÏÏ ÏÎ¿Ï Ko Murobushi, ÏÎ¿Ï Î®Ïαν ÎÎ½Î±Ï ÎάÏÏÎ½Î±Ï ÏοÏÎµÏ ÏÎ®Ï ÎºÎ±Î¹ ÏοÏογÏάÏÎ¿Ï Î¸ÎµÏÏείÏο δε ÏÏ Î¿ κοÏÏ ÏÎ±Î¯Î¿Ï ÎºÎ»Î·ÏονÏÎ¼Î¿Ï ÏÎ¿Ï Î±ÏÏÎ¹ÎºÎ¿Ï Î¿ÏάμαÏÎ¿Ï ÏÎ¿Ï Butoh ÏÎ¿Ï Tatsumi Hijikata.[5]. ΠαÏÎ¿Ï ÏιάÏÏηκαν και ÏÏο ÎÎ»Î»Î·Î½Î¹ÎºÏ ÎÏ Î¶Î±Î½ÏÎ¹Î½Ï ÎºÎ±Î¹ ΧÏιÏÏÎ¹Î±Î½Î¹ÎºÏ ÎÎ¿Ï Ïείο![10]. Shoichi Inoue 2000, pp. 129-130.[15]. Ortolani 1990, p. 36.[17]. ΠμάÏκα (BM 1957,1120.1) είναι Î±Ï Ïή ÏÎ¿Ï Î²Î±ÏβάÏÎ¿Ï Konron, ο οÏÎ¿Î¯Î¿Ï ÏÏο δÏάμα ÏÏοÏÏαθεί αδÎξια να εÏÏÏοÏÏοÏήÏει με Ïην Ï ÏÎÏοÏη Go-Jo, ÏÏιγκίÏιÏÏα ÏÎ¿Ï ÎινÎÎ¶Î¹ÎºÎ¿Ï Î²Î±ÏÎ¹Î»ÎµÎ¯Î¿Ï ÏÎ¿Ï Wu. https://www.britishmuseum.org/collect... https://en.wikipedia.org/wiki/Gigaku}.... Gigaku Mask of a Konron, 9th century, Philadelpeia Museum of Art (Acc. Nr. F1918-2-1), <https://philamuseum.org/collection/ob.... Ortolani 1990, p. 36, n. 6. ΣημειÏνεÏαι εÏίÏÎ·Ï ÏÏι ÎμÏÏοÏθεν ÏÎ¿Ï Î½Î±Î¿Ï Tachibana-dera (Tachibana Temple) Ï ÏάÏÏει Îνα Ïάλκινο άγαλμα αλÏÎ³Î¿Ï ÏÎ¿Ï Î¿Î½Î¿Î¼Î¬Î¶ÎµÏαι Kurokoma (ÎαÏÏÎ¿Ï Î Î®Î³Î±ÏοÏ) ÏÎ¿Ï Î®Ïαν Ïο αγαÏημÎνο άλογο ÏÎ¿Ï Î¿ ShÅtÅku Taishi ÏÏηÏιμοÏοιοÏÏε για να ιÏÏεÏÏει Ïε διάÏοÏÎµÏ ÏοÏοθεÏÎ¯ÎµÏ Î³Î¹Î± να διαδÏÏει Ïον ÎÎ¿Ï Î´Î¹ÏμÏ. ÎÎγεÏαι εÏίÏÎ·Ï ÏÏι ο Î ÏίγκιÏÎ±Ï Ïήγαινε ÏÏ Ïνά με Î±Ï ÏÏ Ïο άλογο ÏÏην Ikaruga (ναÏÏ HÅryÅ«-ji) και ÏÏι Ïο άλογο είÏε Î¸Î±Ï Î¼Î±ÏÎ¿Ï ÏγÎÏ Î´Ï Î½Î¬Î¼ÎµÎ¹Ï, ÏÏ Î¼ÏεÏιλαμβανομÎÎ½Î·Ï ÏÎ·Ï Î¹ÎºÎ±Î½ÏÏηÏÎ±Ï Î½Î± ÏεÏάει. Îε Ïον ShÅtoku Taishi ÏÏην ÏλάÏη ÏÎ¿Ï , ο Kurokoma ÏÎÏαξε για ÏÏÎµÎ¹Ï Î·Î¼ÎÏÎµÏ ÎºÎ±Î¹ Ïε Ïλη Ïη ÏÏÏα, ÏÏÏÎ¯Ï Î½Î± ÎºÎ¿Ï ÏαÏÏεί. Î ShÅtoku Taishi ανήγειÏε Îνα ÏÎÏÏινο μνημείο γιά Ïο άλογο, Ïο οÏοίο ÏÏολίαÏε αÏγÏÏεÏα ο Î¼ÎµÎ³Î¬Î»Î¿Ï Î²Î¿Ï Î´Î¹ÏÏÎ®Ï Î¼Î¿Î½Î±ÏÏÏ KÅbÅ Daishi (774-835) καÏά Ïη διάÏκεια ÏÎ¿Ï ÏÎ±Î¾Î¹Î´Î¹Î¿Ï ÏÎ¿Ï ÏÏον Î½Î±Ï Tachibana. Îλ. <https://en.japantravel.com/nara/asuka....
ÎÎÎÎÎÎÎΡÎΦÎÎ
https://japan-authentic-heritage-init...
Miro Ito. 2023. Signs of the Intangible: Body-mind-scapes from 1400 years of performing arts in Japan
Signs of the Intangible, Japan Authentic Heritage Initiative.
https://www.jstor.org/stable/25791051
Shoichi Inoue. 2000. "Interpretation of Ancient Japanese Architecture: Focusing on Links with World History," Japan Review 12, International Conference: The Global Meaning of Japan: European and Asian Perspectives, pp. 129-143.
https://www.mukogawa-u.ac.jp/~iasu201..., G., E. Chrysafidis, D. Giouzepas. 2016. "Traditional Noh Theatre and Ancient Greek Tragedy: Comparative Study towards a common Performance," Archi-Cultural Interactions through the Silk Road. 4th International Conference, Mukogawa Womenâs University, Nishinomiya, Japan,July 16-18, 2016, Proceedings, ed.iaSU2016 JAPAN Publication Committee, pp. 49-52.
https://books.google.gr/books?id=ge8c..., B. 1990. The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism, Princeton University Press.
Signs of the Intangible by Miro Ito (Body-mind-scapes from 1400 years of performing arts in Japan)ÎάÏα, η ÏÏÏÏη Î±Ï ÏοκÏαÏοÏική ÏÏÏÏεÏÎ¿Ï Ïα ÏÎ·Ï ÎαÏÏÎ½Î¯Î±Ï ÎºÎ±Î¹ Ïο αναÏÎ¿Î»Î¹ÎºÏ ÏÎÏμα ÏÎ¿Ï ÎÏÏÎ¼Î¿Ï ÏÎ¿Ï ÎεÏαξιοÏ[1b1]ΠαÏÏαία ÎάÏα ήÏαν κάÏοÏε Ïο αναÏÎ¿Î»Î¹ÎºÏ ÏÎÏμα ÏÏν ÎÏÏμÏν ÏÎ¿Ï ÎεÏαξιοÏ.
Îι εμÏοÏικοί δÏÏμοι αÏÏ Ïην ÎλεξάνδÏεια ÏÏον νÏÏο, αÏÏ Ïην ÎÏνÏÏανÏινοÏÏολη ÏÏÎ¿Ï Ïην ÎεοδοÏία ÏÏην ακÏή ÏÎ·Ï ÎαÏÏÎ·Ï ÎάλαÏÏÎ±Ï ÏÏα βÏÏεια, αÏÏ Ïην Îθήνα και Ïην ΡÏμη ÏÏα Î´Ï Ïικά, Ïε Ïλη Ïη διαδÏομή ÏÏο Chang'an και Luoyang ÏÏα αναÏολικά είναι ÏÏ Ïνά γνÏÏÏά ÏÏ Î»Î»Î¿Î³Î¹ÎºÎ¬ ÏÏ Â«ÎÏÏμοÏ(οι) ÏÎ¿Ï ÎεÏαξιοÏ».
ÎÎ½Î±Ï ÎºÎ»Î¬Î´Î¿Ï Î±Ï ÏÎ¿Ï ÏÎ¿Ï Â«Î´ÏÏÎ¼Î¿Ï Â» εκÏεινÏÏαν αναÏολικÏÏεÏα ÏÏÎ¹Ï Î¸Î¬Î»Î±ÏÏÎµÏ Î¼ÎÏÏι Ïο Naniwa-tsu (ÎÏάκα) και αÏÏ ÎµÎºÎµÎ¯ ÏÏ Î½ÎÏιζε ÏÏην Asuka (Nara) μÎÏÏ Î¼Î¹Î±Ï ÏλÏÏÎ®Ï Î¿Î´Î¿Ï.
Î ÎάÏα διαÏηÏεί Ï ÏολείμμαÏα ÏÎ¿Ï ÎµÎ»Î»Î·Î½Î¹ÏÏÎ¹ÎºÎ¿Ï ÏολιÏιÏÎ¼Î¿Ï ÏÎ¿Ï ÎÏÏαÏαν ÏÏην ÎαÏÏνία αÏÎ¿Ï Î´Î¹ÎÏÏιÏε Ïην ÎÏ ÏαÏιαÏική ÎÏειÏο. ΠεÏί Ïα μÎÏα ÏÎ¿Ï 6Î¿Ï Î±Î¹Ïνα, ο ÎÎ¿Ï Î´Î¹ÏμÏÏ ÎÏÏαÏε και αÏÎκÏηÏε βαθιÎÏ ÏÎ¯Î¶ÎµÏ ÏÏη ÎάÏα ÏÏÎ¿Ï Î¿ ΣινÏοÏÏμÏÏ ÎºÎ±Î¹ ο ÎÎ¿Ï Î´Î¹ÏμÏÏ ÏÏ Î½Ï ÏάÏÏÎ¿Ï Î½ ακÏμη και ÏήμεÏα. ÎÏ ÏÏÏ Î¿ «ÎÏÏÎ¼Î¿Ï ÏÎ¿Ï ÎεÏαξιοÏ» ÏÏηÏÎ¯Î¼ÎµÏ Ïε ÏÏ ÎÎ½Î±Ï Ï ÏÎÏοÏÎ¿Ï ÏολιÏιÏÏικÏÏ Î´Î¹Î¬Î´ÏÎ¿Î¼Î¿Ï Î³Î¹Î± 14 αιÏÎ½ÎµÏ ÏÎ½ÎµÏ Î¼Î±ÏÎ¹ÎºÎ®Ï ÏαÏαδÏÏεÏÏ.
ΣÏην ÎάÏα, οι αναμνήÏÎµÎ¹Ï ÏÎ·Ï Î³ÎµÎ½Î½Î®ÏεÏÏ ÏÎ·Ï ÎαÏÏÎ½Î¯Î±Ï ÏÏ ÎÎ¸Î½Î¿Ï Ï Î±ÏÏ Ïον 7ο ÎÏÏ Ïον 8ο αιÏνα âκαθιεÏÏνονÏÎ±Ï Ïο 1ο γνÏÏÏÏ ÎºÎµÎ½ÏÏικά διοικοÏμενο κÏάÏÎ¿Ï ÏÏο ιαÏÏÎ½Î¹ÎºÏ ÎδαÏοÏâ είναι ακÏμα ζÏνÏανÎÏ, ÏÏÏο ÏÏ Ï Î»Î¹ÎºÎ® ÏÏο και ÏÏ Î¬Ï Î»Î· ÏολιÏιÏÏική κληÏονομιά --με Ïη ÏοÏία και Ïα μεγάλα ιδανικά ÏÏν ÏÏοκαÏÏÏÏν ÏÎ¿Ï .ΣÏμÏÏνα με Ïο Ï Î»Î¹ÎºÏ ÏÎ¿Ï ÎµÎ¾ÎµÏÎθη με Ïην ÎµÏ ÎºÎ±Î¹Ïία ÏÎ·Ï ÏÏεÏÎ¹ÎºÎ®Ï ÎµÎºÎ¸ÎÏεÏÏ ÏÏο ÎÏ Î¶Î±Î½ÏÎ¹Î½Ï ÎÎ¿Ï Ïείο εκÏιμάÏαι ÏÏι:[1b2]
Îν αναζηÏοÏÏαμε Îναν ÏολιÏιÏÏÎ¹ÎºÏ ÏÏνδεÏμο ÏÎ¿Ï nα ÏÏ Î½Î´Îει Ïην ΡÏμη, Î´Ï ÏικÏÏεÏο άκÏο ÏÎ·Ï ÎÎ´Î¿Ï ÏÎ¿Ï ÎεÏαξιοÏ, με Ïην Nara, θα μÏοÏοÏÏε να βÏεθεί ÏÏα ÎÏγα Î³Î»Ï ÏÏÎ¹ÎºÎ®Ï ÏÎÏÎ½Î·Ï ÏÎ¿Ï ÏÎ³Î´Î¿Î¿Ï Î±Î¹Ïνα, ενÏÏμαÏÏνονÏÎ±Ï Ïα ιδανικά ÏÎ¿Ï Î±Î½Î¸ÏÏÏÎ¹Î½Î¿Ï ÏνεÏμαÏÎ¿Ï ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ ÏÎ¹Ï ÎµÎ»ÎµÏθεÏÎµÏ ÎºÎ±Î¹ ζÏνÏανÎÏ ÎºÎ¹Î½Î®ÏÎµÎ¹Ï ÏÎ¿Ï ÎµÏηÏεάÏÏηκαν αÏÏ Ïο κλαÏÎ¹ÎºÏ ÏÏÎ¿Ï ÏÎ·Ï Î±ÏÏÎ±Î¯Î±Ï ÎλλάδοÏ.ÎεÏικά ÏαÏαδείγμαÏα θα ήÏαν: ÎÎ¿Ï Î´Î¹ÏÏικά αγάλμαÏα εÏηÏεαÏμÎνα αÏÏ Ïον ÎλληνιÏÏÎ¹ÎºÏ ÏολιÏιÏμÏ, ο ÎοÏÎ´Î±Ï Vairocana ÏÎ¿Ï Î¿ÏÎ¿Î¯Î¿Ï Î¿Î¹ ÏÎ¯Î¶ÎµÏ Î¼ÏοÏοÏν να ενÏοÏιÏÏοÏν καÏά Î¼Î®ÎºÎ¿Ï ÏÎ·Ï ÎÎ´Î¿Ï ÏÎ¿Ï ÎεÏÎ±Î¾Î¹Î¿Ï ÏÏο αÏÏαίο Îλληνο - ÎακÏÏÎ¹Î±Î½Î¹ÎºÏ ÎαÏίλειο. Το FukÅ«kensaku Kannon, Ïο οÏοίο οÏιÏμÎνοι ÏιÏÏεÏÎ¿Ï Î½ ÏÏι μÏοÏεί να ÎÏει ελληνική ÏÏοÎÎ»ÎµÏ Ïη μÎÏÏ ÏÎ¿Ï Shiva, Î¼Î¹Î±Ï Î±ÏÏ ÏÎ¹Ï ÎºÏÏÎ¹ÎµÏ Î¹Î½Î´Î¹ÎºÎÏ Î¸ÎµÏÏηÏεÏ, ÏÎ¿Ï ÏιθανÏÏ ÏÏ Î½Î´ÎεÏαι με Ïον ÎÏακλή ÏÎ·Ï ÎÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î±Ï. Îι μάÏÎºÎµÏ Gigaku ÏÏν οÏοίÏν η ÏÏοÎÎ»ÎµÏ Ïη ανάγεÏαι ÏÏο θÎαÏÏο ÏÎ·Ï Î±ÏÏÎ±Î¯Î±Ï ÎλλάδοÏ, ÎÏÏαÏαν μÎÏÏι Ïην ÎαÏÏνία μÎÏÏ ÏÎ·Ï "ÎÎ´Î¿Ï ÏÎ¿Ï ÎεÏÎ±Î¾Î¹Î¿Ï Î¼ÎÏÏ ÏÎ·Ï ÎάÏεÏÏ', ÎµÎ½Ï Î±Î½Î±Î¼ÎµÎ¹Î³Î½ÏονÏαι με Ïη λαογÏαÏία και Ïον ÏοÏÏ ÏÏν ΣογδιανÏν (οι οÏοίοι Ï ÏήÏξαν μεÏάζονÏÎµÏ ÏÏÎ¹Ï ÎµÎ¼ÏοÏικÎÏ Î´Î¹Î±Î´ÏομÎÏ) και διάÏοÏα θÎαÏÏα με μάÏÎºÎµÏ ÎºÎ±Ïά Î¼Î®ÎºÎ¿Ï ÏÏν ÎιαδÏομÏν ÏÎ¿Ï ÎεÏÎ±Î¾Î¹Î¿Ï ÏÏÏο αÏÏ Î¾Î·ÏÎ¬Ï ÏÏο και αÏÏ Ïην θάλαÏÏα.ΣÏμÏÏνα με Ïην ειÏαγÏγή - ÏαÏÎ¿Ï ÏίαÏη ÏÎ¿Ï ÏÏ Î¬Î½Ï Î²Î¹Î²Î»Î¯Î¿Ï :[1]
Îια Ïολλά ÏÏÏνια, η ÏÏÏογÏάÏÎ¿Ï ÎºÎ±Î¹ ÏÏ Î³Î³ÏαÏÎαÏ, Miro Ito εξεÏÎµÏ Î½Î¬ Ïημεία ÏÎ¿Ï Î¬Ï Î»Î¿Ï ÎºÎ±Î¸ÏÏ ÏÏηÏιμοÏοιεί Ïην κάμεÏά ÏÎ·Ï Î³Î¹Î± να αÏαθαναÏίÏει μεÏαμοÏÏÏÏÎµÎ¹Ï ÏÏην ÎºÎ¿Ï Î»ÏοÏÏα ÏÎ¿Ï ÏÏμαÏοÏ, ÏÏην ÏÏÏογÏαÏική ÏÎ·Ï ÏειÏά ÏÎ¿Ï Î±Ïοκαλεί ÏÏμα-Î¼Ï Î±Î»Ï-ÏοÏία ÏÏοÏÎµÏ ÏÎ®Ï ÎºÎ±Î¹ αÏιεÏÏÏεÏÏ ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ εκÏÏάÏειÏ. ÏÎ¿Ï Î´Î¹Î±ÏÏÏιÏμοÏ, ÏÏ Î¼ÏεÏιλαμβανομÎνÏν Î²Î¿Ï Î´Î¹ÏÏικÏν αγαλμάÏÏν και ανÏικειμÎνÏν λαÏÏÎµÎ¯Î±Ï ÏÎ¿Ï Î±Î½Î±ÏÎÏονÏαι ÏÏ Îθνικοί ÎηÏÎ±Ï Ïοί και ΣημανÏική ΠολιÏιÏÏική ΠεÏÎ¹Î¿Ï Ïία ÏÎ·Ï ÎαÏÏνίαÏ.
Î Ito ÎÏει εÏίÏÎ·Ï ÎµÎ¾ÎµÏÎµÏ Î½Î®Ïει Ïην ιÏÏοÏία ÏÏν ιαÏÏνικÏν ÏαÏαÏÏαÏικÏν ÏεÏνÏν και Ïην καÏαγÏγή ÏÎ¿Ï Ï Î±ÏÏ ÏÎ¿Ï Ï Î±ÏÏÎ±Î¯Î¿Ï Ï ÎÏÏÎ¼Î¿Ï Ï ÏÎ¿Ï ÎεÏαξιοÏ.
ÎÏÏ Ïο Gigaku, Ïο ÏαλαιÏÏεÏο γνÏÏÏÏ ÎµÏ ÏαÏιαÏÎ¹ÎºÏ Î¸ÎαÏÏο με μάÏÎºÎµÏ ÏÎ¿Ï ÎÏÏαÏε ÏÏην ÎαÏÏνία ÏÏιν αÏÏ 1400 ÏÏÏνια â αÏÏ Ïο οÏοίο μÏνο μεÏικÎÏ Î¼Î¬ÏÎºÎµÏ ÏÏζονÏαι ÏήμεÏα â μÎÏÏι Ïον ÏοÏÏ Bugaku και Ïην ÎºÎ¿Ï Î»ÏοÏÏα ÏÎ·Ï Î¼Î¬ÏÎºÎ±Ï ÏÎ¿Ï ÎµÎ½ÏÏμαÏÏνει διάÏοÏÎµÏ Î±ÏÏÎ±Î¯ÎµÏ Î±Î½Î±ÎºÏοÏικÎÏ ÏαÏαÏÏαÏικÎÏ ÏÎÏÎ½ÎµÏ ÎºÎ±Î¹ Î¼Î¿Ï Ïική â ÏÎ¿Ï ÏÏÏα δεν λειÏÎ¿Ï Ïγεί ÏÏην ηÏειÏÏÏική ÎÏία, ÏÏο θÎαÏÏο Noh ÏÎ¿Ï ÎµÎ¾ÎµÎ»Î¯Ïθηκε Ïε θεαÏÏÎ¹ÎºÏ Î´Ïάμα Ïον 14ο/15ο αιÏνα, ÏÏην ÏÏγÏÏονη avant-garde Butoh: μια αναζήÏηÏη για Ïην ÏÏ Ïή ÏÏ Î±Î¹Ïνιο ÏÏÏ ÏÏην ÎºÎ¿Ï Î»ÏοÏÏα ÏÎ¿Ï ÏÏμαÏοÏ. Î Ito ÎÏει αÏεικονίÏει Ïην Î¬Ï Î»Î· ÏÎ»ÎµÏ Ïά ÏÎ·Ï ÏÎ½ÎµÏ Î¼Î±ÏικÏÏηÏÎ±Ï ÎºÎ±Î¹ Ïην ÎÏει μεÏαÏÏÎÏει Ïε ÏÏÏογÏαÏικά αÏιÏÏÎ¿Ï ÏγήμαÏα. ÎÏ ÏÏ Ïο ÏÏÏογÏαÏÎ¹ÎºÏ Î¬Î»Î¼ÏÎ¿Ï Î¼ ÏÎ¿Ï Î¼ÎµÏαÏÎÏει Îνα μÎÏÎ¿Ï ÏÎ¿Ï ÏÎ±Î¾Î¹Î´Î¹Î¿Ï ÏÎ¿Ï ÏÏ Î³Î³ÏαÏÎα ÏÏο ÏÏμα-ÏÏμÏαν λειÏÎ¿Ï Ïγεί ÏÏ ÎºÎ±ÏÎ¬Î»Î¿Î³Î¿Ï ÏÎ¿Ï ÏÏ Î½Î¿Î´ÎµÏει Ïην ÏαγκÏÏμια ÏεÏιοδεÏÎ¿Ï Ïα ÎκθεÏη Signs of the Intangible. Î ÏÏκειÏαι για Îνα ÏαÏÏοÏÏ Î»Î¬ÎºÎ¹Î¿ με νÎα και αδημοÏÎ¯ÎµÏ Ïα ÎÏγα, ÏÏ Î¼ÏεÏιλαμβανομÎÎ½Î¿Ï ÏÎ¿Ï Quick Silver (Ï Î´ÏάÏÎ³Ï ÏοÏ), μια ÏÏ Î½ÎµÏγαÏία με Ïον ÏοÏÎµÏ Ïή Ko Murobushi ÏÎ¿Ï Butoh, ÏÎ¿Ï Îγινε η εÏίÏημη εικÏνα ÏÎ·Ï ÎÏιενάλε ÏÎ·Ï ÎενεÏÎ¯Î±Ï (Ïμήμα ÏοÏοÏ) Ïο 2006 â ÏÏ Î½Î¿Î´ÎµÏ Ïμενο αÏÏ Ïα ÏÏÏÏÏαÏα καλλιÏεÏνικά δοκίμια ÏÎ¿Ï ÏÏ Î³Î³ÏαÏÎα.
ÎÏ ÏÏ Ïο άλμÏÎ¿Ï Î¼ ÏÏÏογÏαÏιÏν ÏÏοÏκαλεί ÏÎ¿Ï Ï Î¸ÎµÎ±ÏÎÏ Î½Î± Î²Ï Î¸Î¹ÏÏοÏν ÏÏα 1400 ÏÏÏνια ιαÏÏÎ½Î¹ÎºÎ®Ï ÏÏ ÏÎ¹ÎºÎ®Ï ÎκÏÏαÏηÏ, ÏÎ¿Ï ÏÏÏίζεÏαι αÏÏ Ïο αιÏνÏβιο ÏÏÏ ÏÎ·Ï Î±Î½ÏÎ±Î»Î»Î±Î³Î®Ï ÎναÏολήÏ-ÎÏÏÎ·Ï ÎºÎ±Ïά Î¼Î®ÎºÎ¿Ï ÏÏν ÎÏÏμÏν ÏÎ¿Ï ÎεÏαξιοÏ.
ð Î ÏοοÏÏική ÏÎ¿Ï Î´ÎµÎ½ ÎÏει ξαναÏαÏÎ¿Ï ÏιαÏÏεί!ΠμοναδικÏÏηÏα Î±Ï ÏÎ®Ï ÏÎ·Ï ÏαÏÎ¿Ï ÏιάÏεÏÏ Ïονίζει Î±Ï Ïήν η Î¬Î½ÎµÏ ÏÏÎ¿Î·Î³Î¿Ï Î¼ÎÎ½Î¿Ï ÏÏοοÏÏική για Ïο ÏÏÏ Î±Î»Î»Î·Î»ÎµÏιδÏοÏν Î±Ï ÏÎÏ Î¿Î¹ εξαιÏεÏικÎÏ Ï Î»Î¹ÎºÎÏ Î® Î¬Ï Î»ÎµÏ ÏÎÏÎ½ÎµÏ ÎºÎ±Î¹ ÏαÏαδÏÏειÏ: Î³Î»Ï ÏÏά ÏÎ¿Ï 8Î¿Ï Î±Î¹Ïνα εÏηÏεαÏμÎνα αÏÏ Ïον ελληνιÏÏÎ¹ÎºÏ ÏολιÏιÏÎ¼Ï ÏÏÏÏ Î¿Î¹ μάÏÎºÎµÏ Gigaku[2] και Bugaku ÏÎ¿Ï Î®Î»Î¸Î±Î½ ÏÏην ÎαÏÏνία Ïον 6/7ο αιÏνα μÎÏÏ ÏÏν αÏÏαίÏν ÎÏÏμÏν ÏÎ¿Ï ÎεÏαξιοÏ, ÏÏν θεαÏÏικÏν ÏαÏαÏÏάÏεÏν Noh και ÏÏν ÏολεμικÏν ÏεÏνÏν Kobudo με Ïην 600ÏÏονη ÏαÏάδοÏή ÏÎ¿Ï Ï ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ με ÏαÏαÏÏάÏÎµÎ¹Ï ÏÏγÏÏÎ¿Î½Î¿Ï ÏοÏÎ¿Ï ÏÏÏÏ Ïο Butoh.ÎεγαλÏμÎνο Ïε Îνα ÏεÏιβάλλον λαÏÏÎµÎ¯Î±Ï ÏÎ·Ï ÏÏÏεÏÏ (ΣινÏοÏÏμÏÏ) ÏÏÎ¿Ï Ïα ÏάνÏα θεÏÏοÏνÏαι ÏÏ ÎµÎºÎ´Î®Î»ÏÏη ÏÎ¿Ï kami, και εÏηÏεαÏμÎνο αÏÏ Ïον ÎÎ¿Ï Î´Î¹ÏμÏ, Ïο βαÏÎ¹ÎºÏ ÏÏοιÏείο ÎµÎ´Ï ÎµÎ¯Î½Î±Î¹ η ÏÏ Î½ÎÏεια ÏÎ·Ï Î±ÏιεÏÏÏÎ¹ÎºÎ®Ï ÏαÏάδοÏÎ·Ï ÏαÏÏÏ ÎµÎ¼ÏÎ±Î½Î®Ï Î¼ÎÏα ÏÏη μοναδικά ιαÏÏνική μοÏÏή ÏÎ¿Ï Î£Î¹Î½Ïο-ÎÎ¿Ï Î´Î¹ÏÏÎ¹ÎºÎ¿Ï ÏÏ Î³ÎºÏηÏιÏÎ¼Î¿Ï ÏÎ¿Ï Ï ÏάÏÏει αÏÏ ÏÏÏε Ïον 7ο αιÏνα.
ð ÎμÏνεÏÏÎµÎ¹Ï ÏÎ¿Ï Î¼ÏοÏοÏν να ξεκλειδÏÏÎ¿Ï Î½ Ïο ÏÏμαÎÏ ÏÏ Ïο βιβλίο ÏαÏÎ¿Ï Ïιάζει ÏοÏία διανοηÏικά και ÏÏμαÏÎ¿Ï Ï ÏαÏμÎνα αÏÏ Â«Î¼Î±ÎºÏινή αλλά ÏÏενή ÎκÏÏαÏη ÏÎ¿Ï ÏÏμαÏοÏ»[3], για Ïα οÏοία 1400 ÏÏÏνια ιαÏÏνικÏν ÏαÏαÏÏαÏικÏν ÏεÏνÏν ÏÏηÏιμεÏÎ¿Ï Î½ ÏÏ ÏαÏάδειγμαâαÏÏ Gigaku/Bugaku ÎÏÏ Nogaku, Butoh, μÎÏÏι ÏÏγÏÏονο ÏοÏÏ, ακÏμη και ÏÏÎ¹Ï Î¼Î¹ÎºÏÎÏ ÏÎÏÎ½ÎµÏ ÏÎ¿Ï Î¸ÎµÎ¬Î¼Î±ÏοÏ.ÎλÏÎ¯Î¶Î¿Ï Î¼Îµ ÏÏι Ïα Σημάδια ÏÎ¿Ï ÎÏ Î»Î¿Ï [5] μÏοÏοÏν να ÏαÏÎÏÎ¿Ï Î½ αναλαμÏÎÏ Î±ÏοδείξεÏν για Ïην ανÏαλλαγή ÎναÏολήÏ-ÎÏÏÎ·Ï â ÏÎ¿Ï Ïηγαίνει ÏίÏÏ Î±Î¹ÏÎ½ÎµÏ â και Ïην μακÏά ιÏÏοÏία ÏÏν ιαÏÏνικÏν ÏαÏαÏÏαÏικÏν ÏεÏνÏν, ενÏÏÏ ÎµÏιδιÏκεÏο ÎÎ½Î±Ï Î´ÏÏÎ¼Î¿Ï ÏÏÎ¿Ï Ïη ÏÏÏιÏη ενÏÏμαÏÏμÎνη ÏÏα βαθιά ÏÏÏÏμαÏα ÏÎ¿Ï Î¹Î±ÏÏÎ½Î¹ÎºÎ¿Ï ÏολιÏιÏμοÏ.
ÎÏÏιÏεκÏÎ¿Î½Î¹ÎºÎµÏ ÏÏ ÏÏεÏίÏειÏ[10]ÎΡΧÎÎÎ ÎÎÎÎÎÎ ÎÎÎ ÎÎÎΣ HORYUJI
ΠναÏÏ Horyaji κÏίÏÏηκε ÏÏÎ¹Ï Î±ÏÏÎÏ ÏÎ¿Ï ÎÎ²Î´Î¿Î¼Î¿Ï Î±Î¹Ïνα. ÎάÏοÏε καÏαÏÏÏάÏηκε ολοÏÏεÏÏÏ Î±ÏÏ ÏÏ Ïκαγιά, αλλά ξανακÏίÏÏηκε ÏÏη ÏημεÏινή ÏÎ¿Ï Î¼Î¿ÏÏή μεÏÎ±Î¾Ï ÏÎ¿Ï ÏÎÎ»Î¿Ï Ï ÏÎ¿Ï ÎÎ²Î´Î¿Î¼Î¿Ï ÎºÎ±Î¹ ÏÏν αÏÏÏν ÏÎ¿Ï 8Î¿Ï Î±Î¹Ïνα. Î Haryfiji είναι Î±Ï Ïή Ïη ÏÏιγμή η ÏαλαιÏÏεÏη ξÏλινη καÏαÏÎºÎµÏ Î® ÏÏην ÎαÏÏνία και ÏιθανÏÏ Î¿ ÏαλαιÏÏεÏÎ¿Ï Î¾ÏÎ»Î¹Î½Î¿Ï Î½Î±ÏÏ ÏÏον κÏÏμο. ÎÎγεÏαι ÏÏ Ïνά ÏÏι οι Horyaii εÏηÏεάÏÏηκαν αÏÏ Ïην αÏÏαία ελληνική αÏÏιÏεκÏονική. Î ÏÏ Î¸Î± μÏοÏοÏÏε να μεÏαÏεÏθεί ο ελληνιÏμÏÏ Ïε Îναν Î²Î¿Ï Î´Î¹ÏÏÎ¹ÎºÏ Î½Î±Ï ÏÏην ÎÏÏ ÎναÏολή; ÎναμÏίβολα, για Îνα άÏομο ÏÎ¿Ï Ïο ακοÏει Î±Ï ÏÏ Î³Î¹Î± ÏÏÏÏη ÏοÏά, Î±Ï ÏÏ Î¸Î± ÏαινÏÏαν κάÏÏÏ Î±Î¼Ïίβολο. ΩÏÏÏÏο, είναι αλήθεια ÏÏι ο Horyiiji θεÏÏείÏαι ÏÎ¿Î»Ï ÎλληνικÏÏ. Îια διαÏομή ÏÏν ÏÏ Î»ÏνÏν ÏÎ¿Ï ÏÏηÏιμοÏοιοÏνÏαι ÏÏο Horyaii δείÏνει ÏÏι είναι ÏÏÏÎ¿Î³Î³Ï Î»Î¿Î¯. Îι κολÏνεÏ, δηλαδή, είναι ÏÏÏÎ¿Î³Î³Ï Î»ÎÏ ÎºÎ¿Î»ÏνεÏ. ΩÏÏÏÏο, δεν είναι ενÏελÏÏ ÎµÏ Î¸ÎµÎ¯ÎµÏ ÏÏήλεÏ. Το μÎÏο Ïημείο κάθε ÏÏÎ®Î»Î·Ï Ïείνει να καμÏÏ Î»ÏνεÏαι ÏÏÎ¿Ï Ïα ÎξÏ. ÎÏ ÏÏ ÎµÎ¯Î½Î±Î¹ ιδιαίÏεÏα αιÏθηÏÏ ÏÏÎ¿Ï Ï ÏÏ Î»ÏÎ½ÎµÏ ÏÎ·Ï Î ÏÎ»Î·Ï Churnon και ÏÎ¿Ï Kondo (ÎενÏÏική ÎÎ¯Î¸Î¿Ï Ïα). ΣÏην αÏÏιÏεκÏονική οÏολογία Î±Ï ÏÏ Î±Î½Î±ÏÎÏεÏαι ÏÏ dobari ÏÏα ιαÏÏνικά. ÎεÏικÎÏ ÏοÏÎÏ ÏÏηÏιμοÏοιείÏαι και ο Î´Ï ÏικÏÏ ÏÏÎ¿Ï ÎνÏαÏιÏ. ÎÏ Ïή η ÏεÏνική ÏÎ·Ï Î´Î¹Î¿Î³ÎºÏÏεÏÏ ÏÏο μÎÏο ÏÏν κιÏνÏν ÏαÏαÏηÏήθηκε εÏίÏÎ·Ï ÏÏην αÏÏαία ελληνική αÏÏιÏεκÏονική. Îενικά θεÏÏείÏαι ÏÏι Î±Ï Ïή η μÎÎ¸Î¿Î´Î¿Ï ÏÏηÏιμοÏοιήθηκε για να κάνει Ïο εξÏÏεÏÎ¹ÎºÏ Î¼Î¹Î±Ï ÎºÎ±ÏαÏÎºÎµÏ Î®Ï Î½Î± ÏαίνεÏαι οÏÏικά ÏÏαθεÏÏ. ÎÏ ÏÏ Ïήμαινε αÏÏικά ο ÏÏÎ¿Ï ÎνÏαÏιÏ. Î ÏÏÎ¿Ï Î±ÏÏικά ÏÏηÏιμοÏοιήθηκε για να αναÏεÏθεί ÏÏην αÏÏαία Î´Ï Ïική αÏÏιÏεκÏονική, αλλά ÎÏει εÏίÏÎ·Ï Î¼ÎµÏαÏÏαÏÏεί ÏÏα ιαÏÏνικά για να ÏεÏιγÏάÏει ÏÎ¹Ï ÏÏÎ®Î»ÎµÏ Horyuji. Î ÏάγμαÏι, οι ÏÏÎ®Î»ÎµÏ Horyuji Î¼Î¿Î¹Î¬Î¶Î¿Ï Î½ ÏÎ¿Î»Ï Î¼Îµ ÏÎ¹Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎÏ ÏÏήλεÏ. Îεν είναι λοιÏÏν ÏεÏίεÏγο ÏÎ¿Ï Î· διÏγκÏÏη ÏÏÎ¹Ï ÏÏÎ®Î»ÎµÏ ÏÎ¿Ï Horyuji αναÏÎÏεÏαι ÏÏ Ïνά ÏÏ ÎνÏαÏιÏ. ÎÏ ÏÎÏ Î¿Î¹ ÏÏÎ®Î»ÎµÏ ÎµÎ¯Î½Î±Î¹ ÏÎ¿Ï ÎºÎ¬Î½Î¿Ï Î½ ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Î½Î± λÎνε ÏÏι Ïο Horyuji εÏηÏεάÏÏηκε αÏÏ Ïην αÏÏαία Îλλάδα.
Σε κάθε ÏεÏίÏÏÏÏη, δεν Ï ÏάÏÏει Î»Î¬Î¸Î¿Ï Î½Î± αναÏÎÏÎ¿Ï Î¼Îµ ÏÏι Î±Ï Ïή η εÏμηνεία είναι ÎµÏ ÏÎÏÏ Î³Î½ÏÏÏή και αÏοδεκÏή. Î£Î¯Î³Î¿Ï Ïα Ï ÏάÏÏει κάÏι Ïε Î±Ï Ïή Ïην ιÏÏοÏία ÏÎ¿Ï ÏÏοÏελκÏει κÏÏμο. Îι' Î±Ï ÏÏ Î· δÏναμη ÏÎ¿Ï ÎºÎ±ÏÎÏει Î±Ï Ïή η ιÏÏοÏία, ÏαÏÏλο ÏÎ¿Ï Î±Î³Î½Î¿ÎµÎ¯Ïαι αÏÏ ÏÎ¿Ï Ï Î±ÎºÎ±Î´Î·Î¼Î±ÏκοÏÏ, ÏαÏαμÎνει ιÏÏÏ Ïή. ÎÏÏ ÏÎ¿Ï ÏÏοήλθε λοιÏÏν Î±Ï Ïή η εξήγηÏη; Î£Î¯Î³Î¿Ï Ïα οι ÏÎ¯Î¶ÎµÏ Î±Ï ÏÎ®Ï ÏÎ·Ï Î¹Î´ÎÎ±Ï Î¼Î¿Î¹Î¬Î¶ÎµÎ¹ να είναι ενδιαÏÎÏÎ¿Ï ÏεÏ. ÎÏ Ïή η θεÏÏία λÎγεÏαι γενικά ÏÏι είναι η ιδÎα ÏÎ¿Ï Ito Chuta, ενÏÏ Î¹ÏÏοÏÎ¹ÎºÎ¿Ï Î±ÏÏιÏεκÏονικήÏ. Î Ito Ïο ανÎÏεÏε για ÏÏÏÏη ÏοÏά ÏÏην εÏγαÏία ÏÎ¿Ï "Horyuji kenchikuron" (A Study of Horyuji Architecture, 1893). ÎÏ ÏÏ ÎµÏÏÏκειÏο να καÏαÏÏεί γενικÏÏ Î±ÏοδεκÏή δήλÏÏη ÏÎ¿Ï ÎÏÏεÏε να αναÏÎÏεÏαι ÏÏαν ÏÏολιάζαμε Ïην ÏÏγÏÏονη ιαÏÏνική αÏÏιÏεκÏονική. ÎÏ ÏÏηÏά μιλÏνÏαÏ, δεν είναι αÏολÏÏÏÏ ÏÏÏÏÏ Î½Î± ÏοÏμε ÏÏι Î±Ï Ïή η ιδÎα εÏινοήθηκε αÏοκλειÏÏικά αÏÏ Ïον Ito. Î Ishii Keikichi, ιÏÏοÏικÏÏ Î±ÏÏιÏεκÏονικήÏ, διακήÏÏ Î¾Îµ μια ÏαÏÏμοια θεÏÏία Ïε ÏÎ¿Î»Ï ÏÏογενÎÏÏεÏο ÏÏάδιο. ÎÏ Ïή η ιÏÏοÏία Î¼Î¹Î±Ï ÏÏοÏÎ´Î¿Ï ÏÏÎ¿Ï Ïην ÎναÏολή ÏÏοελθοÏÏα αÏÏ Ïον ÎλληνιÏÎ¼Ï ÎµÎ¯Ïε εÏίÏÎ·Ï ÏÏοÏαθεί ÏÏον Ito αÏÏ Ïον καλλιÏÎÏνη Okakura Tenshin. Îίναι η ÏÏαγμαÏεία Ites, ÏÏÏÏÏο, ÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ Ïιο διάÏημη για Ïη ÏÏ ÏÏÎÏιÏη ÏÏν κιÏνÏν Horyuji με Ïην αÏÏαία Îλλάδα. ÎÏαν ο Ito ÏÎ¿Ï Îκανε ÏÎ¿Ï Ï Î±Î½Î¸ÏÏÏÎ¿Ï Ï Î½Î± Ïο ÏÏ Î½ÎµÎ¹Î´Î·ÏοÏοιήÏÎ¿Ï Î½, ÏÎ¿Ï Î®Ïαν η ÏÏαγμαÏική Ïηγή Î±Ï ÏÎ®Ï ÏÎ·Ï Î¹ÏÏοÏίαÏ. ÎÏ ÏÎ¯Î¾Î¿Ï Î¼Îµ μια μαÏιά Ïε μεÏικά αÏÏ Ïα ÎÏγα ÏÎ¿Ï Ito ÏÏÏÎ¯Ï Î½Î± εξεÏάÏÎ¿Ï Î¼Îµ ÏÏαγμαÏικά ÏÎ¹Ï Î»ÎµÏÏομÎÏÎµÎ¹ÎµÏ ÏÎ·Ï Î¹ÏÏοÏÎ¯Î±Ï ÏÎ·Ï Î¸ÎµÏÏÎ¯Î±Ï ÏÎ¿Ï ....
ΠάÏοÏη ÏÎ¿Ï Ortolani για Ïο ÎαÏÏÎ½Î¹ÎºÏ Î¸ÎαÏÏο[15]ÎÏοια και αν είναι η άμεÏη ÏÏοÎÎ»ÎµÏ Ïη ÏÏν μαÏκÏν και ÏÏν ÏαÏαÏÏάÏεÏν gigaku, αÏκεÏά εÏÏÏήμαÏα ÏÏεÏικά με Ïην αÏομακÏÏ ÏμÎνη ÏÏοÎÎ»ÎµÏ Ïή ÏÎ¿Ï Ï ÏαÏαμÎÎ½Î¿Ï Î½ ανοιÏÏά. Îια μελÎÏη ÏÏν ÏαÏακÏηÏιÏÏικÏν ÏÏν μάÏÎºÎµÏ gigaku αÏοκαλÏÏÏει ÏÏι ανÏιÏÏοÏÏÏεÏÎ¿Ï Î½ μÏÎ¸Î¿Ï Ï ÎºÎ±Î¹ ÏÏÏÎ¿Ï Ï ÏÎ¿Ï ÏÎ¯Î³Î¿Ï Ïα δεν είναι κινÎζικοι. Îι μάÏÎºÎµÏ ÏÏοÏÏÏÎ¿Ï ÏαίνεÏαι να ÏÏ Î½Î´ÎονÏαι με Ïηn Î¾Ï Î»Î¿Î³Î»Ï ÏÏική ÏÎÏνη ÏÏν Î£ÎºÏ Î¸Ïν. Îι μάÏÎºÎµÏ ÎºÎµÏÎ±Î»Î®Ï ÎÏÎ¿Ï Î½ ÏÏοκαλÎÏει ÏολλÎÏ Î±ÏÏÏειÏÎµÏ Î¼Îµ ÏκοÏÏ Î½Î± αÏοδειÏθεί η ÏÏαÏξη Î¼Î¹Î±Ï Î³ÎÏÏ ÏÎ±Ï Î¼ÎµÏÎ±Î¾Ï ÏÎ¿Ï Î¸ÎµÎ¬ÏÏÎ¿Ï ÏÎ·Ï ÎÎ¯Î½Î±Ï ÎºÎ±Î¹ ÏÎ·Ï ÎαÏÏνίαÏ, και ÏÎ¿Ï Î¸ÎµÎ¬ÏÏÎ¿Ï ÏÎ·Ï ÎÎ»Î»Î¬Î´Î±Ï ÎºÎ±Î¹ ÏÎ·Ï Î¡ÏμηÏ, Ïε Ïλη Ïην ÎγγÏÏ ÎναÏολή και Ïην Îνδία. ΣÏην ÏÏαγμαÏικÏÏηÏα, μια ÏÏενή ÏÏγκÏιÏη ή κάÏÎ¿Î¹ÎµÏ Î¼Î¬ÏÎºÎµÏ gigiaku με ÏÏÎ¹Î¼ÎµÏ ÏÏμαÏκÎÏ ÎºÏμικÎÏ Î¼Î¬ÏÎºÎµÏ ÏαÏÎ¿Ï Ïιάζει μεÏικÎÏ ÎµÎ½ÏÏ ÏÏÏιακÎÏ Î¿Î¼Î¿Î¹ÏÏηÏεÏ. Îια Ï ÏÏθεÏη βλÎÏει ÏÏο εÏειÏÏδιο ÏÎ¿Ï Konron, ÏÏν Î³Ï Î½Î±Î¹ÎºÏν ÏÎ¿Ï Wu και ÏÎ¿Ï Rikishi μια μεÏαμÏÏÏÏÏη ενÏÏ ÎµÎ»Î»Î·Î½Î¹ÎºÎ¿Ï Î¼ÏÎ¸Î¿Ï .[17]
Î ÏοÏÏÏείο Gigaku ÏοÏ
Konron, 9Î¿Ï Î±Î¹.[19]ΣημειÏνεÏαι ÏÏι Ï ÏάÏÏÎ¿Ï Î½ δÏο αÏÏÎÏÏ Ïοι ÏαÏακÏήÏÎµÏ ÏαλαιÏÏÏν, ο KongÅ (éå) ή ο "Vajra- yaká¹£a" ÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ με Ïο ÏÏÏμα ανοιÏÏÏ, και ο Rikishi (å士) ÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ με κλειÏÏÏ ÏÏÏμα. ÎÏ Ïά Ïα δÏο λÎγεÏαι ÏÏι είναι ανάλογα με Ïα δÏο αγάλμαÏα ÏÎ¿Ï NiŠή ÏÏν ÏÏ Î»Î¬ÎºÏν ÏÏÎ»Î·Ï ÏÎ¿Ï Î±Î½ÏίÏÏοιÏα ÏÏημαÏÎ¯Î¶Î¿Ï Î½ Ïα ανοιÏÏά και κλειÏÏά ÏÏήμαÏα A-un ÏÏο ÏÏÏμα ÏÎ¿Ï Ï.Î ÎÏα και η ÎÏÎ¹Ï Î¸Î± ήÏαν Ïα ÏÏÏÏÏ Ïα για ÏÎ¹Ï Î³Ï Î½Î±Î¯ÎºÎµÏ ÏÎ¿Ï Wu, οι ÏάÏÏ Ïοι για Ïον Konron, ο ÎÏÎ±ÎºÎ»Î®Ï Î³Î¹Î± Ïον Rikishi. Î ÏιθανÏÏηÏα Î¼Î¹Î±Ï Î¼Î±ÎºÏÎ¬Ï Î³ÏÎ±Î¼Î¼Î®Ï ÎµÏιÏÏοÏν ÏÎ¿Ï ÎµÎºÏείνεÏαι αÏÏ Ïην ÎγγÏÏ ÎναÏολή ÎÏÏ Ïην ÎαÏÏνία â ÏÏÎ¿Ï ÏαξίδεÏαν νομαδικοί ÏÎ»Î·Î¸Ï Ïμοί ÏÎ¿Ï ÏÏ Î½Î´Ïαζαν Ïην Î´Ï Ïική ÏÎÏνη ÏÎ·Ï Î¾Ï Î»Î¿Î³Î»Ï ÏÏÎ¹ÎºÎ®Ï ÏÏοÏÏÏείÏν με Ïην ινδική Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î± και Ïην Î²Î¿Ï Î´Î¹ÏÏική ÏίÏÏη â ÏαÏαμÎνει ÏÏÏο ÏÏ Î½Î±ÏÏαÏÏική και ÏÏο η εκÏληκÏική ÏαÏÎ¿Ï Ïία Î¼Î¹Î±Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î¼Î¿Î½ÏελοÏοιήÏεÏÏ ÎµÎ½ÏÏ ÏÏ Î»Ïνα ÏÏον Î½Î±Ï Horyi.iji ÏÎ·Ï Nara, ή η Î±Î½Î±ÎºÎ¬Î»Ï Ïη ÏÏην ÎαÏÏνία ÏÎ¿Ï ÏÏεÏÏÏÎ¿Ï Î±Î»ÏÎ³Î¿Ï , ÏιθανÏÏ Î´Î¹Î±ÎºÎ¿ÏμηÏÎ¹ÎºÏ Î¸Îμα ÏÎ¿Ï Î Î·Î³Î¬ÏÎ¿Ï , Ïε διακοÏμηÏικά ÏÏÎδια ÏÏγÏÏονα ÏÎ¿Ï gigaku.[21]
ÎÎÎΦÎΡÎΣ - ΣÎÎÎÎΩΣÎÎΣ[1b1]. https://japan-authentic-heritage-init.... https://www.byzantinemuseum.gr/en/tem.... Miro Ito 2023.[2]. Tsaras, Chrysafidis, Giouzepas 2016, p. 51, n. 12. Î¥ÏάÏÏÎ¿Ï Î½ ÏολλÎÏ Î±Î½Î±ÏοÏÎÏ Î³Î¹Î± Ïην ÏÏοÎÎ»ÎµÏ Ïη ÏÏν μαÏκÏν ÏÎ¿Ï Î¸ÎµÎ¬ÏÏÎ¿Ï Noh ÏÎ¿Ï ÎµÏÏÎ¹Î¬Î¶Î¿Ï Î½ ÏÏην ομοιÏÏηÏα με ÏÎ¹Ï Î³ÎºÏοÏÎÏÎºÎµÏ ÎºÏμικÎÏ Î¼Î¬ÏÎºÎµÏ ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÏÏÎ¹ÎºÎ®Ï ÎµÏοÏήÏ. Î ÏημείÏÏη αναÏÎÏεÏαι ÏÏο: Benito Ortolani, International Bibliography of Theatre, 1985, Ïελ. 326.[3]. ΡηÏÏ ÏÎ¿Ï Ko Murobushi, ÏÎ¿Ï Î®Ïαν ÎÎ½Î±Ï ÎάÏÏÎ½Î±Ï ÏοÏÎµÏ ÏÎ®Ï ÎºÎ±Î¹ ÏοÏογÏάÏÎ¿Ï Î¸ÎµÏÏείÏο δε ÏÏ Î¿ κοÏÏ ÏÎ±Î¯Î¿Ï ÎºÎ»Î·ÏονÏÎ¼Î¿Ï ÏÎ¿Ï Î±ÏÏÎ¹ÎºÎ¿Ï Î¿ÏάμαÏÎ¿Ï ÏÎ¿Ï Butoh ÏÎ¿Ï Tatsumi Hijikata.[5]. ΠαÏÎ¿Ï ÏιάÏÏηκαν και ÏÏο ÎÎ»Î»Î·Î½Î¹ÎºÏ ÎÏ Î¶Î±Î½ÏÎ¹Î½Ï ÎºÎ±Î¹ ΧÏιÏÏÎ¹Î±Î½Î¹ÎºÏ ÎÎ¿Ï Ïείο![10]. Shoichi Inoue 2000, pp. 129-130.[15]. Ortolani 1990, p. 36.[17]. ΠμάÏκα (BM 1957,1120.1) είναι Î±Ï Ïή ÏÎ¿Ï Î²Î±ÏβάÏÎ¿Ï Konron, ο οÏÎ¿Î¯Î¿Ï ÏÏο δÏάμα ÏÏοÏÏαθεί αδÎξια να εÏÏÏοÏÏοÏήÏει με Ïην Ï ÏÎÏοÏη Go-Jo, ÏÏιγκίÏιÏÏα ÏÎ¿Ï ÎινÎÎ¶Î¹ÎºÎ¿Ï Î²Î±ÏÎ¹Î»ÎµÎ¯Î¿Ï ÏÎ¿Ï Wu. https://www.britishmuseum.org/collect... https://en.wikipedia.org/wiki/Gigaku}.... Gigaku Mask of a Konron, 9th century, Philadelpeia Museum of Art (Acc. Nr. F1918-2-1), <https://philamuseum.org/collection/ob.... Ortolani 1990, p. 36, n. 6. ΣημειÏνεÏαι εÏίÏÎ·Ï ÏÏι ÎμÏÏοÏθεν ÏÎ¿Ï Î½Î±Î¿Ï Tachibana-dera (Tachibana Temple) Ï ÏάÏÏει Îνα Ïάλκινο άγαλμα αλÏÎ³Î¿Ï ÏÎ¿Ï Î¿Î½Î¿Î¼Î¬Î¶ÎµÏαι Kurokoma (ÎαÏÏÎ¿Ï Î Î®Î³Î±ÏοÏ) ÏÎ¿Ï Î®Ïαν Ïο αγαÏημÎνο άλογο ÏÎ¿Ï Î¿ ShÅtÅku Taishi ÏÏηÏιμοÏοιοÏÏε για να ιÏÏεÏÏει Ïε διάÏοÏÎµÏ ÏοÏοθεÏÎ¯ÎµÏ Î³Î¹Î± να διαδÏÏει Ïον ÎÎ¿Ï Î´Î¹ÏμÏ. ÎÎγεÏαι εÏίÏÎ·Ï ÏÏι ο Î ÏίγκιÏÎ±Ï Ïήγαινε ÏÏ Ïνά με Î±Ï ÏÏ Ïο άλογο ÏÏην Ikaruga (ναÏÏ HÅryÅ«-ji) και ÏÏι Ïο άλογο είÏε Î¸Î±Ï Î¼Î±ÏÎ¿Ï ÏγÎÏ Î´Ï Î½Î¬Î¼ÎµÎ¹Ï, ÏÏ Î¼ÏεÏιλαμβανομÎÎ½Î·Ï ÏÎ·Ï Î¹ÎºÎ±Î½ÏÏηÏÎ±Ï Î½Î± ÏεÏάει. Îε Ïον ShÅtoku Taishi ÏÏην ÏλάÏη ÏÎ¿Ï , ο Kurokoma ÏÎÏαξε για ÏÏÎµÎ¹Ï Î·Î¼ÎÏÎµÏ ÎºÎ±Î¹ Ïε Ïλη Ïη ÏÏÏα, ÏÏÏÎ¯Ï Î½Î± ÎºÎ¿Ï ÏαÏÏεί. Î ShÅtoku Taishi ανήγειÏε Îνα ÏÎÏÏινο μνημείο γιά Ïο άλογο, Ïο οÏοίο ÏÏολίαÏε αÏγÏÏεÏα ο Î¼ÎµÎ³Î¬Î»Î¿Ï Î²Î¿Ï Î´Î¹ÏÏÎ®Ï Î¼Î¿Î½Î±ÏÏÏ KÅbÅ Daishi (774-835) καÏά Ïη διάÏκεια ÏÎ¿Ï ÏÎ±Î¾Î¹Î´Î¹Î¿Ï ÏÎ¿Ï ÏÏον Î½Î±Ï Tachibana. Îλ. <https://en.japantravel.com/nara/asuka....
ÎÎÎÎÎÎÎΡÎΦÎÎ
https://japan-authentic-heritage-init...
Miro Ito. 2023. Signs of the Intangible: Body-mind-scapes from 1400 years of performing arts in Japan
Signs of the Intangible, Japan Authentic Heritage Initiative.
https://www.jstor.org/stable/25791051
Shoichi Inoue. 2000. "Interpretation of Ancient Japanese Architecture: Focusing on Links with World History," Japan Review 12, International Conference: The Global Meaning of Japan: European and Asian Perspectives, pp. 129-143.
https://www.mukogawa-u.ac.jp/~iasu201..., G., E. Chrysafidis, D. Giouzepas. 2016. "Traditional Noh Theatre and Ancient Greek Tragedy: Comparative Study towards a common Performance," Archi-Cultural Interactions through the Silk Road. 4th International Conference, Mukogawa Womenâs University, Nishinomiya, Japan,July 16-18, 2016, Proceedings, ed.iaSU2016 JAPAN Publication Committee, pp. 49-52.
https://books.google.gr/books?id=ge8c..., B. 1990. The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism, Princeton University Press.
April 5, 2023
GENERAL DJEHUTY: AEGEAN - EGYPTIAN CONTACTS IN THE LBA
ΧΡΥΣΠΦÎÎÎÎ & ÎÎÎÎ Î ÎÎÎÎÎÎÎΤΠΤÎÎ¥ ΣΤΡÎΤÎÎÎÎ¥ Djehuty: ÎÎÎÎÎÎÎÎΣ ΣΥΣΧÎΤÎΣÎÎΣ, Î ÎÎΩΣΠΤÎΣ ΤΡÎÎÎΣ κ.α. ~ 1500 Ï.Χ.
ΠάÏÏ
ÏÎ¿Ï Harris 500[1]"ΠκαÏάληÏη ÏÎ·Ï ÎÏÏÏηÏ" είναι μια αÏÏαία Î±Î¹Î³Ï ÏÏιακή Î·Î¼Î¹Î¼Ï Î¸Î¹ÎºÎ® ιÏÏοÏία ÏÎ¿Ï ÏεÏιγÏάÏει Ïην καÏάκÏηÏη ÏÎ·Ï Î£Ï Ïο â ΠαλαιÏÏÎ¹Î½Î¹Î±ÎºÎ®Ï ÏÏλεÏÏ Yapu (ÎÏÏÏη - Joppa, ÏÏγÏÏονη ΧάιÏα / Τελ Îβίβ) αÏÏ Ïον Djehuty, ÏÏÏαÏÎ·Î³Ï ÏÎ¿Ï Thutmose III (1504-1450 Ï.Χ.). Το ÏÏζÏμενο ανÏίγÏαÏο ÏÎ¿Ï ÎºÎµÎ¹Î¼ÎÎ½Î¿Ï ÏεÏιλαμβάνεÏαι ÏÏον Papyrus Harris 500, Î±Ï Ïή δε η ιÏÏοÏία θεÏÏείÏαι ÏαÏαδοÏιακά ÏÏ Î¼Î¹Î± καθαÏÏÏ Î»Î¿Î³Î¿ÏεÏνική αÏήγηÏη ÏÎ·Ï ÎºÎ±ÏακÏήÏεÏÏ Î· οÏοία Îλαβε ÏÏÏαν ÏÏον αÏÏηÏο ÏÎ·Ï ÎµÎºÏÏÏαÏÎµÎ¯Î±Ï ÏÎ¿Ï Thutmose III ÏÏην Î£Ï Ïία. Î¥ÏήÏÏε, ÏÏÏÏÏο, ÎÎ½Î±Ï Î´Î¹Î¿Î¹ÎºÎ·ÏÎ®Ï ÏÏÏαÏÎµÏ Î¼Î¬ÏÏν ονÏμαÏι Djehuty ÏÎ¿Ï Ï ÏηÏεÏοÏÏε Ï ÏÏ Ïον Thutmose III. Îι ÏακÏικÎÏ ÏÎ¿Ï ÏÏηÏιμοÏοίηÏε ο Djehuty ÏÏην ιÏÏοÏία, ÏÏαν καÏÎλαβε Ïην εÏθÏική ÎÏÏÏη κÏÏβονÏÎ±Ï ÏÎ¿Ï Ï ÏÏÏαÏιÏÏÎµÏ ÏÎ¿Ï Ïε μεγάλα καλάθια - ÏÏÏο ÏÎ¹Î¼Î®Ï ÏÏον άÏÏονÏα,[2] ÏÏ Ïνά αναÏÎÏεÏαι ÏÏι Î¸Ï Î¼Î¯Î¶Î¿Ï Î½ Ïο εÏειÏÏδιο ÏÎ¿Ï ÎÎ´Ï ÏÏÎµÎ±ÎºÎ¿Ï ÎοÏÏÎµÎ¹Î¿Ï Î¯ÏÏÎ¿Ï ÎºÎ±Î¹ ÏÏην ιÏÏοÏία ÏÎ¿Ï "Ali Baba and the Forty Thieves" αÏÏ ÏÎ¹Ï ÎÏαβικÎÏ ÎÏκÏεÏ! ΩÏÏÏÏο, ÏαίνεÏαι ÏÏι Î±Ï Ïή η ιÏÏοÏία ÏÏοÏÏήÏÏε ÏÎ¿Ï Î»Î¿Î³Î¿ÏεÏÎ½Î¹ÎºÎ¿Ï ÏÎºÎ·Î½Î¹ÎºÎ¿Ï ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï ÏαÏαδÏÏεÏÏ ÎºÎ±Ïά ÏεÏιÏÏÏÏεÏο αÏÏ 200 ÏÏÏνια.[4]
ΧειÏÏγÏαÏη μινιαÏοÏÏα ÏοÏ
ÎοÏÏειοÏ
ίÏÏοÏ
ÏÏο ÏειÏÏγÏαÏο Vergilius Romanus ÏÏην Îινειάδα ÏοÏ
ÎιÏγίλιοÏ
, 5Î¿Ï Î±Î¹.[6]ΣημειÏνεÏαι ÏÏι ÏÏο ÎδαÏÎ¿Ï ÏÎ¿Ï ÏÏ Î³ÏÏÏÎ½Î¿Ï ÎÏÏαήλ είναι η ÎÏÏÏη - ΧάιÏα Ïο Î¼Î¿Î½Î±Î´Î¹ÎºÏ Ïημείο ÏÏÎ¿Ï Î´Î¹Î±Î´ÏαμαÏίζεÏαι ÎλληνικÏÏ Î¼ÏθοÏ, Î±Ï ÏÏÏ ÏÎ¿Ï Î ÎµÏÏÎÏÏ ÎºÎ±Î¹ ÏÎ·Ï ÎνδÏομÎδαÏ![8] Î ÏάγμαÏι η θÎÏη ÎµÏ ÏίÏκεÏο ÏÏην καÏδιά ÏÎ·Ï Î¦Î¹Î»Î¹ÏÏαÏÎºÎ®Ï ÏεÏιοÏήÏ, ÏÏÎ¿Ï ÎµÎ¯Ïε εγκαÏαÏÏαθεί Î±Ï ÏÏ Ïο ÎÎ¹Î³Î±Î¹Î±ÎºÎ®Ï ÏÏοελεÏÏεÏÏ ÏÏλο καÏά ÏÎ¹Ï Î¼ÎµÏακινήÏÎµÎ¹Ï ÏÏν ÎαÏν ÏÎ·Ï ÎάλαÏÏÎ±Ï Î»Î¯Î³Î¿ μεÏά Ïο 1200 Ï.Χ. ÎÏÏ Ïην ÎÏ ÎºÎ·Î½Î±Ïκή ÏεÏίοδο η ομÏÎ½Ï Î¼Î· αγγειοÏλαÏÏική Ï ÏήÏξε ÏÏην ÏεÏιοÏή ιδαίÏεÏα δημοÏιλήÏ,[10] ÏÏÏÏ ÎºÎ±Î¹ η ÎÏ ÏÏιακή και ÎÎ¹Î³Ï ÏÏιακή.[12] H ÏληθÏÏα ειÏαγÏμενÏν Î¼Ï ÎºÎ·Î½Î±ÏκÏν, ÎºÏ ÏÏιακÏν και Î±Î¹Î³Ï ÏÏιακÏν εμÏοÏÎµÏ Î¼Î¬ÏÏν Ï ÏοδηλÏÎ½Î¿Ï Î½ Ïον ÏÏλο ÏÎ¿Ï Î»Î¹Î¼Î±Î½Î¹Î¿Ï Ïε Î±Ï ÏÏ Ïο εμÏÏÏιο καÏά Ïη διάÏκεια Î±Ï ÏÎ®Ï ÏÎ·Ï ÏεÏιÏÎ´Î¿Ï . Î ÏάγμαÏι, Ïο λιμάνι ÏιθανÏÏαÏα λειÏÎ¿Ï ÏγοÏÏε και ÏÏ ÏÏÏαÏÎ·Î³Î¹ÎºÏ Ïημείο ανεÏοδιαÏÎ¼Î¿Ï Î³Î¹Î± ÏÎ¹Ï Î±Î¹Î³Ï ÏÏιακÎÏ Î´Ï Î½Î¬Î¼ÎµÎ¹Ï ÏÎ¿Ï ÎµÎºÏÏÏαÏεÏÎ¿Ï Î½ ÏÏο νÏÏιο ÎεβάνÏε. [image error] ÎÏ ÎºÎ·Î½Î±Î¹ÎºÏ ÎºÎµÏÎ±Î¼ÎµÎ¹ÎºÏ Î±Î³Î³ÎµÎ¯Î¿ ΥΠ(13/12 αι. Ï.Χ.) αÏÏ Ïην ÎÏÏÏη[12a]
Î ÏÏÏαÏηγÏÏ Djehuty ÏαίνεÏαι ÏÏι δεν ήÏαν ÏανÏαÏÏÎ¹ÎºÏ ÏÏÏÏÏÏο. Τον ÏειμÏνα ÏÎ¿Ï 1824, ο Bernardino Drovetti βÏήκε Ïον ενÏελÏÏ Î±ÏÏληÏο ÏάÏο ÏÎ¿Ï ÏÏη Saqqara. Σε Î±Ï ÏÎÏ ÏÎ¹Ï ÏÏÏÏÎµÏ Î¼ÎÏεÏ, η Î±Î¹Î³Ï ÏÏιακή αÏÏαιολογία ήÏαν ÏÏα ÏÏάÏγανα και μÏνο μεÏικÎÏ ÏημειÏÏÎµÎ¹Ï Î±ÏÏ ÏÎ¹Ï Î±Î½Î±ÏκαÏÎÏ Îγιναν ÏÏÏε. ΣήμεÏα, Ï ÏάÏÏÎ¿Ï Î½ μÏνο ÏÏνÏÎ¿Î¼ÎµÏ ÏεÏιγÏαÏÎÏ ÏÏν ÏεκμηÏίÏν, Î±Ï Ïά δε εν ÏÏ Î½ÎµÏεία ÏÏλήθηκαν Ïε διάÏοÏÎµÏ ÏÏ Î»Î»Î¿Î³ÎÏ Î¼Î¿Ï ÏείÏν Ïε Ïλο Ïον κÏÏμο και, ÏÏÎ¹Ï ÏεÏιÏÏÏÏεÏÎµÏ ÏεÏιÏÏÏÏειÏ, μÏοÏοÏν να αÏοδοθοÏν με βεβαιÏÏηÏα ÏÏον ÏάÏο ÏÎ¿Ï Djehuty μÏνον ÏÏαν ÏÎÏÎ¿Ï Î½ Ïο Ïνομά ÏÎ¿Ï . Τα ανÏικείμενα ÏÎ¿Ï Î²ÏÎθηκαν ÏÏον ÏάÏο ÏÎ¿Ï ÏÏÏαÏÎ·Î³Î¿Ï ÏεÏÎ¹Î»Î±Î¼Î²Î¬Î½Î¿Ï Î½ ÏÏÏ Ïή και αÏÎ³Ï Ïά Ïιάλη, και Ïα δÏο ÏήμεÏα ÏÏο ÎοÏβÏο, ÏÎÏÏεÏα κανÏÏικά αγγεία ÏÏÏα ÏÏη ΦλÏÏενÏία, Ïον ÏκαÏαβαίο ÏÎ·Ï ÎºÎ±ÏδιάÏ, Îνα ÏÏÏ ÏÏ Î²ÏαÏιÏλι ÏÏο Rijksmuseum ÏÎ¿Ï Leiden[13] και Ïο ξιÏίδιο ÏÎ¿Ï Djehuty ÏÏο Darmstadt. ΤίÏοÏα δεν είναι γνÏÏÏÏ Î³Î¹Î± Ïο ÏÎÏεÏÏο και Ïην μοÏμια ÏÎ¿Ï Djehuty, αν και αναÏÎÏθηκαν εν ÏÏ Î½Ïομία αÏÏ Ïον Drovetti.[14]
[image error] ΧÏÏ Ïή Ïιάλη ÏÎ¿Ï Djehuty (Louvre)
[image error] ÎÏÎ³Ï Ïά Ïιάλη ÏÎ¿Ï Djehuty (Louvre)[18]
ÎνιαÏÎÏον είναι ÏÏεÏικÏÏ Ïο ÏÏÏλιο ÏÎ·Ï Lilyquist αναÏοÏικά με Ïο ÏεκμήÏιο Louvre E 4886:[19].. ÎÏ' ÏÏον αÏοδεÏÏοÏμε ÏÏι ÏÏÏκειÏαι μάλλον γιά Ïιάλη και ÏÏι Ïινάκιο, ÏÏÏε μÏοÏοÏμε να αÏοκαλÎÏÎ¿Ï Î¼Îµ ομÏÎ±Î»Ï Ïο κενÏÏÎ¹ÎºÏ ÎºÎ¿Î¼Î²Î¯Î¿, ÏαÏακÏηÏιÏÏÎ¹ÎºÏ Ïο οÏοίο είναι νÎο ÏÏα ÎÎ¹Î³Ï ÏÏιακά αγγεία ÏÎ·Ï ÏεÏιÏÎ´Î¿Ï .[19_84] ÎάλιÏÏα ÏάÏÎ¿Ï Î±ÏÏ Ïο Lower Assasif ÏεÏιείÏε Ïιάλη με ομÏÎ±Î»Ï ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ ÏÏλο νÎο ÏÏην ÎÎ¯Î³Ï ÏÏο,[19_85] οÏÏÏε η ÏιθανÏÏηÏα ÏÎ·Ï Î¾ÎÎ½Î·Ï ÏÏοελεÏÏεÏÏ Î¼ÏοÏεί εÏίÏÎ·Ï Î½Î± εξεÏαÏÏεί για Ïην Ïιάλη και Î±Ï ÏÎ¿Ï ÏÎ¿Ï ÏάÏÎ¿Ï .[19_86] ΤÎÏÎ¿Î¹ÎµÏ ÏÎ¹Î¬Î»ÎµÏ Î±Î½Î±ÏαÏίÏÏανÏαι Ï Îµ ιδιÏÏÎ¹ÎºÏ ÏάÏο ÏÏÎ¹Ï ÎÎ®Î²ÎµÏ ÏÎ·Ï ÎµÏοÏÎ®Ï ÏÎ¿Ï Tuthmosis IV.[19_87]
ÎάλιÏÏα η ίδια εÏÎµÏ Î½Î®ÏÏια διαÏιÏÏÏνει ÏÏι Ï ÏάÏÏει μια ενÏÏ ÏÏÏιακή ομοιÏÏηÏα μεÏÎ±Î¾Ï ÏÎ¿Ï ÏÏδακα ÏÎ·Ï Î±ÏÎ³Ï ÏÎ¬Ï ÏÎ¹Î¬Î»Î·Ï ÎºÎ±Î¹ ÏÎ¿Ï Î±Î½ÏίÏÏοιÏÎ¿Ï Î¸ÎμαÏÎ¿Ï ÏÎ¿Ï Î´Î¹Î±ÎºÎ¿Ïμεί Ïην βάÏη ανάλογÏν ÏεÏÎ½Î¿Ï ÏγημάÏÏν ÏÎ¿Ï ÎηÏÎ±Ï ÏÎ¿Ï Tod,[19_103] καθÏÏ ÎºÎ±Î¹ μεÏομινÏικά ζÏγÏαÏιÏμÎνα αγγεία,[19_104] και αγγεία ÏÎ¿Ï ÏÏ Î¸Î¼Î¿Ï Yahudiyeh;[19_105]
ΠαÏακάÏÏ Î¼Î¬Î»Î¹ÏÏα η ίδια εÏÎµÏ Î½Î®ÏÏια θεÏÏεί: .. είναι ÏÏι Ïα ÏÏ Ïικά ÏÏοιÏεία ÏÎ¿Ï ÏÏ Î½Î´ÎονÏαι Ïε Îνα μοÏίβο εμÏανίζονÏαι ÎÎ¾Ï Î±ÏÏ Ïην ÎÎ¯Î³Ï ÏÏο νÏÏίÏεÏα αÏÏ Ïην εÏοÏή ÏÎ¿Ï Î¤Î¿ÏθμÏÏÎ·Ï ÎÎÎ, δηλαδή ÏÏη μεÏομινÏική κεÏαμική,[19_124] Ïε μια ενÏÏÏÏÏη ÏÏÏÎ±Î³Î¯Î´Î±Ï Î±ÏÏ Ïο εÏίÏεδο VII ÏÏο Alalakh,[19_125] και ÏÏην ÏαγενÏιανή Kerma.[19_126] Îι ÏÏ ÏικÎÏ Î±Î»Ï ÏÎ¯Î´ÎµÏ ÎµÎ¼ÏανίζονÏαι Ïε μια ÎºÏ Î»Î¹Î½Î´Ïική ÏÏÏαγίδα αÏÏ Ïο Ras Shamra,[19_127] και Ïε κεÏαμική Yahudiyeh αÏÏ Ïη ÎÏβλο[19_128] και Ïην ÎÏÏÏο.[19_129]
Îν ολίγοιÏ, Ïο αÏημÎνιο κÏÏελλο θα ήÏαν Ïο ÏαλαιÏÏεÏο διακοÏμημÎνο μεÏÎ±Î»Î»Î¹ÎºÏ ÏκεÏÎ¿Ï ÏÎ¿Ï Î®Ïαν γνÏÏÏÏ Î¼ÎÏÏι ÏήμεÏα αÏÏ Ïην ÎÎ¯Î³Ï ÏÏο
ΠιÏÏεÏεÏαι εÏίÏÎ·Ï ÏÏι Ïο δαÏÏÏ Î»Î¯Î´Î¹ Ashburnham, Ïο οÏοίο είναι "Îνα αÏÏ Ïα Ïιο ενÏÏ ÏÏÏιακά ÏεÏÎ½Î¿Ï ÏγήμαÏα Î±Î¹Î³Ï ÏÏÎ¹Î±ÎºÎ®Ï ÎºÎ¿ÏμημαÏοÏÎ¿Î¹Î¯Î±Ï ÏÎ¿Ï ÏÏοÏÏίθενÏαι ÏÏην εθνική ÏÏ Î»Î»Î¿Î³Î® [ÏÎ¿Ï ÎÏεÏÎ±Î½Î¹ÎºÎ¿Ï ÎÎ¿Ï ÏÎµÎ¯Î¿Ï ] ÎµÎ´Ï ÎºÎ±Î¹ Ïολλά ÏÏÏνια", ÏÏοήλθε εÏίÏÎ·Ï Î±ÏÏ Ïην ÏαÏή ÏÎ¿Ï ÏÏÏαÏÎ·Î³Î¿Ï Djehuty.
[image error] ΩοκÎÎ»Ï Ïο ÏολÏÏÏÏμο αγγείο ÏÎ·Ï ÏεÏιÏÎ´Î¿Ï MM IIa (Evans 1921, pl. 2A, ÎνÏÏÏÏ).
ÎαÏÏÏ
λίδι AshburnhamΤα αναθήμαÏα Ïα ÏÏ ÏÏεÏιζÏμενα με Ïον ÏÏÏαÏÎ·Î³Ï Djehuty ÎÏÎ¿Ï Î½ μελεÏηθεί αÏÏ Ïην Lilyquist, η οÏοία καÏÎληξε ÏÏο ÏÏ Î¼ÏÎÏαÏμα 'ÏÏι Ï ÏάÏÏει μια Î±Ï Î¸ÎµÎ½Ïική ομάδα ανÏικειμÎνÏν, εξαιÏÎ¿Ï Î¼ÎÎ½Î·Ï ÏÎ·Ï ÏÏÏ ÏÎ®Ï ÏιάληÏ, ÏÎ¿Ï Î±Î½Î®ÎºÎµ Ïε Îναν αξιÏμαÏοÏÏο ονÏμαÏι Djehuty ..'.[22]
[image error] ÎεÏο - ÎινÏικά αγγεία ÏÏÏÎ¿Ï ÎαμαÏÏν και ÏÏμα ÏαγενÏÎ¹Î±Î½Î®Ï Î±ÏÏ Ïην ÎÎÏμα[26]
ÎλλÏÏÏε ενδεικÏικÎÏ ÏÏν ÏÏÎÏεÏν μεÏÎ±Î¾Ï ÏÎ¿Ï ÎÎ¹Î³Î±Î¯Î¿Ï ÎºÎ±Î¹ ÏÎ·Ï ÎιγÏÏÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ οι αÏεικονίÏÎµÎ¹Ï Î±ÏεÏÏαλμÎνÏν ÏÏÎ¿Ï Ïην ÏÏÏα ÏÎ¿Ï ÎÎµÎ¯Î»Î¿Ï Î±ÏÏ Ïο αÏÏιÏÎλαγοÏ, οι οÏοίοι αÏεοκονίζονÏαι ÏÎÏονÏÎµÏ Î´ÏÏα! Î UroÅ¡ MatiÄ ÏημειÏνει ÏÏεÏικά:[30]Îι διÏλÏμαÏικÎÏ ÏÏÎÏÎµÎ¹Ï Î¼ÎµÏÎ±Î¾Ï ÏÎ·Ï Î±Î¹Î³Ï ÏÏÎ¹Î±ÎºÎ®Ï Î±Ï Î»Î®Ï ÏÎ·Ï 18Î·Ï Î´Ï Î½Î±ÏÏÎµÎ¯Î±Ï ÎºÎ±Î¹ ÏÏν ÏολιÏειÏν ÏÎ·Ï ÎÏοÏÎ®Ï ÏÎ¿Ï Î§Î±Î»ÎºÎ¿Ï ÏÏο Îιγαίο κεÏÎ´Î¯Î¶Î¿Ï Î½ ολοÎνα και μεγαλÏÏεÏη ÏÏοÏοÏή. ΠεÏγαÏία ÏÎ¿Ï ÎÏει γίνει μÎÏÏι ÏÏÏα για Ïον ÏÏÎ¿Î½Î¿Î»Î¿Î³Î¹ÎºÏ ÏÏ Î³ÏÏονιÏÎ¼Ï ÎÏει Î´Î·Î¼Î¹Î¿Ï ÏγήÏει μια ÏÏεÏικά ÏÏαθεÏή βάÏη για ÏεÏαιÏÎÏÏ ÏÏ Î¶Î·ÏήÏÎµÎ¹Ï ÏÏεÏικά με ÏÎ¹Ï ÎºÎ¿Î¹Î½ÏνικÎÏ ÏÏÎÏειÏ. Î ÏÏÎ»Î¿Ï ÏÏν ανÏικειμÎνÏν κÏÏÎ¿Ï Ï ÏÎ¿Ï ÏÏÎ¬Î½Î¿Ï Î½ αÏÏ Ïο Îιγαίο ÏÏην ÎÎ¯Î³Ï ÏÏο δεν ÎÏει λάβει Ïην ίδια ÏÏοÏοÏή. ÎÏ ÏÏ Î¿ÏείλεÏαι εν μÎÏει ÏÏο ÏÏι οι γνÏÏÎµÎ¹Ï Î¼Î±Ï Î³Î¹Î± Î±Ï Ïά Ïα ανÏικείμενα ÏεÏιοÏίζονÏαι ÏÏÎ¹Ï Î±Î¹Î³Ï ÏÏιακÎÏ Î¿ÏÏικÎÏ Î±Î½Î±ÏαÏαÏÏάÏÎµÎ¹Ï ÏÏÎ¿Ï Ï ÏάÏÎ¿Ï Ï ÏÏν αξιÏμαÏοÏÏÏν και ÏÏι ÏÏα ειÏαγÏμενα ανÏικείμενα ÎºÎ±Î¸Î±Ï Ïά. ÎÏ Ïή η εÏγαÏία θα ÏÏ Î¶Î·ÏήÏει ÏÎ¹Ï Î¼ÎµÏαμοÏÏÏÏικÎÏ Î¹ÎºÎ±Î½ÏÏηÏÎµÏ ÏÎ·Ï Î±Î¹Î³Ï ÏÏÎ¹Î±ÎºÎ®Ï ÎºÎ¿ÏμιÏÏηÏÎ±Ï Ïε ÏÏÎÏη με Ïα ξÎνα ανÏικείμενα κÏÏÎ¿Ï Ï ÎÎ¹Î³Î±Î¹Î±ÎºÎ®Ï ÏÏοελεÏÏεÏÏ ÏÎ¿Ï ÏÏÎ¬Î½Î¿Ï Î½ ÏÏα ÎÎ¹Î³Ï ÏÏιακά ανάκÏοÏα ÏÎ·Ï 18Î·Ï Î´Ï Î½Î±ÏÏείαÏ. Î ÏÏÏα ÏÏÎÏει να καÏανοήÏÎ¿Ï Î¼Îµ Ïα εικονογÏαÏικά ÏαινÏμενα μεÏαÏοÏάÏ, Ï Î²ÏιδιÏÎ¼Î¿Ï ÎºÎ±Î¹ Î´Î·Î¼Î¹Î¿Ï ÏγικÏÏηÏÎ±Ï ÏÏον ÎÎ¹Î³Ï ÏÏÎ¹Î±ÎºÏ ÎµÎ¹ÎºÎ±ÏÏÎ¹ÎºÏ ÏολιÏιÏÎ¼Ï ÎºÎ±Î¹ μÏνο ÏÏÏε μÏοÏοÏμε να ÏÏοÏÏαθήÏÎ¿Ï Î¼Îµ να διαβάÏÎ¿Ï Î¼Îµ οÏοιαδήÏοÏε ιÏÏοÏική ÏÏαγμαÏικÏÏηÏα ÏίÏÏ Î±ÏÏ Î±Ï Ïά. ÎÏ ÏÎÏ Î¿Î¹ μεÏαμοÏÏÏÏικÎÏ Î±Î½Î±ÏαÏαÏÏαÏικÎÏ Î´Î¹Î±Î´Î¹ÎºÎ±ÏÎ¯ÎµÏ ÎµÎ¯Î½Î±Î¹ καθοÏιÏÏικÎÏ Î³Î¹Î± Ïην καÏανÏηÏη ÏÎ·Ï ÏÏÏÏληÏÎ·Ï ÎºÎ±Î¹ ÏÎ·Ï Î¼Î½Î®Î¼Î·Ï ÏÏν ανÏικειμÎνÏν ÏÎ¿Ï ÎÎ¹Î³Î±Î¯Î¿Ï . Î Î¯Î´Î¹Î¿Ï ÎµÏÎµÏ Î½Î·ÏÎ®Ï ÏημειÏνει:[32]Îίναι ενδιαÏÎÏον ÏÏι ξεκινÏνÏÎ±Ï Î±ÏÏ Ïον ÏάÏο ÏÎ¿Ï Useramun ÏÎ¿Ï ÏÏονολογείÏαι ÏÏην ÏÏÏιμη βαÏιλεία ÏÎ¿Ï Thutmose III, ÏÏÎ¿Ï ÏÏÏÏοεμÏανίζονÏαι Ïα ÏÏ Ïά με κεÏάλι γÏÏÏα, οι ζÏγÏάÏοι άÏÏιÏαν να αÏÎµÎ¹ÎºÎ¿Î½Î¯Î¶Î¿Ï Î½ ÏÎ¹Ï Î¼Î¿ÏÏÎÏ ÏÏν αÏεÏÏαλμÎνÏν ÏÎ¿Ï ÎÎ¹Î³Î±Î¯Î¿Ï Î¼Îµ ÏÏείÏÎµÏ (μÏοÏκλεÏ) ÏÏο μÎÏÏÏÏ ÏÎ¿Ï Ï (Îικ. 3 & 5) και ÏÏην κοÏÏ Ïή ÏÎ¿Ï ÎºÎµÏÎ±Î»Î¹Î¿Ï ÏÎ¿Ï Ï ÏÏÎ¿Ï Ï Î¼ÎµÏαγενÎÏÏεÏÎ¿Ï Ï ÏάÏÎ¿Ï Ï (F
ΣÎÎÎÎΩΣÎÎΣ
[1]. Papyrus, Museum number EA10060 <https://www.britishmuseum.org/collect.... Kelder 2022. ΠεÏÎµÏ Î½Î·ÏÎ®Ï Î³ÏάÏει: ÎκÏÏÏ Î±ÏÏ ÏÎ¹Ï Î¹ÎºÎ±Î½ÏÏηÏÎÏ ÏÎ¿Ï Î¼Îµ Ïο ÏÏξο, Ïο διάÏημο ÏÎÏναÏμά ÏÎ¿Ï Î¼Îµ Ïον ÎοÏÏειο ίÏÏο μοιάζει ενÏÏ ÏÏÏιακά με Ïην Î±Î¹Î³Ï ÏÏιακή ιÏÏοÏία ÏÎ¿Ï ÏÏÏαÏÎ·Î³Î¿Ï Djehuty, ο οÏÎ¿Î¯Î¿Ï Ï ÏηÏεÏοÏÏε Ï ÏÏ Ïον Thutmose III και αναÏÎÏεÏαι ÏÏι καÏÎλαβε Ïην εÏθÏική ÏÏλη ÏÎ·Ï ÎÏÏÏÎ·Ï ÎºÏÏβονÏÎ±Ï ÏÎ¿Ï Ï ÏÏÏαÏιÏÏÎµÏ ÏÎ¿Ï Ïε μεγάλα καλάθια. ÏÏοÏÏÎÏεÏαι ÏÏον άÏÏονÏα ÏÎ·Ï ÏÏÎ»Î·Ï ÏÏ ÏÏÏο ÏιμήÏ.[4]. ÎικιÏαίδεια, s.v. ΠκαÏάληÏη ÏÎ·Ï ÎÏÏÏηÏ: ÏÏγÏÏονη Yaffa.[6]. RomanVirgilFolio101r.jpg[8]. Yudin 2012.[10]. Guzowska and Yasur-Landau 2005.[12]. Burke et al. 2017.[12a]. https://www.christies.com/en/lot/lot-.... A gold bracelet inscribed with the prenomen of pharaoh Thutmose III found in General Djehuty's intact tomb. This object belonged to General Djehuty's funerary treasures and is now located in the Rijksmuseum van Oudheden at Leiden in the Netherlands. Djehuty was famous in Ancient Egyptian Egyptian literature for capturing the city of Joppa on Thutmose III's behalf by resorting to subterfuge. The Egyptian hieroglyphic inscription: Ntr-Nfr Mn-kheper-Ra Di-Ankh God-Beautiful-(Wonderful) Men-Kheper-Ra-(Thutmose III) Given-Life (see Talk page)[14]. ÎικιÏαίδεια, s.v. Djehuty (general).
[18]. Furutani 2017, fig. 2. Photo of Louvre E 4886 <https://collections.louvre.fr/en/ark:.... Lilyquist 1988, p. 17, nn. 84-87.[19-84]. Lilyquist 1988, n. 84. Îνάλογα ÏεÏÎ½Î¿Ï ÏγήμαÏα ÏÏοÎÏÏονÏαι αÏÏ Ïην ÎγγÏÏ ÎναÏολή και Ïο Îιγαίο.[19-85]. Lilyquist 1988, n. 85. ÎÏιθανÏÏ Îιγαιακή η καÏαγÏγή ÏÎ¿Ï ÏεÏÎ½Î¿Ï ÏγήμαÏοÏ![19-86]. Lilyquist 1988, n. 86.[19-87]. Lilyquist 1988, n. 87.[19-88]. Lilyquist 1988, n. 88.[19_103]. Lilyquist 1988, p. 19, n. 103. Îια Ïην Îιγαιακή ÏÏ ÏÏÎÏιÏη ÏÎ¿Ï Î¸Î·ÏÎ±Ï ÏÎ¿Ï Î²Î». ÎονιδάÏη (ÎονιδάÏÎ·Ï 2022, άÏθÏο 12.3, Ïελ. 193 κ.ε.).[19_104]. Lilyquist 1988, p. 19, n. 104. Îλ. Ïο αγγείο ÏÏÏÎ¿Ï 'κÎÎ»Ï ÏÎ¿Ï Î±Ï Î³Î¿Ï' ÏαÏαÏάνÏ![19_105]. Lilyquist 1988, p. 19, nn. 105.[19_125]. Lilyquist 1988, p. 20, n. 125.[19_126]. Lilyquist 1988, p. 20, n. 126.[19_127]. Lilyquist 1988, p. 20, n. 127.[19_128]. Lilyquist 1988, p. 20, n. 128.[19_129]. Lilyquist 1988, p. 20, n. 129.[22]. Lilyquist 1998, p. 5.[26]. Stevenson Smith 1965, fig. 20b.[30]. UroÅ¡ MatiÄ 2019.[32]. UroÅ¡ MatiÄ 2019, p. 658.ÎÎÎÎÎÎÎΡÎΦÎÎKelder, J. M. 2022. "From Thutmose III to Homer to Blackadder: Egypt, the Aegean, and the 'Barbarian Periphery' of the Late Bronze Age World System,"in Egypt and the Classical World: Cross-Cultural Encounters in Antiquity, <https://www.getty.edu/publications/eg... (11 March 2023).
https://metmuseum.academia.edu/christ..., C. 1988. "The Gold Bowl Naming General Djehuty: A Study of Objects and Early Egyptology," Metropolitan Museum Journal 23, pp. 5-68.
https://www.jpost.com/travel/around-i... Yudin. 2012. "Off the Beaten Track: Perseus must die," Jerusalem Post, <https://www.jpost.com/travel/around-i... (11 March 2023).
Guzowska, M. and A. Yasur-Landau. 2005. "Along the Yarkon River: Trade and Consumption of Mycenaean Pottery from Jaffa to Aphek," in EMPORIA: Aegaeans in Central and Eastern Mediterranean (10th International Aegaean Conference, Aegaeum 25)â, ed. R. Laffineur and E. Greco.
https://www.ancientportsantiques.com/..., A., S. Wachsmann, S. Avnaim - Katav, R. K. Dunn, K. Kowalski, G. A. Pierce, and M. Peilstöcker. 2017. "Jaffaâs ancient inland harbor: historical, cartogr aphic, and geomorphological data," in The History and Archaeology of Jaffa (Monumenta Archaeologica 41), ed. A. A . Burke, K. Strange Burke, and M. Peilstöcke, Los Angeles, pp. 89-112.
https://www.academia.edu/35373421/Mis...
Furutani, J. K. 2017. "Miscellaneous Historical Aspects of the Taking of Joppa Together with An Edition and Grammatical Commentary on Both The Taking of Joppa and Louvre N713, NMC 1210.
https://archive.org/details/smithinte...
Stevenson Smith, W. 1965. "Interconnections in the Ancient NearEast, New Haven. fig. 20b. https://archive.org/.../smithinterco.......
ÎονιδάÏηÏ, Î. Î. 2022. Î ÏÏÏÎ¹Î¼Î¿Ï ÎÎ¹Î³Ï ÏÏιακÏÏ ÏολιÏιÏμÏÏ ÎºÎ±Î¹ οι αλληλεÏιδÏάÏÎµÎ¹Ï Î¼Îµ Ïο Îιγαίο (β' Îκδ.), Îθήνα.
https://www.researchgate.net/publicat...¡ MatiÄ. 2019. "Memories into Images: Aegean and Aegean-like Objects in New Kingdom Egyptian Theban Tombs," Cambridge Archaeological Journal 29(4), pp. 1-17.
Î ÎÎÎΠΠΡÎΣΦÎΤÎΣ ÎÎÎ ÎÎΥΤÎΣÎÎΣ - ÎÎ ÎÎÎÎÎÎÎ: 060423
April 4, 2023
THE ART OF AJANTA AND SOPOCANI: COMPARATIVE STUDY
ΠΤÎΧÎΠΤΩΠÎÎÎ¥ÎÎΣΤÎÎΩΠΣΠÎÎÎÎΩΠAJANTA & ΤÎΣ ÎΡÎÎÎÎÎÎΣ ÎÎÎÎΣ ΣÎÎ ÎΤΣÎÎΠΣÎΡÎÎÎΣ: ΣΥÎÎΡÎΤÎÎÎ ÎÎÎÎΤÎ
Το 1881, ÎÎ½Î±Ï ÎÏεÏανÏÏ Î¹ÏÏοÏικÏÏ ÏÎÏÎ½Î·Ï Î¿Î½ÏμαÏι A. Evans ÏÏοκάλεÏε αίÏθηÏη ÏÏÎ¿Ï Ï ÎºÎ±Î»Î»Î¹ÏεÏνικοÏÏ ÎºÏÎºÎ»Î¿Ï Ï Î´Î·Î¼Î¿ÏιεÏονÏÎ±Ï Î¼Î¹Î± ÏειÏά άÏθÏÏν για Ïη ÎÏ Î¶Î±Î½Ïινή μεÏαιÏνική ÏÎÏνη. ÎÏÏÏ ÏίÏÏηκε ÏÏι αγνοÏνÏÎ±Ï ÎºÎ±Î½ÎµÎ¯Ï Ïα κÏÏ Î¼Î¼Îνα αÏιÏÏÎ¿Ï ÏγήμαÏα ÏÏην ΧεÏÏÏνηÏο ÏÎ¿Ï ÎÎ¯Î¼Î¿Ï Î´ÎµÎ½ θα μÏοÏοÏÏε ÏÏαγμαÏικά να καÏανοήÏει Ïην αναγεννηÏιακή ÏÎÏνη ÏÎ·Ï ÎÏÎ±Î»Î¯Î±Ï ÎºÎ±Î¹ ÏÏ Î½ÎκÏινε Ïον Îγγελο ÏÎ·Ï ÎναÏÏάÏεÏÏ, μια λεÏÏή ÏοιÏογÏαÏία ÏÎ¿Ï Î´Î·Î¼Î¹Î¿Ï Ïγήθηκε αÏÏ Îναν ΣÎÏβο καλλιÏÎÏνη ÏÏο Îβαείο ÏÎ¿Ï ÎιλÎÏεβο ÏÎ¿Ï 13Î¿Ï Î±Î¹Ïνα, με Ïο Ïα καλÏÏεÏα ÎÏγα ÏÎ¿Ï ÎιÏαήλ ÎÎ³Î³ÎµÎ»Î¿Ï .[N0]
ΠΠαÏαÏÏαÏÏÎ¿Ï ÏημειÏνει:[N0A1] Î ÎÏ Î¶Î±Î½Ïινή ÎναγÎννηÏη ήÏαν μια ÏÏαδιακή εξÎλιξη ÏÎ¿Ï Îλαβε ÏÏÏα μεÏÎ±Î¾Ï ÏÏν εÏÏν 1204 και 1265 και ÏÎ¿Ï ÏημειÏθηκε, ÏÏÏÏ Î®Î´Î· αναÏÎÏθηκε, Ïε μια ÏεÏίοδο Î·Î¸Î¹ÎºÎ®Ï ÎºÏίÏεÏÏ ÏÎ¿Ï ÎθεÏε Ï ÏÏ Î±Î¼ÏιÏβήÏηÏη ÏÎ¹Ï Î±Î¾Î¯ÎµÏ ÏÎ·Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï ÎºÎ¿Î¹Î½ÏνίαÏ. ΣÏην SopoÄani, ο κλαÏικιÏμÏÏ ÎºÏ ÏιάÏÏηÏε ÏλήÏÏÏ ÏÏην ÏÏοηγοÏμενη καλλιÏεÏνική ÎκÏÏαÏη και ÏÎÏÏ Ïε Îναν Î²Î±Î¸Î¼Ï Î¼Î¿Î½ÏεÏνιÏÎ¼Î¿Ï Î¼Îµ Ïην Îννοια ÏÎ·Ï Î¹ÏÎ±Î»Î¹ÎºÎ®Ï ÎναγεννήÏεÏÏ ÏÎ¿Ï ÎºÎ±Î½Îνα άλλο μνημείο Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï Î® Î´Ï ÏÎ¹ÎºÎ®Ï ÏÎÏÎ½Î·Ï Î´ÎµÎ½ είÏε εÏιÏÏÏει. Îκεί ήÏαν ÏÎ¿Ï Î· αναβίÏÏη ÏÎ·Ï Î±ÏÏÎ±Î¯Î±Ï ÏÎÏÎ½Î·Ï ÎÏÏαÏε Ïε μια κοÏÏÏÏÏη ÏÎ¿Ï Î´ÎµÎ½ ÎÏει ξεÏεÏαÏÏεί ÏοÏÎ. ΠεÏανακαÏάληÏη αÏÏ ÏÎ¿Ï Ï ÎÏ Î¶Î±Î½ÏινοÏÏ ÏÎ·Ï ÎÏνÏÏανÏÎ¹Î½Î¿Ï ÏÏÎ»ÎµÏ Ïο 1261 ÏημαÏοδÏÏηÏε μια νÎα ενίÏÏÏ Ïη ÏÏν ÏαÏαδοÏιακÏν Î²Ï Î¶Î±Î½ÏινÏν αÏαιÏήÏεÏν ÏÏεÏικά με Ïην εικÏνα. ΠαναγÎννηÏη κοÏÏ ÏÏθηκε ÏÏην SopoÄani. ÎÏÏ ÎµÎºÎµÎ¯ και ÏÎÏα, Ïα κλαÏικά ÏÏοιÏεία ÏοÏοθεÏοÏνÏαι ÏÏο ÏλαίÏιο ενÏÏ ÏαÏαδοÏÎ¹Î±ÎºÎ¿Ï ÏÏ ÏÏήμαÏÎ¿Ï ÏÎ¿Ï ÏαÏακÏηÏίζεÏαι αÏÏ Ïην αÏαίÏεÏη και Ïον ιδεαλιÏÎ¼Ï ÏÏν μοÏÏÏν και ÏÎ¿Ï ÏÏÏÎ¿Ï . ÎÏγÏÏεÏα, Ïο δεÏÏεÏο μιÏÏ ÏÎ¿Ï 14Î¿Ï Î±Î¹Ïνα ÏημαÏοδοÏείÏαι με Ïη νίκη ÏÎ¿Ï Î . 198-199: ÎÏÏÏ ÎÏει εÏιÏημανθεί 46, ÎµÎ½Ï ÏÏο SopoÄani οι λεÏÏομÎÏÎµÎ¹ÎµÏ Î¼Î¹Î±Ï ÏÎºÎ·Î½Î®Ï ÏÏημαÏÎ¯Î¶Î¿Ï Î½ μια οÏγανική ενÏÏηÏα ÏÏÎ¿Ï ÏίÏοÏα δεν μÏοÏεί να ÏÏοÏÏεθεί ή να αÏαιÏεθεί, Ïε ανÏίθεÏη, ÏÏη Îονή ÏÎ·Ï Î§ÏÏÎ±Ï ÎµÎ¹Î´Î¹ÎºÏÏεÏα, αλλά και ÏÏην ÏαλαιολÏγεια ζÏγÏαÏική γενικÏÏεÏα, Î ÏÏνδεÏη με Ïην ÎÏÏαιÏÏηÏα ÏÏαγμαÏοÏοιείÏαι με δÏο ÏÏÏÏÎ¿Ï Ï: ÏÏÏÏον, μια λεÏÏομÎÏεια ανÏιγÏαμμÎνη αÏÏ Î±ÏÏαίο ÎÏγο ή μεÏαγενÎÏÏεÏο ανÏίγÏαÏÏ ÏÎ¿Ï ÎµÎ¹ÏάγεÏαι Ïε μια ÏÏνθεÏη βαÏικά Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï Î´Î¿Î¼Î®Ï. ΠλεÏÏομÎÏεια εμÏανίζεÏαι ÎÏÏι ÏÏ Î±ÏÏÏÏαÏμα Ïε Îνα κείμενο. Îια ÏαÏάδειγμα, ÏÏη Ïκηνή ÏÎ¿Ï ÎÎ¬Î¼Î¿Ï ÏÏην Îανά ÏÏη Îονή ΧÏÏÎ±Ï (εικ. 20), Ïο εÏειÏÏδιο ÏÎ¿Ï Ï ÏηÏÎÏη ÏÎ¿Ï ÏÏάζει Îνα μοÏÏάÏι είναι ελληνιÏÏÎ¹ÎºÎ®Ï ÏÏοÎÎ»ÎµÏ ÏηÏ.
ÎÏÏ Ïην άλλη ο Om Datt Upadhya ÏÏο μνημειÏÎ´ÎµÏ ÎÏγο ÏÎ¿Ï The Art of Ajanta and Sopocani ÏημειÏνει:[N0A2]ΠαιÏθηÏική ÏÎ·Ï ÎÎ½Î´Î¿Ï Î¹ÏÏÎ¹ÎºÎ®Ï 'ÏÎ½Î¿Î®Ï / αÏÏαÏ' (Pauranic Prana) διαθÎÏει μια Ïιο αÏνή αÏÏÏÏÏÏη διαÏοÏεÏική αÏÏ ÎµÎºÎµÎ¯Î½Î·Î½ ÏÎ·Ï Î²Î¹ÏαλιÏÏÎ¹ÎºÎ®Ï Î±Î¹ÏθηÏικήÏ, με Ïην ÏÏÏÏη να ÎÏει ÏÏ Î¸Î¼Ï ÏÎ¿Ï ÏÏÏÎ¿Ï 'ανÏÎ´Î¿Ï - καθÏÎ´Î¿Ï ' (Ksaya-Vrddhi - μείÏÏη και αÏξηÏη) διαÏοÏεÏικÏν αÏÏ Î±Ï Ïήν ÏÎ·Ï Î²Î¹ÏαλιÏÏÎ¹ÎºÎ®Ï Î±Î¹ÏθηÏÎ¹ÎºÎ®Ï Î· οÏοία δίδει ÎμÏαÏη ÏÏον ÏÏ Î¸Î¼Ï / ÏάÏη ÏÎ·Ï Î±Î½Î±ÏÏÏξεÏÏ / Î±Ï Î¾Î®ÏεÏÏ. ÎÏ Ïή η αιÏθηÏική ÏεÏιγÏάÏεÏαι ÏÏην ÏαÏοÏÏα μελÎÏη με ÏαÏαδείγμαÏα αÏÏ Î´Ïο αÏÏ Ïα καλλίÏεÏα μνημεία ÏÎÏÎ½Î·Ï ÏÏον κÏÏμο: ÏÏν ÏÏηλαίÏν Ajanta (Îνδία), ÏÎ¿Ï Î®Î´Î· είναι γνÏÏÏά ακÏμη και ÏÏον Ïιο αÏÎ»Ï Î³Î½ÏÏÏη, και ÏÎ¿Ï Î¼Î¿Î½Î±ÏÏηÏÎ¹Î¿Ï ÏÏην Sopocani (ÎÎ¹Î¿Ï Î³ÎºÎ¿Ïλαβία), Ïο Ïιο ÏημανÏÎ¹ÎºÏ ÎºÎ±Î¹ μνημειÏÎ´ÎµÏ ÎÏγο ÏÎ·Ï ÎÏ Î¶Î±Î½ÏÎ¹Î½Î®Ï ÏÎÏνηÏ. ÎνιÏνεÏονÏÎ±Ï Ïην αιÏθηÏική Prana ÏÏ Ïην αιÏθηÏική ÏÎ¿Ï ÎµÏÏÏεÏÎ¹ÎºÎ¿Ï ÏÏÏÏÏ ÏÎ¿Ï ÎºÏδικοÏοιήθηκε ÏÏην ÏÏ Ïική / άνθινη διακÏÏμηÏη (creeper-motif) αÏÏ ÏÎ¿Ï Ï ÎºÎ±Î»Î»Î¹ÏÎÏÎ½ÎµÏ ÏÏν ÏÏηλαίÏν Ajanta, Î±Ï ÏÏ Ïο ÎÏγο δίνει ÎμÏαÏη ÏÏην αÏοκÏδικοÏοίηÏη ÏÎ¿Ï Î¯Î´Î¹Î¿Ï Î´Î¹Î±ÎºÎ¿ÏμηÏÎ¹ÎºÎ¿Ï Î¸ÎμαÏÎ¿Ï Î±ÏÏ ÏÎ¿Ï Ï ÎÏ Î¶Î±Î½ÏινοÏÏ ÎºÎ±Î»Î»Î¹ÏÎÏÎ½ÎµÏ Î¼Îµ αÏοκοÏÏÏÏμα ÏÎ¹Ï ÏοιÏογÏαÏÎ¯ÎµÏ ÏÎ¿Ï Î¼Î¿Î½Î±ÏÏηÏÎ¹Î¿Ï Sopocani ÏÎ¿Ï Îγιναν ÏÏμÏÏνα με Ïην ÎλληνιÏÏική - ÎÏ Î¶Î±Î½Ïινή αιÏθηÏική Ïην μακαÏιζÏμενη αÏÏ Ïον διαλογιÏÎ¼Ï ÏÏν εÏημιÏÏν - ηÏÏ ÏαÏÏÏν, ο οÏÎ¿Î¯Î¿Ï ÎºÎ±Î¸ÏÎ»Î¿Ï Î¬Î³Î½ÏÏÏÎ¿Ï Î´ÎµÎ½ ήÏαν μεÏÎ±Î¾Ï ÏÏν ÎÎ¿Ï Î´Î¹ÏÏÏν. Î£Ï Î³ÎºÏίÏÎµÎ¹Ï Î´Î¹Î±ÏÏÏÏν καθοÏιÏÏικÏν ÏÏÏ ÏÏν, αιÏθηÏικÏν και καλλιÏεÏνικÏν ÏÏ Î¼Î²Î¬ÏεÏν και ÏεÏιοÏιÏμÏν ÏÎ¿Ï Î´ÎµÎ½ εÏιÏÏÎÏÎ¿Ï Î½ ÏαÏÏμοια ολοκλήÏÏÏη διεÏÎµÏ Î½ÏνÏαι καÏάλληλα για να ÏεκμηÏιÏθεί η θÎÏη ÏÏι η Prana-αιÏθηÏική εμÏανίζεÏαι ÏÏην Ajanta αλλά μεÏÎ¿Ï ÏιÏνεÏαι ÏÏην Sopocani. Î ÏημαÏία ÏÏν αναβολικÏν ÏÏÏ ÏÏν Î±Ï ÏÎ®Ï ÏÎ·Ï Î±Î¹ÏθηÏÎ¹ÎºÎ®Ï Î±Î½Î±Î´ÎµÎ¹ÎºÎ½ÏεÏαι ιδιαίÏεÏα ÏÏ Î´Î¹ÎÎ¾Î¿Î´Î¿Ï Î±ÏÏ ÏÎ¹Ï Î±Î½Î±Î³ÏγικÎÏ ÏάÏÎµÎ¹Ï ÏÏν ÏημεÏινÏν εικαÏÏικÏν ÏεÏνÏν ÏÎ¿Ï ÏÎ¹Ï ÎºÎ±ÏαÏονοÏν μÎÏÏι Ïο ÏÏάδιο ÏÎ·Ï ÎºÎ±ÏÎ±Î²Î¿Î»Î¹ÎºÎ®Ï Î´Î¹Î±Î»ÏÏεÏÏ.
ÎÎ ÎΣΠÎΣÎÎ [N1]Το ÏεÏιεÏÏμενο ÏÎ¿Ï ÏÏÎ¿Ï "ÎÏ Î¶Î±Î½ÏινÏÏ" ÎÏει ÏÏεÏικά ÏÏÏÏÏαÏα Ï ÏοÏÏεί μια Ïαγδαία εννοιολογική ÏÏοÏοÏοίηÏη. Σε ανÏίθεÏη με Ïην άÏοÏη ÏÎ¿Ï ÎºÎ±Ïά Ïον 19ο αιÏνα Ïον ανÏιμεÏÏÏιζε ÏÏ "ÏÎ±Î´Î¹Î¿Ï Ïγία ÏÏν ιεÏÎÏν" και ÏÏÏο "αιÏνιÏν ÏαÏÏοκÏονιÏν" (Lucky), ÏήμεÏα ÏλÎον ÏαÏακÏηÏίζεÏαι ÏÏ Ïο εκÏÏαÏÎ¹ÎºÏ ÏÏαμα ενÏÏ ÏοιηÏÎ¿Ï ÎºÎ±Î¹ αÏοκαλείÏαι "ÏεÏνοÏÏγημα ÏÎ·Ï Î±Î¹ÏνιÏÏηÏαÏ" (W. B. Ycats). ΠκÏιÏική ανÏίληÏη ÏÎ¿Ï Herbert Read ανÏελήÏθη Ïην ÎÏ Î¶Î±Î½Ïινή ÏεÏίοδο ÏÏ "Ïο ÏÏÎ½ÎµÏ ÏήÏι αÏÏ Ïο οÏοίο εÏÏÏκειÏο να Î±Î½Î±Î´Ï Î¸ÎµÎ¯ ολÏκληÏη η ÏÏγÏÏονη ÏÎÏνη". Πδομική Î±Î½Î¬Î»Ï Ïη ÏÎ·Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï ÏÎÏÎ½Î·Ï ÏονίζεÏαι ÏÏην εÏιÏÏημονική μελÎÏη ÏÎ¿Ï Kitzingcr, ÎµÎ½Ï Î· αÏήγηÏη ÏÎ¿Ï Rice και η εκÏίμηÏή ÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ οÏÏÏημο και ανεκÏίμηÏο Ïηγαίο Ï Î»Î¹ÎºÏ.ΣÏÎ¹Ï Î±ÏÏÎÏ ÏÎ¿Ï 18 αι. o Montesquieu, και αÏγÏÏεÏα o ÎίββÏν - Gibbon ÎγÏαÏαν Ïην ιÏÏοÏία ÏÎ·Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï ÏÎÏÎ½Î·Ï Î¼Îµ Î³ÎµÎ½Î¹ÎºÏ ÏÏÏÏο. Το γÏάÏιμο για Î±Ï Ïήν Ïην ÏÎÏνη ÏήÏε ÏθηÏη με Ïον Robert Curzon και Îναν ΡÏÏο, Ïον N. P. Kondakov (1891); ΠαÏήγηÏη ÏÎ¿Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î¿Ï Î¶ÏγÏάÏÎ¿Ï ÏÏην εÏγαÏία Îγινε αÏÏ Ïον Didron (1845).ΠεκÏίμηÏη ενÏÏ ÎºÎ±Î»Î»Î¹ÏÎÏνη για Ïα Î²Ï Î¶Î±Î½Ïινά ÎÏγα και η ÎμÏÎ½ÎµÏ Ïη αÏÏ Î±Ï Ïά ÏÏ Î½Î±Î½ÏÏνÏαι ÏÏÎ¹Ï Î´Î·Î¼Î¹Î¿Ï ÏÎ³Î¯ÎµÏ ÏÎ¿Ï Ronault και ÏÏν ÎÎ¹Î¿Ï Î³ÎºÎ¿ÏλάβÏν Mestrovic και Milunovic. Î Roger Fry, με Ïη ÏοÏμαλιÏÏική ÏÏοÏÎγγιÏή ÏÎ¿Ï , βÏήκε ÏÏι "είÏε μεγάλη δÏναμη να διειÏδÏÏει ÏÏÎ¹Ï ÎµÏÏÏεÏικÎÏ ÎµÏοÏÎÏ ÏÎ·Ï ÏκÎÏηÏ". ÎÏ Ïή η άÏοÏη ανÏιÏÏοιÏεί ÏÏην ανÏίληÏη ÏÎ¿Ï 7Î¿Ï Î±Î¹. ÏÏι Ïε μια εικÏνα "Το Îγιο ΠνεÏμα ÏÎ¿Ï ÎµÎ³ÎºÎ±ÏοικοÏÏε ÏÏον άγιο εÏιÏκιάζει Ïην εικÏνα ÏÎ¿Ï ". Îίναι ÏεÏίεÏγο ÏÏι, αν και Ï ÏάÏÏÎ¿Ï Î½ αναÏοÏÎÏ Ïε εικÏνεÏ, Ïα μεÏαιÏνικά ÏÏονικά δεν ÏεÏιείÏαν ÏεÏιγÏαÏÎÏ Î® εÏεξηγήÏÎµÎ¹Ï ÏοιÏογÏαÏιÏν.ÎÏÏ Ïα μÎÏα Î±Ï ÏÎ¿Ï ÏÎ¿Ï Î±Î¹Ïνα, η μελÎÏη ÏÎ·Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï ÏÎÏÎ½Î·Ï ÎÏει καÏαÏÏεί ξεÏÏÏιÏÏÏÏ ÎºÎ»Î¬Î´Î¿Ï Ïε ÏανεÏιÏÏήμια και Ïολλά ιδÏÏμαÏα (ÏÏÏÏ Ïο Dumberton Oaks) και ειδικά εÏÎµÏ Î½Î·Ïικά κÎνÏÏα είναι ÏλÎον αÏιεÏÏμÎνα Ïε Î±Ï Ïήν. Î UNESCO δημοÏÎ¯ÎµÏ Ïε Îνα ÎµÎ¹Î´Î¹ÎºÏ ÏαÏÏοÏÏ Î»Î¬ÎºÎ¹Î¿ για Ïην ÎÎ¹Î¿Ï Î³ÎºÎ¿Ïλαβική ÎεÏαιÏνική ΤοιÏογÏαÏία Ïο 1956. ΣημανÏική ÏÏ Î½ÎµÎ¹ÏÏοÏά ÏÏοÎÏÏεÏαι αÏÏ ÏοÏοÏÏ Î¼ÎµÎ»ÎµÏηÏÎÏ ÏÏÏÏ Î¿Î¹ Dcmus, Graber, Millet, Michelis, Malraux, Radojcic, Toynbee, ΧαÏÎ¶Î·Î´Î¬ÎºÎ·Ï ÎºÎ±Î¹ άλλοι.Î Îονή ΣοÏÏÏÏανη εÏÎθη ÏÏο εÏίκενÏÏο ÏÎ¿Ï ÏÏεÏÎ¹ÎºÎ¿Ï ÎµÎ½Î´Î¹Î±ÏÎÏονÏÎ¿Ï ÏÏα μÎÏα ÏÎ¿Ï 19Î¿Ï Î±Î¹. ÏÏαν ο Gilferding, ΡÏÏÎ¿Ï ÏεÏιηγηÏÎ®Ï ÎºÎ±Î¹ αÏÏαιοκάÏηλοÏ, ÎδÏÏε μια ÏÏνÏομη ÏεÏιγÏαÏή ÏηÏ. Î Jovan Cvijic, ÎÎ¹Î¿Ï Î³ÎºÎ¿ÏÎ»Î¬Î²Î¿Ï Î³ÎµÏγÏάÏοÏ, ακολοÏθηÏε με μια ÏεÏιγÏαÏή Î±Ï ÏÏν ÏÏν μνημείÏν. Î ÏÏαγμαÏικά ÏοβαÏή ÎÏÎµÏ Î½Î± με μελÎÏη αÏÏ ÏÏÏÏο ÏÎÏι ξεκίνηÏε με Îναν Îάλλο λÏγιο, Ïον Gabrial Millet, ÏÏα ÏÎλη ÏÎ¿Ï 19Î¿Ï Î±Î¹Ïνα. ÎÏ ÏÎÏ Î¿Î¹ εÏιÏÏημονικÎÏ ÎÏÎµÏ Î½ÎµÏ Î¿Î´Î®Î³Î·Ïαν Ïε μελÎÏÎµÏ Î³Î¹Î± Ïην ιÏÏοÏία, Ïην αÏÏιÏεκÏονική και Ïην ζÏγÏαÏική ÏÎ·Ï Î¼Î¿Î½Î®Ï Sopocani, με Ïην ÎµÏ ÏÏ Î¼Î¬Î¸ÎµÎ¹Î± εÏÎµÏ Î½Î·ÏÏν ÏÏÏÏ Î¿Î¹ Vladimir Pctkovic, Nikoloi Okuncv, Svctozar Radojcic, Djuric και Dcroko.ÎεÏά Ïην ÎκθεÏη ÏÏν ανÏιγÏάÏÏν ÏκαÏιÏημάÏÏν η οÏοία ÏÏαγμαÏοÏοιήθηκε ÏÏο ΠαÏίÏι ÏÏο Palais Chaillot Ïο 1950, ÏολλÎÏ ÏÎÏÎ¿Î¹ÎµÏ ÎµÎºÎ¸ÎÏÎµÎ¹Ï ÎÏÎ¿Ï Î½ οÏγανÏθεί Ïε Ïλο Ïον κÏÏμο ÏÎ¹Ï ÏÎµÎ»ÎµÏ ÏÎ±Î¯ÎµÏ Î´Ïο δεκαεÏίεÏ, ÏÏ Î¼ÏεÏιλαμβανομÎνÏν οÏιÏμÎνÏν ÏÏην Îνδία. ΣήμεÏα οÏοιαδήÏοÏε ÏοβαÏή μελÎÏη ÏÎ·Ï Î¼ÎµÏαιÏÎ½Î¹ÎºÎ®Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï ÎºÎ±Î¹ ÎµÏ ÏÏÏαÏÎºÎ®Ï ÏÎÏÎ½Î·Ï ÎµÎ¯Î½Î±Î¹ ελλιÏÎ®Ï ÎµÎ¬Î½ δεν αναγνÏÏίζει "διακεκÏιμÎνη θÎÏη ÏÏην Îονή Sopocani και ιδιαίÏεÏα ÏÏÎ¹Ï ÏοιÏογÏαÏÎ¯ÎµÏ ÏÎ¿Ï 13Î¿Ï Î±Î¹Ïνα". ÎαÏά Ïον Bazin Î±Ï ÏÎÏ Î¿Î¹ ÏοιÏογÏαÏÎ¯ÎµÏ Î±Î½Î®ÎºÎ¿Ï Î½ ÏÏην "καλÏÏεÏη ÏÏολή ÏοιÏογÏάÏÏν" ÏÎ¿Ï Î±Î½Î®ÎºÎ¿Ï Î½ ÏÏην ÎÏ Î¶Î±Î½Ïινή ΤÎÏνη. Î Demus μιλά για Ïην "αιÏμή ÏÎ·Ï ÎºÏ Î²Î¹ÎºÎ®Ï Î¼Î±Î¶Î¹ÎºÏÏηÏÎ¬Ï ÏÎ¿Ï Ï" και ÏÎ¹Ï Î¸ÎµÏÏεί ÏÏ "ÏÎ¹Ï ÏεÏιÏÏÏÏεÏÎµÏ ÎºÎ»Î±ÏικÎÏ Î´Î¹Î±ÏÏ ÏÏÏÎµÎ¹Ï ÏÎ¿Ï Î´ÏÏκολα ξεÏεÏνιοÏνÏαι Ïε μεγαλείο και αξιοÏÏÎÏεια". Î Rice Ï Î¼Î½ÏνÏÎ±Ï Ïην νÏÏογÏαÏία "ÎοίμηÏη" ÏÏο Sopocani αναÏÏνεί: "μÏοÏεί να Ïει ÎºÎ±Î½ÎµÎ¯Ï ÏÏι ÎµÎ´Ï ÎºÎ±ÏÎβηκε ο ÎεÏÏ ÏÏην γη, και ÏÏι οι ÏÎ¯Î½Î±ÎºÎµÏ ÏÏοÏÏαθοÏν να Î´ÎµÎ¯Î¾Î¿Ï Î½ ÏÏι ο ÎεÏÏ Î®Ïαν εκεί για να ÏÏελήÏει Ïη ζÏή ÏÎ¿Ï Î±Î½Î¸ÏÏÏÎ¿Ï ". Î Mila Rajkovic, αÏοÏίονÏÎ±Ï Îναν λαμÏεÏÏ ÏÏÏο ÏÎ¹Î¼Î®Ï ÏÏην "ÎοίμηÏη", Ïην αÏοκαλεί "μια ÏÏ Î¼ÏÏνία ÏÎ¿Ï ÎÏεÏÏβεν για Ïην αξιοÏÏÎÏεια ÏÎ·Ï Î¸Î»Î¯ÏεÏÏ". Îκεί. Ï ÏάÏÏÎ¿Ï Î½ ÏÎ¿Î»Ï Î¬ÏÎ¹Î¸Î¼ÎµÏ Î¼ÎµÎ»ÎÏεÏ, ενÏÏ ÏÏÏιακÎÏ Î´Î·Î¼Î¿ÏιεÏÏÎµÎ¹Ï ÎºÎ±Î¹ εÏγαÏÎ¯ÎµÏ Î³Î¹Î± Ïην ÏÎÏνη ÏÎ¿Ï Sopocani, η Ïιο ολοκληÏÏμÎνη δε είναι η ÏÏÎ¿Ï Î´Î±Î¯Î± μονογÏαÏία ÏÎ¿Ï Vojislav Djuiic (1963).
ÎÎ ÎΣΠÎΣÎÎ [N2]ÎÏÏ ÏÎ¹Ï ÏηÏοÏικÎÏ ÏÏαγμαÏÎµÎ¯ÎµÏ ÏÎ¿Ï ÏÏÏÏÎ¿Ï Î±Î¹Ïνα, οι ÎÏ Î¶Î±Î½Ïινοί άνÏληÏαν Ïην Îννοια ÏÎ¿Ï ÏηÏοÏÎ¹ÎºÎ¿Ï Î¼ÎµÎ³Î±Î»ÎµÎ¯Î¿Ï . ÎÏαν Ïο καθαÏÏήÏιο αÏοÏÎλεÏμα ÏÎ·Ï ÏαÏÎ¿Ï ÏιάÏεÏÏ ÏÏν αιÏθηÏικÏν διαμοÏÏÏÏεÏν με Îνα οÏθολογιÏÏÎ¹ÎºÏ ÎºÎ±Î¹ αÏοδεικÏÎ¹ÎºÏ Î¹Î´Î±Î½Î¹ÎºÏ Î³ÎµÎ¼Î¬Ïο με Ïο αξιολÏÏηÏο ÏÏοιÏείο.[217] Îια να εκÏÏάÏει ÏÎ±Ï ÏÏÏÏονα Î±Ï ÏÏν Ïον «ιδεαλιÏÎ¼Ï ÎºÎ±Î¹ Ïην εÏίγνÏÏη ÏÎ¿Ï ÏÏαγικοÏ» (Î±Ï ÏÏ Î±ÏηÏείÏαι και ÏÏά ÏÏήλαια Ajanta), ο δάÏÎºÎ±Î»Î¿Ï ÏÎ¿Ï Sopocani Ï Î¹Î¿Î¸ÎÏηÏε Ïην Î´Ï Î±Î´Î¹ÎºÏÏηÏα ÏÎ·Ï Â«ÏÏ Î¼Î¼ÎµÏÏίαÏ» και ÏÎ¿Ï Â«ÏÏ Î¸Î¼Î¿Ï». ÎαÏά Ïον H. W. Janson μια ÏÎÏοια διαμÏÏÏÏÏη ÎÏει Ïην αιÏθηÏική Ï ÏαινικÏικÏÏηÏα ÏÎ¿Ï ÎºÎ»Î±ÏÎ¹ÎºÎ¿Ï ÏÏÎ¿Ï Ï ÏÎ·Ï ÎλλάδαÏ.[218] ÎÏÏι, Ïε ÏÏ Î½Î´Ï Î±ÏÎ¼Ï Î¼Îµ Ïον μεÏαιÏÎ½Î¹ÎºÏ Î¼Ï ÏÏικιÏμÏ, ÏÏεδÏν ÏαÏÏμοια αιÏθηÏική Ï ÏαινικÏικÏÏηÏα ανÏηÏεί ÏÏον ÎµÏ Î³ÎµÎ½Î® και ζÏÏÎ¹ÎºÏ ÎºÏÏμο ÏÎ·Ï ÎÎ¿Î½Î®Ï Sopocani: η Mila Rajkovic Ïο αÏοκαλεί «μια θλίÏη ÏÎ¿Ï Î²ÏίÏκεÏαι μÏÏοÏÏά μαÏ, μεÏαμοÏÏÏμÎνη Ïε ÏÎ½ÎµÏ Î¼Î±Ïική δÏναμη .»[219] ÎαÏάλληλα ζÏγÏαÏιÏμÎνη μΠÏÏοε, «ÏÏÏÏÎ¿Ï Ï" ο κÏÏÎ¼Î¿Ï Î±Ï ÏÎ®Ï ÏÎ·Ï Â«Î¼Ï ÏÏÎ¹ÎºÎ®Ï ÎºÎ¿Î¹Î½ÏνίαÏ» ÏÎ·Ï Sopocani ÎÏει Ïη βάÏη ÏÎ¿Ï ÏÏην ÎÎÎÎÎÎΣΤÎÎΠθεÏÏία ÏÎ·Ï ÏανÏαÏÎ¯Î±Ï ÏÏν ÏÎ½ÎµÏ Î¼Î±Ïικά ÎµÎ¾Ï ÏÏÏικÏν ιδιοÏήÏÏν ÏÎ¿Ï ÎÏÎ³Î¿Ï ÏÎÏνηÏ.[220] ÎαÏά Ïην ÏαÏÎ¿Ï ÏίαÏή ÏÎ¿Ï , Ïο θÎμα ÏÎ¿Ï Â«Dormition» {ÎοιμήÏεÏÏ} ÏαίνεÏαι να Îλκει Ïην ÎμÏÎ½ÎµÏ Ïή ÏÎ¿Ï Î±ÏÏ Ïην ÏÏλληÏη ÏÎ·Ï Î¼Ï ÏÏÎ¹ÎºÎ®Ï ÎºÎ±Î¸Î¬ÏÏεÏÏ ÏÎ¿Ï Î Î»ÏÏÎ¯Î½Î¿Ï Î¼Î±Î¶Î¯ με Ïον «Îείο ÎÏÏÏα» ÏÎ¿Ï ÎÎ¹Î¿Î½Ï ÏÎ¯Î¿Ï ÏÎ¿Ï ÎÏεοÏαγίÏÎ¿Ï ÏÎ¿Ï ÏÏοÏÏÎθηκε ÏÏα ÎÎ»ÎµÏ Ïίνια Î¼Ï ÏÏήÏια και Ïην θÏηÏÎºÎµÏ Ïική κάθαÏÏη ÏÏν ÏÏÏÏÏγονÏν μÎÏÏ ÏÎ·Ï ÏαÏÎ¿Ï ÏιάÏεÏÏ {εÏιÏάνειαÏ} νεκÏÏν κ.λÏ. .,[221] δίνονÏÎ±Ï Î¼Î¹Î± Î¼Ï ÏÏηÏιακή αξία ÏÏο ÏαÏÎ¿Ï ÏιαζÏμενο.
Detail of the fresco Dormition of the Mother of God from SopoÄani c. 1265[N2A]
ÎÎ ÎΣΠÎΣÎÎ [N3]Frequently, the personification of the Sea is drawn in the lower right part of the Last Judgement, under Christ (Panaghia of Apostolakis in Kastoria/1605). This motif is encountered in the Balkans as well; in the fourteenth century monastery in SopoÄani and in Monastery of GraÄanica in Serbia.199 Traditionally, the personification of the Sea in Byzantine iconography is depicted in Hellenistic prototypes, by a naked woman with long hair, who seats on a sea monster and holds a sceptre or the horn of abudance, such as in the church of Theotokos in Anisaraki on Crete (Fig. 215).[200]
ÎÎ ÎΣΠÎΣÎÎ [N4]ΠζÏγÏαÏική ÏÏην εκκληÏία ÏÎ·Ï ÎÎ³Î¯Î±Ï Î¤ÏÎ¹Î¬Î´Î±Ï ÏÏο Sopocani, κληÏοδοÏήμαÏÎ¿Ï ÏÎ¿Ï Î²Î±Ïιλιά Uros I, ανÏιÏÏοÏÏÏεÏει Îνα ÏÏνολο νÎÏν καλλιÏεÏνικÏν ÏάÏεÏν ÏÎ¿Ï ÎµÎ¼ÏανίÏÏηκαν καÏά Ïο ÏÏÏÏο ήμιÏÏ ÏÎ¿Ï XIII αιÏνα. Îι ÎµÏ ÏÏÏÏÏÎµÏ ÎºÎ±Î¹ μνημειÏÎ´ÎµÎ¹Ï ÏÏ Î½Î¸ÎÏÎµÎ¹Ï ÏÎ¿Ï ÏαÏÎ¿Ï ÏÎ¹Î¬Î¶Î¿Ï Î½ λÏÏÎµÎ¹Ï ÏÎ¿Ï ÏÏοÏÎ´Î¯Î´Î¿Ï Î½ ÏÏÎ¹Ï Î¼Î¿ÏÏÎÏ Î¼Î¹Î± ÏοιÏÏηÏα ÎµÏ ÎµÎ»Î¹Î¾Î¯Î±Ï ÎºÎ±Î¹ ÎµÏ ÏÏÏηÏÎ±Ï ÏÏÎ¹Ï ÎºÎ¹Î½Î®ÏÎµÎ¹Ï ÏÎ¿Ï Ï, ÎµÎ½Ï Ïα ÏÏÏÏÏÏά ÏÎ¿Ï Ï Î¿Î¼Î¿Î¹Î¬Î¶Î¿Ï Î½ με εκείνα ÏÎ·Ï ÎÏÏαιÏÏηÏαÏ. Î ÏÏÏÎ¿Ï Ï ÏοδεικνÏεÏαι αÏÏ Î±ÏÏιÏεκÏονική ζÏγÏαÏιÏμÎνη με ÏÏ Î½ÏομογÏαÏία, Ïο ÏÎμÏλο και οι εικÏÎ½ÎµÏ ÏλαιÏιÏνονÏαι με ÏεÏίγÏαμμα αÏÏ Î³Ï ÏομάÏμαÏο με ανÏίκεÏ, οÏιÏμÎÎ½ÎµÏ ÏκηνÎÏ ÏεÏιÎÏÎ¿Ï Î½ ÏÏοÏÏÏοÏοιήÏειÏ, ÎµÎ½Ï Ïα ÏλοÏÏια και αÏμονικά ÏÏÏμαÏα και Ïο ÏÏÏ ÏÏ ÏÏο Î²Î¬Î¸Î¿Ï ÏÎ¿Î½Î¯Î¶Î¿Ï Î½ Ïο ÎÎÎÎÎÎΣΤÎÎÎ ÏνεÏμα.
ÎÎºÎ¿Î»Î¿Ï Î¸Î¿Ïν αÏοÏÏάÏμαÏα αÏÏ Ïην ΠαÏαÏÏαÏÏÎ¿Ï :[N5]Îι ÏοιÏογÏαÏÎ¯ÎµÏ ÏÎ·Ï ÎÎ³Î¯Î±Ï Î¤ÏÎ¹Î¬Î´Î±Ï ÏÏην SopoÄani (ÏεÏιοÏή RaÅ¡ka) 20, ÏÎ¿Ï ÏÏονολογοÏνÏαι μεÏÎ±Î¾Ï 1263 και 1268, ανÏιÏÏοÏÏÏεÏÎ¿Ï Î½ Ïην κοÏÏ Ïή ÏÎ·Ï Î Î±Î»Î±Î¹Î¿Î»ÏÎ³ÎµÎ¹Î±Ï ÎναγεννήÏεÏÏ. Îκεί εÏγάζονÏαν οι καλÏÏεÏοι ÏεÏνίÏÎµÏ ÏÎ·Ï ÏεÏιÏÎ´Î¿Ï . Îι ανθÏÏÏÎ¹Î½ÎµÏ Î¼Î¿ÏÏÎÏ ÎÏÎ¿Ï Î½ γιγάνÏÎ¹ÎµÏ Î´Î¹Î±ÏÏάÏÎµÎ¹Ï ÏÎ¿Ï Î¸Ï Î¼Î¯Î¶Î¿Ï Î½ αγάλμαÏα αÏÏαίÏν ÎλλήνÏν ÏιλοÏÏÏÏν με αθληÏικά ÏÏμαÏα και μεγάλο Î»Î±Î¹Î¼Ï ÎºÎ±Î¹ ÏαÏακÏηÏίζονÏαι αÏÏ ÏαÏÏÎλ ÏÏÏμαÏα. Î ÏαÏάÏÏαÏη ενÏÏ ÏÏοÏήÏη (εικ. 7), για ÏαÏάδειγμα, δείÏνει μια ÏλαÏιά μÏÏη, ÏαÏκÏδη Ïείλη και μάÏια ÏÎ¿Ï Î´Î¹Î±ÎºÏίνονÏαι ÏÏη Ïκιά ÏÎ·Ï ÎºÎ¿Î¹Î»ÏÏηÏÎ±Ï ÏÏν οÏÏÏν. ÎÏιÏλÎον, Ïο Î±Ï Ïί ÏÏ Î½Î´ÎεÏαι ÏÏ Ïικά με Ïα Ï ÏÏλοιÏα, Î¸Ï Î¼Î¯Î¶Î¿Î½ÏÎ±Ï Î¼Î¹Î± ÏεαλιÏÏική λεÏÏομÎÏεια ÏÎ¿Ï ÎºÎµÏαλιοÏ.Îι ÏÏ Î½Î¸ÎÏÎµÎ¹Ï ÏÏην SopoÄani είναι ακÏμη Ïιο μνημειÏÎ´ÎµÎ¹Ï Î»ÏÎ³Ï ÏÎ¿Ï Î¼ÎµÎ³Î¬Î»Î¿Ï ÏÎ»Î®Î¸Î¿Ï Ï ÏÎ¿Ï ÏαÏÎ¿Ï ÏιάζεÏαι Ïε Î±Ï ÏÎÏ. ΤÎÏοια είναι η ÏεÏίÏÏÏÏη ÏÎ·Ï ÎοιμήÏεÏÏ (εικ. 8). Î ÏÏ Î¸Î¼ÏÏ ÎºÎ±Î¹ η αÏμονία ÎºÏ ÏιαÏÏοÏν ÏÏην κίνηÏη ÏÎ¿Ï Î±ÏÏÎ¼Î¿Ï , καθÏÏ ÎºÎ±Î¹ ÏÏÎ¿Ï Ï ÏÏÏμαÏικοÏÏ ÏÏÎ½Î¿Ï Ï. ÎÏιÏλÎον, εÏειÏÏδια μικÏÏÏεÏÎ·Ï ÏημαÏÎ¯Î±Ï ÏÏην ίδια Ïκηνή διαÏÏ Î½Î´ÎονÏαι με Îναν ήÏεμο & γαλήνιο ÏÏÏÏο. ÎÏ ÏÏ ÏÏ Î¼Î²Î±Î¯Î½ÎµÎ¹, για ÏαÏάδειγμα, ÏÏην μεÏαÏοÏά ÏÏν μαθηÏÏν Ïε Îνα ÏÏννεÏο, ÏÏην ÏαÏÎ¿Ï Ïία ÏÎ¿Ï Î§ÏιÏÏÎ¿Ï ÏÎ¿Ï ÎºÏαÏά Ïην ÏÏ Ïή ÏÎ·Ï Î¼Î·ÏÎÏÎ±Ï ÏÎ¿Ï , ÏÏην εικÏνα ÏÏÎ¿Ï Î¿ αÏÏÎ¬Î³Î³ÎµÎ»Î¿Ï ÎιÏαήλ είναι ÏαÏÏν για να ÏÎÏει Ïην ÏÏ Ïή ÏÎ·Ï Î Î±Î½Î±Î³Î¯Î±Ï ÏÏον Î¿Ï ÏÎ±Î½Ï ÎºÎ±Î¹, ÏÎλοÏ, ÏÏο ÏÎ»Î®Î¸Î¿Ï ÏÏν ανθÏÏÏÏν και ÏÏν αγγÎλÏν. ÏÎ¿Ï ÏÏ Î½Î¿Î´ÎµÏÎ¿Ï Î½ Ïην κηδεία... Îεν Ï ÏάÏÏει αμÏιβολία ÏÏι, αÏÏ Ïλα Ïα άλλα Î²Ï Î¶Î±Î½Ïινά μνημεία, η ζÏγÏαÏική ÏÏο SopoÄani είναι η Ïιο κονÏινή ÏÏα αÏÏαία ÏÏÏÏÏ Ïα... Î Î¿Ï Î¸ÎµÎ½Î¬ Î±Î»Î»Î¿Ï ÏÏην ÎÏ ÏÏÏη δεν βÏίÏκει ÎºÎ±Î½ÎµÎ¯Ï Îναν Ïίνακα ÏÎ·Ï Î¯Î´Î¹Î±Ï ÏεÏιÏÎ´Î¿Ï ÏÏÏο ÏÏÎ¿Î¿Î´ÎµÏ ÏÎ¹ÎºÏ Î¼Îµ Ïην Îννοια ÏÎ·Ï Î¹ÏÎ±Î»Î¹ÎºÎ®Ï ÎναγÎννηÏÎ·Ï ÏÏο ο ÏÎ¯Î½Î±ÎºÎ±Ï ÏÏο SopoÄani. ÎιÏÏ Î±Î¹Ïνα αÏγÏÏεÏα, οι άγιοι ÏÎ¿Ï Î¤Î¶Î¹ÏÏο ÎµÎ¾Î±ÎºÎ¿Î»Î¿Ï Î¸Î¿Ïν να είναι άκαμÏÏοι και ÏÏ Î¼Î²Î±Ïικοί.21
ÎοίμηÏη
ΣΤΠΧÎÎΡÎΠΤÎÎ¥ ΦÎÎÎÎÎ: Î ÎÎ ÎÎÎΣΠΤÎÎ¥ ΥΨÎÎÎÎ¥ & ÎÎÎÎÎ¥ ΣΤÎÎ ÎÎÎ¥ÎÎΣΤÎÎÎ AJANTA & THN BYZANTINH SOPOCANI
ÎÏ
ζανÏÎ¹Î½Ï ÏειÏÏγÏαÏο (Parisinus Graecus 2036)
Î ÏÏαγμαÏεία 'ΠεÏì á½ÏÎ¿Ï Ï' (ÎαÏινικά: De sublimitate) είναι Îνα ÎÏγο λογοÏεÏÎ½Î¹ÎºÎ®Ï ÎºÏιÏÎ¹ÎºÎ®Ï ÏÎ·Ï ÏÏμαÏÎºÎ®Ï ÏεÏιÏÎ´Î¿Ï ÏÎ¿Ï ÏÏονολογείÏαι ÏÏον 1ο ή 3ο αι. μ.Χ. και ÎÏει γÏαÏεί ÏÏην Îλληνική. Î ÏÏ Î³Î³ÏαÏÎÎ±Ï ÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ άγνÏÏÏοÏ, αλλά αναÏÎÏεÏαι ÏÏ Î¼Î²Î±Ïικά ÏÏ Îογγá¿Î½Î¿Ï ή ÏÎµÏ Î´Î¿ - ÎογγίνοÏ. ÎεÏÏείÏαι ÏÏ Î¼Î¯Î± κλαÏική ÏÏαγμαÏεία ÏεÏί αιÏθηÏÎ¹ÎºÎ®Ï ÎºÎ±Î¹ ÏÏν αÏοÏελεÏμάÏÏν ÏÎ·Ï ÎºÎ±Î»Î®Ï Î³ÏαÏήÏ. Î ÏÏαγμαÏεία Ï ÏογÏαμμίζει ÏαÏαδείγμαÏα ÎºÎ±Î»Î®Ï ÎºÎ±Î¹ ÎºÎ±ÎºÎ®Ï Î³ÏαÏÎ®Ï Î±ÏÏ Ïην ÏÏοηγοÏμενη ÏιλιεÏία, εÏÏιάζονÏÎ±Ï Î¹Î´Î¹Î±Î¯ÏεÏα Ïε Î±Ï ÏÏ ÏÎ¿Ï Î¼ÏοÏεί να οδηγήÏει ÏÏο ÏÏιÏÏο. ÎÏ Ïή η ÏÏαγμαÏεία, αναÏεÏÏμενη ÏÏην ÏÏ Î½ÏÏιÏÏική δÏναμη ÏÏν κειμÎνÏν και ÏÎ·Ï Î»Î¿Î³Î¿ÏεÏνίαÏ, ÏαÏÎμεινε για ÏÎ¿Î»Ï ÎºÎ±Î¹ÏÏ Î¬Î³Î½ÏÏÏη, ÎÏÏ ÏÏÎ¿Ï Îνα Î²Ï Î¶Î±Î½ÏÎ¹Î½Ï ÏειÏÏγÏαÏο (Parisinus Graecus 2036) ανακαλÏÏθηκε εκ νÎÎ¿Ï Î±ÏÏ ÎÏαλοÏÏ Î¼ÎµÎ»ÎµÏηÏÎÏ ÏÎ¿Ï 16Î¿Ï Î±Î¹.
ÎÏÏ ÏÎ¹Ï ÏηÏοÏικÎÏ ÏÏαγμαÏÎµÎ¯ÎµÏ ÏÎ¿Ï ÏÏÏÏÎ¿Ï Î±Î¹ÏνοÏ, οι ÎÏ Î¶Î±Î½Ïινοί άνÏληÏαν Ïην Îννοια ÏÎ¿Ï ÏηÏοÏÎ¹ÎºÎ¿Ï Ï ÏÎ·Î»Î¿Ï (ΣÏÎ: [ÏÎµÏ Î´Î¿-]ÎÎ¿Î³Î³Î¯Î½Î¿Ï 'ΠεÏί ÎÏÎ¿Ï Ï') ÎÏαν Ïο καθαÏÏήÏιο αÏοÏÎλεÏμα ÏÎ·Ï ÏαÏÎ¿Ï ÏιάÏεÏÏ ÏÏν αιÏθηÏικÏν διαμοÏÏÏÏεÏν με Îναν οÏθολογιÏÏÎ¹ÎºÏ ÎºÎ±Î¹ αÏοδεικÏÎ¹ÎºÏ Î¹Î´Î±Î½Î¹ÎºÏ Î³ÎµÎ¼Î¬Ïο με Ïο ÏαθηÏÎ¹ÎºÏ ÏÏοιÏείο.Îια να εκÏÏάÏει ÏÎ±Ï ÏÏÏÏονα Î±Ï ÏÏν Ïον 'ιδεαλιÏÎ¼Ï ÎºÎ±Î¹ Ïην εÏίγνÏÏη ÏÎ¿Ï ÏÏαγικοÏ' (ÏÏοιÏείο Ïο οÏοίο αÏηÏείÏαι και ÏÏην διακÏÏμηÏη ÏÏν ÏÏηλαίÏν Ajanta), ο διδάÏÎºÎ±Î»Î¿Ï / αÏÏιμάÏÏοÏÎ±Ï ÏÎ·Ï Î¼Î¿Î½Î®Ï Sopocani, ÏÏ ÏÏεÏιζÏÎ¼ÎµÎ½Î¿Ï ÏιθανÏÏαÏα με Ïην ÎεÏÏαλονίκη, Ï Î¹Î¿Î¸ÎÏηÏε Ïην Î´Ï Î±Î´Î¹ÎºÏÏηÏα ÏÎ·Ï 'ÏÏ Î¼Î¼ÎµÏÏίαÏ' και ÏÎ¿Ï 'ÏÏ Î¸Î¼Î¿Ï'. Îια Ïον H. W. Janson μια ÏÎÏοια διαμÏÏÏÏÏη διαθÎÏει Ïην αιÏθηÏική Ï ÏαινικÏικÏÏηÏα ÏÎ¿Ï ÎºÎ»Î±ÏÎ¹ÎºÎ¿Ï ÏÏÎ¿Ï Ï ÏÎ·Ï ÎλλάδαÏ.218 ÎÏÏι, Ïε ÏÏ Î½Î´Ï Î±ÏÎ¼Ï Î¼Îµ Ïον μεÏαιÏÎ½Î¹ÎºÏ Î¼Ï ÏÏικιÏμÏ, ÏÏεδÏν ÏαÏÏμοια αιÏθηÏική Ï ÏαινικÏικÏÏηÏα ανÏηÏεί ÏÏον ÎµÏ Î³ÎµÎ½Î® και ζÏÏÎ¹ÎºÏ ÎºÏÏμο ÏÎ¿Ï Sopocani: η Mila Rajkovic Ïην αÏοκαλεί 'μια θλίÏη ÏÎ¿Ï Î²ÏίÏκεÏαι μÏÏοÏÏά μαÏ, μεÏαμοÏÏÏμÎνη Ïε ÏÎ½ÎµÏ Î¼Î±Ïική δÏναμη'219 ÎαÏαλλήλÏÏ Î¶ÏγÏαÏιÏμÎÎ½Î¿Ï Î¼Îµ ÏÏη & ÏÏÏÏÎ¿Ï Ï, ο κÏÏÎ¼Î¿Ï Î±Ï ÏÎ®Ï ÏÎ·Ï 'Î¼Ï ÏÏÎ¹ÎºÎ®Ï ÎºÎ¿Î¹Î½ÏνίαÏ' ÏÎ·Ï Î¼Î¿Î½Î®Ï Sopocani ÎÏει Ïην βάÏη ÏÎ¿Ï ÏÏην ελληνιÏÏική θεÏÏία ÏÎ·Ï ÏανÏαÏÎ¯Î±Ï ÏÏν ÏÎ½ÎµÏ Î¼Î±Ïικά Î±Î½Ï ÏÏÏικÏν ιδιοÏήÏÏν ÏÎ¿Ï ÎÏÎ³Î¿Ï ÏÎÏνηÏ.220 ÎαÏά Ïην ÏαÏÎ¿Ï ÏίαÏή ÏÎ¿Ï , Ïο θÎμα ÏÎ·Ï 'ÎοιμήÏεÏÏ' ÏαίνεÏαι να Ïο εμÏνεÏÏÏηκε αÏÏ Ïην ÏÏλληÏη ÏÎ·Ï Î¼Ï ÏÏικιÏÏÎ¹ÎºÎ®Ï ÎºÎ±Î¸Î¬ÏÏεÏÏ ÏÎ¿Ï Î Î»ÏÏÎ¯Î½Î¿Ï Î¼Î±Î¶Î¯ με Ïον 'Îείο ÎÏÏÏα' ÏÎ¿Ï ÎÎ¹Î¿Î½Ï ÏÎ¯Î¿Ï ÏÎ¿Ï ÎÏεοÏαγίÏη ÏÎ¿Ï ÏÏοÏÏÎθηκε ÏÏα ÎÎ»ÎµÏ Ïίνια Î¼Ï ÏÏήÏια και Ïην θÏηÏÎºÎµÏ Ïική κάθαÏÏη ÏÎ·Ï Î±ÏÏαιÏÏηÏÎ¿Ï Î¼ÎÏÏ ÏÎ·Ï ÏαÏÎ¿Ï ÏιάÏεÏÏ ('εÏιÏάνειαÏ') ÏÏν νεκÏÏν κ.λÏ.,221 δίδονÏÎ±Ï Î¼Î¹Î± Î¼Ï ÏÏηÏιακή αξία ÏÏον ÏαÏÎ¿Ï ÏιαζÏμενο.... Î ÎÎÎ: The Art of Ajanta and Sopocani
ÎÎΠΤÎÎ ÎÎÎÎÎÎΣΤÎÎÎ ÎÎΩΡÎΠΤÎΣ ΦÎÎΤÎΣÎÎΣ ..[N10].. Ïο αÏοκοÏÏÏÏμα ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î³Î»Ï ÏÏÎ¹ÎºÎ®Ï Î´ÎµÎ½ ÎÏÏεÏαι, ÏÏÏÏ ÏÏο ÏÏÏÏημα ÏÎ¿Ï ÎενοκÏάÏη, με Ïον ÎÏÏιÏÏο ÏÏα ÏÎλη ÏÎ¿Ï 4Î¿Ï Î±Î¹., αλλά μάλλον με Ïον Φειδία ÏÏην ÎλαÏική ÏεÏίοδο. Îαι Ïο ÏαÏακÏηÏιÏÏÎ¹ÎºÏ Î³Î½ÏÏιÏμα Î±Ï ÏÎ¿Ï ÏÎ¿Ï Ï ÏÎ·Î»Î¿Ï ÏÎ·Î¼ÎµÎ¯Î¿Ï Î´ÎµÎ½ είναι η μαεÏÏÏία ÏÏν διαÏοÏεÏικÏν ÏεÏνικÏν ÏÏÏ ÏÏν ÏÎ·Ï Î³Î»Ï ÏÏικήÏ, αλλά μάλλον η καÏοÏή ενÏÏ ÎµÎ¯Î´Î¿Ï Ï Â«ÏÎ½ÎµÏ Î¼Î±ÏÎ¹ÎºÎ®Ï Î´Î¹Î±Î¹ÏθήÏεÏÏ» -Ïην οÏοία οι ÎÎ»Î»Î·Î½ÎµÏ Î±ÏοκαλοÏÏαν ΦÎÎΤÎΣÎÎ- μÎÏÏ ÏÎ·Ï Î¿ÏÎ¿Î¯Î±Ï Î¼ÏοÏοÏÏαν να Î³Î¯Î½Î¿Ï Î½ ανÏιληÏÏÎÏ Î¿Î¹ Ï ÏÎÏοÏÎµÏ Î¹Î´Î¹ÏÏηÏÎµÏ ÏÏν θεÏν. Î ÏÏοÎÎ»ÎµÏ Ïη Î±Ï ÏÎ®Ï ÏÎ·Ï Î¸ÎµÏÏÎ¯Î±Ï ÏÎ·Ï ÏανÏαÏÎ¯Î±Ï Î´ÎµÎ½ είναι βÎβαιη, αλλά ÎÏει αÏοδοθεί ÏÏη ÏιλοÏοÏική ÏÏολή ÏÎ¿Ï ÏÏ Î½Î®Î¸ÏÏ Î¿Î½Î¿Î¼Î¬Î¶ÎµÏαι «ÎÎÏη ΣÏοά». Î ÏκÎÏη ÏÏν κÏÏιÏν μοÏÏÏν Î±Ï ÏÎ®Ï ÏÎ·Ï ÏÏολήÏ, ÏÎ¿Ï Î Î±Î½Î±Î¯ÏÎ¹Î¿Ï (ÏεÏ. 185-109 Ï.Χ.) και ÏÎ¿Ï Î Î¿ÏειδÏÎ½Î¹Î¿Ï (ÏεÏίÏÎ¿Ï 135-50 Ï.Χ.), ÏαÏακÏηÏίζεÏαι αÏÏ Î¼Î¹Î± ÏÏ Î³ÏÏÎ½ÎµÏ Ïη ÏÎ¿Ï ÏλαÏÏÎ½Î¹ÎºÎ¿Ï Î¹Î´ÎµÎ±Î»Î¹ÏÎ¼Î¿Ï ÎºÎ±Î¹ ÏÎ·Ï ÏÏÏÎ¹ÎºÎ®Ï ÏÏ ÏολογίαÏ, ÏÎ¿Ï ÎºÎ±Î¹ οι δÏο ÏαίνεÏαι να ÏαÏακÏηÏÎ¯Î¶Î¿Ï Î½ Ïην θεÏÏία ÏÎ·Ï ÏανÏαÏίαÏ. ΧαÏακÏηÏίζεÏαι εÏίÏÎ·Ï Î±ÏÏ ÏεβαÏμÏ, ÎÏÏ ÎºÎ±Î¹ νοÏÏαλγία, για Ïον ÏολιÏιÏÎ¼Ï ÏÎ·Ï ÎÎ»Î»Î¬Î´Î±Ï ÏÎ¿Ï 5Î¿Ï Î±Î¹Ïνα, δηλαδή Ïην εÏοÏή ÏÎ¿Ï Î¦ÎµÎ¹Î´Î¯Î± και ÏÎ¿Ï Î Î¿Î»ÏκλειÏÎ¿Ï . και ÎÏÏι με ÏολλοÏÏ ÏÏÏÏÎ¿Ï Ï ÏαÏείÏε Îνα ÏÎ½ÎµÏ Î¼Î±ÏÎ¹ÎºÏ Ï ÏÏβαθÏο για Ïον κλαÏικιÏÎ¼Ï ÏÎ¿Ï Î´Î¹Î±ÏÎÏαÏε Ïην ÏÏÏεÏη ελληνιÏÏική ÏεÏίοδο.Îίναι ÏÎ¿Ï Î»Î¬ÏιÏÏον ÏÎ¹Î¸Î±Î½Ï ÏÏι Î±Ï Ïή η κλαÏικιÏÏική θεÏÏηÏη ÏÎ·Ï Î¹ÏÏοÏÎ¯Î±Ï ÏÎ·Ï Î³Î»Ï ÏÏÎ¹ÎºÎ®Ï Î´Î¹Î±Î´Ïθηκε ÏÏο ÎÏγο Upadhya. 1994, αÏÎ¿Ï Î· ÏÏονολογία και οι καλλιÏεÏνικÎÏ ÏÎ¿Ï ÏÏοÏιμήÏÎµÎ¹Ï ÏαίνεÏαι να ήÏαν Ïε αÏμονία με Î±Ï Ïήν. ΠαÏÏική ελληνική Ïηγή ÏÎ¿Ï Î²ÏίÏκεÏαι ÏίÏÏ Î±ÏÏ ÏÎ¹Ï ÏÏζÏÎ¼ÎµÎ½ÎµÏ ÏÏμαÏκÎÏ ÏηγÎÏ Î¼Î±Ï Ïε Î±Ï Ïή Ïην ÏεÏίÏÏÏÏη είναι ίÏÏÏ Ïιο αληθινά Îνα νÏÎ¿ÎºÎ¿Ï Î¼ÎνÏο για Ïη νεο-αÏÏική ÏάÏη ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï ÎºÎ±Î¹ ÏαÏά για Ïην κλαÏική ÏάÏη ÏÎ¿Ï Ïαινομενικά ÏÏ Î¶Î·Ïήθηκε... Î ÎÎÎ: Pollitt, The Art of Greece 1400-31 BC, 1965, p. xiv
ΣÎÎÎÎΩΣÎÎΣ
[N0]. UNESCO 1954, pp. 31-36.[N0A]. Upadhya 1994.
[N1]. Upadhya 1994, pp. 23-24.[N2]. Upadhya 1994, p. 108.[N0A1]. Papastavrou 2010, p. 197.[N2A2]. Detail of the fresco Dormition of the Mother of God from SopoÄani c. 1265 (See also:Palaiologian Renaissance), <https://upload.wikimedia.org/wikipedi.... Karachaliou 2012, pp. 223-224.[N4]. Gligorijevic-Maksimovic 2009 (abstract).[N5]. Papastavrou 2010, pp. 187-189, 197.[N10]. Pollitt 1965, p. xiv.
ÎÎÎÎÎÎÎΡÎΦÎÎ
https://archive.org/stream/in.ernet.d... Datt Upadhya. 1994. The Art of Ajanta and Sopocani: Comparative Study: An Enquiry in PrÄá¹a Aesthetics, Delhi.
Rajkovic, Mila. 1964. The King's Church in Studenica: Mediaval Art in Jugoslavia, Belgrade.
https://www.escholar.manchester.ac.uk..., E. 2012. "The Architectural and Iconographic Identity of Paliochora on Aegina. An Introduction to Its Late and Post Byzantine Churches" (thes. Univ. of Manchester).
https://www.scilit.net/article/98f1ed..., M. 2009. "Classical elements in the endowments of Serbian XIII century donors," in Zbornik Radova Vizantoloskog Instituta (National Library of Serbia) , pp 255-264; https://doi.org/10.2298/zrvi0946255g
https://indianculture.gov.in/ebooks/5..., M., and C. Sivaramamurti. 1971. 5000 Years of the Art of India, New York / Bombay.
https://www.cambridge.org/core/journa... Hallade, M. 1968. The Gandhara style and the evolution of Buddhist Art, trans. D. Imber, London.
https://www.academia.edu/8883565/Clas..., H. 2010. "Classical trends in Byzantine and Western Art in the 13th and 14th centuries," in Byzanz - Das Römerreich im Mittelalter. Peripherie und Nachbarschaft, Monographien des Römisch-Germanischen Zentralmuseums Mainz, ed. F. Daim & J. Drauschke, pp. 183-209.p. 187: The mural paintings of St. Trinity in SopoÄani (dist. RaÅ¡ka, SRB) 20, dated between 1263 and 1268, represent the peak of the Palaeologan Revival. The best craftsmen of the period worked there. The human figures have gigantic dimensions recalling statues of ancient Greek philosophers with athletic bodies and large necks and they are characterised by pastel colours. The representation of a prophet (fig. 7), for instance, shows a wide nose, fleshy lips and eyes discerned in the shade of the concavity of the bones. Moreover, the ear is connected naturally with the rest, recalling a realistic detail of the head.The compositions in SopoÄani are even more monumental due to the great crowd represented in them. Such is the case of the Dormition (fig. 8). Rhythm and harmony dominate the personâs movement, as well as chromatic tones. Moreover, episodes of less importance in the same scene are interconnected in a tranquil way {γαλήνιο}. This occurs, for instance, in the transfer of the disciples in a cloud, the presence of Christ holding the soul of his mother, the archangel Michael present in order to bring the Virginâs soul to heaven and, finally, the crowd of people and angels that accompany the funerary. p. 188: There is no doubt that, of all the other Byzantine monuments, the painting in SopoÄani is the closest to the ancient models. pp. 188-189: Nowhere else in Europe does one find a painting of the same period so progressive in the sense of the Italian Renaissance as the painting in SopoÄani. Half a century later, the saints of Giotto are still rigid and conventional.21p. 197: REDUCTION OF CLASSICISM IN BYZANTIUM AND COMPARISON WITH ITALIAN ARTThe Byzantine Renaissance was a gradual development that took place between the years 1204 and 1265 and that occurred, as already mentioned, during a period of moral crisis that threw the values of Byzantine society into question. At SopoÄani, classicism completely dominated the preceding artistic expression and attained a degree of modernism in sense of the Italian Renaissance that no other monument of Byzantine or Western art had attained. It was there that the revival of ancient art reached a peak that has never been surpassed. The reoccupation of Constantinople in 1261 marked a new reinforcement of the traditional Byzantine requirements regarding the image. The renaissance culminated in SopoÄani. From then on, the classical elements are placed within the frame of a traditional system characterised by the abstraction and idealism of figures and space. Later, the second half of the 14th century is marked with the victory of thep. 198-199: As has been pointed out 46, while at SopoÄani the details of a scene form an organic unity where nothing can be added or abstracted, in contrast, in the Chora Monastery in particular, but also in Palaeologan painting in general, the connection with Antiquity is realised in two ways: firstly, a detail copied from an ancient work or a later copy of it is inserted into a composition of a basically Byzantine structure. The detail thus appears as a quotation in a text. For instance, in the scene of the Wedding in Cana in the Chora Monastery (fig. 20), the episode of the servant slaughtering a calf is of Hellenistic provenance.
https://thesis.ekt.gr/thesisBookReade... , Î. 2010. "Î ÎαÏÏ ÏÎ¿Ï ÎÎ³Î¯Î¿Ï ÎεÏÏÎ³Î¯Î¿Ï ÎεγάδÏν ÏÏην ÎÏειÏο (1795) και Ïο ÎÏγο ÏÏν ÎαÏεÏοβιÏÏν ÎηγÏάÏÏν ÎÏάννη και ÎναÏÏαÏÎ¯Î¿Ï ÎναγνÏÏÏη" (διδ. Παν. ÎÏαννίνÏν).Ïελ. 80: Î ÎοÏÎ´Î¬Î½Î·Ï Î±ÏιÏÏεÏά ιÏÏοÏείÏαι ÏÏ ÏÏÎ¹Î¼Î¿Ï Î¬Î½Î´ÏαÏ, μακÏινή ανάμνηÏη ÏÎ¿Ï Î Î¿ÏειδÏνα, ÎµÎ½Ï Î´ÎµÎ¾Î¹Î¬ η θάλαÏÏα αÏεικονίζεÏαι με ανÏÏικά ÏαÏακÏηÏιÏÏικά κι ÏÏ ÏάÏι αÏÏ Ïη μÎÏη και κάÏÏ, ÏÏοιÏείοÏÎ¿Ï Î±ÏηÏεί ελληνιÏÏικοÏÏ ÏÏÏÏÎ¿Ï Ï Î±ÏÏδοÏÎ·Ï ÎºÎ±Î¹ αÏανÏά ÏÏάνια ÏÏÏο Ïε ÏÏÏιμÏÏεÏα ÏÏο και ÏÏγÏÏονα ÎÏγα ÏÎ¿Ï 18Î¿Ï Î±Î¹Ïνα423 {423 Îνάλογη αÏÏδοÏη βÏίÏÎºÎ¿Ï Î¼Îµ ÏÏην μονή ÎηÏοÏοÏÎ¬Î¼Î¿Ï (ΤÏιγάÏαÏ, ο.Ï, εικ. 40β)}Î ÎÎÎΣ ΤÎÎ¥ ÎÎÎÎÎ¥ ÎÎΩΡÎÎÎÎ¥ ÎÎÎÎÎΩÎ
https://unesdoc.unesco.org/ark:/48223.... 1954. "Yugoslavia: frescoes buried under plaster for 500 years Yugoslavia," in The Unesco Courier 11, pp. 31-36.
p. 31: In 1881, a British art historian named A. Evans caused a sensation in art circles by publishing a series of articles on Serbian medieval art. He claimed that without a knowledge of the hidden masterpieces in the Balkans one could not really understand the Renaissance art of Italy, and he compared the Angel of the Resurrection, a delicate fresco produced by a Serbian artist in the 13th century Milesevo Abbey, with the best works by Michelangelo.
https://ia600205.us.archive.org/22/it... Prana-aesthetics, a finer shade different from that of vitalistic aesthetics) the earlier having breathing-rhythm of "Ksaya-Vrddhi"-- diminuation and augmentation -- other than the latter`s emphasis only on the rhythm of augmentation), has been delineated in this study with examples from the world`s two of the best art-monuments: Ajanta (India), now not remaining unknown even to the most casual connoisseur, and Sopocani (Yugoslavia), the most significant and monumentally beautiful work of Byzantine art. Tracing Prana-aesthetics as the aesthetics of inner-light coded i
Το 1881, ÎÎ½Î±Ï ÎÏεÏανÏÏ Î¹ÏÏοÏικÏÏ ÏÎÏÎ½Î·Ï Î¿Î½ÏμαÏι A. Evans ÏÏοκάλεÏε αίÏθηÏη ÏÏÎ¿Ï Ï ÎºÎ±Î»Î»Î¹ÏεÏνικοÏÏ ÎºÏÎºÎ»Î¿Ï Ï Î´Î·Î¼Î¿ÏιεÏονÏÎ±Ï Î¼Î¹Î± ÏειÏά άÏθÏÏν για Ïη ÎÏ Î¶Î±Î½Ïινή μεÏαιÏνική ÏÎÏνη. ÎÏÏÏ ÏίÏÏηκε ÏÏι αγνοÏνÏÎ±Ï ÎºÎ±Î½ÎµÎ¯Ï Ïα κÏÏ Î¼Î¼Îνα αÏιÏÏÎ¿Ï ÏγήμαÏα ÏÏην ΧεÏÏÏνηÏο ÏÎ¿Ï ÎÎ¯Î¼Î¿Ï Î´ÎµÎ½ θα μÏοÏοÏÏε ÏÏαγμαÏικά να καÏανοήÏει Ïην αναγεννηÏιακή ÏÎÏνη ÏÎ·Ï ÎÏÎ±Î»Î¯Î±Ï ÎºÎ±Î¹ ÏÏ Î½ÎκÏινε Ïον Îγγελο ÏÎ·Ï ÎναÏÏάÏεÏÏ, μια λεÏÏή ÏοιÏογÏαÏία ÏÎ¿Ï Î´Î·Î¼Î¹Î¿Ï Ïγήθηκε αÏÏ Îναν ΣÎÏβο καλλιÏÎÏνη ÏÏο Îβαείο ÏÎ¿Ï ÎιλÎÏεβο ÏÎ¿Ï 13Î¿Ï Î±Î¹Ïνα, με Ïο Ïα καλÏÏεÏα ÎÏγα ÏÎ¿Ï ÎιÏαήλ ÎÎ³Î³ÎµÎ»Î¿Ï .[N0]
ΠΠαÏαÏÏαÏÏÎ¿Ï ÏημειÏνει:[N0A1] Î ÎÏ Î¶Î±Î½Ïινή ÎναγÎννηÏη ήÏαν μια ÏÏαδιακή εξÎλιξη ÏÎ¿Ï Îλαβε ÏÏÏα μεÏÎ±Î¾Ï ÏÏν εÏÏν 1204 και 1265 και ÏÎ¿Ï ÏημειÏθηκε, ÏÏÏÏ Î®Î´Î· αναÏÎÏθηκε, Ïε μια ÏεÏίοδο Î·Î¸Î¹ÎºÎ®Ï ÎºÏίÏεÏÏ ÏÎ¿Ï ÎθεÏε Ï ÏÏ Î±Î¼ÏιÏβήÏηÏη ÏÎ¹Ï Î±Î¾Î¯ÎµÏ ÏÎ·Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï ÎºÎ¿Î¹Î½ÏνίαÏ. ΣÏην SopoÄani, ο κλαÏικιÏμÏÏ ÎºÏ ÏιάÏÏηÏε ÏλήÏÏÏ ÏÏην ÏÏοηγοÏμενη καλλιÏεÏνική ÎκÏÏαÏη και ÏÎÏÏ Ïε Îναν Î²Î±Î¸Î¼Ï Î¼Î¿Î½ÏεÏνιÏÎ¼Î¿Ï Î¼Îµ Ïην Îννοια ÏÎ·Ï Î¹ÏÎ±Î»Î¹ÎºÎ®Ï ÎναγεννήÏεÏÏ ÏÎ¿Ï ÎºÎ±Î½Îνα άλλο μνημείο Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï Î® Î´Ï ÏÎ¹ÎºÎ®Ï ÏÎÏÎ½Î·Ï Î´ÎµÎ½ είÏε εÏιÏÏÏει. Îκεί ήÏαν ÏÎ¿Ï Î· αναβίÏÏη ÏÎ·Ï Î±ÏÏÎ±Î¯Î±Ï ÏÎÏÎ½Î·Ï ÎÏÏαÏε Ïε μια κοÏÏÏÏÏη ÏÎ¿Ï Î´ÎµÎ½ ÎÏει ξεÏεÏαÏÏεί ÏοÏÎ. ΠεÏανακαÏάληÏη αÏÏ ÏÎ¿Ï Ï ÎÏ Î¶Î±Î½ÏινοÏÏ ÏÎ·Ï ÎÏνÏÏανÏÎ¹Î½Î¿Ï ÏÏÎ»ÎµÏ Ïο 1261 ÏημαÏοδÏÏηÏε μια νÎα ενίÏÏÏ Ïη ÏÏν ÏαÏαδοÏιακÏν Î²Ï Î¶Î±Î½ÏινÏν αÏαιÏήÏεÏν ÏÏεÏικά με Ïην εικÏνα. ΠαναγÎννηÏη κοÏÏ ÏÏθηκε ÏÏην SopoÄani. ÎÏÏ ÎµÎºÎµÎ¯ και ÏÎÏα, Ïα κλαÏικά ÏÏοιÏεία ÏοÏοθεÏοÏνÏαι ÏÏο ÏλαίÏιο ενÏÏ ÏαÏαδοÏÎ¹Î±ÎºÎ¿Ï ÏÏ ÏÏήμαÏÎ¿Ï ÏÎ¿Ï ÏαÏακÏηÏίζεÏαι αÏÏ Ïην αÏαίÏεÏη και Ïον ιδεαλιÏÎ¼Ï ÏÏν μοÏÏÏν και ÏÎ¿Ï ÏÏÏÎ¿Ï . ÎÏγÏÏεÏα, Ïο δεÏÏεÏο μιÏÏ ÏÎ¿Ï 14Î¿Ï Î±Î¹Ïνα ÏημαÏοδοÏείÏαι με Ïη νίκη ÏÎ¿Ï Î . 198-199: ÎÏÏÏ ÎÏει εÏιÏημανθεί 46, ÎµÎ½Ï ÏÏο SopoÄani οι λεÏÏομÎÏÎµÎ¹ÎµÏ Î¼Î¹Î±Ï ÏÎºÎ·Î½Î®Ï ÏÏημαÏÎ¯Î¶Î¿Ï Î½ μια οÏγανική ενÏÏηÏα ÏÏÎ¿Ï ÏίÏοÏα δεν μÏοÏεί να ÏÏοÏÏεθεί ή να αÏαιÏεθεί, Ïε ανÏίθεÏη, ÏÏη Îονή ÏÎ·Ï Î§ÏÏÎ±Ï ÎµÎ¹Î´Î¹ÎºÏÏεÏα, αλλά και ÏÏην ÏαλαιολÏγεια ζÏγÏαÏική γενικÏÏεÏα, Î ÏÏνδεÏη με Ïην ÎÏÏαιÏÏηÏα ÏÏαγμαÏοÏοιείÏαι με δÏο ÏÏÏÏÎ¿Ï Ï: ÏÏÏÏον, μια λεÏÏομÎÏεια ανÏιγÏαμμÎνη αÏÏ Î±ÏÏαίο ÎÏγο ή μεÏαγενÎÏÏεÏο ανÏίγÏαÏÏ ÏÎ¿Ï ÎµÎ¹ÏάγεÏαι Ïε μια ÏÏνθεÏη βαÏικά Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï Î´Î¿Î¼Î®Ï. ΠλεÏÏομÎÏεια εμÏανίζεÏαι ÎÏÏι ÏÏ Î±ÏÏÏÏαÏμα Ïε Îνα κείμενο. Îια ÏαÏάδειγμα, ÏÏη Ïκηνή ÏÎ¿Ï ÎÎ¬Î¼Î¿Ï ÏÏην Îανά ÏÏη Îονή ΧÏÏÎ±Ï (εικ. 20), Ïο εÏειÏÏδιο ÏÎ¿Ï Ï ÏηÏÎÏη ÏÎ¿Ï ÏÏάζει Îνα μοÏÏάÏι είναι ελληνιÏÏÎ¹ÎºÎ®Ï ÏÏοÎÎ»ÎµÏ ÏηÏ.
ÎÏÏ Ïην άλλη ο Om Datt Upadhya ÏÏο μνημειÏÎ´ÎµÏ ÎÏγο ÏÎ¿Ï The Art of Ajanta and Sopocani ÏημειÏνει:[N0A2]ΠαιÏθηÏική ÏÎ·Ï ÎÎ½Î´Î¿Ï Î¹ÏÏÎ¹ÎºÎ®Ï 'ÏÎ½Î¿Î®Ï / αÏÏαÏ' (Pauranic Prana) διαθÎÏει μια Ïιο αÏνή αÏÏÏÏÏÏη διαÏοÏεÏική αÏÏ ÎµÎºÎµÎ¯Î½Î·Î½ ÏÎ·Ï Î²Î¹ÏαλιÏÏÎ¹ÎºÎ®Ï Î±Î¹ÏθηÏικήÏ, με Ïην ÏÏÏÏη να ÎÏει ÏÏ Î¸Î¼Ï ÏÎ¿Ï ÏÏÏÎ¿Ï 'ανÏÎ´Î¿Ï - καθÏÎ´Î¿Ï ' (Ksaya-Vrddhi - μείÏÏη και αÏξηÏη) διαÏοÏεÏικÏν αÏÏ Î±Ï Ïήν ÏÎ·Ï Î²Î¹ÏαλιÏÏÎ¹ÎºÎ®Ï Î±Î¹ÏθηÏÎ¹ÎºÎ®Ï Î· οÏοία δίδει ÎμÏαÏη ÏÏον ÏÏ Î¸Î¼Ï / ÏάÏη ÏÎ·Ï Î±Î½Î±ÏÏÏξεÏÏ / Î±Ï Î¾Î®ÏεÏÏ. ÎÏ Ïή η αιÏθηÏική ÏεÏιγÏάÏεÏαι ÏÏην ÏαÏοÏÏα μελÎÏη με ÏαÏαδείγμαÏα αÏÏ Î´Ïο αÏÏ Ïα καλλίÏεÏα μνημεία ÏÎÏÎ½Î·Ï ÏÏον κÏÏμο: ÏÏν ÏÏηλαίÏν Ajanta (Îνδία), ÏÎ¿Ï Î®Î´Î· είναι γνÏÏÏά ακÏμη και ÏÏον Ïιο αÏÎ»Ï Î³Î½ÏÏÏη, και ÏÎ¿Ï Î¼Î¿Î½Î±ÏÏηÏÎ¹Î¿Ï ÏÏην Sopocani (ÎÎ¹Î¿Ï Î³ÎºÎ¿Ïλαβία), Ïο Ïιο ÏημανÏÎ¹ÎºÏ ÎºÎ±Î¹ μνημειÏÎ´ÎµÏ ÎÏγο ÏÎ·Ï ÎÏ Î¶Î±Î½ÏÎ¹Î½Î®Ï ÏÎÏνηÏ. ÎνιÏνεÏονÏÎ±Ï Ïην αιÏθηÏική Prana ÏÏ Ïην αιÏθηÏική ÏÎ¿Ï ÎµÏÏÏεÏÎ¹ÎºÎ¿Ï ÏÏÏÏÏ ÏÎ¿Ï ÎºÏδικοÏοιήθηκε ÏÏην ÏÏ Ïική / άνθινη διακÏÏμηÏη (creeper-motif) αÏÏ ÏÎ¿Ï Ï ÎºÎ±Î»Î»Î¹ÏÎÏÎ½ÎµÏ ÏÏν ÏÏηλαίÏν Ajanta, Î±Ï ÏÏ Ïο ÎÏγο δίνει ÎμÏαÏη ÏÏην αÏοκÏδικοÏοίηÏη ÏÎ¿Ï Î¯Î´Î¹Î¿Ï Î´Î¹Î±ÎºÎ¿ÏμηÏÎ¹ÎºÎ¿Ï Î¸ÎμαÏÎ¿Ï Î±ÏÏ ÏÎ¿Ï Ï ÎÏ Î¶Î±Î½ÏινοÏÏ ÎºÎ±Î»Î»Î¹ÏÎÏÎ½ÎµÏ Î¼Îµ αÏοκοÏÏÏÏμα ÏÎ¹Ï ÏοιÏογÏαÏÎ¯ÎµÏ ÏÎ¿Ï Î¼Î¿Î½Î±ÏÏηÏÎ¹Î¿Ï Sopocani ÏÎ¿Ï Îγιναν ÏÏμÏÏνα με Ïην ÎλληνιÏÏική - ÎÏ Î¶Î±Î½Ïινή αιÏθηÏική Ïην μακαÏιζÏμενη αÏÏ Ïον διαλογιÏÎ¼Ï ÏÏν εÏημιÏÏν - ηÏÏ ÏαÏÏÏν, ο οÏÎ¿Î¯Î¿Ï ÎºÎ±Î¸ÏÎ»Î¿Ï Î¬Î³Î½ÏÏÏÎ¿Ï Î´ÎµÎ½ ήÏαν μεÏÎ±Î¾Ï ÏÏν ÎÎ¿Ï Î´Î¹ÏÏÏν. Î£Ï Î³ÎºÏίÏÎµÎ¹Ï Î´Î¹Î±ÏÏÏÏν καθοÏιÏÏικÏν ÏÏÏ ÏÏν, αιÏθηÏικÏν και καλλιÏεÏνικÏν ÏÏ Î¼Î²Î¬ÏεÏν και ÏεÏιοÏιÏμÏν ÏÎ¿Ï Î´ÎµÎ½ εÏιÏÏÎÏÎ¿Ï Î½ ÏαÏÏμοια ολοκλήÏÏÏη διεÏÎµÏ Î½ÏνÏαι καÏάλληλα για να ÏεκμηÏιÏθεί η θÎÏη ÏÏι η Prana-αιÏθηÏική εμÏανίζεÏαι ÏÏην Ajanta αλλά μεÏÎ¿Ï ÏιÏνεÏαι ÏÏην Sopocani. Î ÏημαÏία ÏÏν αναβολικÏν ÏÏÏ ÏÏν Î±Ï ÏÎ®Ï ÏÎ·Ï Î±Î¹ÏθηÏÎ¹ÎºÎ®Ï Î±Î½Î±Î´ÎµÎ¹ÎºÎ½ÏεÏαι ιδιαίÏεÏα ÏÏ Î´Î¹ÎÎ¾Î¿Î´Î¿Ï Î±ÏÏ ÏÎ¹Ï Î±Î½Î±Î³ÏγικÎÏ ÏάÏÎµÎ¹Ï ÏÏν ÏημεÏινÏν εικαÏÏικÏν ÏεÏνÏν ÏÎ¿Ï ÏÎ¹Ï ÎºÎ±ÏαÏονοÏν μÎÏÏι Ïο ÏÏάδιο ÏÎ·Ï ÎºÎ±ÏÎ±Î²Î¿Î»Î¹ÎºÎ®Ï Î´Î¹Î±Î»ÏÏεÏÏ.
ÎÎ ÎΣΠÎΣÎÎ [N1]Το ÏεÏιεÏÏμενο ÏÎ¿Ï ÏÏÎ¿Ï "ÎÏ Î¶Î±Î½ÏινÏÏ" ÎÏει ÏÏεÏικά ÏÏÏÏÏαÏα Ï ÏοÏÏεί μια Ïαγδαία εννοιολογική ÏÏοÏοÏοίηÏη. Σε ανÏίθεÏη με Ïην άÏοÏη ÏÎ¿Ï ÎºÎ±Ïά Ïον 19ο αιÏνα Ïον ανÏιμεÏÏÏιζε ÏÏ "ÏÎ±Î´Î¹Î¿Ï Ïγία ÏÏν ιεÏÎÏν" και ÏÏÏο "αιÏνιÏν ÏαÏÏοκÏονιÏν" (Lucky), ÏήμεÏα ÏλÎον ÏαÏακÏηÏίζεÏαι ÏÏ Ïο εκÏÏαÏÎ¹ÎºÏ ÏÏαμα ενÏÏ ÏοιηÏÎ¿Ï ÎºÎ±Î¹ αÏοκαλείÏαι "ÏεÏνοÏÏγημα ÏÎ·Ï Î±Î¹ÏνιÏÏηÏαÏ" (W. B. Ycats). ΠκÏιÏική ανÏίληÏη ÏÎ¿Ï Herbert Read ανÏελήÏθη Ïην ÎÏ Î¶Î±Î½Ïινή ÏεÏίοδο ÏÏ "Ïο ÏÏÎ½ÎµÏ ÏήÏι αÏÏ Ïο οÏοίο εÏÏÏκειÏο να Î±Î½Î±Î´Ï Î¸ÎµÎ¯ ολÏκληÏη η ÏÏγÏÏονη ÏÎÏνη". Πδομική Î±Î½Î¬Î»Ï Ïη ÏÎ·Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï ÏÎÏÎ½Î·Ï ÏονίζεÏαι ÏÏην εÏιÏÏημονική μελÎÏη ÏÎ¿Ï Kitzingcr, ÎµÎ½Ï Î· αÏήγηÏη ÏÎ¿Ï Rice και η εκÏίμηÏή ÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ οÏÏÏημο και ανεκÏίμηÏο Ïηγαίο Ï Î»Î¹ÎºÏ.ΣÏÎ¹Ï Î±ÏÏÎÏ ÏÎ¿Ï 18 αι. o Montesquieu, και αÏγÏÏεÏα o ÎίββÏν - Gibbon ÎγÏαÏαν Ïην ιÏÏοÏία ÏÎ·Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï ÏÎÏÎ½Î·Ï Î¼Îµ Î³ÎµÎ½Î¹ÎºÏ ÏÏÏÏο. Το γÏάÏιμο για Î±Ï Ïήν Ïην ÏÎÏνη ÏήÏε ÏθηÏη με Ïον Robert Curzon και Îναν ΡÏÏο, Ïον N. P. Kondakov (1891); ΠαÏήγηÏη ÏÎ¿Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î¿Ï Î¶ÏγÏάÏÎ¿Ï ÏÏην εÏγαÏία Îγινε αÏÏ Ïον Didron (1845).ΠεκÏίμηÏη ενÏÏ ÎºÎ±Î»Î»Î¹ÏÎÏνη για Ïα Î²Ï Î¶Î±Î½Ïινά ÎÏγα και η ÎμÏÎ½ÎµÏ Ïη αÏÏ Î±Ï Ïά ÏÏ Î½Î±Î½ÏÏνÏαι ÏÏÎ¹Ï Î´Î·Î¼Î¹Î¿Ï ÏÎ³Î¯ÎµÏ ÏÎ¿Ï Ronault και ÏÏν ÎÎ¹Î¿Ï Î³ÎºÎ¿ÏλάβÏν Mestrovic και Milunovic. Î Roger Fry, με Ïη ÏοÏμαλιÏÏική ÏÏοÏÎγγιÏή ÏÎ¿Ï , βÏήκε ÏÏι "είÏε μεγάλη δÏναμη να διειÏδÏÏει ÏÏÎ¹Ï ÎµÏÏÏεÏικÎÏ ÎµÏοÏÎÏ ÏÎ·Ï ÏκÎÏηÏ". ÎÏ Ïή η άÏοÏη ανÏιÏÏοιÏεί ÏÏην ανÏίληÏη ÏÎ¿Ï 7Î¿Ï Î±Î¹. ÏÏι Ïε μια εικÏνα "Το Îγιο ΠνεÏμα ÏÎ¿Ï ÎµÎ³ÎºÎ±ÏοικοÏÏε ÏÏον άγιο εÏιÏκιάζει Ïην εικÏνα ÏÎ¿Ï ". Îίναι ÏεÏίεÏγο ÏÏι, αν και Ï ÏάÏÏÎ¿Ï Î½ αναÏοÏÎÏ Ïε εικÏνεÏ, Ïα μεÏαιÏνικά ÏÏονικά δεν ÏεÏιείÏαν ÏεÏιγÏαÏÎÏ Î® εÏεξηγήÏÎµÎ¹Ï ÏοιÏογÏαÏιÏν.ÎÏÏ Ïα μÎÏα Î±Ï ÏÎ¿Ï ÏÎ¿Ï Î±Î¹Ïνα, η μελÎÏη ÏÎ·Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï ÏÎÏÎ½Î·Ï ÎÏει καÏαÏÏεί ξεÏÏÏιÏÏÏÏ ÎºÎ»Î¬Î´Î¿Ï Ïε ÏανεÏιÏÏήμια και Ïολλά ιδÏÏμαÏα (ÏÏÏÏ Ïο Dumberton Oaks) και ειδικά εÏÎµÏ Î½Î·Ïικά κÎνÏÏα είναι ÏλÎον αÏιεÏÏμÎνα Ïε Î±Ï Ïήν. Î UNESCO δημοÏÎ¯ÎµÏ Ïε Îνα ÎµÎ¹Î´Î¹ÎºÏ ÏαÏÏοÏÏ Î»Î¬ÎºÎ¹Î¿ για Ïην ÎÎ¹Î¿Ï Î³ÎºÎ¿Ïλαβική ÎεÏαιÏνική ΤοιÏογÏαÏία Ïο 1956. ΣημανÏική ÏÏ Î½ÎµÎ¹ÏÏοÏά ÏÏοÎÏÏεÏαι αÏÏ ÏοÏοÏÏ Î¼ÎµÎ»ÎµÏηÏÎÏ ÏÏÏÏ Î¿Î¹ Dcmus, Graber, Millet, Michelis, Malraux, Radojcic, Toynbee, ΧαÏÎ¶Î·Î´Î¬ÎºÎ·Ï ÎºÎ±Î¹ άλλοι.Î Îονή ΣοÏÏÏÏανη εÏÎθη ÏÏο εÏίκενÏÏο ÏÎ¿Ï ÏÏεÏÎ¹ÎºÎ¿Ï ÎµÎ½Î´Î¹Î±ÏÎÏονÏÎ¿Ï ÏÏα μÎÏα ÏÎ¿Ï 19Î¿Ï Î±Î¹. ÏÏαν ο Gilferding, ΡÏÏÎ¿Ï ÏεÏιηγηÏÎ®Ï ÎºÎ±Î¹ αÏÏαιοκάÏηλοÏ, ÎδÏÏε μια ÏÏνÏομη ÏεÏιγÏαÏή ÏηÏ. Î Jovan Cvijic, ÎÎ¹Î¿Ï Î³ÎºÎ¿ÏÎ»Î¬Î²Î¿Ï Î³ÎµÏγÏάÏοÏ, ακολοÏθηÏε με μια ÏεÏιγÏαÏή Î±Ï ÏÏν ÏÏν μνημείÏν. Î ÏÏαγμαÏικά ÏοβαÏή ÎÏÎµÏ Î½Î± με μελÎÏη αÏÏ ÏÏÏÏο ÏÎÏι ξεκίνηÏε με Îναν Îάλλο λÏγιο, Ïον Gabrial Millet, ÏÏα ÏÎλη ÏÎ¿Ï 19Î¿Ï Î±Î¹Ïνα. ÎÏ ÏÎÏ Î¿Î¹ εÏιÏÏημονικÎÏ ÎÏÎµÏ Î½ÎµÏ Î¿Î´Î®Î³Î·Ïαν Ïε μελÎÏÎµÏ Î³Î¹Î± Ïην ιÏÏοÏία, Ïην αÏÏιÏεκÏονική και Ïην ζÏγÏαÏική ÏÎ·Ï Î¼Î¿Î½Î®Ï Sopocani, με Ïην ÎµÏ ÏÏ Î¼Î¬Î¸ÎµÎ¹Î± εÏÎµÏ Î½Î·ÏÏν ÏÏÏÏ Î¿Î¹ Vladimir Pctkovic, Nikoloi Okuncv, Svctozar Radojcic, Djuric και Dcroko.ÎεÏά Ïην ÎκθεÏη ÏÏν ανÏιγÏάÏÏν ÏκαÏιÏημάÏÏν η οÏοία ÏÏαγμαÏοÏοιήθηκε ÏÏο ΠαÏίÏι ÏÏο Palais Chaillot Ïο 1950, ÏολλÎÏ ÏÎÏÎ¿Î¹ÎµÏ ÎµÎºÎ¸ÎÏÎµÎ¹Ï ÎÏÎ¿Ï Î½ οÏγανÏθεί Ïε Ïλο Ïον κÏÏμο ÏÎ¹Ï ÏÎµÎ»ÎµÏ ÏÎ±Î¯ÎµÏ Î´Ïο δεκαεÏίεÏ, ÏÏ Î¼ÏεÏιλαμβανομÎνÏν οÏιÏμÎνÏν ÏÏην Îνδία. ΣήμεÏα οÏοιαδήÏοÏε ÏοβαÏή μελÎÏη ÏÎ·Ï Î¼ÎµÏαιÏÎ½Î¹ÎºÎ®Ï Î²Ï Î¶Î±Î½ÏÎ¹Î½Î®Ï ÎºÎ±Î¹ ÎµÏ ÏÏÏαÏÎºÎ®Ï ÏÎÏÎ½Î·Ï ÎµÎ¯Î½Î±Î¹ ελλιÏÎ®Ï ÎµÎ¬Î½ δεν αναγνÏÏίζει "διακεκÏιμÎνη θÎÏη ÏÏην Îονή Sopocani και ιδιαίÏεÏα ÏÏÎ¹Ï ÏοιÏογÏαÏÎ¯ÎµÏ ÏÎ¿Ï 13Î¿Ï Î±Î¹Ïνα". ÎαÏά Ïον Bazin Î±Ï ÏÎÏ Î¿Î¹ ÏοιÏογÏαÏÎ¯ÎµÏ Î±Î½Î®ÎºÎ¿Ï Î½ ÏÏην "καλÏÏεÏη ÏÏολή ÏοιÏογÏάÏÏν" ÏÎ¿Ï Î±Î½Î®ÎºÎ¿Ï Î½ ÏÏην ÎÏ Î¶Î±Î½Ïινή ΤÎÏνη. Î Demus μιλά για Ïην "αιÏμή ÏÎ·Ï ÎºÏ Î²Î¹ÎºÎ®Ï Î¼Î±Î¶Î¹ÎºÏÏηÏÎ¬Ï ÏÎ¿Ï Ï" και ÏÎ¹Ï Î¸ÎµÏÏεί ÏÏ "ÏÎ¹Ï ÏεÏιÏÏÏÏεÏÎµÏ ÎºÎ»Î±ÏικÎÏ Î´Î¹Î±ÏÏ ÏÏÏÎµÎ¹Ï ÏÎ¿Ï Î´ÏÏκολα ξεÏεÏνιοÏνÏαι Ïε μεγαλείο και αξιοÏÏÎÏεια". Î Rice Ï Î¼Î½ÏνÏÎ±Ï Ïην νÏÏογÏαÏία "ÎοίμηÏη" ÏÏο Sopocani αναÏÏνεί: "μÏοÏεί να Ïει ÎºÎ±Î½ÎµÎ¯Ï ÏÏι ÎµÎ´Ï ÎºÎ±ÏÎβηκε ο ÎεÏÏ ÏÏην γη, και ÏÏι οι ÏÎ¯Î½Î±ÎºÎµÏ ÏÏοÏÏαθοÏν να Î´ÎµÎ¯Î¾Î¿Ï Î½ ÏÏι ο ÎεÏÏ Î®Ïαν εκεί για να ÏÏελήÏει Ïη ζÏή ÏÎ¿Ï Î±Î½Î¸ÏÏÏÎ¿Ï ". Î Mila Rajkovic, αÏοÏίονÏÎ±Ï Îναν λαμÏεÏÏ ÏÏÏο ÏÎ¹Î¼Î®Ï ÏÏην "ÎοίμηÏη", Ïην αÏοκαλεί "μια ÏÏ Î¼ÏÏνία ÏÎ¿Ï ÎÏεÏÏβεν για Ïην αξιοÏÏÎÏεια ÏÎ·Ï Î¸Î»Î¯ÏεÏÏ". Îκεί. Ï ÏάÏÏÎ¿Ï Î½ ÏÎ¿Î»Ï Î¬ÏÎ¹Î¸Î¼ÎµÏ Î¼ÎµÎ»ÎÏεÏ, ενÏÏ ÏÏÏιακÎÏ Î´Î·Î¼Î¿ÏιεÏÏÎµÎ¹Ï ÎºÎ±Î¹ εÏγαÏÎ¯ÎµÏ Î³Î¹Î± Ïην ÏÎÏνη ÏÎ¿Ï Sopocani, η Ïιο ολοκληÏÏμÎνη δε είναι η ÏÏÎ¿Ï Î´Î±Î¯Î± μονογÏαÏία ÏÎ¿Ï Vojislav Djuiic (1963).
ÎÎ ÎΣΠÎΣÎÎ [N2]ÎÏÏ ÏÎ¹Ï ÏηÏοÏικÎÏ ÏÏαγμαÏÎµÎ¯ÎµÏ ÏÎ¿Ï ÏÏÏÏÎ¿Ï Î±Î¹Ïνα, οι ÎÏ Î¶Î±Î½Ïινοί άνÏληÏαν Ïην Îννοια ÏÎ¿Ï ÏηÏοÏÎ¹ÎºÎ¿Ï Î¼ÎµÎ³Î±Î»ÎµÎ¯Î¿Ï . ÎÏαν Ïο καθαÏÏήÏιο αÏοÏÎλεÏμα ÏÎ·Ï ÏαÏÎ¿Ï ÏιάÏεÏÏ ÏÏν αιÏθηÏικÏν διαμοÏÏÏÏεÏν με Îνα οÏθολογιÏÏÎ¹ÎºÏ ÎºÎ±Î¹ αÏοδεικÏÎ¹ÎºÏ Î¹Î´Î±Î½Î¹ÎºÏ Î³ÎµÎ¼Î¬Ïο με Ïο αξιολÏÏηÏο ÏÏοιÏείο.[217] Îια να εκÏÏάÏει ÏÎ±Ï ÏÏÏÏονα Î±Ï ÏÏν Ïον «ιδεαλιÏÎ¼Ï ÎºÎ±Î¹ Ïην εÏίγνÏÏη ÏÎ¿Ï ÏÏαγικοÏ» (Î±Ï ÏÏ Î±ÏηÏείÏαι και ÏÏά ÏÏήλαια Ajanta), ο δάÏÎºÎ±Î»Î¿Ï ÏÎ¿Ï Sopocani Ï Î¹Î¿Î¸ÎÏηÏε Ïην Î´Ï Î±Î´Î¹ÎºÏÏηÏα ÏÎ·Ï Â«ÏÏ Î¼Î¼ÎµÏÏίαÏ» και ÏÎ¿Ï Â«ÏÏ Î¸Î¼Î¿Ï». ÎαÏά Ïον H. W. Janson μια ÏÎÏοια διαμÏÏÏÏÏη ÎÏει Ïην αιÏθηÏική Ï ÏαινικÏικÏÏηÏα ÏÎ¿Ï ÎºÎ»Î±ÏÎ¹ÎºÎ¿Ï ÏÏÎ¿Ï Ï ÏÎ·Ï ÎλλάδαÏ.[218] ÎÏÏι, Ïε ÏÏ Î½Î´Ï Î±ÏÎ¼Ï Î¼Îµ Ïον μεÏαιÏÎ½Î¹ÎºÏ Î¼Ï ÏÏικιÏμÏ, ÏÏεδÏν ÏαÏÏμοια αιÏθηÏική Ï ÏαινικÏικÏÏηÏα ανÏηÏεί ÏÏον ÎµÏ Î³ÎµÎ½Î® και ζÏÏÎ¹ÎºÏ ÎºÏÏμο ÏÎ·Ï ÎÎ¿Î½Î®Ï Sopocani: η Mila Rajkovic Ïο αÏοκαλεί «μια θλίÏη ÏÎ¿Ï Î²ÏίÏκεÏαι μÏÏοÏÏά μαÏ, μεÏαμοÏÏÏμÎνη Ïε ÏÎ½ÎµÏ Î¼Î±Ïική δÏναμη .»[219] ÎαÏάλληλα ζÏγÏαÏιÏμÎνη μΠÏÏοε, «ÏÏÏÏÎ¿Ï Ï" ο κÏÏÎ¼Î¿Ï Î±Ï ÏÎ®Ï ÏÎ·Ï Â«Î¼Ï ÏÏÎ¹ÎºÎ®Ï ÎºÎ¿Î¹Î½ÏνίαÏ» ÏÎ·Ï Sopocani ÎÏει Ïη βάÏη ÏÎ¿Ï ÏÏην ÎÎÎÎÎÎΣΤÎÎΠθεÏÏία ÏÎ·Ï ÏανÏαÏÎ¯Î±Ï ÏÏν ÏÎ½ÎµÏ Î¼Î±Ïικά ÎµÎ¾Ï ÏÏÏικÏν ιδιοÏήÏÏν ÏÎ¿Ï ÎÏÎ³Î¿Ï ÏÎÏνηÏ.[220] ÎαÏά Ïην ÏαÏÎ¿Ï ÏίαÏή ÏÎ¿Ï , Ïο θÎμα ÏÎ¿Ï Â«Dormition» {ÎοιμήÏεÏÏ} ÏαίνεÏαι να Îλκει Ïην ÎμÏÎ½ÎµÏ Ïή ÏÎ¿Ï Î±ÏÏ Ïην ÏÏλληÏη ÏÎ·Ï Î¼Ï ÏÏÎ¹ÎºÎ®Ï ÎºÎ±Î¸Î¬ÏÏεÏÏ ÏÎ¿Ï Î Î»ÏÏÎ¯Î½Î¿Ï Î¼Î±Î¶Î¯ με Ïον «Îείο ÎÏÏÏα» ÏÎ¿Ï ÎÎ¹Î¿Î½Ï ÏÎ¯Î¿Ï ÏÎ¿Ï ÎÏεοÏαγίÏÎ¿Ï ÏÎ¿Ï ÏÏοÏÏÎθηκε ÏÏα ÎÎ»ÎµÏ Ïίνια Î¼Ï ÏÏήÏια και Ïην θÏηÏÎºÎµÏ Ïική κάθαÏÏη ÏÏν ÏÏÏÏÏγονÏν μÎÏÏ ÏÎ·Ï ÏαÏÎ¿Ï ÏιάÏεÏÏ {εÏιÏάνειαÏ} νεκÏÏν κ.λÏ. .,[221] δίνονÏÎ±Ï Î¼Î¹Î± Î¼Ï ÏÏηÏιακή αξία ÏÏο ÏαÏÎ¿Ï ÏιαζÏμενο.
Detail of the fresco Dormition of the Mother of God from SopoÄani c. 1265[N2A] ÎÎ ÎΣΠÎΣÎÎ [N3]Frequently, the personification of the Sea is drawn in the lower right part of the Last Judgement, under Christ (Panaghia of Apostolakis in Kastoria/1605). This motif is encountered in the Balkans as well; in the fourteenth century monastery in SopoÄani and in Monastery of GraÄanica in Serbia.199 Traditionally, the personification of the Sea in Byzantine iconography is depicted in Hellenistic prototypes, by a naked woman with long hair, who seats on a sea monster and holds a sceptre or the horn of abudance, such as in the church of Theotokos in Anisaraki on Crete (Fig. 215).[200]
ÎÎ ÎΣΠÎΣÎÎ [N4]ΠζÏγÏαÏική ÏÏην εκκληÏία ÏÎ·Ï ÎÎ³Î¯Î±Ï Î¤ÏÎ¹Î¬Î´Î±Ï ÏÏο Sopocani, κληÏοδοÏήμαÏÎ¿Ï ÏÎ¿Ï Î²Î±Ïιλιά Uros I, ανÏιÏÏοÏÏÏεÏει Îνα ÏÏνολο νÎÏν καλλιÏεÏνικÏν ÏάÏεÏν ÏÎ¿Ï ÎµÎ¼ÏανίÏÏηκαν καÏά Ïο ÏÏÏÏο ήμιÏÏ ÏÎ¿Ï XIII αιÏνα. Îι ÎµÏ ÏÏÏÏÏÎµÏ ÎºÎ±Î¹ μνημειÏÎ´ÎµÎ¹Ï ÏÏ Î½Î¸ÎÏÎµÎ¹Ï ÏÎ¿Ï ÏαÏÎ¿Ï ÏÎ¹Î¬Î¶Î¿Ï Î½ λÏÏÎµÎ¹Ï ÏÎ¿Ï ÏÏοÏÎ´Î¯Î´Î¿Ï Î½ ÏÏÎ¹Ï Î¼Î¿ÏÏÎÏ Î¼Î¹Î± ÏοιÏÏηÏα ÎµÏ ÎµÎ»Î¹Î¾Î¯Î±Ï ÎºÎ±Î¹ ÎµÏ ÏÏÏηÏÎ±Ï ÏÏÎ¹Ï ÎºÎ¹Î½Î®ÏÎµÎ¹Ï ÏÎ¿Ï Ï, ÎµÎ½Ï Ïα ÏÏÏÏÏÏά ÏÎ¿Ï Ï Î¿Î¼Î¿Î¹Î¬Î¶Î¿Ï Î½ με εκείνα ÏÎ·Ï ÎÏÏαιÏÏηÏαÏ. Î ÏÏÏÎ¿Ï Ï ÏοδεικνÏεÏαι αÏÏ Î±ÏÏιÏεκÏονική ζÏγÏαÏιÏμÎνη με ÏÏ Î½ÏομογÏαÏία, Ïο ÏÎμÏλο και οι εικÏÎ½ÎµÏ ÏλαιÏιÏνονÏαι με ÏεÏίγÏαμμα αÏÏ Î³Ï ÏομάÏμαÏο με ανÏίκεÏ, οÏιÏμÎÎ½ÎµÏ ÏκηνÎÏ ÏεÏιÎÏÎ¿Ï Î½ ÏÏοÏÏÏοÏοιήÏειÏ, ÎµÎ½Ï Ïα ÏλοÏÏια και αÏμονικά ÏÏÏμαÏα και Ïο ÏÏÏ ÏÏ ÏÏο Î²Î¬Î¸Î¿Ï ÏÎ¿Î½Î¯Î¶Î¿Ï Î½ Ïο ÎÎÎÎÎÎΣΤÎÎÎ ÏνεÏμα.
ÎÎºÎ¿Î»Î¿Ï Î¸Î¿Ïν αÏοÏÏάÏμαÏα αÏÏ Ïην ΠαÏαÏÏαÏÏÎ¿Ï :[N5]Îι ÏοιÏογÏαÏÎ¯ÎµÏ ÏÎ·Ï ÎÎ³Î¯Î±Ï Î¤ÏÎ¹Î¬Î´Î±Ï ÏÏην SopoÄani (ÏεÏιοÏή RaÅ¡ka) 20, ÏÎ¿Ï ÏÏονολογοÏνÏαι μεÏÎ±Î¾Ï 1263 και 1268, ανÏιÏÏοÏÏÏεÏÎ¿Ï Î½ Ïην κοÏÏ Ïή ÏÎ·Ï Î Î±Î»Î±Î¹Î¿Î»ÏÎ³ÎµÎ¹Î±Ï ÎναγεννήÏεÏÏ. Îκεί εÏγάζονÏαν οι καλÏÏεÏοι ÏεÏνίÏÎµÏ ÏÎ·Ï ÏεÏιÏÎ´Î¿Ï . Îι ανθÏÏÏÎ¹Î½ÎµÏ Î¼Î¿ÏÏÎÏ ÎÏÎ¿Ï Î½ γιγάνÏÎ¹ÎµÏ Î´Î¹Î±ÏÏάÏÎµÎ¹Ï ÏÎ¿Ï Î¸Ï Î¼Î¯Î¶Î¿Ï Î½ αγάλμαÏα αÏÏαίÏν ÎλλήνÏν ÏιλοÏÏÏÏν με αθληÏικά ÏÏμαÏα και μεγάλο Î»Î±Î¹Î¼Ï ÎºÎ±Î¹ ÏαÏακÏηÏίζονÏαι αÏÏ ÏαÏÏÎλ ÏÏÏμαÏα. Î ÏαÏάÏÏαÏη ενÏÏ ÏÏοÏήÏη (εικ. 7), για ÏαÏάδειγμα, δείÏνει μια ÏλαÏιά μÏÏη, ÏαÏκÏδη Ïείλη και μάÏια ÏÎ¿Ï Î´Î¹Î±ÎºÏίνονÏαι ÏÏη Ïκιά ÏÎ·Ï ÎºÎ¿Î¹Î»ÏÏηÏÎ±Ï ÏÏν οÏÏÏν. ÎÏιÏλÎον, Ïο Î±Ï Ïί ÏÏ Î½Î´ÎεÏαι ÏÏ Ïικά με Ïα Ï ÏÏλοιÏα, Î¸Ï Î¼Î¯Î¶Î¿Î½ÏÎ±Ï Î¼Î¹Î± ÏεαλιÏÏική λεÏÏομÎÏεια ÏÎ¿Ï ÎºÎµÏαλιοÏ.Îι ÏÏ Î½Î¸ÎÏÎµÎ¹Ï ÏÏην SopoÄani είναι ακÏμη Ïιο μνημειÏÎ´ÎµÎ¹Ï Î»ÏÎ³Ï ÏÎ¿Ï Î¼ÎµÎ³Î¬Î»Î¿Ï ÏÎ»Î®Î¸Î¿Ï Ï ÏÎ¿Ï ÏαÏÎ¿Ï ÏιάζεÏαι Ïε Î±Ï ÏÎÏ. ΤÎÏοια είναι η ÏεÏίÏÏÏÏη ÏÎ·Ï ÎοιμήÏεÏÏ (εικ. 8). Î ÏÏ Î¸Î¼ÏÏ ÎºÎ±Î¹ η αÏμονία ÎºÏ ÏιαÏÏοÏν ÏÏην κίνηÏη ÏÎ¿Ï Î±ÏÏÎ¼Î¿Ï , καθÏÏ ÎºÎ±Î¹ ÏÏÎ¿Ï Ï ÏÏÏμαÏικοÏÏ ÏÏÎ½Î¿Ï Ï. ÎÏιÏλÎον, εÏειÏÏδια μικÏÏÏεÏÎ·Ï ÏημαÏÎ¯Î±Ï ÏÏην ίδια Ïκηνή διαÏÏ Î½Î´ÎονÏαι με Îναν ήÏεμο & γαλήνιο ÏÏÏÏο. ÎÏ ÏÏ ÏÏ Î¼Î²Î±Î¯Î½ÎµÎ¹, για ÏαÏάδειγμα, ÏÏην μεÏαÏοÏά ÏÏν μαθηÏÏν Ïε Îνα ÏÏννεÏο, ÏÏην ÏαÏÎ¿Ï Ïία ÏÎ¿Ï Î§ÏιÏÏÎ¿Ï ÏÎ¿Ï ÎºÏαÏά Ïην ÏÏ Ïή ÏÎ·Ï Î¼Î·ÏÎÏÎ±Ï ÏÎ¿Ï , ÏÏην εικÏνα ÏÏÎ¿Ï Î¿ αÏÏÎ¬Î³Î³ÎµÎ»Î¿Ï ÎιÏαήλ είναι ÏαÏÏν για να ÏÎÏει Ïην ÏÏ Ïή ÏÎ·Ï Î Î±Î½Î±Î³Î¯Î±Ï ÏÏον Î¿Ï ÏÎ±Î½Ï ÎºÎ±Î¹, ÏÎλοÏ, ÏÏο ÏÎ»Î®Î¸Î¿Ï ÏÏν ανθÏÏÏÏν και ÏÏν αγγÎλÏν. ÏÎ¿Ï ÏÏ Î½Î¿Î´ÎµÏÎ¿Ï Î½ Ïην κηδεία... Îεν Ï ÏάÏÏει αμÏιβολία ÏÏι, αÏÏ Ïλα Ïα άλλα Î²Ï Î¶Î±Î½Ïινά μνημεία, η ζÏγÏαÏική ÏÏο SopoÄani είναι η Ïιο κονÏινή ÏÏα αÏÏαία ÏÏÏÏÏ Ïα... Î Î¿Ï Î¸ÎµÎ½Î¬ Î±Î»Î»Î¿Ï ÏÏην ÎÏ ÏÏÏη δεν βÏίÏκει ÎºÎ±Î½ÎµÎ¯Ï Îναν Ïίνακα ÏÎ·Ï Î¯Î´Î¹Î±Ï ÏεÏιÏÎ´Î¿Ï ÏÏÏο ÏÏÎ¿Î¿Î´ÎµÏ ÏÎ¹ÎºÏ Î¼Îµ Ïην Îννοια ÏÎ·Ï Î¹ÏÎ±Î»Î¹ÎºÎ®Ï ÎναγÎννηÏÎ·Ï ÏÏο ο ÏÎ¯Î½Î±ÎºÎ±Ï ÏÏο SopoÄani. ÎιÏÏ Î±Î¹Ïνα αÏγÏÏεÏα, οι άγιοι ÏÎ¿Ï Î¤Î¶Î¹ÏÏο ÎµÎ¾Î±ÎºÎ¿Î»Î¿Ï Î¸Î¿Ïν να είναι άκαμÏÏοι και ÏÏ Î¼Î²Î±Ïικοί.21
ÎοίμηÏηΣΤΠΧÎÎΡÎΠΤÎÎ¥ ΦÎÎÎÎÎ: Î ÎÎ ÎÎÎΣΠΤÎÎ¥ ΥΨÎÎÎÎ¥ & ÎÎÎÎÎ¥ ΣΤÎÎ ÎÎÎ¥ÎÎΣΤÎÎÎ AJANTA & THN BYZANTINH SOPOCANI
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ζανÏÎ¹Î½Ï ÏειÏÏγÏαÏο (Parisinus Graecus 2036)Î ÏÏαγμαÏεία 'ΠεÏì á½ÏÎ¿Ï Ï' (ÎαÏινικά: De sublimitate) είναι Îνα ÎÏγο λογοÏεÏÎ½Î¹ÎºÎ®Ï ÎºÏιÏÎ¹ÎºÎ®Ï ÏÎ·Ï ÏÏμαÏÎºÎ®Ï ÏεÏιÏÎ´Î¿Ï ÏÎ¿Ï ÏÏονολογείÏαι ÏÏον 1ο ή 3ο αι. μ.Χ. και ÎÏει γÏαÏεί ÏÏην Îλληνική. Î ÏÏ Î³Î³ÏαÏÎÎ±Ï ÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ άγνÏÏÏοÏ, αλλά αναÏÎÏεÏαι ÏÏ Î¼Î²Î±Ïικά ÏÏ Îογγá¿Î½Î¿Ï ή ÏÎµÏ Î´Î¿ - ÎογγίνοÏ. ÎεÏÏείÏαι ÏÏ Î¼Î¯Î± κλαÏική ÏÏαγμαÏεία ÏεÏί αιÏθηÏÎ¹ÎºÎ®Ï ÎºÎ±Î¹ ÏÏν αÏοÏελεÏμάÏÏν ÏÎ·Ï ÎºÎ±Î»Î®Ï Î³ÏαÏήÏ. Î ÏÏαγμαÏεία Ï ÏογÏαμμίζει ÏαÏαδείγμαÏα ÎºÎ±Î»Î®Ï ÎºÎ±Î¹ ÎºÎ±ÎºÎ®Ï Î³ÏαÏÎ®Ï Î±ÏÏ Ïην ÏÏοηγοÏμενη ÏιλιεÏία, εÏÏιάζονÏÎ±Ï Î¹Î´Î¹Î±Î¯ÏεÏα Ïε Î±Ï ÏÏ ÏÎ¿Ï Î¼ÏοÏεί να οδηγήÏει ÏÏο ÏÏιÏÏο. ÎÏ Ïή η ÏÏαγμαÏεία, αναÏεÏÏμενη ÏÏην ÏÏ Î½ÏÏιÏÏική δÏναμη ÏÏν κειμÎνÏν και ÏÎ·Ï Î»Î¿Î³Î¿ÏεÏνίαÏ, ÏαÏÎμεινε για ÏÎ¿Î»Ï ÎºÎ±Î¹ÏÏ Î¬Î³Î½ÏÏÏη, ÎÏÏ ÏÏÎ¿Ï Îνα Î²Ï Î¶Î±Î½ÏÎ¹Î½Ï ÏειÏÏγÏαÏο (Parisinus Graecus 2036) ανακαλÏÏθηκε εκ νÎÎ¿Ï Î±ÏÏ ÎÏαλοÏÏ Î¼ÎµÎ»ÎµÏηÏÎÏ ÏÎ¿Ï 16Î¿Ï Î±Î¹.
ÎÏÏ ÏÎ¹Ï ÏηÏοÏικÎÏ ÏÏαγμαÏÎµÎ¯ÎµÏ ÏÎ¿Ï ÏÏÏÏÎ¿Ï Î±Î¹ÏνοÏ, οι ÎÏ Î¶Î±Î½Ïινοί άνÏληÏαν Ïην Îννοια ÏÎ¿Ï ÏηÏοÏÎ¹ÎºÎ¿Ï Ï ÏÎ·Î»Î¿Ï (ΣÏÎ: [ÏÎµÏ Î´Î¿-]ÎÎ¿Î³Î³Î¯Î½Î¿Ï 'ΠεÏί ÎÏÎ¿Ï Ï') ÎÏαν Ïο καθαÏÏήÏιο αÏοÏÎλεÏμα ÏÎ·Ï ÏαÏÎ¿Ï ÏιάÏεÏÏ ÏÏν αιÏθηÏικÏν διαμοÏÏÏÏεÏν με Îναν οÏθολογιÏÏÎ¹ÎºÏ ÎºÎ±Î¹ αÏοδεικÏÎ¹ÎºÏ Î¹Î´Î±Î½Î¹ÎºÏ Î³ÎµÎ¼Î¬Ïο με Ïο ÏαθηÏÎ¹ÎºÏ ÏÏοιÏείο.Îια να εκÏÏάÏει ÏÎ±Ï ÏÏÏÏονα Î±Ï ÏÏν Ïον 'ιδεαλιÏÎ¼Ï ÎºÎ±Î¹ Ïην εÏίγνÏÏη ÏÎ¿Ï ÏÏαγικοÏ' (ÏÏοιÏείο Ïο οÏοίο αÏηÏείÏαι και ÏÏην διακÏÏμηÏη ÏÏν ÏÏηλαίÏν Ajanta), ο διδάÏÎºÎ±Î»Î¿Ï / αÏÏιμάÏÏοÏÎ±Ï ÏÎ·Ï Î¼Î¿Î½Î®Ï Sopocani, ÏÏ ÏÏεÏιζÏÎ¼ÎµÎ½Î¿Ï ÏιθανÏÏαÏα με Ïην ÎεÏÏαλονίκη, Ï Î¹Î¿Î¸ÎÏηÏε Ïην Î´Ï Î±Î´Î¹ÎºÏÏηÏα ÏÎ·Ï 'ÏÏ Î¼Î¼ÎµÏÏίαÏ' και ÏÎ¿Ï 'ÏÏ Î¸Î¼Î¿Ï'. Îια Ïον H. W. Janson μια ÏÎÏοια διαμÏÏÏÏÏη διαθÎÏει Ïην αιÏθηÏική Ï ÏαινικÏικÏÏηÏα ÏÎ¿Ï ÎºÎ»Î±ÏÎ¹ÎºÎ¿Ï ÏÏÎ¿Ï Ï ÏÎ·Ï ÎλλάδαÏ.218 ÎÏÏι, Ïε ÏÏ Î½Î´Ï Î±ÏÎ¼Ï Î¼Îµ Ïον μεÏαιÏÎ½Î¹ÎºÏ Î¼Ï ÏÏικιÏμÏ, ÏÏεδÏν ÏαÏÏμοια αιÏθηÏική Ï ÏαινικÏικÏÏηÏα ανÏηÏεί ÏÏον ÎµÏ Î³ÎµÎ½Î® και ζÏÏÎ¹ÎºÏ ÎºÏÏμο ÏÎ¿Ï Sopocani: η Mila Rajkovic Ïην αÏοκαλεί 'μια θλίÏη ÏÎ¿Ï Î²ÏίÏκεÏαι μÏÏοÏÏά μαÏ, μεÏαμοÏÏÏμÎνη Ïε ÏÎ½ÎµÏ Î¼Î±Ïική δÏναμη'219 ÎαÏαλλήλÏÏ Î¶ÏγÏαÏιÏμÎÎ½Î¿Ï Î¼Îµ ÏÏη & ÏÏÏÏÎ¿Ï Ï, ο κÏÏÎ¼Î¿Ï Î±Ï ÏÎ®Ï ÏÎ·Ï 'Î¼Ï ÏÏÎ¹ÎºÎ®Ï ÎºÎ¿Î¹Î½ÏνίαÏ' ÏÎ·Ï Î¼Î¿Î½Î®Ï Sopocani ÎÏει Ïην βάÏη ÏÎ¿Ï ÏÏην ελληνιÏÏική θεÏÏία ÏÎ·Ï ÏανÏαÏÎ¯Î±Ï ÏÏν ÏÎ½ÎµÏ Î¼Î±Ïικά Î±Î½Ï ÏÏÏικÏν ιδιοÏήÏÏν ÏÎ¿Ï ÎÏÎ³Î¿Ï ÏÎÏνηÏ.220 ÎαÏά Ïην ÏαÏÎ¿Ï ÏίαÏή ÏÎ¿Ï , Ïο θÎμα ÏÎ·Ï 'ÎοιμήÏεÏÏ' ÏαίνεÏαι να Ïο εμÏνεÏÏÏηκε αÏÏ Ïην ÏÏλληÏη ÏÎ·Ï Î¼Ï ÏÏικιÏÏÎ¹ÎºÎ®Ï ÎºÎ±Î¸Î¬ÏÏεÏÏ ÏÎ¿Ï Î Î»ÏÏÎ¯Î½Î¿Ï Î¼Î±Î¶Î¯ με Ïον 'Îείο ÎÏÏÏα' ÏÎ¿Ï ÎÎ¹Î¿Î½Ï ÏÎ¯Î¿Ï ÏÎ¿Ï ÎÏεοÏαγίÏη ÏÎ¿Ï ÏÏοÏÏÎθηκε ÏÏα ÎÎ»ÎµÏ Ïίνια Î¼Ï ÏÏήÏια και Ïην θÏηÏÎºÎµÏ Ïική κάθαÏÏη ÏÎ·Ï Î±ÏÏαιÏÏηÏÎ¿Ï Î¼ÎÏÏ ÏÎ·Ï ÏαÏÎ¿Ï ÏιάÏεÏÏ ('εÏιÏάνειαÏ') ÏÏν νεκÏÏν κ.λÏ.,221 δίδονÏÎ±Ï Î¼Î¹Î± Î¼Ï ÏÏηÏιακή αξία ÏÏον ÏαÏÎ¿Ï ÏιαζÏμενο.... Î ÎÎÎ: The Art of Ajanta and Sopocani
ÎÎΠΤÎÎ ÎÎÎÎÎÎΣΤÎÎÎ ÎÎΩΡÎΠΤÎΣ ΦÎÎΤÎΣÎÎΣ ..[N10].. Ïο αÏοκοÏÏÏÏμα ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î³Î»Ï ÏÏÎ¹ÎºÎ®Ï Î´ÎµÎ½ ÎÏÏεÏαι, ÏÏÏÏ ÏÏο ÏÏÏÏημα ÏÎ¿Ï ÎενοκÏάÏη, με Ïον ÎÏÏιÏÏο ÏÏα ÏÎλη ÏÎ¿Ï 4Î¿Ï Î±Î¹., αλλά μάλλον με Ïον Φειδία ÏÏην ÎλαÏική ÏεÏίοδο. Îαι Ïο ÏαÏακÏηÏιÏÏÎ¹ÎºÏ Î³Î½ÏÏιÏμα Î±Ï ÏÎ¿Ï ÏÎ¿Ï Ï ÏÎ·Î»Î¿Ï ÏÎ·Î¼ÎµÎ¯Î¿Ï Î´ÎµÎ½ είναι η μαεÏÏÏία ÏÏν διαÏοÏεÏικÏν ÏεÏνικÏν ÏÏÏ ÏÏν ÏÎ·Ï Î³Î»Ï ÏÏικήÏ, αλλά μάλλον η καÏοÏή ενÏÏ ÎµÎ¯Î´Î¿Ï Ï Â«ÏÎ½ÎµÏ Î¼Î±ÏÎ¹ÎºÎ®Ï Î´Î¹Î±Î¹ÏθήÏεÏÏ» -Ïην οÏοία οι ÎÎ»Î»Î·Î½ÎµÏ Î±ÏοκαλοÏÏαν ΦÎÎΤÎΣÎÎ- μÎÏÏ ÏÎ·Ï Î¿ÏÎ¿Î¯Î±Ï Î¼ÏοÏοÏÏαν να Î³Î¯Î½Î¿Ï Î½ ανÏιληÏÏÎÏ Î¿Î¹ Ï ÏÎÏοÏÎµÏ Î¹Î´Î¹ÏÏηÏÎµÏ ÏÏν θεÏν. Î ÏÏοÎÎ»ÎµÏ Ïη Î±Ï ÏÎ®Ï ÏÎ·Ï Î¸ÎµÏÏÎ¯Î±Ï ÏÎ·Ï ÏανÏαÏÎ¯Î±Ï Î´ÎµÎ½ είναι βÎβαιη, αλλά ÎÏει αÏοδοθεί ÏÏη ÏιλοÏοÏική ÏÏολή ÏÎ¿Ï ÏÏ Î½Î®Î¸ÏÏ Î¿Î½Î¿Î¼Î¬Î¶ÎµÏαι «ÎÎÏη ΣÏοά». Î ÏκÎÏη ÏÏν κÏÏιÏν μοÏÏÏν Î±Ï ÏÎ®Ï ÏÎ·Ï ÏÏολήÏ, ÏÎ¿Ï Î Î±Î½Î±Î¯ÏÎ¹Î¿Ï (ÏεÏ. 185-109 Ï.Χ.) και ÏÎ¿Ï Î Î¿ÏειδÏÎ½Î¹Î¿Ï (ÏεÏίÏÎ¿Ï 135-50 Ï.Χ.), ÏαÏακÏηÏίζεÏαι αÏÏ Î¼Î¹Î± ÏÏ Î³ÏÏÎ½ÎµÏ Ïη ÏÎ¿Ï ÏλαÏÏÎ½Î¹ÎºÎ¿Ï Î¹Î´ÎµÎ±Î»Î¹ÏÎ¼Î¿Ï ÎºÎ±Î¹ ÏÎ·Ï ÏÏÏÎ¹ÎºÎ®Ï ÏÏ ÏολογίαÏ, ÏÎ¿Ï ÎºÎ±Î¹ οι δÏο ÏαίνεÏαι να ÏαÏακÏηÏÎ¯Î¶Î¿Ï Î½ Ïην θεÏÏία ÏÎ·Ï ÏανÏαÏίαÏ. ΧαÏακÏηÏίζεÏαι εÏίÏÎ·Ï Î±ÏÏ ÏεβαÏμÏ, ÎÏÏ ÎºÎ±Î¹ νοÏÏαλγία, για Ïον ÏολιÏιÏÎ¼Ï ÏÎ·Ï ÎÎ»Î»Î¬Î´Î±Ï ÏÎ¿Ï 5Î¿Ï Î±Î¹Ïνα, δηλαδή Ïην εÏοÏή ÏÎ¿Ï Î¦ÎµÎ¹Î´Î¯Î± και ÏÎ¿Ï Î Î¿Î»ÏκλειÏÎ¿Ï . και ÎÏÏι με ÏολλοÏÏ ÏÏÏÏÎ¿Ï Ï ÏαÏείÏε Îνα ÏÎ½ÎµÏ Î¼Î±ÏÎ¹ÎºÏ Ï ÏÏβαθÏο για Ïον κλαÏικιÏÎ¼Ï ÏÎ¿Ï Î´Î¹Î±ÏÎÏαÏε Ïην ÏÏÏεÏη ελληνιÏÏική ÏεÏίοδο.Îίναι ÏÎ¿Ï Î»Î¬ÏιÏÏον ÏÎ¹Î¸Î±Î½Ï ÏÏι Î±Ï Ïή η κλαÏικιÏÏική θεÏÏηÏη ÏÎ·Ï Î¹ÏÏοÏÎ¯Î±Ï ÏÎ·Ï Î³Î»Ï ÏÏÎ¹ÎºÎ®Ï Î´Î¹Î±Î´Ïθηκε ÏÏο ÎÏγο Upadhya. 1994, αÏÎ¿Ï Î· ÏÏονολογία και οι καλλιÏεÏνικÎÏ ÏÎ¿Ï ÏÏοÏιμήÏÎµÎ¹Ï ÏαίνεÏαι να ήÏαν Ïε αÏμονία με Î±Ï Ïήν. ΠαÏÏική ελληνική Ïηγή ÏÎ¿Ï Î²ÏίÏκεÏαι ÏίÏÏ Î±ÏÏ ÏÎ¹Ï ÏÏζÏÎ¼ÎµÎ½ÎµÏ ÏÏμαÏκÎÏ ÏηγÎÏ Î¼Î±Ï Ïε Î±Ï Ïή Ïην ÏεÏίÏÏÏÏη είναι ίÏÏÏ Ïιο αληθινά Îνα νÏÎ¿ÎºÎ¿Ï Î¼ÎνÏο για Ïη νεο-αÏÏική ÏάÏη ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï ÎºÎ±Î¹ ÏαÏά για Ïην κλαÏική ÏάÏη ÏÎ¿Ï Ïαινομενικά ÏÏ Î¶Î·Ïήθηκε... Î ÎÎÎ: Pollitt, The Art of Greece 1400-31 BC, 1965, p. xiv
ΣÎÎÎÎΩΣÎÎΣ
[N0]. UNESCO 1954, pp. 31-36.[N0A]. Upadhya 1994.
[N1]. Upadhya 1994, pp. 23-24.[N2]. Upadhya 1994, p. 108.[N0A1]. Papastavrou 2010, p. 197.[N2A2]. Detail of the fresco Dormition of the Mother of God from SopoÄani c. 1265 (See also:Palaiologian Renaissance), <https://upload.wikimedia.org/wikipedi.... Karachaliou 2012, pp. 223-224.[N4]. Gligorijevic-Maksimovic 2009 (abstract).[N5]. Papastavrou 2010, pp. 187-189, 197.[N10]. Pollitt 1965, p. xiv.
ÎÎÎÎÎÎÎΡÎΦÎÎ
https://archive.org/stream/in.ernet.d... Datt Upadhya. 1994. The Art of Ajanta and Sopocani: Comparative Study: An Enquiry in PrÄá¹a Aesthetics, Delhi.
Rajkovic, Mila. 1964. The King's Church in Studenica: Mediaval Art in Jugoslavia, Belgrade.
https://www.escholar.manchester.ac.uk..., E. 2012. "The Architectural and Iconographic Identity of Paliochora on Aegina. An Introduction to Its Late and Post Byzantine Churches" (thes. Univ. of Manchester).
https://www.scilit.net/article/98f1ed..., M. 2009. "Classical elements in the endowments of Serbian XIII century donors," in Zbornik Radova Vizantoloskog Instituta (National Library of Serbia) , pp 255-264; https://doi.org/10.2298/zrvi0946255g
https://indianculture.gov.in/ebooks/5..., M., and C. Sivaramamurti. 1971. 5000 Years of the Art of India, New York / Bombay.
https://www.cambridge.org/core/journa... Hallade, M. 1968. The Gandhara style and the evolution of Buddhist Art, trans. D. Imber, London.
https://www.academia.edu/8883565/Clas..., H. 2010. "Classical trends in Byzantine and Western Art in the 13th and 14th centuries," in Byzanz - Das Römerreich im Mittelalter. Peripherie und Nachbarschaft, Monographien des Römisch-Germanischen Zentralmuseums Mainz, ed. F. Daim & J. Drauschke, pp. 183-209.p. 187: The mural paintings of St. Trinity in SopoÄani (dist. RaÅ¡ka, SRB) 20, dated between 1263 and 1268, represent the peak of the Palaeologan Revival. The best craftsmen of the period worked there. The human figures have gigantic dimensions recalling statues of ancient Greek philosophers with athletic bodies and large necks and they are characterised by pastel colours. The representation of a prophet (fig. 7), for instance, shows a wide nose, fleshy lips and eyes discerned in the shade of the concavity of the bones. Moreover, the ear is connected naturally with the rest, recalling a realistic detail of the head.The compositions in SopoÄani are even more monumental due to the great crowd represented in them. Such is the case of the Dormition (fig. 8). Rhythm and harmony dominate the personâs movement, as well as chromatic tones. Moreover, episodes of less importance in the same scene are interconnected in a tranquil way {γαλήνιο}. This occurs, for instance, in the transfer of the disciples in a cloud, the presence of Christ holding the soul of his mother, the archangel Michael present in order to bring the Virginâs soul to heaven and, finally, the crowd of people and angels that accompany the funerary. p. 188: There is no doubt that, of all the other Byzantine monuments, the painting in SopoÄani is the closest to the ancient models. pp. 188-189: Nowhere else in Europe does one find a painting of the same period so progressive in the sense of the Italian Renaissance as the painting in SopoÄani. Half a century later, the saints of Giotto are still rigid and conventional.21p. 197: REDUCTION OF CLASSICISM IN BYZANTIUM AND COMPARISON WITH ITALIAN ARTThe Byzantine Renaissance was a gradual development that took place between the years 1204 and 1265 and that occurred, as already mentioned, during a period of moral crisis that threw the values of Byzantine society into question. At SopoÄani, classicism completely dominated the preceding artistic expression and attained a degree of modernism in sense of the Italian Renaissance that no other monument of Byzantine or Western art had attained. It was there that the revival of ancient art reached a peak that has never been surpassed. The reoccupation of Constantinople in 1261 marked a new reinforcement of the traditional Byzantine requirements regarding the image. The renaissance culminated in SopoÄani. From then on, the classical elements are placed within the frame of a traditional system characterised by the abstraction and idealism of figures and space. Later, the second half of the 14th century is marked with the victory of thep. 198-199: As has been pointed out 46, while at SopoÄani the details of a scene form an organic unity where nothing can be added or abstracted, in contrast, in the Chora Monastery in particular, but also in Palaeologan painting in general, the connection with Antiquity is realised in two ways: firstly, a detail copied from an ancient work or a later copy of it is inserted into a composition of a basically Byzantine structure. The detail thus appears as a quotation in a text. For instance, in the scene of the Wedding in Cana in the Chora Monastery (fig. 20), the episode of the servant slaughtering a calf is of Hellenistic provenance.
https://thesis.ekt.gr/thesisBookReade... , Î. 2010. "Î ÎαÏÏ ÏÎ¿Ï ÎÎ³Î¯Î¿Ï ÎεÏÏÎ³Î¯Î¿Ï ÎεγάδÏν ÏÏην ÎÏειÏο (1795) και Ïο ÎÏγο ÏÏν ÎαÏεÏοβιÏÏν ÎηγÏάÏÏν ÎÏάννη και ÎναÏÏαÏÎ¯Î¿Ï ÎναγνÏÏÏη" (διδ. Παν. ÎÏαννίνÏν).Ïελ. 80: Î ÎοÏÎ´Î¬Î½Î·Ï Î±ÏιÏÏεÏά ιÏÏοÏείÏαι ÏÏ ÏÏÎ¹Î¼Î¿Ï Î¬Î½Î´ÏαÏ, μακÏινή ανάμνηÏη ÏÎ¿Ï Î Î¿ÏειδÏνα, ÎµÎ½Ï Î´ÎµÎ¾Î¹Î¬ η θάλαÏÏα αÏεικονίζεÏαι με ανÏÏικά ÏαÏακÏηÏιÏÏικά κι ÏÏ ÏάÏι αÏÏ Ïη μÎÏη και κάÏÏ, ÏÏοιÏείοÏÎ¿Ï Î±ÏηÏεί ελληνιÏÏικοÏÏ ÏÏÏÏÎ¿Ï Ï Î±ÏÏδοÏÎ·Ï ÎºÎ±Î¹ αÏανÏά ÏÏάνια ÏÏÏο Ïε ÏÏÏιμÏÏεÏα ÏÏο και ÏÏγÏÏονα ÎÏγα ÏÎ¿Ï 18Î¿Ï Î±Î¹Ïνα423 {423 Îνάλογη αÏÏδοÏη βÏίÏÎºÎ¿Ï Î¼Îµ ÏÏην μονή ÎηÏοÏοÏÎ¬Î¼Î¿Ï (ΤÏιγάÏαÏ, ο.Ï, εικ. 40β)}Î ÎÎÎΣ ΤÎÎ¥ ÎÎÎÎÎ¥ ÎÎΩΡÎÎÎÎ¥ ÎÎÎÎÎΩÎ
https://unesdoc.unesco.org/ark:/48223.... 1954. "Yugoslavia: frescoes buried under plaster for 500 years Yugoslavia," in The Unesco Courier 11, pp. 31-36.
p. 31: In 1881, a British art historian named A. Evans caused a sensation in art circles by publishing a series of articles on Serbian medieval art. He claimed that without a knowledge of the hidden masterpieces in the Balkans one could not really understand the Renaissance art of Italy, and he compared the Angel of the Resurrection, a delicate fresco produced by a Serbian artist in the 13th century Milesevo Abbey, with the best works by Michelangelo.
https://ia600205.us.archive.org/22/it... Prana-aesthetics, a finer shade different from that of vitalistic aesthetics) the earlier having breathing-rhythm of "Ksaya-Vrddhi"-- diminuation and augmentation -- other than the latter`s emphasis only on the rhythm of augmentation), has been delineated in this study with examples from the world`s two of the best art-monuments: Ajanta (India), now not remaining unknown even to the most casual connoisseur, and Sopocani (Yugoslavia), the most significant and monumentally beautiful work of Byzantine art. Tracing Prana-aesthetics as the aesthetics of inner-light coded i
February 27, 2023
APHRODITE: A GODDESS OF NEAR EASTERN OR MYCENAEAN ORIGIN?
H Ïο ÏεÏιδÎÏαιον ÏοÏοÏÏα κοÏκλα[2]
ΣÏÏαγίδα αÏÏ Ïο Îδαίον ÎνÏÏο ÏÎ·Ï Î¥Î ÎÎÎa1 - CMS II.3 7[5]ΣÏην ÎÏ ÎºÎ·Î½Î±Ïκή ÎÎ¯Î¸Î¿Ï Ïα ÏÎ¿Ï ÎÎÎA εκÏίθεÏαι Îνα ÏÏάνιο Ïήλινο Î¼Ï ÎºÎ·Î½Î±ÏÎºÏ ÎµÎ¹Î´Ïλιο Ïο οÏοίο οι αÏÏαιολÏγοι αÏοκαλοÏν 'η Ïο ÏεÏιδÎÏαιον ÏοÏοÏÏα κοÏκλα'. ΠαÏÏαιολÏÎ³Î¿Ï Î§ÏήÏÏÎ¿Ï Î¤ÏοÏνÏÎ±Ï Ïο ενÏÏÏιÏε Ïο 1887 Ïε θαλαμÏÏÏ ÏάÏο ÏÎ¿Ï Î½ÎµÎºÏοÏαÏÎµÎ¯Î¿Ï ÏÎ·Ï ÎγÏιοÏÏ ÎºÎ¹Î¬Ï ÏÏÎ¹Ï ÎÏ ÎºÎ®Î½ÎµÏ. Îίναι ÏαÏακÏηÏιÏÏÎ¹ÎºÏ ÏÏι μÎÏα ÏÏα ÏÏÏα ενÏÏ ÏÏÏιακά ÎµÏ ÏήμαÏα ÏÏν ÏάÏÏν, Ïην ξεÏÏÏίζει, Ïην αÏοκαλεί «η Ïο ÏεÏιδÎÏαιον ÏοÏοÏÏα κοÏκλα», και ÏημειÏνει ÏÏι ÏÎ¿Ï Î¸Ï Î¼Î¯Î¶ÎµÎ¹ Ïον ÎμηÏÎ¹ÎºÏ Ïμνο ÎµÎ¹Ï ÎÏÏοδίÏην (Homeric Hymns 5. To Aphrodite):á½ Ïμοι δ᾿ á¼Î¼Ï᾿ á¼ÏαλῠδειÏá¿ ÏεÏικαλλÎÎµÏ á¼¦Ïαν/ καλοὶ ÏÏÏÏειοι ÏαμÏοίκιλοι. á½¡Ï Î´á½² Ïελήνη/ ÏÏήθεÏιν á¼Î¼Ï᾿ á¼Ïαλοá¿Ïιν á¼Î»Î¬Î¼ÏεÏο, θαῦμα ἰδÎÏθαιή Ïε νεο-ελληνική αÏÏδοÏη: ÎÏÏÏ Î±ÏÏ Ïον ÏÏÏ ÏεÏÏ Î»Î±Î¹Î¼Ï ÏÎ·Ï Ï ÏήÏÏαν ÏμοÏÏα ÏεÏιδÎÏαια αÏÏ ÏÏÏ ÏÏ, Ïα Ïιο ÏεÏίÏεÏνα, και γÏÏÏ Î±ÏÏ Ïο ÏÏÏ ÏεÏÏ ÏÎ·Ï ÏÏÎ®Î¸Î¿Ï ÎλαμÏε Ïαν Ïο ÏεγγάÏι, Îνα θαÏμα να Ïο βλÎÏÎµÎ¹Ï Î Î±Î½Î±ÏοÏά ÏÎ¿Ï Î¼ÎµÎ³Î¬Î»Î¿Ï Îλληνα αÏÏαιολÏÎ³Î¿Ï ÏÏο ÏεÏιδÎÏαιο ÏÎ¿Ï Î±Î³Î±Î»Î¼Î±ÏÎ¹Î´Î¯Î¿Ï ÎºÎ±Î¹ η ÏÏ ÏÏÎÏιÏή ÏÎ¿Ï Î¼Îµ Î±Ï ÏÏ ÏÎ·Ï ÎÏÏοδίÏÎ·Ï ÏÎ¿Ï ÎμηÏÎ¹ÎºÎ¿Ï ÏÎ¼Î½Î¿Ï Î±ÏοÏελεί μιά ÏÏÏÏη Ï ÏÏÏÏηÏη ÏÎ±Ï ÏοÏοίηÏη ÏÎ·Ï Î¸ÎµÎ¬Ï ÏÎ¿Ï Î»Î±ÏÏÎµÏ ÏÎ¹ÎºÎ¿Ï ÎµÎ´ÏÎ»Î¯Î¿Ï Î¼Îµ Ïην κλαÏική ÎÏÏοδίÏη, για Î±Ï Ïήν δε Ïην ÏÎ±Ï ÏοÏοίηÏη θα Î±ÎºÎ¿Î»Î¿Ï Î¸Î®Ïει ÏÏα εÏÏμενα εκÏενÎÏÏεÏη αναÏοÏά μαÏ!
Î ÏÏκειÏαι για μια ÏÏάνια ÏεÏίÏÏÏÏη ÏÎ¿Ï Îνα ειδÏλιο καÏÎληξε ÏÏ ÎºÏÎÏιÏμα ÏάÏÎ¿Ï , καθÏÏ Ïα ÏεÏιÏÏÏÏεÏα ανακαλÏÏθηκαν Ïε ιεÏά και αÏοθÎÏεÏ. Îίναι η άλλÏÏ Î»ÎµÎ³Ïμενη 'ÎºÏ Ïία με Ïο μοÏÏι', Îνα Î¼Ï ÎºÎ·Î½Î±ÏÎºÏ ÎµÎ¯Î´Ïλο Ïο οÏοίο αÏεικονίζει μια Î³Ï Î½Î±Î¹ÎºÎµÎ¯Î± μοÏÏή με ÏÏοÏήλαÏÎ·Ï ÎºÎ±ÏαÏÎºÎµÏ Î®Ï ÏÏμα και Îνα ÎµÏ Î´Î¹Î¬ÎºÏιÏο μοÏÏι ÏÏο ÏÏÏÏÏÏο. ΣÏην ÏÏαγμαÏικÏÏηÏα ÏμÏÏ Î´ÎµÎ½ ÏÏÏκειÏαι για ÎνÏονη ÏÏιÏοÏÏ Îα, αλλά για Ïο ÏαγÏνι ÏÎ·Ï Ïο οÏοίο είναι ζÏγÏαÏιÏÏÏ. ΣÏμÏÏνα με Ïην Î´Ï Î. ΠλιάÏÏικα, ÎÏÏαιολÏγο ÏÎ¿Ï ÎÎ¸Î½Î¹ÎºÎ¿Ï ÎÏÏÎ±Î¹Î¿Î»Î¿Î³Î¹ÎºÎ¿Ï ÎÎ¿Ï ÏÎµÎ¯Î¿Ï , μÏνον δÏο Î¼Ï ÎºÎ·Î½Î±Ïκά είδÏλα, αναμÏίβολα Î³Ï Î½Î±Î¹ÎºÎµÎ¯Î±, διαθÎÏÎ¿Ï Î½ γÏαÏÏÏ ÏαγÏνι ÏÎ¿Ï Î¿Î¼Î¿Î¹Î¬Î¶ÎµÎ¹ με μοÏÏι: η ÎÏ Ïία με Ïα ΧÎÏια ÏÏο ΣÏÎ®Î¸Î¿Ï Î±ÏÏ Ïο ÎÏηÏÎºÎµÏ ÏÎ¹ÎºÏ ÎÎνÏÏο ÏÏν ÎÏ ÎºÎ·Î½Ïν και η ÎÏ Ïία ÏÎ·Ï Î¦Ï Î»Î±ÎºÏÏÎ®Ï Î±ÏÏ Ïο ανÏίÏÏοιÏο ιεÏÏ ÏÏη Îήλο. 130 ÏÏÏνια μεÏά, Î±Ï ÏÏ Ïο ειδÏλιο ÏαÏαμÎνει εξαιÏεÏικά ÏÏάνιο ÏÏ ÏÏÎ¿Ï Ïην Ïελική ÏαÏική ÏÎ¿Ï ÏÏήÏη, αÏÎ¿Ï Î¼Ïνον Îνα ακÏμη αÏÏ Ïην ΡÏδο καÏÎληξε ÏÏ ÎºÏÎÏιÏμα ÏάÏÎ¿Ï . Îλα Ïα Ï ÏÏλοιÏα είδÏλα ÏÎ¿Ï Î¼Ï ÎºÎ·Î½Î±ÏÎºÎ¿Ï ÎºÏÏÎ¼Î¿Ï , ακÎÏαια και θÏÎ±Ï ÏμαÏικά, ÏÎ¿Ï Î±Î½ÎÏÏονÏαι Ïε ÏÎ¬Î½Ï Î±ÏÏ 100 δείγμαÏα, ÎÏει αÏοδειÏθεί ÏÏι διαδÏαμάÏιζαν ÎºÎ¿Î¼Î²Î¹ÎºÏ ÏÏλο ÏÏην άÏκηÏη ÏÎ·Ï Î¼Ï ÎºÎ·Î½Î±ÏÎºÎ®Ï Î»Î±ÏÏÎµÎ¯Î±Ï ÎºÎ±Î¹ βÏίÏκονÏαι Ïε ιεÏά, Ïε οικιÏÏικά ÏεÏιβάλλονÏα ή Ïε αÏοθÎÏεÏ. ÎÏÏÏ Î®Ïαν μÎÏÎ¿Ï ÏÎ·Ï Î´Î¹Î±ÎºÎ¿ÏμήÏεÏÏ ÏÎ¿Ï ÎµÎ¹Î´ÏÎ»Î¯Î¿Ï Î® Îνα ÏÏμβολο ÏÎ·Ï ÏελεÏÎ¿Ï ÏÎ³Î¯Î±Ï ÏÎ·Ï Î¹ÎºÎµÏίαÏ. ÎÏÏÏ ÎµÎ¾Î·Î³ÎµÎ¯ η Î´Ï ÎαÏιλική ΠλιάÏÏικα, ο ÎμηÏÎ¿Ï Î±Î½Î±ÏÎÏεÏαι ÏÏην Îλιάδα Ïε μια ÏειÏονομία ÏÎ¿Ï Îκανε ο ικÎÏηÏ.[8] Îγγιζε Ïο ÏαγÏνι ή ανθεÏεÏνα[10] ÏÎ¿Ï Î¹ÎºÎµÏÎµÏ Î¿Î¼ÎÎ½Î¿Ï ÎºÎ±Î¹ εκλιÏαÏοÏÏε για οίκÏο.[9] ÎÏίÏηÏ, Ïο ειδÏλιο είÏε Ïα ÏÎÏια ÏÎ¿Ï Ï ÏÏμÎνα, αλλά ÎÏÏαÏαν. ΠιθανÏν Î±Ï ÏÏÏ Î®Ïαν ο λÏÎ³Î¿Ï ÏÎ¿Ï Îγινε εναÏÏθεÏή ÏÎ¿Ï ÏÏον ÏάÏο ÏÏν ÎÏ ÎºÎ·Î½Ïν. Î Ïιν αÏÏ Ïη ÏÏήÏη ÏÎ¿Ï ÏÏ ÎºÏεÏίÏμαÏοÏ, λειÏÎ¿Ï ÏγοÏÏε ÏÏ ÎµÎ¹ÎºÏνα - εÏιÏάνεια ÏÎ·Ï Î¸ÎµÏÏηÏÎ±Ï ÏÏÎ¿Ï Ïην οÏοία αÏÎµÏ Î¸ÏνονÏαν οι εÏικλήÏÎµÎ¹Ï ÏÏν ÏιÏÏÏν. Îι εÏιÏκÎÏÏÎµÏ ÏÎ¿Ï ÎÎ¸Î½Î¹ÎºÎ¿Ï ÎÏÏÎ±Î¹Î¿Î»Î¿Î³Î¹ÎºÎ¿Ï ÎÎ¿Ï ÏÎµÎ¯Î¿Ï Î¼ÏοÏοÏν να Î´Î¿Ï Î½ Ïο ειδÏλιο μÎÏα ÏÏη ÎÏ ÎºÎ·Î½Î±Ïκή ÎÎ¯Î¸Î¿Ï Ïα ÏÏην ÏÏοθήκη 33 ÏÏÎ¿Ï ÎµÎºÏίθενÏαι Ïήλινα ειδÏλια, ομοιÏμαÏα και ζÏÏμοÏÏα αγγεία αÏÏ Î¸Î±Î»Î±Î¼ÏÏοÏÏ ÏάÏÎ¿Ï Ï ÏÎ·Ï ÎÏγολίδαÏ.... Î Dietrich αναÏεÏÏÎ¼ÎµÎ½Î¿Ï ÏÏην ÎÏ ÎºÎ·Î½Î±Ïκή θεά ÏÎ·Ï ÏÏÏεÏÏ ÏημειÏνει ÏÏι η Îλληνική θÏηÏκεία ÏÏοÎÎºÏ Ïε ÏÏ Î±ÏοÏÎλεÏμα ÏοικίλÏν εÏιÏÏοÏν, μεÏαναÏÏεÏÏεÏν και εξελίξεÏÏ ÏÏον ÏÏÏνο για δε Ïην ÎÏ ÎºÎ·Î½Î±Ïκή θεά ÏÎ·Ï ÏÏÏεÏÏ Î³ÏάÏει:[17]ΠεÏιÎÏγÏÏ, Ïο ιÏÏÏ ÏÏÏεÏο ÏαÏάδειγμα ÏÎ¿Ï Î±Î½Î±ÏÎÏεÏαι ÏÏεÏικÏÏ ÏÏοÎÏÏεÏαι αÏÏ Ïην ÎÏίνη, ÏÏ Î³ÎºÎµÎºÏιμÎνα αÏÏ Ïο Î¿Î¹ÎºÎ¹Î±ÎºÏ Î¹ÎµÏÏ ÏÎ¿Ï 12Î¿Ï Î±Î¹ÏÎ½Î¿Ï ÏÏοÏανοÏÏ Î¼Î¹Î½ÏÎ¹ÎºÎ®Ï ÎºÎ±ÏαγÏγήÏ. ÎÏοÏελείÏαι αÏÏ Î¼Î¯Î± ÏÏεÏικά μεγάλη κεÏαλή ÏÏοÏήλαÏÎ·Ï ÎºÎµÏαμεικήÏ, ÏÎ¿Ï ÏεÏιβάλλεÏαι αÏÏ ÏÎ¹Ï ÏÏ Î½Î·Î¸Î¹ÏμÎÎ½ÎµÏ Î¼Ï ÎºÎ·Î½Î±ÏκÎÏ Î¼Î¿ÏÏÎÏ Â«Î¨Â», καθÏÏ ÎºÎ±Î¹ αÏÏ Î¼Î¿ÏÏÎÏ ÏÎ·Ï Î¼Î¹Î½ÏÎ¹ÎºÎ®Ï Î¸ÎµÎ¬Ï Î¼Îµ Ï ÏÏμÎνα Ïα ÏÎÏια114. Τα ÏÏοιÏεία είναι αÏαÏή, ÏÏÏÏÏο, εÏειδή δεν μÏοÏεί να Ï ÏάÏξει βεβαιÏÏηÏα για Ïο ÏÏλο ÏÎ·Ï Î¸ÎµÏÎºÎ®Ï Î¼Î¿ÏÏÎ®Ï ÏÎ·Ï Î¿ÏÎ¿Î¯Î±Ï Î¼Ïνον η κεÏαλή ÏÏθηκε. Î Nilsson είναι ÏεÏειÏμÎÎ½Î¿Ï ÏÏι ÏÏην ÏεÏίÏÏÏÏη Î±Ï Ïή ÎÏÎ¿Ï Î¼Îµ να ÎºÎ¬Î½Î¿Ï Î¼Îµ με Îναν θεÏ, δηλαδή Ïον «ÎÏÏονÏα ÏÎ·Ï ÎÏίνηÏ» ή Ïον Îία με Ïον κεÏÎ±Ï Î½Ï ÏÎ¿Ï 115. Îια Ïον Evans, Ïον Persson και Ïιο ÏÏÏÏÏαÏα για Ïον Nicholls, Ïο κεÏάλι ήÏαν μÎÏÎ¿Ï Î¼Î¹Î±Ï Î¸ÎµÎ¬Ï116. Το αδιÎξοδο είναι αÏίθανο να εÏÎ¹Î»Ï Î¸ÎµÎ¯. ΠκεÏαλή ÏÎ·Ï ÎÏÎ¯Î½Î·Ï ÎÏει ÏÏ Î³ÎºÏιθεί Ï Ïολογικα με Ïην κεÏαλή ÏÎ¿Ï 10Î¿Ï /9Î¿Ï Î±Î¹Ïνα αÏÏ Ïο ÎαλοÏÏÏι ÏÎ·Ï ÎÏήÏηÏ, ÏÏην Πεδιάδα117, με Ïην ÏεÏίÏημη Î³Ï ÏοκεÏαλή ÏÎ¿Ï 13Î¿Ï Î±Î¹Ïνα (Î³Ï Î½Î±Î¹ÎºÎµÎ¯Î±) αÏÏ ÏÎ¹Ï ÎÏ ÎºÎ®Î½ÎµÏ ÎºÎ±Î¹ Îνα ελαÏÏÏÏ Î¼Î¹ÎºÏÏÏεÏο, αλλά λίγο ÏÎ¿Î»Ï ÏÏγÏÏονο, κεÏάλι αÏÏ Î¤Î¯ÏÏ Î½Î¸Î±118.
Î Boedeker αÏÏ Ïην άλλη, μελεÏÏνÏÎ±Ï Ïην καÏαγÏγή ÏÎ·Ï ÎÏÏοδίÏÎ·Ï ÏÏο Îνδο-ÎµÏ ÏÏÏÎ±Î¹ÎºÏ ÎÏÎ¿Ï ÏημειÏνει:[20]Το ζήÏημα ÏÎ·Ï ÎºÎ±ÏαγÏÎ³Î®Ï ÏÎ·Ï ÎÏÏοδίÏÎ·Ï ÎºÎ±Î¹ ÏÎ·Ï Î±ÏÏÎ¹ÎºÎ®Ï ÏÎ·Ï ÏÏÏεÏÏ ÎÏει ÏαÏαδοÏιακά αÏοÏελÎÏει μιά ÏÏÏκληÏη για ÏÎ¿Ï Ï Î¹ÏÏοÏικοÏÏ ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î¸ÏηÏκείαÏ. ÎÏÏ Ïον ÎÏÏδοÏο μÎÏÏι ÏήμεÏα Ïολλοί ÏÏ Î³Î³ÏαÏÎµÎ¯Ï Ïην ÎÏÎ¿Ï Î½ ÏÏ Î½Î´ÎÏει με Ïην ÎγγÏÏ ÎναÏολή. Îια Ïην ÏεκμηÏίÏÏη Î¼Î¹Î±Ï ÏÎÏÎ¿Î¹Î±Ï Î¸ÎµÏÏÎ¯Î±Ï ÏÏηÏιμοÏοιοÏνÏαι διάÏοÏα είδη ÏÏοιÏείÏν. Î ÏÏÏον, ήδη αÏÏ Ïα ÎμηÏικά και ÎÏιÏδεια ÎÏη, ÏÏ ÏαÏÏίδα ÏÎ·Ï ÎÏÏοδίÏÎ·Ï Î¸ÎµÏÏείÏαι η αÏομακÏÏ ÏμÎνη ÎÏÏÏοÏ, καÏÎ¬Î»Î»Î·Î»Î¿Ï ÏÏÏÎ¿Ï ÏÏ Î½Î±Î½ÏήÏεÏÏ ÏÎ¿Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ¿Ï ÏολιÏιÏÎ¼Î¿Ï Î¼Îµ Î±Ï ÏοÏÏ ÏÎ·Ï ÎγγÏÏ ÎναÏολήÏ. Πιο ÏÏ Î³ÎºÎµÎºÏιμÎνα, Ïε ÏÏÏ ÏÎÏ ÏÎ·Ï ÎµÎ¹ÎºÎ¿Î½Î¿Î³ÏαÏίαÏ, ÏÎ·Ï Î¼Ï Î¸Î¿Î»Î¿Î³Î¯Î±Ï ÎºÎ±Î¹ ÏÎ·Ï Î»Î±ÏÏÎµÎ¯Î±Ï ÏηÏ, η ÎÏÏοδίÏη ομοιάζει με ÏÎ¹Ï ÎÏιαÏικÎÏ ÎÎµÎ³Î¬Î»ÎµÏ ÎεÎÏ. ÎÏιÏλÎον, ÎÏÎ¿Ï Î½ ÏÏοÏαθεί αÏκεÏÎÏ ÎµÏÏ Î¼Î¿Î»Î¿Î³Î¯ÎµÏ ÏÎ¿Ï Î¸Î± ÏÏ Î½Îδεαν Ïο Ïνομα ÏÎ·Ï ÎÏÏοδίÏÎ·Ï Î¼Îµ Î±Ï ÏÏ Î¼Î¹Î±Ï Î±Î½Î±ÏÎ¿Î»Î¹ÎºÎ®Ï Î¸ÎµÎ¬Ï. Î©Ï Î±ÏοÏÎλεÏμα Î±Ï ÏÏν ÏÏν ομοιοÏήÏÏν, οι ιÏÏοÏικοί ÏÎ·Ï Î¸ÏηÏÎºÎµÎ¯Î±Ï ÏÏ Î¼ÏÏνοÏν ÏλÎον ÏÏι η ÎÏÏοδίÏη καÏάγεÏαι αÏÏ Ïη ΣημιÏική ÎγγÏÏ ÎναÏολή και ÏÏοÏανÏÏ ÎµÎ¹Ïήλθε ÏÏον ÎµÎ»Î»Î·Î½Î¹ÎºÏ ÎºÏÏμο μÎÏÏ ÏÎ·Ï ÎÏÏÏÎ¿Ï , ÏÏÎ¿Ï ÎµÎ¹ÏήÏθη αÏÏ ÏÎ¿Ï Ï Î¦Î¿Î¯Î½Î¹ÎºÎµÏ.1
Το 'εÏÏÏημα ÏÎ·Ï ÎÏÏοδίÏηÏ' θα ÏÏÎÏει ÏÏÏÏÏο να εÏανεξεÏαÏÏεί, ÏÏÏÏ ÏÏοÏείνει ÏÏοÏεκÏικά ο Martin Nilsson,2 ειδικά Ï ÏÏ Ïο ÏÏίÏμα ÏÏν ÏÏÏÏÏαÏÏν αÏÏαιολογικÏν εÏÎµÏ Î½Ïν ÏÏην ÎÏÏÏο. Τα ÏÏοιÏεία αÏÏ ÏÎ¹Ï Î±Î½Î±ÏκαÏÎÏ ÏÏην ÎγκÏμη, ÏÏο ÎίÏιον και αλλοÏ3 αÏοδεικνÏÎ¿Ï Î½ ÏÏι οι ÎÏ ÎºÎ·Î½Î±Î¯Î¿Î¹ ÎÎ»Î»Î·Î½ÎµÏ ÎµÎ¯Ïαν εγκαÏαÏÏαθεί ÏÏην ÎÏÏÏο καÏά Ïην ÏÏÏεÏη ÎÏοÏή ÏÎ¿Ï Î§Î±Î»ÎºÎ¿Ï, ÏÎ¿Î»Ï ÏÏιν αÏÏ Ïην εμÏάνιÏη ÏÏν ΦοινίκÏν ÏÏην νήÏο. 1 Îι Î¦Î¿Î¯Î½Î¹ÎºÎµÏ Î´Îµ αÏοίκηÏαν Ïην ÎÏÏÏο ÏαÏα μÏνον καÏά Ïην ÏÏÏιμη ÎÏοÏή ÏÎ¿Ï Î£Î¹Î´Î®ÏÎ¿Ï (ÏεÏίÏÎ¿Ï 1000 Ï.Χ.), Ïε μια ÏεÏίοδο ελάÏιÏÏÎ·Ï ÎµÏαÏÎ®Ï Î¼ÎµÏÎ±Î¾Ï Î±Ï ÏÎ¿Ï ÏÎ·Ï Î½Î®ÏÎ¿Ï ÎºÎ±Î¹ ÏÎ·Ï Î·ÏειÏÏÏÎ¹ÎºÎ®Ï ÎλλάδαÏ. 2 Îάν η λαÏÏεία ÏÎ·Ï ÎÏÏοδίÏη ειÏήÏθη ÏÏÎ¿Ï Ï ÎλλαδίÏÎµÏ ÏÎ¿Ï Î·ÏειÏÏÏÎ¹ÎºÎ¿Ï ÏÏÏÎ¿Ï ÎºÎ±Ïά Ïη διάÏκεια Î±Ï ÏÎ®Ï ÏÎ·Ï ÏεÏιÏÎ´Î¿Ï , ÏÏÏÏ ÏÏ Ïνά Ï ÏοÏÏηÏίζεÏαι, είναι αÏίθανο η λαÏÏεία ÏÎ·Ï Î½Î± είÏε εξαÏλÏθεί αÏÏ Ïην ÎÏÏÏο ÏÏον Ï ÏÏλοιÏο ÎµÎ»Î»Î·Î½Î¹ÎºÏ ÎºÏÏμο ÎÏÏ ÏÏÎ¿Ï Î±ÏοκαÏαÏÏαθεί η εÏαÏή καÏά Ïην αÏÏαÏκή ÏεÏίοδο. Îλλά η ÎÏÏοδίÏη είναι καλά εδÏαιÏμÎνη ÏÏο αÏÏαÏÎºÏ ÎµÎ»Î»Î·Î½Î¹ÎºÏ ÎÏοÏ. Î ÏάγμαÏι, Ïο ÏεÏίÏλοκο ÏÏÏÏημα ÏÏν ÏÏÏÏν ονομάÏÏν-εÏιθεμάÏÏν ÏÎ·Ï Ï ÏοδηλÏνει ÏÏι ήÏαν γνÏÏÏή ÏÏην ÏοιηÏική ÏαÏάδοÏη για ÏÏεÏικά μεγάλο ÏÏÎ¿Î½Î¹ÎºÏ Î´Î¹Î¬ÏÏημα. 3 Î©Ï ÎµÎº ÏοÏÏÎ¿Ï , ÏÏον αÏοÏά ÏÏην ιÏÏοÏική ÏιθανÏÏηÏα, είναι αÏίθανο οι Î¦Î¿Î¯Î½Î¹ÎºÎµÏ Î½Î± ειÏήγαγαν Ïην ÎÏÏοδίÏη ÏÏÎ¿Ï Ï ÎÎ»Î»Î·Î½ÎµÏ Î¼ÎÏÏ ÏÎ·Ï ÎÏÏÏÎ¿Ï .4
Î ÎµÎ³Î³ÎµÎ½Î®Ï ÎºÏ ÏÏιακή ÏÏοÎÎ»ÎµÏ Ïη ÏÎ·Ï ÎÏÏοδίÏÎ·Ï ÎµÎ¯Î½Î±Î¹ εÏίÏÎ·Ï Î±Ïίθανη, ÏÏÏÏ Î´ÎµÎ¯ÏÎ½Î¿Ï Î½ Ïα εÏιγÏαÏικά ÏÏοιÏεία.6
ÎναλÏγÏÏ Î¿ West αναλÏονÏÎ±Ï Ïο Ïνομα ÏÎ·Ï ÎÏÏοδίÏÎ·Ï ÏημειÏνει:[24]Îίναι ÎµÏ ÏÎÏÏ Î±ÏοδεκÏÏ ÏÏι η ÎÏÏοδίÏη ήÏαν μια μεÏÎ±Î¼Ï ÎºÎ·Î½Î±Ïκή (ή οÏÏÏδήÏοÏε μεÏα-ανακÏοÏική) ÏÏοÏθήκη ÏÏο ÎµÎ»Î»Î·Î½Î¹ÎºÏ Ïάνθεον. Îεν εμÏανίζεÏαι ÏÏα κείμενα ÏÎ·Ï ÎÏÎ±Î¼Î¼Î¹ÎºÎ®Ï Î, ÎµÎ½Ï ÏÏον ÎÏίοδο και Ïον ÎμηÏο ÏÏ ÏÏεÏίζεÏαι ιÏÏÏ Ïά με Ïην ÎÏÏÏο, Îνα νηÏί ÏÏÎ¿Ï Î· ελληνική εγκαÏάÏÏαÏη Ïε οÏοιαδήÏοÏε κλίμακα ÏÏονολογείÏαι μÏνο αÏÏ Ïον δÏδÎκαÏο και Ïον ενδÎκαÏο αιÏνα. Τα ÏημανÏικÏÏεÏα λαÏÏÎµÏ Ïικά κÎνÏÏα ÎµÏ ÏίÏκονÏαν ÏÏην ÎÏÏÏο, ιδιαίÏεÏα ÏÏην ΠάÏο. Το Ïνομά ÏÎ·Ï Î´ÎµÎ½ ÏαίνεÏαι να είναι ÎµÎ»Î»Î·Î½Î¹ÎºÏ Î® Î¹Î½Î´Î¿ÎµÏ ÏÏÏαÏκÏ, οι δε ÏÏοÏÏÎ¬Î¸ÎµÎ¹ÎµÏ Î½Î± εÏÏ Î¼Î¿Î»Î¿Î³Î·Î¸ÎµÎ¯ ÎÏÏι ÎÏÎ¿Ï Î½ γενικά εγκαÏαλειÏθεί. Î ÏÏÏÏαÏη ÏÏι ÏÏοÎÏÏεÏαι αÏÏ Î¼Î¹Î± λÎξη ÏÎ·Ï ÎναÏÎ¿Î»Î¯Î±Ï Î® ÏÎ·Ï Â«Î¼ÎµÏογειακήÏ» λÎξεÏÏ Î³Î¹Î± Ïον 'αÏÏηγÏ', ÏÎ¿Ï Î±Î½ÏικαÏοÏÏÏίζεÏαι ÏÏα εÏÏÎ¿Ï Ïκικά (e)prθni και ÏÏα ελληνικά ÏÏÏÏανιÏ, ÎÏει Ïην ίδια Ïαμηλή αÏοδοÏή2. ÎÏÏε η (αναμενÏμενα) Î±Î¹Î³Ï ÏÏιακή εÏÏ Î¼Î¿Î»ÏγιÏη ÏÎ¿Ï Martin Bernal3. Îι εÏεξηγήÏÎµÎ¹Ï Î±ÏÏ Ïη ΣημιÏική, ιδίÏÏ Î· άÏοÏη ÏÏι Ïο Ïνομα είναι ÏαÏαμÏÏÏÏÏη Î±Ï ÏÎ¿Ï ÏÎ·Ï ÎÏÏάÏÏηÏ, ÎÏÎ¿Ï Î½ εγγενÏÏ Î¼ÎµÎ³Î±Î»ÏÏεÏη αληθοÏάνεια, δεδομÎνÏν ÏÏν αναÏολίÏικÏν ÏÏ Î½Î´ÎÏεÏν ÏÎ·Ï ÎÏÏοδίÏÎ·Ï ÎºÎ±Î¹ ÏÏν ÏαÏακÏηÏιÏÏικÏν ÏÎ¿Ï Î¼Î¿Î¹ÏάζεÏαι με Ïη θεÏÏηÏα ÏÏν ΧαναναίÏν4, και ÎÏÎ¿Ï Î½ βÏει μεγαλÏÏεÏη αÏοδοÏή. Îα Ï ÏοÏÏηÏÎ¯Î¾Ï ÏÏι Ïο Ïνομα δεν μÏοÏεί να ÏÏοÎÏÏεÏαι αÏÏ Ïο Astart, οÏÏε να εÏμηνεÏεÏαι με βεβαιÏÏηÏα, αλλά ÏÏι είναι Î±Ï Î¸ÎµÎ½Ïικά ÏημιÏικÏ.
ΠεμÏάνιÏη, ÏμÏÏ, ÏÎ¿Ï ÏÏοαναÏεÏθÎνÏÎ¿Ï ÎÏ ÎºÎ·Î½Î±ÏÎºÎ¿Ï ÎµÎ´ÏÎ»Î¯Î¿Ï Î¸ÎÏει εÏÏÏήμαÏα ÏÏεÏικά με Ïην ÏÏαÏξη και λαÏÏεία ήδη Ïε ÎÏ ÎºÎ·Î½Î±ÏÎºÏ ÏολιÏιÏÏÎ¹ÎºÏ ÎδαÏÎ¿Ï Î¸ÎµÎ¬Ï Î· οÏοία διαθÎÏει ÏαÏακÏηÏιÏÏικά ÏÏ ÏÏεÏιζÏμενα με Ïην ÎÏÏοδίÏη! Î ÏÏαÏξη ÏεÏιδεÏÎ±Î¯Î¿Ï Î³ÏÏÏ Î±ÏÏ Ïον Î»Î±Î¹Î¼Ï ÏÎ·Ï Î¸ÎµÎ¬Ï ÏαÏαβάλλεÏαι με ανÏίÏÏοιÏο κοÏμηÏÎ¿Î»Î¿Î³Î¹ÎºÏ ÏαÏακÏηÏιÏÏÎ¹ÎºÏ ÏÎ·Ï ÎÏÏοδίÏÎ·Ï ÏÎ¿Ï ÎμηÏÎ¹ÎºÎ¿Ï ÏÎ¼Î½Î¿Ï , ÎµÎ½Ï ÎºÎ±Î¹ ο ανδÏÏÎ³Ï Î½Î¿Ï ÏαÏακÏήÏÎ±Ï ÏÎ·Ï ÎºÎ±Î¹ ιδιαίÏεÏα Ïο γÎνι ÏαίνεÏαι να Ïην ÏÏ Î½Î´Îει με Ïην ΡÏμαÏκή ÎενειοÏÏÏο ÎÏÏοδίÏη ή Venus Barbata διαÏÏζονÏÎ±Ï ÏιθανÏÏ ÏαÏακÏηÏιÏÏÎ¹ÎºÏ Î±Î½Î¹ÏνεÏÏιμο ήδη αÏÏ Ïην ÎÏοÏή ÏÎ¿Ï Î§Î±Î»ÎºÎ¿Ï! ΣÏμÏÏνα με Ïην wikipedia, wikipedia, s.v. Venus Barbata, o ÎακÏÏβιοÏ[26] αναÏÎÏει εÏίÏÎ·Ï Îνα άγαλμα ÏÎ·Ï ÎÏÏοδίÏÎ·Ï ÏÏην ÎÏÏÏο, ÏÎ¿Ï ÏαÏιÏÏάνει Ïη θεά με γενειάδα, με Î³Ï Î½Î±Î¹ÎºÎµÎ¯Î± ÎµÎ½Î´Ï Î¼Î±Ïία, αλλά Ïε ολÏκληÏη Ïη μοÏÏή ÏÎ·Ï Î¼Î¿Î¹Î¬Î¶ÎµÎ¹ με εκείνη ενÏÏ Î¬Î½Î´Ïα (βλ. και ÎÏÏÏδιÏο). ΠιδÎα ÏÎ·Ï ÎÏÏοδίÏÎ·Ï Î½Î± είναι ÎÏÏι Îνα μείγμα ÏÎ·Ï Î±Î½Î´ÏÎ¹ÎºÎ®Ï ÎºÎ±Î¹ Î³Ï Î½Î±Î¹ÎºÎµÎ¯Î±Ï ÏÏÏÎ·Ï ÏαίνεÏαι να ανήκει Ïε μια ÏÏιμη ÏεÏίοδο ÏÎ·Ï Î±ÏÏαιÏÏηÏαÏ, ÏμÏÏ Î´ÎµÎ¯Ïνει ÏÏι εÏιβιÏνει και ÏÎ¿Î»Ï Î±ÏγÏÏεÏα, ÏαÏάβαλε Ïον μÏθο ÏÎ¿Ï ÎÎ³Î¯Î¿Ï Wilgefortis!ΠιδÎα ÏÎ·Ï ÎÏÏοδίÏÎ·Ï Î½Î± ÎÏει ÏÏÏη διÏÎ»Î¿Ï ÏÏÎ»Î¿Ï ÎÏει Ïην ίδια διÏλή Îννοια, με Ïη Î¼Ï Î¸Î¿Î»Î¿Î³Î¹ÎºÎ® Îννοια, ÏÏι δεν Ï ÏάÏÏει μÏνο ÎοÏνα (Σελήνη), αλλά και ÎοÏναÏ. Το ÏÎµÎ»ÎµÏ Ïαίο Î±Ï ÏÏ ÏÏÏλιο ÏαÏÎÏει, ενδεÏομÎνÏÏ, άλλο Îνα ÏÏοιÏείο ÏÎ¿Ï ÏÏ Î½Î´Îει Ïην ÎÏÏοδίÏη ÏÎ¿Ï ÎμηÏÎ¹ÎºÎ¿Ï ÏÎ¼Î½Î¿Ï Î¼Îµ Ïον ανδÏÎ¿Î³Ï Î½Î¿ ÏαÏακÏήÏα ÏÎ·Ï Î¸ÎµÎ¬Ï!
Detail of Magdalena Ventura with Her Husband and Son, by Jusepe de Ribera, 1631[ÎνδιαÏÎÏÎ¿Ï Ïα είναι ÏÏεÏικÏÏ Î· Ï ÏοÏÏηÏικÏική ÏÎ·Ï Î±Î½ÏÏÎÏÏ ÏÏοÏεγγίÏεÏÏ Î¬ÏοÏη ÏÎ·Ï Elderkin, η οÏοία ÏÏην ÎινÏÏκή ÏÏÏαγίδα CMS II.3 7 ÏÎ·Ï Î¥Î ÎÎÎa1 αναγνÏÏίζει Ïην θεά ÎÏÏοδίÏη ιδιαίÏεÏα με Ïα ÏαÏακÏηÏιÏÏÎ¹ÎºÏ ÏÎ·Ï ÏÏ Î¸ÎµÎ¬Ï ÏÎ·Ï Î³Î¿Î½Î¹Î¼ÏÏηÏÎ¿Ï Î±Î»Î»Î¬ και ÏÎ¿Ï Î¿Ï ÏÎ±Î½Î¿Ï ÎºÎ±Î¹ ÏÎºÎµÎ±Î½Î¿Ï ![30]
ΣÎÎÎÎΩΣÎÎΣ[2]. ÎιδÏλιο Î¸Ï Î»Î·ÎºÎ®Ï Î¼Î¿ÏÏÎ®Ï Î±ÏÏ Î¸Î±Î»Î±Î¼ÏÏÏ ÏάÏο ÏÎ¿Ï Î½ÎµÎºÏοÏαÏÎµÎ¯Î¿Ï ÏÎ·Ï ÎγÏιοÏÏ ÎºÎ¹Î¬Ï ÏÏÎ¹Ï ÎÏ ÎºÎ®Î½ÎµÏ, ÎÎÎÎ Î 2494.[5]. https://arachne.uni-koeln.de/browser/... ÏοÎÎ»ÎµÏ Ïη: ÎεÏÏ ÏÎ¿Ï ÎιÏÏ ÏÏο ÏÏÎ¿Ï Îδη, Îδαίον ÎνÏÏον. ΦÏλαξη: ÎÏÏÎ±Î¹Î¿Î»Î¿Î³Î¹ÎºÏ ÎÎ¿Ï Ïείο ÎÏÎ±ÎºÎ»ÎµÎ¯Î¿Ï . ÎÏεία κÏÏÏÏαλλοÏ, ΥΠÎÎÎa1, λαÏÏÎµÏ Ïική.ÎικονιÏÏικά μοÏίβα εκÏÏÏ Î±ÏÏ ÏλάÏμαÏα: ÎδαÏοÏ: δάÏεδο ÏολλαÏλÏν γÏαμμÏν Î¦Ï Ïά: κλαδί ÎλαÏÎ¿Ï Î´Î¹ÏÎ»Î®Ï ÏÏÎ·Ï Î¼Îµ κοÏÎ¼Ï ÎºÎ±Î¹ κÏÎ½Î´Ï Î»Î¿ ΣÏμβολα: λαÏÏÎµÏ Ïικά κÎÏαÏα, ÏÏάÏÏ (3), αÏÏÎÏι, ÎÏίÏια: βÏμÏÏ Î±Î¼ÏίκÏνοÏ. Î£Ï ÏÎºÎµÏ ÎÏ: ÏαλιγκάÏι ÏÏίÏÏν[8]. Il.1.501. [9]. ΡÏÏÏÎ¿Î³Î»Î¿Ï 2012, Ïελ. 70, Ïημ. 133, 134: ΣÏην Îήδεια ÏÎ¿Ï ÎÏ ÏιÏÎ¯Î´Î¿Ï , Eur. Med. 65 αναÏÎÏεÏαι:ΤÏοÏÏÏ65μή, ÏÏá½¸Ï Î³ÎµÎ½ÎµÎ¯Î¿Ï , κÏÏÏÏε ÏÏÎ½Î´Î¿Ï Î»Î¿Î½ ÏÎθεν:Ïιγὴν γάÏ, εἰ ÏÏή, Ïῶνδε θήÏομαι ÏÎÏι. .. ΣÏο ÏλαίÏιο ÏÎ¿Ï Î±ÏÏÎ±á½·Î¿Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ¿á½» ÏολιÏιÏμού η ικεÏία αÏοÏελεί θεÏμό ιδιαίÏεÏÎ·Ï ÏημαÏίαÏ,133 ... νόημα ÏÎ¿Ï Î±Î³Î³á½·Î³Î¼Î±ÏÎ¿Ï ÏÎ¿Ï Î³Î¿Î½á½±ÏÎ¿Ï á½µ ÏÎ¿Ï ÏÎ·Î³Î¿Ï Î½Î¹Î¿á½» και Ïη δεÏÎ¼ÎµÏ ÏικόÏηÏα ÏÏν λεγομένÏν καÏá½± Ïη Ïκηνή ÏÎ·Ï Î¹ÎºÎµÏίαÏ. .. 134 Î Ïβ. εÏá½·ÏÎ·Ï Ïην έκÏÏαÏη ÏÏá½¸Ï Î³ÎµÎ½Îµá½·Î¿Ï (ÏÏ. 65) á½¹Ïαν η ÏÏοÏá½¹Ï ÏαÏακαλεί Ïον ÏαιδαγÏγό να ÏÎ·Ï Î±ÏοκαλύÏει Ïι ξέÏει και Ïο ÏÏόλιο ÏÎ¿Ï Mastronarde (2006:238 ad 65) á½¹Ïι ÏÏόκειÏαι για λιγόÏεÏο ιÏÏÏ Ïá½¹ ÏÏá½¹Ïο ικεÏá½·Î±Ï Ïε ÏÏá½³Ïη με Ïο άγγιγμα ÏÏν γονάÏÏν. [10]. Liddel Scot Jones á¼Î½Î¸ÎµÏεÏν , ῶνοÏ, á½,A. [select] chin, δεξιÏεÏῠδ᾽ á¼Ïá¾½ á½Ïá¾½ á¼Î½Î¸ÎµÏÎµá¿¶Î½Î¿Ï á¼Î»Î¿á¿¦Ïα, in token of supplication {ÎµÎ¹Ï Îνδειξιν ικεÏίαÏ}, Il.1.501; ÏαÏá½° νείαÏον á¼Î½Î¸ÎµÏεῶνα, i.e. just under the chin, 5.293, cf. Hp.Oss.18, Nic.Th.444.2. [select] later, neck, throat, Euph.92.1 (pl.): sg., AP9.129 (Nestor), Q.S.1.110: sg. in both senses, Ruf.Onom.47,48.3. [select] mouth, Nonn.D.3.247, 25.476. [17]. Dietrich 1974, p. 151.[20]. Boedeker, D. 1974, pp. 1-3:
The question of Aphrodite's origins, and of her original nature, has traditionally intrigued historians of Greek religion. From Herodotus to the present, many writers have connected her with the Near East. Several types of evidence are used to substantiate such a theory. First, as early as the Homeric and Hesiodic epics, Aphrodite's homeland is considered to be remote Cyprus, an appropriate meeting ground for Greek and Near Eastern cultures. More specifically, in aspects of her iconography, mythology, and cult, Aphrodite resembles the Asiatic Great Goddesses. In addition, several etymologies have been proposed which would connect Aphrodite's name with that of an Eastern goddess. As a result of these resemblances, historians of religion now commonly agree that Aphrodite came from the Semitic Near East and apparently entered the Greek world through Cyprus, where she was introduced by the Phoenicians.1
The 'Aphrodite question' should be re-examined, however, as Martin Nilsson cautiously suggests,2 especially in the light of recent archaeological work in Cyprus. The evidence from excavations at Enkomi, Kition, and elsewhere3 establishes that Mycenaean [NEXT PAGE IS 2} Greeks had settled in Cyprus by the late Bronze Age, long before the Phoenician presence on the island. 1 Phoenicians did not colonize Cyprus until the early Iron Age (about 1000 B.C.), during a period of minimal contact between that island and mainland Greece. 2 If Aphrodite was introduced to the Greeks during this period, as is often maintained, it is unlikely that her cult could have spread from Cyprus to the rest of the Greek world until contact was resumed during the archaic period. But Aphrodite is well established in archaic Greek epic; indeed, the complex system of her name-epithet formulas suggests that she was known to the poetic tradition for a relatively long time. 3 In terms of historical probability it is there-fore unlikely that the Phoenicians introduced Aphrodite to the Greeks in Cyprus. 4
A native Cypriote origin for Aphrodite is also improbable, as the epigraphical evidence indicates. 6 Although many of the native ..
[24]. West 2000, pp. 134-135.It is widely agreed that Aphrodite was a post-Mycenaean (or at any rate post-palatial) addition to the Greek pantheon. She does not appear in Linear B documents, and in Hesiod and Homer she has a strong association with Cyprus, an island where Greek settlement on any scale dates only from the twelfth and eleventh centuries. I ler major cult centres were in Cyprus, especially at Paphos. Her name does not appear to be Greek or Indo-European; attempts to explain it so have been generally abandoned'. The suggestion that it comes from an Anatolian or 'Mediterranean' word for 'chief, reflected in Etruscan (e)prθni and Greek ÏÏÏÏανιÏ, has scarcely greater appeal2. Neither has Martin Bernal's (predictably) Egyptian etymology3. Explanations from Semitic, in particular the view that the name is a deformation of that of Astart-Astarte, have an intrinsically greater plausibility, given Aphrodite's oriental connections and the features she shares with the Canaanite deity4, and they have found more favour'. I shall argue that the name cannot be derived from Astart, or interpreted with certainty, but that it is genuinely Semitic. [26]. Saturnalia. iii. 8.[28]. Wallace 2014:ΠθÏÏÎ»Î¿Ï ÏÎ¿Ï ÎÎ³Î¯Î¿Ï ÎιλγεÏÏÏÏη αναÏÎÏεÏαι Ïε μια νεαÏή ÏÏιγκίÏιÏÏα ÏÎ¿Ï Î±ÏÏάζεÏαι Ïον ΧÏιÏÏιανιÏÎ¼Ï ÎºÎ±Î¹, για να αÏοÏÏγει Ïον αναγκαÏÏÎ¹ÎºÏ Î³Î¬Î¼Î¿, αÏήνει αÏÏ Î¸Î±Ïμα γÎνια. ΠειδÏλολάÏÏÎ·Ï ÏαÏÎÏÎ±Ï ÏÎ·Ï Ïην ÏÏÎ±Ï ÏÏνει για ÏιμÏÏία και γίνεÏαι αγία, ÏÎ¿Ï ÏÏ Î¼Î²Î¿Î»Î¯Î¶ÎµÏαι με Ïην εικÏνα Î¼Î¹Î±Ï ÏÏÎ±Ï ÏÏμÎνηÏ, γενειοÏÏÏÎ¿Ï Î³Ï Î½Î±Î¯ÎºÎ±Ï. ÎÏ ÏÏ Ïο άÏθÏο εξεÏάζει ÏÎ¿Ï Ï Î³ÏαÏÏοÏÏ Î¸ÏÏÎ»Î¿Ï Ï ÎºÎ±Î¹ μεÏικÎÏ Î±ÏÏ ÏÎ¹Ï Î±ÏÏ Î½Î®Î¸Î¹ÏÏÎµÏ Î»Î±ÏÏÎµÏ ÏικÎÏ ÏÏακÏικÎÏ ÏÎ¿Ï ÏÏεÏίζονÏαι με Ïην Îγία ÎιλγεÏÏÏÏη για να αÏοδείξει ÏÏι η διαÏÏαÏÏÏÏη ÏÏÎ»Î¿Ï ÎºÎ±Î¹ η ανάμειξη ÏÏλÏν (μεÏαÏÏημαÏιÏμοί ÏÏÎ»Î¿Ï ) ήÏαν κενÏÏικÎÏ Î³Î¹Î± Ïην ανάδειξή ÏÎ·Ï ÏÏ Î¹ÏÏÏ ÏÏ ÏÏμβολο ÏÏον ÏÏÏεÏο ÎεÏαίÏνα και ÏÏι η αναÏαÏάÏÏαÏή ÏÎ·Ï ÏÏ Î· γενειοÏÏÏÎ¿Ï Î³Ï Î½Î±Î¯ÎºÎ± εÏηÏÎαÏε Ïο ÏÏÏ ÎºÎ±Î¹ για Ïο Ïι Ïην ÏιμοÏÏαν. Î©Ï Î³ÎµÎ½ÎµÎ¹Î¿ÏÏÏÎ¿Ï ÏαÏθÎÎ½Î¿Ï ÎºÎ±Î¹ Î¸Î·Î»Ï ÎºÏÏ Î§ÏιÏÏÏÏ, «ÏαÏαμοÏÏÏμÎνοÏ» και Ï ÏεÏβαÏικÏÏ, Ïο ÏÏμβολο ÏÎ¿Ï ÎÎ³Î¯Î¿Ï ÎιλγεÏÏÏÏη γίνεÏαι ÏÏÏÎ¿Ï ÎκÏÏαÏÎ·Ï ÏÏν Ïιο θεμελιÏδÏν ÏαÏαδÏξÏν ÏÎ¿Ï ÏÏÏεÏÎ¿Ï Î¼ÎµÏαιÏÎ½Î¹ÎºÎ¿Ï Î§ÏιÏÏιανιÏμοÏ. [29]. Jones 2016.[30]. McK Elderkin 1925. In my opinion there is represented on the gem the sanctuary of Aphrodite in her character as a fertility-goddess and a deity of the heavens and of the ocean. We know that Crete as well as Cyprus was a strong center of her cult, and she is so closely linked with the Mother Goddess, with Astarte and Ishtar as to be virtually the same deity under a different name. Her connection with the heavenswith the title Ourania-is eastern. ..interpret the star on the Idaean gem as a symbol of Aphrodite Ourania... Perhaps the most important object in the scene on the gem is that which is represented at the left of the altar. This I believe to be a primitive image of Aphrodite herself. The resemblance to the fiddle-shaped Cycladic figurines of Neolithic times is striking indeed.ÎÎÎÎÎÎÎΡÎΦÎÎhttps://classicalstudies.org/etymolog..., C. 2017. "The Etymology and Origins of Aphrodite," Abstract from Session/Panel Title: What's in a Name?, Session/Paper Number: 34.4, Categories: Language and Linguistics, Annual Meeting 148th.
ΠλιάÏÏικα, Î. 2017. "Î ÎÏ Ïία με Ïο 'μοÏÏι'," < https://www.archaiologia.gr/blog/2017...
https://www.mixanitouxronou.com.cy/ar...
Î Â«Î³Ï Î½Î±Î¯ÎºÎ± με Ïο μοÏÏι». Το ÏÏάνιο ειδÏλιο ÏÎ¿Ï Î±Î½Î±ÎºÎ±Î»ÏÏθηκε ÏÏÎ¹Ï ÎÏ ÎºÎ®Î½ÎµÏ ÎºÎ±Î¹ εκÏίθεÏαι ÏÏο ÎÎ¸Î½Î¹ÎºÏ ÎÏÏÎ±Î¹Î¿Î»Î¿Î³Î¹ÎºÏ ÎÎ¿Ï Ïείο. Î ÏÏÎÏη ÏÎ¿Ï Î¼Îµ Ïην Îλιάδα ÏÎ¿Ï ÎμήÏÎ¿Ï ...
http://ikee.lib.auth.gr/record/133476...
ΡÏÏÏÎ¿Î³Î»Î¿Ï , Î . 2012. "ÎεοελληνικÎÏ Î¼ÎµÏαÏÏάÏÎµÎ¹Ï ÏÎ·Ï ÎÎ®Î´ÎµÎ¹Î±Ï ÏÎ¿Ï ÎÏ ÏιÏίδη" (διÏλ. εÏγ. ÎÎ Î).
https://brill.com/view/book/978900432...
https://books.google.gr/books?id=irYf...
Boedeker, D. 1974. "Aphroditeâs Origin in an Indo-European Tradition," in Aphrodite's Entry into Greek Epic (Mnemosyne, Supplements 32), Brill.
https://books.google.gr/books?id=TZVs...
Dietrich, B. C. 1974. The Origins of Greek Religion, Berlin / New York.
https://www.jstor.org/stable/10.2979/...
Wallace, L. 2014. "Bearded Woman, Female Christ: Gendered Transformations in the Legends and Cult of Saint Wilgefortis," Journal of Feminist Studies in Religion 30 (1), pp. 43-63.
https://books.google.gr/books?id=iayJ...
https://www.academia.edu/7581901/The_...
Benigni, H. 2013. The Mythology of Venus: Ancient Calendars and Archaeoastronomy, Univ. Press of America.
McK. Elderkin, K. 1925. "Aphrodite Worship on a Minoan Gem," AJA 29 (1), pp. 53-58.
https://www.jstor.org/stable/40267103..., M. L. 2000. "The Name of Aphrodite," Glotta 76 (1./2.), pp. 134-138.
https://www.jstor.org/stable/10.2979/..., L. 2014. "Bearded Woman, Female Christ: Gendered Transformations in the Legends and Cult of Saint Wilgefortis," Journal of Feminist Studies in Religion 30 (1), pp. 43-63.
Jonathan Jones. 2016. "The Bearded Woman of Abruzzi: a 17th-century hero of gender fluidity," The Guardian, <https://www.theguardian.com/artanddes... (27 Fb. 2023).
https://www.facebook.com/permalink.ph...
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