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BRONZE AGE FRAGMENTAL PIECES OF EVIDENCE IN HOMER ..

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[0]. Online Exhibits, s.v. Translating an Oral Tradition into Writing.
[1]. Kadmos Mitteilungen 1990.29.1.84; Watkins 1987.
[2]. Mallory 1988, p. 177: Î¥ÏÏ ÏÎ·Î½ ÎÎ½Î½Î¿Î¹Î± 'Î¯ÏÎ¿Ï ÎºÎ±ÏÎ¬ Î²Î¬ÏÎ¿Ï'.
[4]. Morris 1989: Î±ÏÎ¿ÏÏÎ¬ÏÎ¼Î±ÏÎ±.
[6]. Ï.Ï. p. 511.
[6a] ÏÏÎ½Î·Î¸ÎÏÏÎ±ÏÎ± ÎºÎ¿ÏÏÏÎ® Î»ÏÏÎ¿Ï, LSJ: ÏÎºÎ¿Ï-Î¹Î¬, Ion. ÏÎºÎ¿Ï-Î¹Î®, á¼¡, lookout-place, in Hom. esp. a hill-top, ÏÎºÎ¿ÏÎ¹á½´Î½ Îµá¼°Ï ÏÎ±Î¹ÏÎ±Î»ÏÎµÏÏÎ±Î½ Od.10.97; á¼Ïá½¸ ÏÎºÎ¿ÏÎ¹á¿Ï Îµá¼¶Î´ÎµÎ½ Il.4.275, Od.4.524; á¼¥Î¼ÎµÎ½Î¿Ï á¼Î½ ÏÎºÎ¿ÏÎ¹á¿ Il.5.771; á½ÏÏá¿ÏÎ±Ï Î´á½² ÎºÎ±Ïá½° ÏÎºÎ¿ÏÎ¹á½°Ï á½¤ÏÏÏÎ½Î± Î½ÎÎµÏÎ¸Î±Î¹ each to his lookout-place, Od.14.261; á¼Î³Î³ÎµÎ»Î¿Ï . . á¼Ïá½¸ ÏÎ·Î»Î±ÏÎ³ÎÎ¿Ï ÏÎ±Î¹Î½ÏÎ¼ÎµÎ½Î¿Ï Ï. Thgn.550; watch-tower, Hdt.2.15; á½¥ÏÏÎµÏ á¼Ïá½¸ Ï. Î¼Î¿Î¹ ÏÎ±Î¯Î½ÎµÏÎ±Î¹ Pl.R. 445c. 2. peak, height, of Cithaeron, Simon.130; of Athos, S.Fr.237 (anap.); á¼¸Î»Î¹á½°Ï Ï., of the Trojan acropolis, E.Hec.931 (lyr.), cf. Ph.233 (lyr.), Ar.Nu.281 (lyr.), etc.; ÎÎ¬ÏÎ¿Ï ÏÎºÎ¿ÏÎ¹Î±Î¯ JHS29.93: metaph., Pi.N.9.47:âÏÎºÎ¿ÏÎ¹Î±Î¯ personified as women (Oreads), Philostr.Im.2.4. II. look-out, watch, ÏÎºÎ¿ÏÎ¹á½´Î½ á¼ÏÎµÎ¹Î½ to keep watch, Od.8.302; Î¿á½ Îºá¿ ÏÏÏÏÏ Ï. á¼ÏÎ¿Î½ÏÎµÏ ÏÎ¿ÏÏÏÎ½ Hdt.5.13; ÎºÏÏÏÏÎ±á½¶ Ï. X.Eq.Mag.4.10; ÏÎºÎ¿ÏÎ¹á½´Î½ ÏÏÎ»Î¬ÏÏÎµÎ¹Î½ Arat.883.
[7a]. Î ÏÏÎºÎµÎ¹ÏÎ±Î¹ Î³Î¹Î¬ ÏÎ¿ Î¼Î½Î®Î¼Î± ÏÎ¿Ï ÎÎ»Î¿Ï, LSJ, s.v. Ïá¿Î¼Î±: sign by which a grave is known, mound, cairn, barrow, Il.2.814, etc.; âÏÎ¿á¿¦ Î´á½² ÏÎ¬ÏÎ¿Î½ ÎºÎ±á½¶ Ïá¿Î¼á¾½ á¼ÏÎ´á½²Ï ÏÎ¿Î¯Î·ÏÎµÎ½ á¼Î½Î±ÏÏÎ¿Ïâ Hes.Sc.477; á¼Ïá½¶ Ïá¿Î¼á¾½ á¼ÏÎµÎµÎ½ raised a mound, Il.6.419, etc.;}), â¦ {ÏÎ¿ ÏÎ®Î¼Î± sign ÎºÎ±Î¹ ÏÏ sign by which a grave is known, mound, cairn, barrow !!!
[8]. Ï.Ï. p. 518.
[9]. Soph.Phil.300-303:

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[10]. Ï.Ï. p. 519.[12]. Cline 1997, pp. 201-202.
[16]. Page 1963, p. 140. ÎÎ». wikipedia, s.v. Trojan Battle Order.[18]. Shear 1998, n.4. [20]. Knox 1996, p. 20 ('Introduction', in Homer. The Odyssey).[22]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 216.[14-146]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 216, ÏÎ·Î¼. 14_146.[14-147]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 216, ÏÎ·Î¼. 14_147.[14-148]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 216, ÏÎ·Î¼. 14_148.[14-149]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 216, ÏÎ·Î¼. 14_149.

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https://www.degruyter.com/document/do...
https://www.scribd.com/document/36814...
Kadmos Mitteilungen 1990.29.1.84
"MITTEILUNGEN, The Third International Congress on Santorini (Thera)," Kadmos 29 (1), pp. 84-88.

Watkins, C. 1987. âLinguistic and Archaeological Light on some Homeric Formulas,â in Proto-Indo-European: The Archaeology of a Linguistic Problem. Studies in Honor of Marija Gimbutas, ed. S. Nacev and E. C. PolomÃ©, Washington, pp. 286-298.

YegÃ¼l, F. K. 1986. Rev. of W. Martini, Das Gymnasium von Samos, in AJA 90, pp. 496â499.
https://www.cambridge.org/core/journa..., J. 1988. Rev. of Susan Nacev Skomal & Edgar C. Polome (ed.), Proto-Indo-European: the archaeology of a linguistic problem: essays in honor of Marija Gimbutas, in Antiquity 62 (234), pp. 177-178.
http://art.buffalo.edu/coursenotes/ah..., S. P. 1989. âA Tale of two Cities: The Miniature Frescoes from Thera and the Origins of Greek Poetryâ, AJA 93 (4), pp. 511-535.
http://kernos.revues.org/1096Dietrich, B.C. 1994. âTheology and Theophany in Homer and Minoan Crete,â Kernos 7, pp. 59-74.
Page, D. 1963. History and the Homeric Iliad, Berkeley, Los Angeles: University of California Press.
Knox, B. 1996. Introduction to the Odyssey, Homer, trans. B. Fagles, New York, p. 20. 'Introduction', in Homer. The Odyssey.
https://www.academia.edu/355137/1997_...
Cline, Î. Î. 1997. âCrossing Achilles in Anatolia: Myth, History, and the Assuwa Rebellion,â in Crossing Boundaries and Linking Horizons. Studies in Honor of Michael C. Astour on His 80th Birthday, ed. G. D. Young, M. W. Chavalas, and R. E. Averbeck, Bethesda, pp. 189-210.--p. 198: .. certain motifs found in Homer were taken from earlier poetry; p. 201: .. the 'Trojan Catalogue' found in Homer's Iliad (Il.926-89), which is itself thought to be an authentic survival of the Late Bronze Age.50Albright put it most concisely, staling: If the Assuwan Confederacy was really centered in the northwestern part of the peninsula.. .it corresponded strikingly in makeup and geographical extension to the Trojan confederation in the Iliad.51p. 202: e LM IA Thera Frescoes might provide.. p. 206: Thus, according to the legends of the ancient Greeks, Mycenae, Tiryns, and Argos all traced at least part of their ancestry back to the same area of Anatolia wherein lay the coalition of states known as Assuwa.---------------------------------------------------------------------------------------------------------------------------https://www.jstor.org/stable/632241?s..., I. M. 1998. âBellerophon Tablets from the Mycenaean World? A tale of seven bronze hinges,â JHS 118, pp. 187â189. DOI: http://dx.doi.org/10.2307/632241

ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï, Î. 2022. ÎÎ¹ Î§ÎµÏÏÎ±Î¯Î¿Î¹ ÎºÎ±Î¹ Î¿ ÎºÏÏÎ¼Î¿Ï ÏÎ¿Ï ÎÎ¹Î³Î±Î¯Î¿Ï, Î³' ÎµÏÎ·ÏÎ¾. ÎÎºÎ´Î¿ÏÎ·, ÎÎ¸Î®Î½Î±.
Online Exhibits, s.v. Translating an Oral Tradition into Writing, <https://apps.lib.umich.edu/online-exh... (26 May 2022). -------------------------------------------------------------------------------------https://www.jstor.org/stable/23048961
Alexandra Rozokoki, A. 2011. The Significance of the ancestry and eastern origins of Helen of Sparta," Quaderni Urbinati di Cultura Classica, New Series 98 (2), pp. 35-69.

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Published on June 27, 2022 07:02

Sericulture and Han Silk

Î¤Î ÎÎÎ¤ÎÎÎ Î£Î¤ÎÎ ÎÎÎÎ Î¤Î©Î HAN (Sengupta)

PrefaceTHE very notion of silk was shaped by China's adventure with sericulture. It profoundly affected the economic and cultural development of the ancient world. The rarity and antiquity of textiles from Sir Marc Aurel Stein's three expeditions are best conveyed by Stein's assistant Fred Andrews who in his article in The Burlington Magazine (1920) stated that "the first impression of a casual examination of the specimens was the absence of general resemblance to anything in textiles with which we are familiar". Commencing from Stein's crucial discovery of burial silks in the Tarim Basin in 1913, over 2,000 textile fragments have been recovered during three of his expeditions in the first two decades of the twentieth century. Sir Stein's gigantic contribution to Central Asian archaeology was due to his amazing stamina, courage, intuition, and luck. The varieties of textile excavated by him span several centuries, from the first century BCE to the eleventh century CE. Classified by the sites of their discovery, relics from Loulan and Astana constitute the majority. The exotic fragments were shared between the museums in London and New Delhi. Parts of the Stein Collection in London include those in the British Museum and some 700 textiles on loan to the Victoria and Albert Museum. The importance of over 600 textile pieces in the National Museum at New Delhi cannot be underemphasized. The deliberation on the high quality and artistic value of the Stein Collection in India is intended to fill a lacuna and realize at least in part the worldwide interest to study a significant segment of the Stein Collection not in view. This was made possible by the liberal consent of Kuniko Ono, the publisher of Shikosha Artbooks. First published in Japan in 1979, the reproduction of the Stein Collection in Fabrics from the Silk Road in the National Museum of India has helped to exemplify Sir Stein's Central Asian expedition in the four volumes of Innermost Asia published in 1928.

Besides Stein's assemblage, Central Asian burial textile in the State Hermitage Museum in Leningrad is a major collection. Our knowledge of antique textile comes mainly from these museum pieces. Archaeological textile studies are an important source of information for anthropological and technological inquiry. At Copenhagen John Becker's reconstruction of Han Pattern and Loom resulted in the instructive A Practical Study of the Development of Weaving Techniques in China, Western Asia and Europe first published in 1986. Moreover color is the single most remarkable quality of any Central Asian textile. The sources of natural dyes and method of fixing hold a number of clues. The discovery of heritage textiles from Central Asia and China is comparatively recent. Even so, the admirable work of scholars and ever-growing demand in a collector's market have increased the number of publications on ancient textiles in museums and art galleries. The Metropolitan Museum of Art and The Cleveland Museum of Art came together and held an exhibition of the Asian textiles dating from the eighth to the early fifteenth century CE. The catalog When Silk Was Gold: Central Asian and Chinese Textiles published in 1997 by the collaborating museums admirably fulfilled a function in this category. Since 1950 the second period in archaeological excavation of textiles was undertaken by the People's Republic of China in well over 100 burial sites in south central China, Mangolia and Central Asia. In collaboration with worldwide institutions The Silk Road International Dunhuang Project documentation makes research in this area infinitely expandable.

The mysterious innovations in silk weaving in Central Asia are astonishing in the light of the fact that the technology was known for centuries in West Asia. Chinese Central Asia without the proto-weaving techniques of twining and plaiting suddenly accomplished sericulture and professional silk weaving. The fully developed and technically unsurpassed figure weaves from a landlocked region defined by its deserts, inhospitable climate and limited rainfall are rather mysterious. The greatest advantage was the native mulberry bush in the rearing of Bombyx mori for the finest and longest of silken thread. The convergence of sericulture and silk weaving had definitive form and function. Exposed to freezing nights and searing heat during the day, graves yielded stunning silk furnishing symptomatic of a drastic change in funerary customs. Ethno- archaeology not only reveals technical excellence in weaving but also offers proof of faith in afterlife. The discovery of these historic fabrics preserved in Japan, Africa and Europe exposes their identity and character. In addition, the textile designs actually have a notable function in Parthian and Greco-Buddhist architectural reliefs in Persia and South Asia. Riboud's discussion on Han dynasty textiles compares the animal style to early Indian sculpture. The shared motifs in mortuary art indicate that a full exploration in this direction is a challenging but a rewarding task. When that cultural context is not acknowledged a great amount of historical realism is also lost. To address this problem consideration of religious symbolism, funerary customs and folklore inherent to the burial silk and artifacts recovered along the Silk Road is essential.

As the most preferred funerary goods silk worth its weight in gold is the most significant factor in the trade along the Silk Road. Caught in the dynamics of history are the geopolitical plot and the emerging distinction between China, Inner Asia and Eurasia in the geographical sense of the term. It was not yet populated by either self- contained or self-defined nationalities. Ethnically and culturally indistinct nationalities intermingled in the Crossroads of Asia. As the carriers of ideas and commodities and also religions, merchants and travelers not only connected Mongolia-China with Syria, Turkey, and Egypt but several of them even adopted new homelands. Commercial contacts have a longer lasting life and an immense potential to cement the bonds between various countries. As a result, the Greco-Buddhist reliquary cult in South Asia flourished precisely due to the lucrative silk trade with Rome. It is in this light that several of the figured textiles will be viewed in terms of their affirmed function. One of the astonishing by-products of the Silk Road is the jade garment. Depending on the station of the person buried, body suits made of pieces of jade are exceptional. These are fashioned mostly with square or rectangular and occasionally triangular, trapezoid and rhomboid plaques knitted together by gold, silver or copper wire. The most fabulous among these is the jade burial suit at the Mausoleum Museum of the Nanyue King in Cuangzhou. The "patchwork suit" is made of 2,291 pieces of jade pieces connected by red silk thread or silk ribbon overlapping the edges of the plaques. The world's oldest textile printing blocks in bronze from this Han tomb are also part of the Nanyue culture. Indicating that Guangzhou in the ancient Silk Route was exposed to diverse influences, the tomb contained in addition to extraordinary Chinese burial goods, five African elephant tusks, frankincense and a silver box from Persia.

Patchwork robe refers to clothing pieced together from bits of precious cloth. It indicates that even small pieces of textile fragments were treasured. Seated Buddha from the Mathura school in north India wears scraps of fabric sewn together. A votive frieze from Amaravati (now in Los Angeles) also depicts patchwork garment with square patches. In philosophic terms the "patchwork robe of salvation" in the Greco- Buddhist cult might be a treasured spiritual vestment or simply a skillful means of teaching (upaya):

Zen master Tongan asked, "What is the business under the patchwork robe?" Liangshan had no answer.

Tongan said, "It is wretched if you don't reach this state. You ask me and I'll tell you."

IntroductionThe main commodity in the international trade was silk produced in China. Seres, the Greek word for silk, became synonymous for China, the land of silk. The Latin serieum is derived from the Greek ser. The adoption of Greek and Latin words for silk is evident in other languages: sieg in Chinese, modern ssu for silk thread, sir in Korean, sirket in Mongolian, seale in Russian, and silk in English. Referring to the ancient overland silk trade routes, the nineteenth-century German geographer Ferdinand von Richthofen first coined the word Seidenstrassen or Silk Road between East and West. Most of the medieval sources refer to the famous highway as Big Route (botshaom targovam puti) or Shawari Caravan (Shahrahibuzurg) and even as Silk Road (Rahiabrasnami) To reach the Syrian markets it had to cross the deserts and mountains of Asia. Along the most dangerous stretches of the route fortified strongholds were built to protect the precious caravans. In the first centuries of the Christian era Hatra in Iraq among the great Parthian cities continued to flourish as a major Arab staging-post. In the chain Hatra linked Palmyra (sacked CE 272) and Dura-Europos in Syria (deserted CE 256), Petra in Jordan (declined CE 235), and Baalbeck in Lebanon, all having the eclectic identity of a mixed population merged with the Greek settlers. Pliny the Elder and others identify Petra, the capital of the Nabataeans, as the center of caravan trade. The caravan route of the Silk Road branched off at certain points for practical purpose. In Bactria the route turned southwards, continuing by sea through the Persian Gulf and then to Alexandria by way of the Red Sea. Thus on its western end the Silk Road began on the Mediterranean coast, in the ports of Alexandria and Antioch. It wound its way through the caravan cities in northern Iran, Chorasrnia and Ferghana, and then through western Turkistan, notably the city of Samarkand in Sogdiana. The arterial route then scaled the Pamir range, the Roof of the World. It then became the T'ien Shan South Road that skirted the Takla Makan Desert, passing through such oasis towns as Kashgan and Kucka along the way. Entering China through Loulan or Dunhuang, the Silk Road finally reached Ch' ang-an, the city known today as Sian (0.1). To the Han the economic factor of silk was significant. A speech by the Grand Secretary to the early western Han Council recorded in 81 BCE proclaims the importance of silk trade with the nomad tribes in the north:

For a piece of Chinese plain silk article several pieces of gold can be exchanged with the Hsiung-nu, and thereby reduce the resources of our enemy. Thus mules, donkeys and camels cross the frontier in unbroken lines; horses, dapples and bays and prancing mounts, come into our possession. The furs of sables, marmots, foxes and badgers, colored rugs and decorated carpets fill the imperial treasury, while jade and auspicious stones, corals and crystals become national treasures.

Above all, the supply of lustrous silk to Rome by way of Parthia and Palmyra filled the coffers of the eastern kingdoms. And as planned, it also reduced the vital resources of their common enemy. The Syrian glass factories established at this time in Central Asia were probably part of the reciprocal exchange between China and Syria. By shifting important local industries from the subject nations, there appears to be a concerted effort to deny Rome the benefits of its imperial power. This ploy made Rome pay exorbitant amounts of gold to buy the luxurious silk and precious gems, cut glasses and crystals, aromatics and medicines, as well as wine from Ferghana it craved for. Pliny complained that the luxury goods were depleting the Roman treasury to the extent of fifty million sesterces annually.' A vital section of the Silk Route was owned by the Parthians and due to concerns caused by the expansionism of Rome, for about fifty years silk intended for Rome traveled through Media, Armenia and on to Colchis and the Black Sea coast. In CE 66 the ploy of crowning the Parthian ruler Trididates in Rome did not yield expected results and the Sasanians who supplanted Parthians continued to resist the advances of Rome and levied heavy taxes on the caravans passing through their territories.

The Silk Route
Roughly the size of Australia, Central Asia covers the immense expanse of the empire of the steppes called Russian and Chinese Turkistan. The overland caravan contact along the southern limits of the region became possible with the domestication of the Bactrian camel in the first centuries of the Common Era (0.2). Following camel trails nomads in the Eurasian Kazakhstan still gallop across the steppes and the high mountain pass. Ancient traditions are kept alive by the craftsmen in the vibrant markets and caravanserais of Kazakhstan, Turkmenistan, Uzbekistan and Xinjiang. It is a mysterious land of myths and legends in which the Silk Road has left behind ruined cities and tombs. The Chinese autonomous Province of Xinjiang has Takla Makan Desert and Kunlun Mountains in the south sharing borders with Tibet and Pakistan where Gilgit is located on the ranges of Karakoram. The major sites in Xinjiang are Loulan, Astana, Niya, Bezeklik, Taxkurgan and Fiaoche. In Western Kinghay, cultural counterparts of Xinjiang are Sholak Korgon, Koshoy Korgon, Shirdakbek, Lap Nor and Gandhara. Consequent to Alexander's conquest, Sogdiana between River Amu Darya and Syr Darya played an important role in the religious and cultural development of Central Asia. Until the eighteenth century, the merchants who took the hazardous journey were mostly Sogdians, a Greco-Iranian people (0.3). Thereafter the Uyghurs, a Turkic people of Central Asia, took over and established settlements along the way (0.4). Two trade routes were most traversed. One passed through the land from the hilly areas of Gilan to Alburz that came to an end at the Caspian Sea. The Hindu Kush and the Pamirs cut off Inner Asia from India and the Tibetan Plateau. The route went by way of Khurasan and Kabul and entered the Indian subcontinent. The third turned south from Samarkand and went through Bactria toward Gandhara, which is now part of Afghanistan and Pakistan. By land and sea the Silk Route linked Tamluk on the Bay of Bengal. As a thriving cult center it introduced exotic votive terracotta that glorified the goddess wrapped in splendid gold and diaphenous silk (0.5).

Far from being a monolithic entity like Egypt, China did not have nationalistic lines either in geographical or cultural terms. Chinese territory from the Yellow River to its western frontiers extended towards Afghanistan and north-eastward to the Karakoram Range and the Tian Shan Mountains, which encompass the Tarim Basin. From the Carpathians in the west, grasslands stretch north of the Black Sea across the Dnieper, Don, and Volga rivers eastward to the drainage of the Irtysh River north of Lake Balkash and on to the foothills of the Altai Mountains. The mountain barriers of Hindu Kush, Karakoram, Kuen Lun, and the Western Himalayas did not prevent the merchants and religious zealots in their activities. South of the Kazakh Steppe is the extremely arid Turkistan and its Takla Makan Desert. The far-flung region's survival centered on natural oases on the caravan routes along Samarkand (Marakanda), Bukhara, Khiva, Merv, Kokand, Kashi (Kashgar), Yarkand, and Turpan (Turfan). The Silk Route went through ancient cities in which Chang'an, Dunhuang, Kashgar, Yarkand, Khotan, Herat, and Almaty linked East and West. The relatively safe overland routes under the Mongols from the Black Sea to the Pacific Ocean were used later by the Polo Brothers.Sericulture and Han Silk

Out of the range of craft material the magical silk fabric is probably the most distinctively Chinese. Silk wearing requiring specialized skills, equipment, and process increased its prestige; pure kanaus silk is still called podshoki, the "Emperor's Cloth" in Central Asia. Silk was a major economic factor and signifier of social status. This was nevertheless not so noteworthy compared to its demand as shroud and as grave goods since silk was perceived to be a unique material effecting metamorphoses. The lustrous stuff spun from the cocoons was believed to reward rebirth and eternal life. To be buried in a silken shroud was actually not beyond one's dream in Central Asia. The silk fragments, apart from its historic and artistic significance, provide information on ancestor worship in the funerary cult that is deep-seated in China. The Chinese believed that the dead ancestors continued to be part of the family and had their own need in afterlife. The dead were thus cared for and propitiated with burial goods in which silk was a vital component. From Han dynasty (206 BCE-ca 220) onwards silk was currency for immortality. As Late as Ming (1368-1644) and Qing (1644-1911) period, a kind of furnace (kabala) was erected in the royal tombs near Beijing to burn messages on silk to communicate with the emperor's soul. With regard to veneration of ancestors, Matteo Ricci, who worked in China from 1582 until his death in 1610, wrote in his memoir:

The most solemn thing among the literati and in use from the exalted king down to the very least person is the annual offering they make to the dead at certain times of the year â of meat, fruit, perfumes, incense and pieces of silk cloth â and paper among the poorest. And in this act they make the fulfilment of their duty to their relatives, namely, "to serve them in death as though they were alive".'

A brief description by Phan shows that despite its ancient origins veneration of ancestors continued to be the most important ritual in China. In funerary rituals a piece of paper or white cloth bearing the name of the deceased is placed in front of the corpse prepared for burial. After burial, this name tag is brought home to the family altar to receive prayers and acts of piety. Eventually it is replaced by a piece of wood called the "spirit tablet". On its front the name, family status, and societal rank of the deceased are written, and on its back, the dates of birth and death. Since the soul of the deceased is believed to reside in this tablet, characters such as shen wei or Iing wei or shen zur meaning "the seat of the spirit" are inscribed on it. Venerated ancestors' portraits are placed in the family altar and on special occasions like birthday or death anniversary spirit of the dead is given offerings. On festivals such as the New Year and on the first and fifteenth days of the month of the lunar calendar, graves are tended and family members gather to feast on sacrificial food and drink and pay respect, burn silk, incense and paper money. Days are set aside in the traditional Chinese calendar for these duties, the most important being the "clear and bright" (qing ming) full-moon day in early April. At the heart of all these ancestor rites is filial piety (hsiao), the most important virtue in Confucian ethics, by which a person lives out five relationships (wu lun) â ruler and subject, parent and child, husband and wife, older and younger siblings, and friends.

Silk in Pre-Han Eurasia

Ancient-most excavated Han textiles according to style and motif belong to Western Han (207 BCE - c. 9) and Western Han (10-221),[2] Because of its social and economic status the secrets of silk manufacture were guarded by strict regulations, with threat of torture and death to those who break the restrictions. At Augustus Censer's demise in 14 CE the exotic iridescent silk was banned in Rome and was hence hoarded like gold. Silk shrouds in burials are much more visible than silk currency in barter or payment to army officers. As such the secrets of silk recovered from burials hold the reality of what life was for countless generations of the dead. A unique culture emerged out of a distinctive historic setting. The search is to discover the favorable conditions to the development of Han silk industry and how the wide market for silk in Central Asian burials was linked to the escalation of the Greco-Buddhist relicary cull in South Asia.[3] The evidence, strangely enough, might lie in the birth of as new era filled with renewed hope in resurrection and afterlife.

.............................

been and is and will be; and no mortal has ever lifted my mantle" had universal concurrence.[39] Apart from being a valuable stuff, the worth of silk is further enhanced by its magical motifs. From an early date the winged griffin in textiles was developed to manifest the divine. The garment worn by the Sasanian king on the rock carvings of Taq-i-Bustan in Iran depicts winged Serimurvs (Simurgh) set in an overall pattern of small medallions enclosing, rosette with four petals to convey immortality (2.34a). The Senmury caftan depicted on the left wall of the Great Ivan is similar to the ninth-century silk caftan with embroidered senmurvs conserved in the Hermitage Museum. It is made up of Sasanian and Chinese silk pieces decorated with the fabled senmurv. Textile design displaying unity of form and content demonstrates skillful organization of motifs based on clearly understood agenda. The senmurv carved on the costume of a Sasanian king at Taq-i-Bustan in western Iran reveals its extraordinary breadth and geographical span (2.34b). Senmurv, the winged griffin in Sasanian art, is a dog-faced winged lion embossed in gold applique (2.34c). The popular motif within a circular border in a treasured parcel gilt silver plate of a Sasanian king is typical of the wide varietyt of contexts (2.34d).

One of the remarkable Sasanid weft-faced silk twill woven with simurgh is the reliquary of Saint Len in Paris (2.35). A fragment of this fabric in compound weave is in the Victoria and Albert Museum in London (8579-1863). The weft-faced compound structure utilize single or paired warp sets with plain weave or twill binding systems. Some of them are excavated in Egypt, northern Caucasus, India and China. The senmurv is enclosed in interlocking pearl roundels with stylized floral motifs filling the interstices. The framed senmurv replicated in Sogdian silk is interconnected at the tangent points by a crescent within smaller pearl medallion. The peacock tail of the senmurv is intricately woven and its distinctive armband with svmbolic motif reflects a taste for opulent textiles that extended outward from the Mediterranean basin. The crescent on the Alexandrian copper coin of Augustus as symbol of redeeming goddess IsisâDemeter recurs in the woven textiles of seventh-eighth century CE. In seventh and eighth centuries its original function was reclaimed in sculptures carved on several funerary monuments in Iran (2.36), A similar wall panel from the same site in Chal Tarhan but in a better condition is in the British Museum (A ME 1973.7-25.3). The Persian griffin widely used in textiles and metalwork as emblem of Sasanian kingship appeared first as necromantic sign on Greco-Buddhist reliquary mounds (2.37). The

[p. 98] been and is and will be; and no mortal has ever lifted my mantle" had universal concurrence.[39] Apart from being a valuable stuff, the worth of silk is further enhanced by its magical motifs. From an early date the winged griffin in textiles was developed to manifest the divine. The garment worn by the Sasanian king on the rock carvings of Taq-i-Bustan in Iran depicts winged Serimurvs (Simurgh) set in an overall pattern of small medallions enclosing, rosette with four petals to convey immortality (2.34a). The Senmury caftan depicted on the left wall of the Great Ivan is similar to the ninth-century silk caftan with embroidered senmurvs conserved in the Hermitage Museum. It is made up of Sasanian and Chinese silk pieces decorated with the fabled senmurv. Textile design displaying unity of form and content demonstrates skillful organization of motifs based on clearly understood agenda. The senmurv carved on the costume of a Sasanian king at Taq-i-Bustan in western Iran reveals its extraordinary breadth and geographical span (2.34b). Senmurv, the winged griffin in Sasanian art, is a dog-faced winged lion embossed in gold applique (2.34c). The popular motif within a circular border in a treasured parcel gilt silver plate of a Sasanian king is typical of the wide varietyt of contexts (2.34d).

One of the remarkable Sasanid weft-faced silk twill woven with simurgh is the reliquary of Saint Len in Paris (2.35). A fragment of this fabric in compound weave is in the Victoria and Albert Museum in London (8579-1863). The weft-faced compound structure utilize single or paired warp sets with plain weave or twill binding systems. Some of them are excavated in Egypt, northern Caucasus, India and China. The senmurv is enclosed in interlocking pearl roundels with stylized floral motifs filling the interstices. The framed senmurv replicated in Sogdian silk is interconnected at the tangent points by a crescent within smaller pearl medallion. The peacock tail of the senmurv is intricately woven and its distinctive armband with svmbolic motif reflects a taste for opulent textiles that extended outward from the Mediterranean basin. The crescent on the Alexandrian copper coin of Augustus as symbol of redeeming goddess IsisâDemeter recurs in the woven textiles of seventh-eighth century CE. In seventh and eighth centuries its original function was reclaimed in sculptures carved on several funerary monuments in Iran (2.36), A similar wall panel from the same site in Chal Tarhan but in a better condition is in the British Museum (A ME 1973.7-25.3). The Persian griffin widely used in textiles and metalwork as emblem of Sasanian kingship appeared first as necromantic sign on Greco-Buddhist reliquary mounds (2.37). The

...

[p. 248]. remains from the Parthian artifacts from Grave IV at Tillya Tepe in Afghanistan establish that embellishment of silk with gold thread was already in practice in the first century CE. The exquisitely crafted costumes and gold jewellery from the six graves in the "gold mound" were probably manufactured in Syria and Cyprus. The extraordinary geographical span of textiles originating in Central Asia has equally remarkable breadth of time. A fragment of Faimid-era door panel from Cairo depicts within a circular pearl roundel a celestial musician in a costume embellished with characteristic Sogdian circular motif within lattice framework (4.14).

Besides spreading cultural interchange, the "intercultural style" of silk continued to be a form of currency. Silk served as salary, reward, tax, and a means of barter and glorification until the medieval period. However, there was a marked reduction in the volume of trade due to the expansion of Islam when the explosive situation along the Silk Road stretched from Syria (636 CE), Alexandria (641 CE), and the whole of North Africa (647-98 CE). Islam held sway over commerce in the Red Sea and the Nile by capturing the caravan routes of North Africa, Spain (712 CE), and Persia. It introduced a gradual transition from Sasanian, Coptic, and Byzantine traditions in the form of highly valued Persian tiraz often inscribed with the names of kings, dates, and sites. Bestowed as sign of honor, fragments of many lines on tiraz used as shroud have been preserved in Egyptian tombs. These embroidered textiles provide window into political and religious life of early Islam. Bypassing the religious turmoil then besetting the West, China's trade during the Tang dynasty (618-906 ce) prospered due to the alternate East-West trade over the southern route by way of Ceylon and Tamil Nadu in south India. At the height of Tang dynasty, silk weaving in Kancipuram in Tamil Nadu flourished under the Pallava dynasty (fourth-late ninth century ce). Simultaneously, woodblock printing and dyeing workshops in South Asia produced less expensive substitutes for South-East Asia, Egypt, and West Africa. A group of seafaring Persians, Ethiopians, and Syrians traded in Chinese and Indian goods while the Chinese traded in lndo-China, Korea, India, and Ceylon from where her products reached Egypt, Eurasia, Persia, and the Byzantine Empire. Chinese raw silk was the most important single item of trade since the inception of the Roman Empire. Strategic geographic position of Persia enhanced trade with Syria and Byzantium that bought Chinese raw silk at inflated price till the fifth century. To maximize profit., the Soghdians in 550, like the Syrians of the Roman province, managed

Epilogue 249

to bypass both the Sasanian and Byzantine courts, and achieved great success in silk trade.[14] Their commercial interest was limited to the reselling of silk yarn and readymade raw silk from the Chinese to the merchants who supplied the Persians, Syrians, Byzantines, and Indians. The Sogdian cycle of mural paintings at Afrasiab in the so-called "hall of the ambassadors" represents not only their gorgeous silks and wealth but also their expectations in afterlife (2.22). The local ruler of Samarkand and Soghdiana, represented in the cycle of mural paintings, is identified as the governor (650-55 CE) sent by the Chinese emperor Gaozong (649-83 ce).[15] Efficient relay stations for the mounted messengers helped management of export and inter-regional trade. China imported from Syria precious and semi-precious stones and artificial glass gems. woven silk, wrought garments, and gold. Persia monopolized pearl and coral trade to China since these were important ingredients in Chinese magic potions and used as elixir of life in religious rituals. Iran's export to China also included wasma (woad âindigo) obtained from Egypt. In addition, the Persians sold enormous quantities of Persian brocades woven with Chinese yarn to meet the artificial demand created in Byzantium due to court restrictions. However, from mid-fifth to mid-sixth century CE Sasanian Iran suffered blockade by the Hephtalites rulers in Central Asia. The war with Byzantium for a century from 527 ce onwards was also a bleak period for the Sasanids (226-651 ce), when Turks made most of the embargo placed on Persian commodity by strengthening their hold on transit trade in silk combined with the traffic of dancing girls from Samarkand and Khotan. By taking control of the Silk Road the Turks benefited from direct trade with Byzantium and the Caspian regions. But these two vexing problems may ultimately be connected. One is the development of technology for its religious application in burial textiles and the recognition of the commercial advantage of the distribution of patterned silks in weft-faced compound weaves. Roger II of Sicily (1095-1154 CE), the nephew of Norman chief Guiscard, succeeded â¦

[14] Through the envoy led by Maniah the Sogdiarts at fiat sought free trade with Persia but it failed when Shah Khosro torched their silk in front of their eyes to prove that they had no need of the silk from the Sogdians or the Turks. The Sogdians were then encouraged by their Turkish rulers to negotiate directly with the Byzantines, the fiercest enemies of the Persians.

[15] Chavannes, Documenf Sur les Tou-kiue (Tyres) Occidentaux, SI. Petersburg, Ma 135. Quoted by Matteo Cornpareti, in Further Evidence for the interpretation of the 'Indian Scene' in the Pre-Islamic Paintings at Afrasiab (Samarkand).

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https://www.exoticindiaart.com/book/d...

Sengupta, Arpurathani. 2018. The Silk Road Fabrics (The Stein Collection in the National Museum of India),

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WOMAN AT THE WINDOW

ÎÎ¥ÎÎÎÎÎ ÎÎÎ¤ÎÎ Î¤ÎÎ¥ÎÎ¥Î£Î ÎÎ Î Î¤Î ÎÎÎ©Î¡ÎÎÎ

ÎÎ¼Î¿Î¯ÏÎ¼Î± Î¹ÎµÏÎ¿Ï Î¼Îµ 'Î³ÏÎ½Î±Î¯ÎºÎ± ÏÏÎ¿ ÏÎ±ÏÎ¬Î¸ÏÏÎ¿' (ÎÏÏÏÎ¿ - Î±ÏÏÎ±Î¹ÎºÏ 600 - 475 Ï.Î§.) LOUVRE N III 3293 [NOTE5]

Î£ÎÎÎÎÎ©Î£ÎÎÎ£[NOTE0]. Openwork furniture plaque with a "woman at the window", ca. 8th century B.C., MET 59.107.18.[NOTE1]. Yair Zakovitch 2019, p. 55.[NOTE5]. https://collections.louvre.fr/en/ark:.... ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï Î. ÏÏÏ ÎÎºÎ´.[7_225a1]. ÎÎ´Ï Î³Î¯Î½ÎµÏÎ±Î¹ Î±Î½Î±ÏÎ¿ÏÎ¬ ÏÏÎ·Î½ Î¸ÎµÏÏÎ¯Î± ÏÎ·Ï ÏÏÎ¿ÏÎ»Î®ÏÎµÏÏ - Î´Î¹Î±Î½Î¿Î·ÏÎ¹ÎºÎ®Ï ÎºÎ±Î¹ ÏÏÎ½Î±Î¹ÏÎ¸Î·Î¼Î±ÏÎ¹ÎºÎ®Ï - ÏÎ¿Ï ÎºÎ±Î»Î»Î¹ÏÎµÏÎ½Î¹ÎºÎ¿Ï ÎÏÎ³Î¿Ï (RezeptionsÃ¤sthetik), Î²Î». Penzel 2020.[7_225a2]. Galli 2011, pp. 321-323, nn. 83, 84.[20] Onlookers admiring a Yakshi, Mathura, India, 20 BCE, <https://collections.lacma.org/node/24.... Sonya Rhie Quintanilla 2007, p. 160.
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https://books.google.gr/books?id=Azhs...
Yair Zakovitch. 2019. The Song of Songs: Riddle of Riddles, London.
https://journals.openedition.org/cchy..., B. 2016. Maquettes antiques dâOrient. De lâimage au symbole, Picard, Paris, 2016, 296 pages, XIII pl., 176 figures, index, glossaire. ISBN 978-2-7084-1012-1Cahiers du Centre dâÃtudes Chypriotes, 47 | 2017, 344-346
https://www.academia.edu/44434211/MUL..., B. 2014. "'Architectural models' of the Near-East and Eastern Mediterranean: a Global Approach Introduction (Neolithic-Ist millenium BC) ," in Proceedings of the 8th ICAANE, ed. P. Bielinski, M. Gawlikowski, R. Kolinski, D. Lawecka, A. Soltysiak, Z. Wygnanska, pp. 123-149.
https://books.google.gr/books?id=rtqv... Rhie Quintanilla. 2007. History of Early Stone Sculpture at Mathura: Ca. 150 BCE - 100 CE, Bosten / Leyden.
ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï Î. ÏÏÏ ÎÎºÎ´. Î ÎÎ¹Î½ÎµÎ¶Î¹ÎºÏÏ ÏÎ¿Î»Î¹ÏÎ¹ÏÎ¼Ï; ÎºÎ±Î¹ Î¿Î¹ ÎÎ»Î»Î±Î´Î¹ÎºÎÏ ÎµÏÎ¹Î´ÏÎ¬ÏÎµÎ¹Ï, ÎÎ¸Î®Î½Î±.
Î ÎÎÎÎ Î Î¡ÎÎÎ¦ÎÎ¤ÎÎ£ ÎÎÎ ÎÎÎ¥Î¤ÎÎ£ÎÎÎ£ - ÎÎ ÎÎÎÎÎÎÎ: 070622

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Published on June 07, 2022 06:43

THE HITTITES AND THE AEGEAN WORLD, ed. 2022

ÎÎ Î§ÎÎ¤Î¤ÎÎÎÎ ÎÎÎ Î ÎÎÎ£ÎÎÎ£ Î¤ÎÎ¥ ÎÎÎÎÎÎÎ¥, 2022, 3Î· ÎµÏÎ·ÏÎ¾Î·Î¼ÎµÎ½Î· ÎÎºÎ´Î¿ÏÎ·

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ÎÏÎ¯Î±........................ 42 vii 7.1.1 ÎÎ¯Î»Î·ÏÎ¿Ï ........................................................................................................... 42 7.1.2 ÎÎ¿Î»Î¿ÏÏÎ½ (MÃ¼sgebi)..................................................................................... 45 7.1.3 ÎÎµÎ½ÎµÎ¼ÎÎ½Î· (Panaztepe)................................................................................ 45 7.1.4 ÎÎ±ÏÏÏ................................................................................................................ 46 7.1.5 Î¤ÏÎµÏÎ¼ÎÏ........................................................................................................... 47 7.1.6 ÎÎ½Î¯Î´Î¿Ï.............................................................................................................. 48 7.1.7 Î¤ÏÎ¿Î¯Î±................................................................................................................ 48 7.1.8 ÎÏÎµÏÎ¿Ï............................................................................................................ 50 7.1.9 ÎÎÎ³Î±ÏÏÎ¿Ï ........................................................................................................ 51 7.1.10 ÎÎ»Î±Î¶Î¿Î¼ÎµÎ½ÎÏ .................................................................................................... 51 7.1.11 ÎÎ¹Î»Î¹ÎºÎ¯Î± .............................................................................................................53 7.2 ÎÎ¹ ÎÎ¹Î³Î±Î¯Î¿Î¹ ÎºÎ±Î¹ Î· ÎÎ¹ÎºÏÎ±ÏÎ¹Î±ÏÎ¹ÎºÎ® ÎµÎ½Î´Î¿ÏÏÏÎ± .........................................................55 7.2.1 Î§Î±ÏÎ¿ÏÏÎ± ...........................................................................................................55 7.2.2 ÎÏÏÎ¹ÎºÎ® ÎÎ½Î±ÏÎ¿Î»Î¯Î± â ÎÏÎ¾ÎµÎ¹Î½Î¿Ï Î ÏÎ½ÏÎ¿Ï ..........................................................61 7.2.3 ÎÎ½Î±ÏÎ¿Î»Î¹ÎºÎ® ÎÎ½Î±ÏÎ¿Î»Î¯Î± â AliÅar..................................................................... 65 7.3 Î£ÏÎ¼ÏÎµÏÎ±ÏÎ¼Î±ÏÎ¹ÎºÎ¬ ÏÏÏÎ»Î¹Î±......................................................................................66 ÎÎÎÎÎ ÎÎÎÎ¤ÎÎ¤Î......................................................................................................... 70 8. 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Gezer ..................................................................................................................... 778.4 Tell Arad (Negev)................................................................................................80 8.5 Kumidi (Kamid el-Loz) .....................................................................................80 8.6 ÎÎ¹Î½ÏÎ¹ÎºÎÏ ÏÎ¿Î¹ÏÎ¿Î³ÏÎ±ÏÎ¯ÎµÏ........................................................................................ 82 8.7 Î¦Î¹Î»Î¹ÏÏÎ±ÏÎºÎ® Î¼ÎµÏÎ±Î½Î¬ÏÏÎµÏÏÎ·................................................................................... 84 8.8 ÎÎ¹Î³Î±Î¹Î±ÎºÎ¬ ÎºÏÎ±ÏÎ¯Î´Î¹Î± ÏÏÎ·Î½ Î£ÏÏÎ¿ â Î Î±Î»Î±Î¹ÏÏÎ¯Î½Î· ................................................... 86 8.9 ÎÎ¹ Î¦Î¹Î»Î¹ÏÏÎ±Î¯Î¿Î¹ ÎºÎ±ÏÎ¬ ÏÎ·Î½ Î¥ÎÎ§............................................................................... 92 8.10 ÎÎ¹ Î¦Î¿Î¯Î½Î¹ÎºÎµÏ ÎºÎ±Î¹ ÏÎ¿ ÎÎ¹Î³Î±Î¯Î¿.................................................................................. 95 8.10.2 Acco Î® ÎÎºÏÏ ............................................................................................... 96 8.10.1 Arwad Î® ÎÏÎ±Î´Î¿Ï (ÎÏÎ¬Î´Î·Î½)........................................................................ 98 8.10.3 Tell Abu Hawam........................................................................................ 98 8.10.4 Î£Î¹Î´ÏÎ½.................................................................................................................. 99 8.10.5 ÎÏÎ²Î»Î¿Ï.........................................................................................................102 8.10.6 Î£Î¬ÏÎµÏÏÎ± (Sarepta)....................................................................................106 8.10.7 ÎÎ±ÏÎ±Î»Î·ÎºÏÎ¹ÎºÎ¬ ÏÏÏÎ»Î¹Î±.................................................................................106 8.11 Î£ÏÎ½Î¿ÏÎ·..................................................................................................................108 viii ÎÎÎÎÎ¤Î ÎÎÎÎ¤ÎÎ¤Î.......................................................................................................111 9. 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Î£ÏÎ½Î¿ÏÎ· Î ÎºÎ±Î¸Î·Î³Î·ÏÎ®Ï Muhly* Î´Î·Î¼Î¿ÏÎ¯ÎµÏÏÎµ Ïo 1974 Î¬ÏÎ¸ÏÎ¿ Î¼Îµ ÏÎ¯ÏÎ»Î¿ âThe Hittites and the Aegean Worldâ, ÏÏÎ¿ ÏÎµÏÎ¹Î¿Î´Î¹ÎºÏ Expedition ÏÎ¿Ï ÎÎ¿ÏÏÎµÎ¯Î¿Ï ÎÏÏÎ±Î¹Î¿Î»Î¿Î³Î¯Î±Ï ÎºÎ±Î¹ ÎÎ½Î¸ÏÏÏÎ¿Î»Î¿Î³Î¯Î±Ï ÏÎ·Ï Pennsylvania, ÏÏÎ¿Ï ÏÏÏÎµ Î®ÏÎ±Î½ ÎµÏÎ¯ÎºÎ¿ÏÏÎ¿Ï ÎºÎ±Î¸Î·Î³Î·ÏÎ®Ï. Î¤Î¿ Î¬ÏÎ¸ÏÎ¿ Î±Î½Î±ÏÎÏÎµÏÎ±Î¹ ÏÏÎ·Î½ Î§ÎµÏÏÎ¹ÏÎ¹ÎºÎ® Î±ÏÏÎ¿ÎºÏÎ±ÏÎ¿ÏÎ¯Î±, Î¼Î¯Î± ÏÏÎ½ Î¼ÎµÎ³Î¬Î»ÏÎ½ Î´ÏÎ½Î¬Î¼ÎµÏÎ½ ÏÎ·Ï ÏÎµÏÎ¹ÏÎ´Î¿Ï 1700-1200 Ï.Î§., ÏÎ¼ÏÏ Î±Î½ÏÎ¹Î¼ÎµÏÏÏÎ¯Î¶ÎµÎ¹ ÏÎ·Î½ Î¹ÏÏÎ¿ÏÎ¹ÎºÎ® ÎºÎ±Î¹ ÏÎ¿Î»Î¹ÏÎ¹ÏÏÎ¹ÎºÎ® ÏÎ±ÏÎ¿ÏÏÎ¯Î± ÏÏÎ½ ÎÎ¹Î³Î±Î¯ÏÎ½ ÏÎ·Ï ÎÏÎ¿ÏÎ®Ï ÏÎ¿Ï Î§Î±Î»ÎºÎ¿Ï Î¼Îµ ÏÏÎ¿ÏÎ¹Î¼Î·ÏÎ¹ÎºÏ ÏÏÏÏÎ¿, Î¿ Î¿ÏÎ¿Î¯Î¿Ï Î´ÎµÎ½ ÏÏÎ½Î¬Î´ÎµÎ¹ Î¼Îµ ÏÎ·Î½ Î±ÏÏÎ±Î¹Î¿Î»Î¿Î³Î¹ÎºÎ® ÎºÎ±Î¹ Î¹ÏÏÎ¿ÏÎ¹ÎºÎ® ÏÏÎ±Î³Î¼Î±ÏÎ¹ÎºÏÏÎ·ÏÎ±. ÎÎ¹ ÏÏÎ¿ÏÏÎ·ÏÎ¹Î¶ÏÎ¼ÎµÎ½ÎµÏ ÏÏÎ¿ Î¬ÏÎ¸ÏÎ¿ Î±ÏÏÏÎµÎ¹Ï ÎµÎ½ÏÎ¬ÏÏÎ¿Î½ÏÎ±Î¹ ÏÏÎ¿ ÏÎµÏÎ¼Î± ÏÏÎ½ ÎÎ½Î±ÏÎ¿Î»Î¹ÏÏÏÎ½, Î®ÏÎ¿Î¹ ÎµÎºÎµÎ¯Î½ÏÎ½ Î¿Î¹ Î¿ÏÎ¿Î¯Î¿Î¹ ÏÏÎ¿ÏÏÎ·ÏÎ¯Î¶Î¿ÏÎ½ ÏÎ¿ Î´ÏÎ³Î¼Î± ÏÎ·Ï Î±ÏÏ Î±Î½Î±ÏÎ¿Î»ÏÎ½ ÏÏÎ¿ÎµÎ»ÎµÏÏÎµÏÏ ÎºÎ±Î¹ Î´Î¹Î±Î´ÏÏÎµÏÏ ÏÎ¿Ï ÏÎ¿Î»Î¹ÏÎ¹ÏÎ¼Î¿Ï (ex oriente lux). Î ÏÎ±ÏÎ¿ÏÏÎ± ÎµÏÎ³Î±ÏÎ¯Î± ÏÏÎ¿ÎÎºÏÏÎµ Î±ÏÏ ÏÎ·Î½ ÏÏÎ¿ÏÏÎ¬Î¸ÎµÎ¹Î± Î±Î½Î±ÏÎºÎµÏÎ®Ï ÏÎ¿Ï ÏÎ±ÏÎ±ÏÎ¬Î½Ï Î¬ÏÎ¸ÏÎ¿Ï, ÏÎ¼ÏÏ Î±Î½ÎµÏÏÏÏÎ¸Î· ÏÎµÏÎ±Î¹ÏÎÏÏ Î¼Îµ ÏÎºÎ¿ÏÏ Î½Î± ÎºÎ±Î»ÏÏÎµÎ¹ ÏÏÏÏÎ¸ÎµÏÎµÏ ÏÎ»ÎµÏÏÎÏ ÏÎ¿Ï Î¯Î´Î¹Î¿Ï Î¸ÎµÎ¼Î±ÏÎ¹ÎºÎ¿Ï ÏÏÏÎ®Î½Î±. ÎÏÏÎ¹ ÏÎµÏÎ¹Î»Î±Î¼Î²Î¬Î½ÎµÎ¹ Î±Î½Î±ÏÎºÏÏÎ·ÏÎ· ÏÎ·Ï ÏÏÎµÏÎ¹ÎºÎ®Ï Î²Î¹Î²Î»Î¹Î¿Î³ÏÎ±ÏÎ¯Î±Ï, Î±Î½Î¬Î´ÎµÎ¹Î¾Î· ÏÏÎ¿Î¹ÏÎµÎ¯ÏÎ½ ÎºÎ±Î¹ ÎµÏÎ¼Î·Î½ÎµÏÏÎ¹ÎºÏÎ½ ÏÏÎ·Î¼Î¬ÏÏÎ½ ÏÎ± Î¿ÏÎ¿Î¯Î± Î´ÎµÎ½ ÎÏÎ¿ÏÎ½ ÏÏÎ¿Î²Î»Î·Î¸ÎµÎ¯ ÎµÏÎ±ÏÎºÏÏ Î® Î´ÎµÎ½ ÎµÎ¯Î½Î±Î¹ ÎºÎ±Î»ÏÏ Î³Î½ÏÏÏÎ¬, ÎµÎ½Ï, ÏÎµ ÎºÎ¬ÏÎ¿Î¹ÎµÏ ÏÎµÏÎ¹ÏÏÏÏÎµÎ¹Ï, Î±ÏÎ¿ÏÎµÎ¹ÏÎ¬ÏÎ±Î¹ Î½Î± ÏÎ±ÏÎ¬ÏÏÎµÎ¹ Î¼Î¹Î± Î½ÎÎ± ÎµÏÎ¼Î·Î½ÎµÎ¯Î± â ÏÏÎ¿ÏÎÎ³Î³Î¹ÏÎ· ÏÏÎ½ ÎµÎ³ÎµÎ¹ÏÏÎ¼ÎµÎ½ÏÎ½ Î¸ÎµÎ¼Î¬ÏÏÎ½. ÎÎ¹ Î§ÎµÏÏÎ±Î¯Î¿Î¹, ÎµÎ¼ÏÎ±Î½Î¹ÏÎ¸ÎÎ½ÏÎµÏ Î±Î¹ÏÎ½Î¹Î´Î¯ÏÏ ÏÏÎ¿ Î¹ÏÏÎ¿ÏÎ¹ÎºÏ ÏÏÎ¿ÏÎºÎ®Î½Î¹Î¿ ÎºÎ±ÏÎ¬ ÏÎ·Î½ ÎÎÏÎ· ÎÏÎ¿ÏÎ® ÏÎ¿Ï Î§Î±Î»ÎºÎ¿Ï, Î´Î·Î¼Î¹Î¿ÏÏÎ³Î·ÏÎ±Î½ Î¼Î¹Î¬ Î¹ÏÏÏÏÎ® Î±ÏÏÎ¿ÎºÏÎ±ÏÎ¿ÏÎ¯Î± Î¼Îµ ÏÏÏÎ®Î½Î± ÏÎ·Î½ ÎºÎµÎ½ÏÏÎ¹ÎºÎ® ÎÎ¹ÎºÏÎ¬ ÎÏÎ¯Î±, Î· Î´Îµ ÎºÏÏÎ¹Î±ÏÏÎ¯Î± ÎºÎ±Î¹ ÎµÏÎ¹ÏÏÎ¿Î® ÏÎ¿ÏÏ ÎºÎ±ÏÎ¬ ÏÎµÏÎ¹ÏÎ´Î¿ÏÏ ÎµÏÎµÎºÏÎµÎ¯Î½ÎµÏÎ¿ ÎºÎ±Î¹ Î¬Î»Î»Î¿ÏÎµ ÏÏÏÏÎ¹ÎºÎ½Î¿ÏÏÎ¿ ÏÏÎ·Î½ ÎºÎµÎ½ÏÏÎ¹ÎºÎ® ÎºÎ±Î¹ Î±Î½Î±ÏÎ¿Î»Î¹ÎºÎ® ÎÎ½Î±ÏÎ¿Î»Î¯Î±. ÎÎ½ÎÏÏÏÎ¾Î±Î½ ÎÎ½Î± Î±Î¾Î¹ÏÎ»Î¿Î³Î¿ ÏÏÏÏÎ·Î¼Î± Î´Î¹Î¿Î¹ÎºÎ®ÏÎµÏÏ ÎºÎ±Î¹ Î³ÏÎ±ÏÎµÎ¹Î¿ÎºÏÎ±ÏÎ¯Î±Ï, ÎºÎ±ÏÎ¬ ÏÎµÏÎ¹ÏÎ´Î¿ÏÏ Î´Îµ Î±ÏÎºÎ¿ÏÏÎ±Î½ Î±ÏÎ¾Î·Î¼ÎÎ½Î· ÎµÏÎ¹ÏÏÎ¿Î® ÏÎµ Î¼Î¹Î± ÏÎµÎ¹ÏÎ¬ ÏÏÎ¿ÏÎµÎ»ÏÎ½ ÎºÏÎ±ÏÎ¹Î´Î¯ÏÎ½ ÏÎ·Ï ÎµÏÏÏÏÎµÏÎ·Ï ÏÎµÏÎ¹Î¿ÏÎ®Ï. Î Î±ÏÏÎ¿ÎºÏÎ±ÏÎ¿ÏÎ¯Î± ÏÏÎ½Î±ÏÎ¿ÏÎµÎ»ÎµÎ¯ÏÎ¿ Î±ÏÏ ÎÎ½Î± Î¼ÏÏÎ±ÏÎºÏ ÏÏÎ»ÎµÏÎ¹ÎºÏÎ½ ÎºÎ±Î¹ ÏÎ¿ÏÎ¹ÎºÎ¹ÏÏÎ¹ÎºÏÎ½ ÎºÎ¿Î¹Î½Î¿ÏÎ®ÏÏÎ½, Î¿Î¹ Î¿ÏÎ¿Î¯ÎµÏ Î¿Î¼Î¹Î»Î¿ÏÏÎ±Î½ Î´Î¹Î¬ÏÎ¿ÏÎµÏ Î³Î»ÏÏÏÎµÏ ÎºÎ±Î¹ ÎµÎ½ÎµÏÎ¬Î½Î¹Î¶Î±Î½ ÏÎ·Î¼Î±Î½ÏÎ¹ÎºÎ® ÏÎ¿Î»Î¹ÏÎ¹ÏÏÎ¹ÎºÎ® Î´Î¹Î±ÏÎ¿ÏÎ¿ÏÎ¿Î¯Î·ÏÎ·. Î£ÏÎ± ÏÎ»Î±Î¯ÏÎ¹Î± ÏÎ·Ï ÎµÏÎ³Î±ÏÎ¯Î±Ï Î³Î¯Î½ÎµÏÎ±Î¹ ÎºÎ±Ïâ Î±ÏÏÎ®Î½ Î±Î½Î±ÏÎ¿ÏÎ¬ ÏÏÎ± Î¯ÏÎ½Î· ÏÏÎ½ ÎÎ¹Î³Î±Î¯ÏÎ½ ÏÏÎ¿Î½ Î ÏÎ½ÏÎ¿, ÏÎ·Î½ ÏÎ±ÏÎ¬Î»Î¹Î± Î±Î»Î»Î¬ ÎºÎ±Î¹ ÏÎ·Î½ Î·ÏÎµÎ¹ÏÏÏÎ¹ÎºÎ® ÎÎ¹ÎºÏÎ¬ ÎÏÎ¯Î±, Î®Î´Î· ÏÏÎ¯Î½ xi ÏÎ·Î½ ÎµÎ¼ÏÎ¬Î½Î¹ÏÎ· ÏÏÎ½ Î§ÎµÏÏÎ±Î¯ÏÎ½. ÎÎ´Î¹Î±Î¯ÏÎµÏÎ± Î±Î½Î±ÏÏÏÏÏÎ¿Î½ÏÎ±Î¹ ÏÏÎ¿Î¹ÏÎµÎ¯Î± ÏÏÎµÏÎ¹ÎºÎ¬ Î¼Îµ ÏÎ·Î½ ÏÎ±ÏÎ¿ÏÏÎ¯Î± ÎºÎ±Î¹ Î´ÏÎ±ÏÏÎ·ÏÎ¹Î¿ÏÎ¿Î¯Î·ÏÎ· ÏÏÎ½ ÎÎ»Î»Î±Î´Î¹ÏÏÎ½ ÏÏÎ¹Ï Î±ÎºÏÎÏ ÏÎ·Ï ÎÎ½Î±ÏÎ¿Î»Î¯Î±Ï ÎºÎ±Î¹ ÏÎ·Î½ Î£ÏÏÎ¿ â Î Î±Î»Î±Î¹ÏÏÎ¯Î½Î· ÎºÎ±ÏÎ¬ ÏÎ·Î½ Î´ÎµÏÏÎµÏÎ· ÏÎ¹Î»Î¹ÎµÏÎ¯Î± ÏÏÎ¯Î½ Î±ÏÏ ÏÎ·Î½ ÎµÏÎ¿ÏÎ® Î¼Î±Ï, ÎµÎ½Ï Î³Î¯Î½ÎµÏÎ±Î¹ ÎµÏÎ¯ÏÎ·Ï Î±Î½Î±ÏÎ¿ÏÎ¬ ÏÏÎ·Î½ ÎµÏÎ¯Î´ÏÎ±ÏÎ· ÏÎ¿Ï ÎÎ¹Î³Î±Î¯Î¿Ï ÏÏÎ·Î½ Î±Î½Î¬Î´ÏÏÎ· ÏÎ·Ï ÎÏÎ¿ÏÎ®Ï ÏÎ¿Ï Î§Î±Î»ÎºÎ¿Ï ÏÏÎ·Î½ ÎÏÏÏÏÎ·. Î ÏÎ¿Î»Î¹ÏÎ¹ÎºÎ® Î±Î»Î»Î¬ ÎºÎ±Î¹ Î¬Î¼ÎµÏÎ· ÏÏÏÎ±ÏÎ¹ÏÏÎ¹ÎºÎ® ÎµÎ¼ÏÎ»Î¿ÎºÎ® ÏÏÎ½ ÎÏÎºÎ·Î½Î±Î¯ÏÎ½ ÏÏÎ¹Ï Î±Î½ÏÎ¹ÏÎ±ÏÎ±Î¸ÎÏÎµÎ¹Ï ÏÎ·Ï ÎÎ¹ÎºÏÎ¬Ï ÎÏÎ¯Î±Ï Î±Î½Î±Î´ÎµÎ¹ÎºÎ½ÏÎµÏÎ±Î¹ Î¼Îµ Î²Î¬ÏÎ· Î§ÎµÏÏÎ¹ÏÎ¹ÎºÎÏ Î³ÏÎ±ÏÏÎÏ ÏÎ·Î³ÎÏ ÎºÎ±Î¹ Î»Î¿Î¹ÏÎ¬ ÏÎµÎºÎ¼Î®ÏÎ¹Î±, ÎµÎ½Ï Î· ÏÎ¿Î»Î¹ÏÎ¹ÏÏÎ¹ÎºÎ® Î±Î»Î»Î·Î»ÎµÏÎ¯Î´ÏÎ±ÏÎ· Î¼ÎµÏÎ±Î¾Ï ÏÎ¿Ï ÎÎ¹Î³Î±Î¹Î±ÎºÎ¿Ï ÏÏÏÎ¿Ï ÎºÎ±Î¹ ÏÎ¿Ï ÏÏÏÎ®Î½Î¿Ï ÏÎ·Ï ÎÎ¹ÎºÏÎ¬Ï ÎÏÎ¯Î±Ï Î±ÏÎ¿Î´ÎµÎ¹ÎºÎ½ÏÎµÏÎ±Î¹ ÏÏÎ¹ Î¿Î»Î¯Î³Î¿Î½ Î¼ÏÎ½Î¿Î½ ÏÏÎ¿Î»ÎµÎ¹ÏÏÏÎ±Î½ Î±ÏÏÎ®Ï Î¼Îµ ÏÎ·Î½ ÏÎ±ÏÎ¬Î»Î¹Î± ÎÎ½Î±ÏÎ¿Î»Î¯Î±.. ÎÎ´Î¹Î±Î¯ÏÎµÏÎ± ÏÏÎ¿Î»Î¹Î¬Î¶Î¿Î½ÏÎ±Î¹ ÎºÎ±Î»Î»Î¹ÏÎµÏÎ½Î¹ÎºÎ¬ ÎÏÎ³Î± ÏÎ± Î¿ÏÎ¿Î¯Î± ÏÏÎ½Î®Î¸ÏÏ Î±ÏÎ¿Î´Î¯Î´Î¿Î½ÏÎ±Î¹ Î®, ÎÏÏÏ, ÏÏÏÏÎµÏÎ¯Î¶Î¿Î½ÏÎ±Î¹ Î¼Îµ ÏÎ¿ÏÏ Î§ÎµÏÏÎ±Î¯Î¿ÏÏ, ÏÎ±ÏÎÏÎ¿Î½ÏÎ±Î¹ Î´Îµ ÏÏÎ¿Î¹ÏÎµÎ¯Î± ÏÎ± Î¿ÏÎ¿Î¯Î± ÏÎµ Î¬Î»Î»ÎµÏ ÏÎµÏÎ¹ÏÏÏÏÎµÎ¹Ï Î±Î½Î±ÏÏÎÏÎ¿ÏÎ½ ÏÎ·Î½ ÎºÎ±Î¸Î¹ÎµÏÏÎ¼ÎÎ½Î· Î¬ÏÎ¿ÏÎ·, ÏÎµ Î¬Î»Î»ÎµÏ Î´Îµ ÎµÎ½ÏÎ¿ÏÎ¯Î¶Î¿ÏÎ½ ÎºÎ±Î¹ ÏÏÎ¿Î³ÏÎ±Î¼Î¼Î¯Î¶Î¿ÏÎ½ ÏÎ·Î½ ÏÏÎ±ÏÎ¾Î· ÏÎµ Î±ÏÏÎ¬ ÎÎ¹Î³Î±Î¹Î±ÎºÏÎ½ ÏÏÎ¿Î¹ÏÎµÎ¯ÏÎ½ ÏÎ± Î¿ÏÎ¿Î¯Î± ÎÏÎ¿ÏÎ½ Î±ÏÎ¿ÏÎ¹ÏÏÎ·Î¸ÎµÎ¯! ÎÎºÏÎ¹Î¼Î¬ÏÎ±Î¹ ÏÏÎ¹ Î· ÏÏÎ½Î¿ÏÏÎ¹ÎºÎ® Î±ÏÏÎ® Î±Î½Î¬Î»ÏÏÎ· ÏÎ±ÏÎÏÎµÎ¹ Î¼Î¹Î± ÏÎµÏÎ¹ÏÏÏÏÎµÏÎ¿Î½ Î¿Î»Î¿ÎºÎ»Î·ÏÏÎ¼ÎÎ½Î· ÎºÎ±Î¹ Î±Î½ÏÎ¹ÎºÎµÎ¹Î¼ÎµÎ½Î¹ÎºÎ® ÎµÎ¹ÎºÏÎ½Î± ÏÎ¿Ï ÎÎ»Î»Î±Î´Î¹ÎºÎ¿Ï ÏÎ¿Î»Î¹ÏÎ¹ÏÎ¼Î¿Ï, ÏÎ·Ï Î¸ÎÏÎµÏÏ ÏÎ¿Ï ÏÏÎ¿Î½ ÎºÏÏÎ¼Î¿ ÏÎ·Ï ÎÏÎ¿ÏÎ®Ï ÏÎ¿Ï Î§Î±Î»ÎºÎ¿Ï ÎºÎ±Î¹ ÏÏÎ½ ÎµÏÎ¹ÏÏÎ¿ÏÎ½ ÏÎ¿Ï Î±ÏÏÏÏ Î¬ÏÎºÎ·ÏÎµ ÎµÏÎ¯ ÏÎ¿Ï Î§ÎµÏÏÎ¹ÏÎ¹ÎºÎ¿Ï, ÏÏÏÏ ÎºÎ±Î¹ ÏÏÎ½ ÎµÏÎ¹Î´ÏÎ¬ÏÎµÏÎ½ ÏÎ¹Ï Î¿ÏÎ¿Î¯ÎµÏ ÎµÎ´ÎÏÎ¸Î· Î±ÏÏ Î±ÏÏÏÎ½. Î£Îµ ÏÏÏÎ¹ÏÏÎÏ ÎµÏÎ³Î±ÏÎ¯ÎµÏ, Î±Î»Î»Î¬ ÏÏÎ± ÏÎ»Î±Î¯ÏÎ¹Î± ÏÎ·Ï Î¯Î´Î¹Î±Ï ÏÎµÎ¹ÏÎ¬Ï, Î±Î½Î±Î»ÏÎ¿Î½ÏÎ±Î¹ Î¿Î¹ Î¬Î»Î»Î¿Î¹ Î¼ÎµÎ³Î¬Î»Î¿Î¹ ÏÎ¿Î»Î¹ÏÎ¹ÏÎ¼Î¿Î¯ ÏÎ·Ï ÎµÏÎ¿ÏÎ®Ï: Î¿ ÏÎ¿Î»Î¹ÏÎ¹ÏÎ¼ÏÏ ÏÎ·Ï ÎÎ±ÎºÏÏÎ¯Î±Ï â ÎÎ±ÏÎ³Î¹Î±Î½Î®Ï, ÏÎ·Ï ÎºÎ¿Î¹Î»Î¬Î´Î±Ï ÏÎ¿Ï ÎÎ½Î´Î¿Ï, Î¿ ÎÎ¹Î³ÏÏÏÎ¹Î±ÎºÏÏ ÎºÎ±Î¹ Î¿ ÎÎ¹Î½ÎµÎ¶Î¹ÎºÏÏ, ÏÎ¬Î½ÏÎ± ÎµÎ½ ÏÏÎÏÎµÎ¹ Î¼Îµ ÏÎ¹Ï ÎÎ»Î»Î±Î´Î¹ÎºÎÏ ÎµÏÎ¹Î´ÏÎ¬ÏÎµÎ¹Ï. ÎÎ»ÏÎ¯Î¶ÎµÏÎ±Î¹ ÏÏÎ¹ ÏÎ±ÏÎÏÎµÏÎ±Î¹ ÎÏÏÎ¹ Î¼Î¹Î± ÏÎ»Î·ÏÎÏÏÎµÏÎ· ÎµÎ¹ÎºÏÎ½Î± ÏÎ¿Ï ÏÎ¿Î»Î¹ÏÎ¹ÏÎ¼Î¿Ï ÏÎ¿Ï ÎÎ¹Î³Î±Î¯Î¿Ï ÎºÎ±Î¹ ÏÏÎ½ ÏÏÎÏÎµÏÎ½ ÏÎ¿Ï Î¼Îµ ÏÎ¿ÏÏ Î¬Î»Î»Î¿ÏÏ Î¼ÎµÎ³Î¬Î»Î¿ÏÏ ÏÏÎ³ÏÏÎ¿Î½Î¿ÏÏ ÏÎ¿Î»Î¹ÏÎ¹ÏÎ¼Î¿ÏÏ ÏÎ·Ï ÎÏÎ¿ÏÎ®Ï ÏÎ¿Ï Î§Î±Î»ÎºÎ¿Ï, Î±ÏÎ·Î»Î»Î±Î³Î¼ÎÎ½Î· - ÏÏÎ¿ Î¼ÎÏÏÎ¿ ÏÎ¿Ï Î´ÏÎ½Î±ÏÎ¿Ï - Î±ÏÏ ÏÏÎ¿ÎºÎ±ÏÎ±Î»Î®ÏÎµÎ¹Ï ÎºÎ±Î¹ Î¹Î´ÎµÎ¿Î»Î·ÏÎ¯ÎµÏ.

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Published on May 29, 2022 08:37

EARLY EGYPTIAN CIVILISATION AND ITS AEGEAN AFFINITIES

Î Î Î¡Î©ÎÎÎÎ£ ÎÎÎÎ¥Î Î¤ÎÎÎÎÎ£ Î ÎÎÎÎ¤ÎÎ£ÎÎÎ£ ÎÎÎ ÎÎ ÎÎÎÎÎÎÎ ÎÎÎ¡ÎÎ£ÎÎÎ£ ÎÎ Î¤Î ÎÎÎÎÎÎ

Î²â ÎµÏÎ·ÏÎ¾Î·Î¼ÎÎ½Î· ÎÎºÎ´Î¿ÏÎ·

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https://archiv.ub.uni-heidelberg.de/propylaeumdok/5337/

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Published on May 17, 2022 07:15

Marsia, Platone, Dante, Giovanni di Paolo: alcune considerazioni in merito ad una miniatura dantesca, Giulio Coppola

ÎÎÎ¡Î£Î¥ÎÎ£, Î ÎÎÎ¤Î©Î, ÎÎÎÎ¤ÎÎ£, Giovanni di Paolo: Î£ÎÎÎ¨ÎÎÎ£ Î£Î§ÎÎ¤ÎÎÎ ÎÎ ÎÎÎ ÎÎÎÎ¡ÎÎÎ¡ÎÎ¦ÎÎ Î¤ÎÎ¥ ÎÎÎÎ¤Î

The aforementioned myth is well known which contrasts Silenus Marsyas, player of the aulÃ²s, with the god Apollo citaredo: the first, collected the double flute made for the first time by Athena, but from this abandoned, is so proud of his art to challenge the god and then be defeated and skinned by him.[34].This is the famous contrast between auletics (representedÎ½da Marsyas) and the citarodia (under the aegis of Apollo), a dialectic that is part of the Greek reflection on the effects that music causes in the soul of the listener. In the reasoning that Socrates bases in the Republic 35, after having reviewed the various types of á¼ÏÎ¼Î¿Î½Î¯Î±Î¹ (mixolidia, syntolidia, Ionic, Lydia, etc.) with the relative consequences on listeners, access to the ideal city is denied to builders and flute players as the instrument is extremely versatile and capable of creating multiple harmonies capable of upsetting souls 36. Socrates 'closure of his thinking 37 is extremely significant:

The traditional favor accorded to stringed instruments over wind instruments is therefore reaffirmed. In this perspective, Aristotle comes to 'interpret' in this way the particular present in the myth according to which Athena, after having invented the aulos, gets rid of it[38]: ..

..Îµá½Î»ÏÎ³ÏÏ Î´á¾½ á¼ÏÎµÎ¹ ÎºÎ±á½¶ Ïá½¸ ÏÎµÏá½¶ Ïá¿¶Î½ Î±á½Î»á¿¶Î½ á½Ïá½¸ Ïá¿¶Î½ á¼ÏÏÎ±Î¯ÏÎ½ Î¼ÎµÎ¼ÏÎ¸Î¿Î»Î¿Î³Î·Î¼ÎÎ½Î¿Î½. ÏÎ±Ïá½¶ Î³á½°Ï Î´á½´ Ïá½´Î½ á¼Î¸Î·Î½á¾¶Î½ Îµá½ÏÎ¿á¿¦ÏÎ±Î½ á¼ÏÎ¿Î²Î±Î»Îµá¿Î½ ÏÎ¿á½ºÏ Î±á½Î»Î¿ÏÏ. Î¿á½ ÎºÎ±Îºá¿¶Ï Î¼á½²Î½ Î¿á½Î½ á¼ÏÎµÎ¹ ÏÎ¬Î½Î±Î¹ ÎºÎ±á½¶ Î´Î¹á½° Ïá½´Î½ á¼ÏÏÎ·Î¼Î¿ÏÏÎ½Î·Î½ ÏÎ¿á¿¦ ÏÏÎ¿ÏÏÏÎ¿Ï ÏÎ¿á¿¦ÏÎ¿ ÏÎ¿Î¹á¿ÏÎ±Î¹ Î´ÏÏÏÎµÏÎ¬Î½Î±ÏÎ±Î½ Ïá½´Î½ Î¸ÎµÏÎ½: Î¿á½ Î¼á½´Î½ á¼Î»Î»á½° Î¼á¾¶Î»Î»Î¿Î½ Îµá¼°Îºá½¸Ï á½ÏÎ¹ ÏÏá½¸Ï Ïá½´Î½ Î´Î¹Î¬Î½Î¿Î¹Î±Î½ Î¿á½Î¸ÎÎ½ á¼ÏÏÎ¹Î½ á¼¡ ÏÎ±Î¹Î´ÎµÎ¯Î± Ïá¿Ï Î±á½Î»Î®ÏÎµÏÏ, Ïá¿ Î´á½² á¼Î¸Î·Î½á¾· Ïá½´Î½ á¼ÏÎ¹ÏÏÎ®Î¼Î·Î½ ÏÎµÏÎ¹ÏÎ¯Î¸ÎµÎ¼ÎµÎ½ ÎºÎ±á½¶ Ïá½´Î½ ÏÎÏÎ½Î·Î½.
Î®ÏÎ¿Î¹

ÎÎ±Î¹ ÏÏÎ¬Î³Î¼Î±ÏÎ¹ ÏÏÎ¬ÏÏÎµÎ¹ Î¼Î¹Î± Î»Î¿Î³Î¹ÎºÎ® Î²Î¬ÏÎ· Î³Î¹Î± ÏÎ·Î½ Î¹ÏÏÎ¿ÏÎ¯Î± ÏÎ¿Ï ÎÎ»ÎµÎ³Î±Î½ Î¿Î¹ Î±ÏÏÎ±Î¯Î¿Î¹ Î³Î¹Î± ÏÎ¿Î½ Î±ÏÎ»Ï. Î Î¼ÏÎ¸Î¿Ï Î»ÎÎµÎ¹ ÏÏÎ¹ Î· ÎÎ¸Î·Î½Î¬ Î²ÏÎ®ÎºÎµ ÎÎ½Î±Î½ Î±ÏÎ»Ï ÎºÎ±Î¹ ÏÎ¿Î½ ÏÎÏÎ±Î¾Îµ. Î¤ÏÏÎ± Î´ÎµÎ½ ÎµÎ¯Î½Î±Î¹ ÎºÎ±ÎºÏ ÏÏÎ·Î½ Î¹ÏÏÎ¿ÏÎ¯Î± ÏÏÎ¹ Î· Î¸ÎµÎ¬ ÏÎ¿ ÎÎºÎ±Î½Îµ Î±ÏÏÏ Î±ÏÏ ÎµÎ½ÏÏÎ»Î·ÏÎ· Î»ÏÎ³Ï ÏÎ·Ï Î¬ÏÏÎ·Î¼Î·Ï ÏÎ±ÏÎ±Î¼Î¿ÏÏÏÏÎµÏÏ ÏÏÎ½ ÏÎ±ÏÎ±ÎºÏÎ·ÏÎ¹ÏÏÎ¹ÎºÏÎ½ ÏÎ·Ï. Î±Î»Î»Î¬ ÏÏÎ·Î½ ÏÏÎ±Î³Î¼Î±ÏÎ¹ÎºÏÏÎ·ÏÎ± ÎµÎ¯Î½Î±Î¹ ÏÎ¹Î¿ ÏÎ¹Î¸Î±Î½Ï Î½Î± Î¿ÏÎµÎ¯Î»ÎµÏÎ±Î¹ ÏÏÎ¿ ÏÏÎ¹ Î· ÎµÎºÏÎ±Î¯Î´ÎµÏÏÎ· ÏÏÎ¿Î½ Î±ÏÎ»Ï Î´ÎµÎ½ ÎµÏÎ·ÏÎµÎ¬Î¶ÎµÎ¹ ÏÎ·Î½ Î½Î¿Î·Î¼Î¿ÏÏÎ½Î·, ÎµÎ½Ï ÏÏÎ·Î½ ÎÎ¸Î·Î½Î¬ Î±ÏÎ¿Î´Î¯Î´Î¿ÏÎ¼Îµ ÎµÏÎ¹ÏÏÎ®Î¼Î· ÎºÎ±Î¹ ÏÎÏÎ½Î·.[38a]

It should be noted, however, that not all sources speak of a clear opposition between stringed instruments and wind instruments, that is, between Apollo and Marsyas. In fact, according to the words of Ps. Plutarch 39, Apollo would have been the inventor of both the auletics and the citarodia and confirming this there would be the news of a statue of the god in Delos holding the bow in one hand, in the other the Graces each with an instrument: the lyre, the aulÃ²s, the syrinx. Such á¼Î³Î±Î»Î¼Î± is also mentioned from Pausanias who attributes it to two artists, Angelione and Tetteo, active in the sixth century. B.C. 40. Between VI and V century. B.C. furthermore there are the testimonies of Pindar 41 (according to which the aulos was the invention of Athena who gave it to men) and of Corinna 42 who reports how Apollo was instructed in Î±á½Î»Îµá¿Î½ by Athena. In another passage, Athenaeus reports the verses of the dithyramb of Melanippides of Melo (V century BC) entitled Marsyas, in which Athena curses the flute responsible for the deformations of her face, but immediately afterwards Athenaeus quotes the replica of Telestis of Selinunte, another dithyrambograph, according to which the news of the goddess's wrath against was false the instrument: the latter, in fact, devoted to virginity and not very attentive to the care of beauty, why would she ever have to forewarn that her image of her was disfigured by the sound of the instrument 43?

Beyond these disputes which, however, suggest the liveliness of a long-standing debate between poetry and music 44, the mythical figure of Marsyas, however, does not end in the contrast with Apollo (a contrast which, as we have seen, is not even unique). In fact, the Silenus in various legends shows himself to be the depositary of an extra-ordinary knowledge that raises him well above human nature. These are the myths in which Marsyas appears linked to king Midas 45. In fact Midas already appeared in the legend already mentioned of the musical contest between Apollo and Marsyas: in some testimonies it is he who acts as judge, rashly assigning the victory to Silenus and not to the god 46. ââAccording to Ovid 47 Midas would have expressed himself not in the contest between Marsyas and Apollo, but in that between Pan and the god 48, and would have provoked the ire of the son of Zeus who would have taken revenge by making him grow donkey ears 49. For our discourse, now very relevant are other details of the legend: we refer to the stories according to which King Midas would have drawn on hidden knowledge thanks to the mediation of the Silenus. The most important testimony is that of Aristotle 50: ..

Of this famous scene - later also taken up by F. Nietzsche in the Birth of Tragedy 51 - which fully expresses the pessimism of Greek thought 52, we are interested in the status of 'wise' that is here assigned to the Silenus in charge of revealing to the king not any notion, but ÏÎ¯ ÏÎ¿Ï 'á¼ÏÏá½¶ Ïá½¸ Î²ÎÎ»ÏÎ¹ÏÏÎ¿Î½ ÏÎ¿á¿Ï á¼Î½Î¸ÏÏÏÎ¿Î¹Ï ÎºÎ±á½¶ ÏÎ¯ Ïá½¸ ÏÎ¬Î½ÏÏÎ½ Î±á¼±ÏÎµÏÏÏÎ±ÏÎ¿Î½. It is no coincidence that there were those who, on the basis of an ethnographic comparison of this myth, spoke of King Midas as a "questing hero" engaged in an initiatory trial53. Regarding the 'wisdom' dimension of Marsyas, even the 4th century historian B.C. Theopompus54 reports a strange legend according to which the Silenus would have always revealed to King Midas a truth forbidden to mere mortals according to which the true earth would be found beyond the ocean55.

Beyond all that matters the song Beyond all the questions that Theopompus' passage poses to modern interpreters (meaning and purpose of the passage, influence on subsequent authors) 56, for the purposes of our discourse it is only important to note how here too Silenus interacts with King Midas from a particular position, that of holder of superior knowledge. To what has been said must be added the information that we find in the drains of a verse from Virgil's Bucolics, in which it is stated that the Mantuan poet would have drawn from Theopompus the illustrated myth of the VI Ecloga 57. In the passage virgiliano58 Cromi and Marasilo (probably two shepherds 59) surprise Marsyas drunk in a cave and force him (together with the naiad Egle) to sing for them60. What interests us is that the Silenus - in the Virgilian myth - launches into a cosmogonic song (vv. 31 et seq.) Of Lucretian inspiration61 capable of enchanting more than the voice of Orpheus 62. If the links with the legends above appear evident reported (Marsyas surprised drunk and forced to pronounce himself), it should not be forgotten that cosmogonic chant is the prerogative of Î¸ÎµÎ¿Î»ÏÎ³Î¿Î¹ such as Orpheus, Museum, Epimenides, Hesiod63, whose task is "to guide human 'cosmological' action, narrating the foundation of the order" 64. In other words, the knowledge that Silenus is in possession of is certainly not just any knowledge, but something that ensures him a position of primacy. Before closing this section, it seems appropriate to recall how according to some ancient authors Marsyas would have been the pedagogue of Dionysus as a child65, while Midas would have received initiations from Orpheus 66. Ultimately, from the examination of the data at our disposal, the figure of Marsyas cannot be 'crushed' exclusively into that of Apollo's antagonist and a symbol of a punished hubris: in fact, there are numerous testimonies that presented him as possessor of superior knowledge. . In this regard, rather than enhancing the differences between the two Marsyas to the point of thinking of two completely different characters, the position of D. Lanza appears to be shared, bringing the discrepancies back to the "very nature of the only, for us ambiguous, figure of the Silenus" 67: transgression and superior knowledge are two sides of the same coin. As we have already said, it is atopy, this moving at the same time between a divine reality and a feral one, that explains the paradoxical praise of Socrates by Alcibiades through Marsyas. Therefore, if the challenge between Marsyas and Apollo (with the consequent judgment of condemnation) is inevitably implied in the re-evaluation of Socrates by his 'school' (in common they have a process that ended badly), it is on Silenus as the holder of a exceptional knowledge that focuses the attention of Plato (as well as of the other exponents of the Socratic circle): Marsyas is put to death like Socrates, but both are able to 'transform' their listeners. The terms used by Alcibiades in this case leave no doubts in this regard. The 'fascination' of which both are capable is indicated by the technical verb ÎºÎ·Î»Îµá¿Î½68 (Plat. Symp. 215c: á½ Î¼ÎÎ½ Î³Îµ Î´Î¹ 'á½ÏÎ³Î¬Î½ÏÎ½ á¼ÎºÎ®Î»ÎµÎ¹ ÏÎ¿á½ºÏ á¼Î½Î¸ÏÏÏÎ¿ÏÏ Ïá¿ á¼Ïá½¸ ÏÎ¿á¿¦ ÏÏÏÎ¼Î±ÏÎ¿Ï and the same can be used to say ÏÏÎ¼Î±ÏÎ¿Ï) state of 'possession' suffered by bystanders: ÎºÎ±ÏÎÏÎµÏÎ¸Î±Î¹ 69 and á¼ÎºÏÎ»Î®ÏÏÎµÎ¹Î½ 70 (ibid. 315d: á¼ÎºÏÎµÏÎ»Î·Î³Î¼ÎÎ½Î¿Î¹ á¼ÏÎ¼á½²Î½ ÎºÎ±á½¶ ÎºÎ±ÏÎµÏÏÎ¼ÎµÎ¸Î±). Even more explicitly, Alcibiade states that when you listen to Socrates the shocking effect that receives it is higher than that produced by the rites of the Coribanti (Ibid. 315E: á½ÏÎ±Î½ á½°á½°Ï á¼á¼ÏÎ©, ÏÎ¿ÏÏ Î¼Î¿Î¹ ÏÏÎ©, Ïá¼¢á¿¶á¿¶ Î¼Î¿ÏÏÎ²ÏÏÎ½ÏÏá¿¶á¿¶á¿¶ ÎºÎ¿ÎµÎ²Î²Î±ÏÏÏÏÏá¿¶á¿¶ Ïá¼¥Îµ Î±ÏÏÏÏÏÏá¼¥ ÏÎµÎµ Î´Î¯Î¯Î± ÏÎ·Îá¾· ÎºÎá½¶ ÎÎ¬ÎºÏÏÎ± á¼ÎºÏÎµá¿ÏÎ±Î¹ á½Ïá½¸ á¿¶á¿¶á¿¶á¿¶á¿¶á¿¶ Î»ÏÎ³ÏÎ½ Ïá¿¶Î½ ÏÎ¿ÏÏÎ¿Ï, á½Ïá¿¶ Î´á½² ÎºÎ±á½¶ á¼Î»Î»Î¿ÏÏ ÏÎ±Î¼ÏÏÎ»Î»Î¿ÏÏ Ïá½° Î±á½Ïá½° ÏÎ¬ÏÏÎ¿Î½ÏÎ±Ï). Îµá½ Î¼á½²Î½ á¼¡Î³Î¿ÏÎ¼Î·Î½ Î»ÎÎ³ÎµÎ¹Î½, ÏÎ¿Î¹Î¿á¿¦ÏÎ¿Î½ Î´ 'Î¿á½Î´á½²Î½ á¼ÏÎ±ÏÏÎ¿Î½). Therefore, if the 'initiatory' process 71 that Alcibiades could have lived thanks to the old Socrates has not been completed, it is only due to his guilty lack of constancy: instead of remaining with the master and letting himself be completely ensnared by him, Alcibiades runs away, blocking his ears as if by Sirens (ibid.316a: Î²Î¯á¾³ Î¿á½Î½ á½¥ÏÏÎµÏ á¼Ïá½¸ Ïá¿¶Î½ Î£ÎµÎ¹ÏÎ®Î½ÏÎ½ á¼ÏÎ¹ÏÏÏÎ¼ÎµÎ½Î¿Ï Ïá½° á½¦ÏÎ± Î¿á¼´ÏÎ¿Î¼Î±Î¹ ÏÎµÏÎ³Î½, á¼µÎ½Î± Î¼á½´ Î±á½ÏÎ¿á¿¦ ÎºÎ±Î¸Î®Î¼ÎµÎ½Î¿Ï ÏÎ±Î½Î± ÏÎ¿ÏÏá¿³ ÎºÎ±ÏÎ±Î³Î·ÏÎ¬ÏÏ). Ultimately, the Marsyas / Socrates analogy is all played on this function of 'mediation' carried out by one and the other between a degraded reality and a divine one and in doing this Plato or, better said, the Socratic circles, recover the positive side of the Silenus.

An extraordinary ability that deserves our attention: we noted above how Plato condemned the use of aulÃ²s precisely because it is an instrument characterized by ÏÎ±Î½Î±ÏÎ¼ÏÎ½Î¹Î¿Î½, the ability to create multiple harmonies. Without arriving at excessively risky conclusions on the type of knowledge that Dante might have had of Greek musical theories, it seems, however, that we can say with some foundation that even he attributed particular qualities to the sound of the flute (Silenus' instrument). And this is what he explicitly states shortly after the aforementioned verses86:

https://library.oapen.org/bitstream/i...
Adagiorum chiliades, OPERA OMNIA DESIDERII ERASMI ROTERODAMI RECOGNITA ET ADNOTATIONE CRITICA INSTRVCTA NOTISQVE ILLVSTRATA

ÎÏÏ ÏÎ·Î½ Î´Î¹ÎµÏÎµÏÎ½Î·ÏÎ· ÏÎ¿Ï Î´Î¹ÎµÎ¾Î®ÏÎ¸Î· ÏÏÎ¿ÎÎºÏÏÎµ ÏÏÎ¹ ÏÏÎ·Î½ Î±ÏÏÎ±Î¯Î± ÏÎ±ÏÎ¬Î´Î¿ÏÎ· Î· Î¼Î¿ÏÏÎ® ÏÎ¿Ï Î£Î¹Î»Î·Î½Î¿Ï ÎÎ±ÏÏÏÎ± ÏÎ±Î¯Î½ÎµÏÎ±Î¹ Î½Î± ÎÏÎµÎ¹ ÎÎ½ÏÎ¿Î½Î± Î´Î¹ÏÎ¿ÏÎ¿ÏÎ¼ÎµÎ½Î± ÏÎ±ÏÎ±ÎºÏÎ·ÏÎ¹ÏÏÎ¹ÎºÎ¬: Î±ÏÎµÎ½ÏÏ, Î· Â«Î±ÏÎ½Î·ÏÎ¹ÎºÎ®Â» ÏÎ»ÎÎ²Î± ÏÎ¿Ï ÏÎ±ÏÎ±ÎºÏÎ®ÏÎ± ÏÎ¿Ï ÎµÎ¼ÏÎ»ÎÎºÎµÏÎ±Î¹ ÏÎµ Î¼Î¹Î± Î¸Î±Î½Î±ÏÎ·ÏÏÏÎ± ÏÏÎ³ÎºÏÎ¿ÏÏÎ· Î¼Îµ ÏÎ¿Î½ ÎÏÏÎ»Î»ÏÎ½Î± ÎÎ¹Î¸Î±ÏÏÎ´Ï ÎµÎ¯Î½Î±Î¹ Î¶ÏÏÎ¹ÎºÎ®Ï ÏÎ·Î¼Î±ÏÎ¯Î±Ï ÎºÎ±Î¹ Î³ÏÎ½Î¹Î¼Î·; Î±Ï' ÎµÏÎÏÎ¿Ï Î¼Î¹Î± Î¬Î»Î»Î· ÎµÎ¾Î¯ÏÎ¿Ï ÏÎ±ÏÎ¿ÏÏÎ± ÎµÎ¯Î½Î±Î¹ Î· Î±Î½ÏÎ¯Î¸ÎµÏÎ· ÎµÏÎ¼Î·Î½ÎµÎ¯Î± in bono ÏÏ Î¼Î¹Î± ÎµÎ¾Î±Î¹ÏÎµÏÎ¹ÎºÎ® Î¼Î¿ÏÏÎ® ÏÏÎ¿Î¹ÎºÎ¹ÏÎ¼ÎÎ½Î· Î¼Îµ Î¼Î¹Î±Î½ Â«Î¬Î»Î»Î·Â» Î³Î½ÏÏÎ· ÎºÎ±Î¹ ÎµÎ¾Î±Î¹ÏÎµÏÎ¹ÎºÎÏ Î¹ÎºÎ±Î½ÏÏÎ·ÏÎµÏ. ÎÎ¯Î½Î±Î¹ Î±ÏÏÎ® Î· Î´ÎµÏÏÎµÏÎ· ÏÏÎ¿Î¿ÏÏÎ¹ÎºÎ® ÏÎ¿Ï ÏÏÎ·ÏÎ¹Î¼Î¿ÏÎ¿Î¹Î®Î¸Î·ÎºÎµ ÏÎ¿Î½ 4 Î±Î¹. Ï.Î§. Î±ÏÏ ÏÎ¿ÏÏ ÎºÏÎºÎ»Î¿ÏÏÏÎ¿Ï Î±ÏÏÎ¿Î»Î®Î¸Î·ÎºÎ±Î½ Î¼Îµ ÏÎ·Î½ Î±ÏÎ¿ÎºÎ±ÏÎ¬ÏÏÎ±ÏÎ· ÏÎ¿Ï Î£ÏÎºÏÎ¬ÏÎ¿ÏÏ. ÎÎ±Î¹ Î¿Î¹ Î´ÏÎ¿ Î´ÏÎ½Î±ÏÏÏÎ·ÏÎµÏ ÏÎ¿Ï ÎÎ±ÏÏÏÎ± (Î±ÏÎ½Î·ÏÎ¹ÎºÏ ÏÎ±ÏÎ¬Î´ÎµÎ¹Î³Î¼Î± ÏÎ¹Î¼ÏÏÎ·Î¼ÎÎ½Î·Ï ÏÎ²ÏÎµÏÏ ÎºÎ±Î¹ ÎµÎ¹ÎºÎ¿Î½Î¹ÎºÏ ÏÏÏÎ´ÎµÎ¹Î³Î¼Î± Â«Î±ÏÎµÎ»ÎµÏÎ¸ÎµÏÏÏÎµÏÏ Î±ÏÏ ÏÎ¿ ÎºÏÏÎºÎ¹Î½Î¿ ÏÎ·Ï Î¸Î½Î·ÏÏÏÎ·ÏÎ±Ï [114]Â»)Î²ÏÎ¯ÏÎºÎ¿ÏÎ½ ÏÏÎ¹Ï Î±ÏÏÎ¹ÎºÎÏ Î³ÏÎ±Î¼Î¼ÎÏ ÏÎ¿Ï ÏÏÏÏÎ¿Ï ÎºÎ¬Î½ÏÎ¿ ÏÎ¿Ï Î Î±ÏÎ±Î´ÎµÎ¯ÏÎ¿Ï ÏÎ¿Ï ÎÎ¬Î½ÏÎ·. ÎÎ½ÎµÎ¾Î¬ÏÏÎ·ÏÎ± Î±ÏÏ ÏÎ¿ ÏÎ¿Î¹ÎµÏ Î±ÎºÏÎ¹Î²ÎµÎ¯Ï ÏÎ·Î³ÎÏ ÎµÎ½ÎÏÎ½ÎµÏÏÎ±Î½ ÏÎ¿Î½ ÎÎ¬Î½ÏÎ·, Î±ÏÏÏ ÏÎ¿Ï ÏÎ±Î¯Î½ÎµÏÎ±Î¹ Î±Î½Î±Î¼ÏÎ¹ÏÎ²Î®ÏÎ·ÏÎ¿ ÎµÎ¯Î½Î±Î¹ ÏÏÎ¹ Î· ÏÏÎ³ÎºÎ»Î¹ÏÎ· ÏÎ·Ï ÏÎ±Î³Î±Î½Î¹ÏÏÎ¹ÎºÎ®Ï Î¼ÏÎ¸Î¹ÎºÎ®Ï ÎºÎ»Î·ÏÎ¿Î½Î¿Î¼Î¹Î¬Ï ÎºÎ±Î¹ ÏÎ·Ï ÏÏÎ¹ÏÏÎ¹Î±Î½Î¹ÎºÎ®Ï Î¸ÏÎ·ÏÎºÎµÏÏÎ¹ÎºÎ®Ï ÎµÏÎ¼Î·Î½ÎµÎ¯Î±Ï Î¼ÏÎ¿ÏÎµÎ¯ Î½Î± ÎµÎ¾Î·Î³Î®ÏÎµÎ¹ Î±ÏÏÏ ÏÎ¿ Î´Î¹ÏÎ»Ï ÏÏÎ±Î¼Î±, ÏÎ¿Ï Î±ÏÎ¿Î´ÏÎ¸Î·ÎºÎµ Î±ÏÏ ÏÎ¿Î½ Î´Î¹Î±ÏÏÏÎ¹ÏÏÎ® Giovanni di Paolo Î¼Îµ ÏÎ¿Î½ ÏÏÏÏÎ¿ ÏÎ¿Ï ÎµÎ¯Î´Î±Î¼Îµ. 111. Ad. 2201 s.v. âSileni Alcibiadisâ. After recalling the passage from the Platonic Symposium on which we have dwelt above and noting how it is all played out in the contrast between an exterior to be despised and a divine interior, the Renaissance author clearly states: An non mirificus quidamSilenus fuit Christus?114. Rigo 1994, p. 119.
Î£ÎÎÎÎÎ©Î£ÎÎÎ£[34]. .. ÏÏÎ·Î½ Î±Î³Î¿ÏÎ¬ Î±ÏÏÎ® [ÏÏÎ½ ÎÎµÎ»Î±Î¹Î½ÏÎ½] ÎµÎ¯Î½Î±Î¹ ÎºÏÎµÎ¼Î±ÏÎ¼ÎÎ½Î¿ ÏÎ·Î»Î¬ ÎºÎ±Î¹ ÏÎ¿ Î±ÏÎºÎ¯ Î±ÏÏ ÏÎ¿ Î´ÎÏÎ¼Î± ÏÎ¿Ï Î£Î¹Î»Î·Î½Î¿Ï ÎÎ±ÏÏÏÎ±, Î³Î¹Î± ÏÎ¿Î½ Î¿ÏÎ¿Î¯Î¿ Î¿Î¹ Î¦ÏÏÎ³ÎµÏ Î´Î¹Î·Î³Î¿ÏÎ½ÏÎ±Î¹ ÏÏÏ ÏÎ¿Î½ ÎÎ³Î´Î±ÏÎµ ÎºÎ±Î¹ ÎºÏÎÎ¼Î±ÏÎµ ÏÎ·Î»Î¬ ÏÎ¿ ÏÎ¿Î¼Î¬ÏÎ¹ ÏÎ¿Ï Î¿ ÎÏÏÎ»Î»ÏÎ½.[35]. Pl. Resp. 398c Îº.Îµ.[36] .[37]. Pl. Resp. 399e.[37a]. https://www.greek-language.gr/digital.... Fong et al. 2013, p. 316, fig. 107, cat. no. 91. Î¤Î¿ Î¿ÏÎµÎ¹ÏÎ¬Î»ÎºÎ¹Î½Î¿ Î±Î³Î³ÎµÎ¯Î¿ ÏÏÎ¿ÎÏÏÎµÏÎ±Î¹ Î±ÏÏ ÏÎ¿Î½ ÏÎ¬ÏÎ¿ Î10 ÏÏÎ¿ Î£ÏÎ¿Î»ÎµÎ¯Î¿ ÏÎ¿Ï Baihuatan - Chengdu ÎºÎ±Î¹ ÏÏÎ¿Î½Î¿Î»Î¿Î³ÎµÎ¯ÏÎ±Î¹ ÏÏÎ®Î½ ÏÏÏÎ¹Î¼Î· ÏÎµÏÎ¯Î¿Î´Î¿ ÏÏÎ½ ÎÎ½ÏÎ¹Î¼Î±ÏÎ¿Î¼ÎÎ½ÏÎ½ ÎÏÎ±ÏÎ¹Î´Î¯ÏÎ½. Î Î±ÏÏÎ¹ÎºÎ® Î±Î½Î±ÎºÎ¿Î¯Î½ÏÏÎ· ÎÎ³Î¹Î½Îµ ÏÏÎ¿ Wenwu 1976 (3): 43-46.[38]. ÎÎ¿ÏÎ»Î¹ÏÏÎ· 2017 , ÏÎµÎ». 42.[38a]. Î¤Î¿ ÎÎ»Î»Î·Î½Î¹ÎºÏ ÎºÎµÎ¯Î¼ÎµÎ½Î¿ ÏÏÎ¿ÎÎºÏÏÎµ Î±ÏÏ ÏÎ¿ ÎÎ³Î³Î»Î¹ÎºÏ ÎºÎµÎ¯Î¼ÎµÎ½Î¿ ÏÎ¿Ï perseus Î¼Î Î¼ÎµÏÎ¬ÏÏÎ±ÏÎ· ÏÏÎ·Î½ ÎÎ»Î»Î·Î½Î¹ÎºÎ®.

ÎÎÎÎÎÎÎÎ¡ÎÎ¦ÎÎ
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https://scholarworks.bgsu.edu/cgi/vie..., C. 2014. "Ancient Greek Music: The Aulos and the Kithara" (Honors Projects 129, Bowling Green State University).https://scholarworks.bgsu.edu/honorsp... p. 12: .. yet in spite of this it was still the principal instrument chosen for religious ceremonies. p. 13: .. The religious use of aulos music is particularly noted in the Dionysian mystery cult.
https://papers.ssrn.com/sol3/papers.c... Keer, E. 2008. "Integrating Music and Religion in the Study of the Ancient Greek Aulos and MousikÃ¨. Musical Perceptions - Past and Present. On Ethnographic Analogy and Experimental Archaeology in Music Archaeological Research. 6th Symposium of the International Study Group on Music Archaeology, 2004

https://classics-at.chs.harvard.edu/c..., C. 2019. "Exploring the âFlute Girlsâ of Ancient Greece through Multimodality," <https://classics-at.chs.harvard.edu/c... (1 April 2022).
https://jguaa2.journals.ekb.eg/articl.... Marwa Abd el-Maguid el-Kady. "Aulos and Crotals in Graeco-roman Egypt," Journal of the General Union OF Arab Archaeologists (3), pp. 70-106.
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https://dspace.uowm.gr/xmlui/bitstrea...·, Î£Ï. 2017. "Î ÎÎºÏÎ±Î¯Î´ÎµÏÏÎ· ÏÏÎ½ ÏÎ±Î¹Î´Î¹ÏÎ½ ÏÏÎ¼ÏÏÎ½Î± Î¼Îµ ÏÎ·Î½ ÎÏÎ¹ÏÏÎ¿ÏÎµÎ»Î¹ÎºÎ® Î¸ÎµÏÏÎ¯Î±" (ÏÏÏÏ. Î Î±Î½. ÎÎ±ÎºÎµÎ´Î¿Î½Î¯Î±Ï).
https://books.google.gr/books?id=vJAK..., W. C., R. W. Bagley, J. F. So, M. K. Hearn, eds. 2013. The Great Bronze Age of China: An Exhibition from the People's Republic of China, Metropolitan Museum of Art.

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[1]. Franklin 2015.
[2]. Franklin, Heimpel, Fawkes 2015, fig. 18. Louvre AO 22.221.
[3]. Franklin 2006, p. 39.
[4]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 318, ÏÎ·Î¼. 1352; Franklin, Heimpel, Fawkes 2015, pp. 47, 274, 429, 431, 432, n. 42 .
[5]. Franklin 2015, p. 406, n. 10.
[6]. Dominguez 2017, p. 222, n. 80.
[7]. Franklin 2015, pp. 406-407.
[8]. Dominguez 2017, p. 222, n. 79.
[9]. Dominguez 2017, p. 221, n. 76.
[10a]. Scardina 2010, fig. 1.
[10b]. Serrano et al. 2012, fig. 1.

[11]. Poncy et al. 2001, p. 11; Franklin 2015, p. 408, n. 21; ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2016, ÏÎµÎ». 78, ÏÎ·Î¼. 48; ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 56, ÏÎ·Î¼. 138. ÎÎ¼ÏÏ Î¿ Mikrakis Î±ÏÎ¿Î´Î¯Î´ÎµÎ¹ ÏÎ± ÏÎµÎºÎ¼Î®ÏÎ¹Î± ÏÎµ Î¦Î¿Î¹Î½Î¹ÎºÎ¹ÎºÏ ÎµÏÎ³Î±ÏÎ®ÏÎ¹Î¿ ÎµÎ³ÎºÎ±ÏÎµÏÎ·Î¼ÎÎ½Î¿ ÏÏÎ·Î½ ÎÏÏÏÎ¿ (Mikrakis 2015, p. 849).[12]. Poncy et al. 2001, p. 16, cat. nr. 51.
[13]. Poncy et al. 2001, pp. 18-19, cat. nr. 79.
[14]. Franklin 2015, p. 408. Î Î¬Î½ÏÏÏ ÏÏÎ¿ Karatepe, ÏÏÎ¿Ï ÏÏ Î³Î½ÏÏÏÏÎ½ ÏÎ¹ÏÏÎ¿ÏÎ¿Î¹ÎµÎ¯ÏÎ±Î¹ ÏÎ¿ ÏÎ½Î¿Î¼Î± ÏÎ¿Ï ÎÏÏÎ¿Ï, Î¼Î¬Î½ÏÎ· ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î¼ÏÎ¸Î¿Î»Î¿Î³Î¯Î±Ï, ÏÎ±ÏÎ¿ÏÏÎ¹Î¬Î¶ÎµÏÎ±Î¹ Î¼Î¿ÏÏÎ¹ÎºÎ® ÏÎºÎ·Î½Î® ÏÏÎ·Î½ Î¿ÏÎ¿Î¯Î± ÎÎ¹Î³Î±Î¹Î¿ÏÎµÎ»Î±Î³Î¯ÏÎ¹ÎºÎ± ÎºÎ±Î¹ Î´ÏÏÎ¹ÎºÎ¿ÏÎ·Î¼Î¹ÏÎ¹ÎºÎ¬ ÏÏÎ¿Î´ÎµÎ¯Î³Î¼Î±ÏÎ± ÏÎ±ÏÎ¯ÏÏÎ±Î½ÏÎ±Î¹ Î´Î¯ÏÎ»Î±-Î´Î¯ÏÎ»Î± ÏÏÎ¿ Î¯Î´Î¹Î¿ Î±Î½Î¬Î³Î»ÏÏÎ¿ .. (Franklin 2006, p. 45).
[15]. Poncy et al. 2001, p. 11.
[16]. ASOR, MID000032 â Download Image, <https://www.asor.org/resources/photo-....
[17]. Maravelia 2019, p. 35, 42, n. 14.
[18]. Î Î¿ÏÎ»Î¬ÎºÎ· Î Î±Î½ÏÎµÏÎ¼Î±Î»Î® 2022.
[18a]. ÎÎ³ÏÎ¬ÏÎ±ÎºÏÎ¿Ï ÏÎºÎ±ÏÎ±Î²Î±Î¯Î¿Ï ÏÎ·Ï ÎÎ¼Î¬Î´Î¿Ï ÏÎ¿Ï ÎÏÏÎ¬ÏÎ· ÏÎ¿Ï Î´ÎµÏÏÎÏÎ¿Ï Î·Î¼Î¯ÏÎµÏÏ ÏÎ¿Ï Î¿Î³Î´ÏÎ¿Ï Î±Î¹. Ï.Î§. (Getty Museum Collection 85.AN.370.3).
[19]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 52-53, ÏÎ·Î¼. 124.
[20]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 52-53, ÏÎ·Î¼. 125.
[21]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 52-53, ÏÎ·Î¼. 126.
[22]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 52-53, ÏÎ·Î¼. 127.
[23]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 52-53, ÏÎ·Î¼. 128.
[24]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 52-53, ÏÎ·Î¼. 129.
[25]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 52-53, ÏÎ·Î¼. 130.
[26]. Keel 1994, p. 32. Body Beer Jug Philistine, Painted, Iron I, Megiddo, Procession of animals and a bearded man holding a lyre "Orpheus Jug", <https://www.antiquities.org.il/t/item....
[27]. Franklin, Heimpel, Fawkes 2015, p. 443.
[28], Franklin, Heimpel, Fawkes 2015, p. 443.
[29]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 6, ÏÎ·Î¼. 2_6.
[30]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 6, ÏÎ·Î¼. 2_7.
[31]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 6, ÏÎ·Î¼. 2_8
[32]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 6, ÏÎ·Î¼. 2_6.
[33]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 13, ÏÎ·Î¼. 2_37.
[34]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2022, ÏÎµÎ». 13, ÏÎ·Î¼. 2_38.

ÎÎÎÎÎÎÎÎ¡ÎÎ¦ÎÎ

https://www.academia.edu/7860988/_Lyr...
Franklin J. C. 2006. âLyre Gods of the Bronze Age Musical Koineâ, Journal of Ancient Near Eastern Religions 6 (2), 2006, pp. 39â70.

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Franklin, J. C. 2015. "THEIOS AOIDOS. A New Reading of the Lyre-Player Group of Seals," Gaia : revue interdisciplinaire sur la GrÃ¨ce ArchaÃ¯que 18, pp. 405-418.

Franklin, J. C. 2016. Kinyras: The Divine Lyre (Hellenic Studies Series 70), Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.

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Franklin, J. C., W. Heimpel, G. Fawkes. 2015. Kinyras: The Divine Lyre (Hellenic Studies 70), Washington.

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Siemer, E. 2019. Der hethitisch-mykenische Zinnhandel in Europa und der Untergang ihrer Reiche (1430 - 1130 BC), Oldenburg.

https://bora.uib.no/bora-xmlui/bitstr..., A. J. 2017. "Euboeans in the Far West? New data and interpretations," in Papers and Monographs from the Norwegian Institute at Athens 6. An Island between two Worlds. The Archaeology of Euboea from Prehistoric to Byzantine Times, ed. Å½. TankosiÄ, F. Mavridis, and M. Kosma, pp. 216-234.
https://www.academia.edu/4777525/I_si..., P. 2010. "I sigilli del Lyre Player Group. Tracce di archeologia musicale tra lâEtruria e il Mediterraneo orientale," La Musica in Etruria, ed. E. Li Castro, Tarquinia, pp. 67-78.
https://www.persee.fr/docAsPDF/anata_..., H., O. Casabonne, J. De Vos, M. Egetmeyer, R. Lebrun, A. Lemaire. 2001. "Sceaux du musÃ©ed'Adana. Groupe du "Joueur de lyre" (VIIIe siÃ¨cle av. J.-C) - Sceaux en verre et cachets anÃ©pigraphes d'Ã©poque achÃ©mÃ©nide - ScaraboÃ¯des inscrits - ScarabÃ©es et sceaux Ã©gyptisants," Anatolia Antiqua 9, pp. 9-37.
ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï, Î. 2020. ÎÎ¹ Î§ÎµÏÏÎ±Î¯Î¿Î¹ ÎºÎ±Î¹ Î¿ ÎºÏÏÎ¼Î¿Ï ÏÎ¿Ï ÎÎ¹Î³Î±Î¯Î¿Ï, ÎÎ¸Î®Î½Î±.
ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï, Î. 2022. Î ÏÏÏÎ¹Î¼Î¿Ï ÎÎ¹Î³ÏÏÏÎ¹Î±ÎºÏÏ ÏÎ¿Î»Î¹ÏÎ¹ÏÎ¼ÏÏ ÎºÎ±Î¹ Î¿Î¹ Î±Î»Î»Î·Î»ÎµÏÎ¹Î´ÏÎ¬ÏÎµÎ¹Ï Î¼Îµ ÏÎ¿ ÎÎ¹Î³Î±Î¯Î¿ (Î²' ÎÎºÎ´.), ÎÎ¸Î®Î½Î±.
https://cdf05b7c-944f-4b1c-8ea3-e8ad7..., A. 2019. "The Conception of the Cosmic Egg (Swá¸¥t) in the ancient Egyptian and in the Orphic cosmovision," Shodoznavstvo 83, pp. 25â52.
https://www.leivithrapark.gr/%CE%BB%C... Î¿ÏÎ»Î¬ÎºÎ· Î Î±Î½ÏÎµÏÎ¼Î±Î»Î®, Î. . "ÎÏÎ¸Î¿Ï ÎÎµÎ¹Î²Î®Î¸ÏÏÎ½," á¼¸ÏÏÏÏÎ¿ÏÎ¿Ï: Î Î¬ÏÎºÎ¿ ÎÎµÎ¹Î²Î®Î¸ÏÏÎ½, <https://www.leivithrapark.gr/%CE%BB%C... (5 ÎÎ±Î¯Î¿Ï 2022).
https://www.academia.edu/4669096/SCAR..., L., F. Gonzalez de Canales, J. Llompart and A. Montano. 2012. "Scaraboid seal of the âLyre-Player Groupâ at the Huelva Museum," Actas do V Encontro de Arqueologia do Sudoeste Peninsular, AlmodÃ´var: Digital Edition, pp. 279-288.

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Keel, O. 1994. "Philistine 'Anchor' Seals," Israel Exploration Journal 44 (1/2), pp. 21-35.
https://www.academia.edu/1785302/Cros..., M. 2015. "Cross-cultural interaction in the Eastern Mediterranean during the Early Iron Age: A View from Seal Engraving, with Special Reference to the Lyre-Player Group," in Nostoi, ed. N. Stambolidis, C. Maner, K. Kopanias, pp. 849-871.

Î ÎÎÎÎ Î Î¡ÎÎ£Î¦ÎÎ¤Î ÎÎÎÎÎÎ¡Î©Î£Î - ÎÎÎ ÎÎÎ¥Î¤ÎÎ£ÎÎÎ£: 060522

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Published on May 05, 2022 23:17

Ahhotep & the Aegean

Î AHHOTEP & Î¤Î ÎÎÎÎÎÎ

Î ÎµÏÎ¹Î´ÎÏÎ±Î¹Î¿ ÏÎ·Ï Ahhotep

Î£ÎÎÎÎÎ©Î£ÎÎÎ£

[1]. Maspero 2015 (<https://pt.wikibooks.org/wiki/Ficheir...).
[2]. Davis 2016, pp. 148-149.
[3]. Kelder et al. 2018, p. 12.[4]. Wachsmann 2010, p. 36, fig. 5.[5]. Hankey 1993; Davis 2016, pp. 148-149. Î ÎµÎ½Î´ÎµÏÏÎ¼ÎµÎ½Î· ÎºÎ±ÏÎ±Î³ÏÎ³Î® ÏÎ·Ï Ahhotep Î±ÏÏ ÏÎ·Î½ ÎÏÎ®ÏÎ· ÎÏÎµÎ¹ Î±Î½Î±ÏÎµÏÎ¸ÎµÎ¯ Î±ÏÏ ÏÎ¿Î½ Bietak (Hankey and Leonard Jr. 1998, p. 35).[6]. Î£ÏÎ¿Î½ ÏÎ¬ÏÎ¿ ÏÎ¿Ï Qenamun, ÎµÏÎ¹ÏÏÎ¬ÏÎ· ÏÎ·Ï Î½Î±ÏÏÎ¹ÎºÎ®Ï Î²Î¬ÏÎµÏÏ Peru-nefer, ÏÏÎ½Î±Î½ÏÏÎ½ÏÎ±Î¹ ÏÏÎ¬Î³Î¼Î±ÏÎ¹ ÏÎ¿ Î¸ÎÎ¼Î± ÏÎ¿Ï ÎºÎ±Î»ÏÎ±ÏÎ¼Î¿Ï Î±Î»Î»Î¬ ÎºÎ±Î¹ ÏÎ¿ Î±Î½ÎµÏÏÏÎ±Î¼Î¼ÎÎ½Î¿ ÏÎ¿ÏÎ¯Î¿. Î£ÏÎ¿Î½ Î¯Î´Î¹Î¿ ÏÎ¬ÏÎ¿ Î²ÏÎ¯ÏÎºÎ¿ÏÎ¼Îµ Î±ÏÎµÎ¹ÎºÎ¿Î½Î¯ÏÎµÎ¹Ï ÏÏÎ»ÏÎ½, ÏÏÏÏ ÏÎ±ÏÎÏÏÎ±Ï Î¼Îµ Î´Î¹Î±ÎºÏÏÎ¼Î·ÏÎ· ÏÏÎÏÎ¿ÏÏÎ±Ï ÏÏÎµÎ¯ÏÎ±Ï ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ Î¸ÏÏÎ±ÎºÎ¯ÏÎµÏÏ ÏÎ± Î¿ÏÎ¿Î¯Î± ÏÎ»Î± ÎÏÎ¿ÏÎ½ ÏÎ±ÏÎ±ÎºÏÎ·ÏÎ¹ÏÎ¸ÎµÎ¯ ÏÏ ÎÏÎºÎ·Î½Î±ÏÎºÎ¬ Î® ÎÎ¹Î³Î±Î¹Î±ÎºÎ¬. Î¤Î¿ Î¸ÎÎ¼Î± ÏÎ¿Ï ÎºÎ±Î»ÏÎ±ÏÎ¼Î¿Ï Î±ÏÎ±Î½ÏÎ¬ÏÎ±Î¹ ÎºÎ±Î¹ ÏÎµ ÏÎºÎ·Î½Î® ÎºÏÎ½Î·Î³Î¯Î¿Ï Î±ÏÏ ÏÎ·Î½ Î´Î¹Î±ÎºÏÏÎ¼Î·ÏÎ· ÏÎ¿Ï ÏÎ¬ÏÎ¿Ï Î¤Î¤ 56 ÏÎ¿Ï Userhat (XVIII Î´ÏÎ½., MMA acc. nr. 30.4.42). [7]. Sweeney 2009, pp. 89-90; Kelder, Cole and Cline 2018, p. 12, n. 11.[8]. Hankey 1993, pp. 13-14.[9]. Marshall 2015, p. 41. [10]. Marshall 2015.[11]. Hankey and Leonard 1998, p. 35.
ÎÎÎÎÎÎÎÎ¡ÎÎ¦ÎÎ
https://repository.library.brown.edu/..., A. L. 2016. "Egyptian and Minoan Relations during the Eighteenth Dynasty/Late Bronze Age" (diss. Brown Univ.).
Kelder, J. M., S. E. Cole, and E. H. Cline. 2018. âMemphis, Minos, and Mycenae: Bronze Age Contact between Egypt and the Aegean,â in Beyond the Nile: Egypt and the Classical World, ed. S. E. Cole, Los Angeles, pp. 9-17.
Bietak, M. 2010. "Minoan presence in the pharaonic naval base of Peru-nefer," in Cretan Offerings: Studies in Honour of Peter Warren (BSA Studies 18), ed. O. Krzyszkowska, London, pp. 11-24.
Bietak, M., C. von RÃ¼den, J. Becker, J. Jungfleisch, L. Morgan and E. Peintner. 2012/2013. âPreliminary Report of the Tell el-Dab`a Wall Painting Project â Season 2011/2012,â Egypt and the Levant 22/23 (2012/2013), pp. 127-143.
http://users.uoi.gr/gramisar/prosopik..., Î. and L. Morgan. 2005. âThe Dog Pursuit Scenes from Tell el-Dab'a and Kea,â in Aegean Wall Paintings (BSA Studies 13), ed. L. Morgan, London, pp. 119â122.
https://www.academia.edu/19052696/_Fl..., A. 2015. "Fly & Lion: Military awards in ancient Egypt," Kmt 26/3, pp. 39-47.
Maspero, G. 2015. "History of Egypt, Chaldea, Syria, Babylonia, and Assyria. Volume IV, Part A," <https://www.gutenberg.org/files/17324... , London.
Hankey, V. and Al. Leonard Jr. 1998. "Aegean LB I-II Pottery in the East: âWho is the Potter, Pray, and Who the Pot?',â in The Aegean and the Orient in the Second Millennium, Proceedings of the 50th Anniversary Symposium (Aegaeum 18), ed. E. H. Cline, and D. Harris-Cline, LiÃ¨ge/Austin, pp. 29-37.
Î ÎÎÎÎ Î Î¡ÎÎ£Î¦ÎÎ¤ÎÎ£ ÎÎÎ ÎÎÎ¥Î¤ÎÎ£ÎÎÎ£ - ÎÎ ÎÎÎÎÎÎÎ: 160422

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Published on April 15, 2022 23:48

Hittite tawananna & Homeric Theano

Î Kizzuwatna, Î¼Îµ ÏÏÏÎ®Î½Î± ÏÎ·Î½ ÎÎ¹Î»Î¹ÎºÎ¯Î±, Î±ÏÎµÏÎÎ»ÎµÏÎµ ÏÎµÏÎ¹Î¿ÏÎ® ÏÏÎ¿ ÏÎµÏÎ¹Î¸ÏÏÎ¹Î¿ ÏÎ·Ï Î§ÎµÏÏÎ¹ÏÎ¹ÎºÎ®Ï Î±ÏÏÎ¿ÎºÏÎ±ÏÎ¿ÏÎ¯Î±Ï, Î· Î¿ÏÎ¿Î¯Î± ÎµÎ½ÎµÏÎ¬Î½Î¹Î¶Îµ Î¹Î´Î¹Î±Î¯ÏÎµÏÎµÏ ÏÏÏÏÎµÏÎ¯ÏÎµÎ¹Ï Î¼Îµ ÏÎ¿Î½ ÎÎ¹Î³Î±Î¹Î±ÎºÏ ÏÏÏÎ¿. ÎÎ½Î´ÎµÎ¹ÎºÏÎ¹ÎºÎ¬ Î±Î½Î±ÏÎÏÎ¿ÏÎ¼Îµ ÏÏÎµÏÎ¹ÎºÎ¬ ÏÏÎ¹ ÏÏÎ·Î½ ÏÎµÏÎ¹Î¿ÏÎ® ÏÎ¹Î¸Î±Î½Î¿Î»Î¿Î³ÎµÎ¯ÏÎ±Î¹ Î· Î¬Î¼ÎµÏÎ· Î® ÎÎ¼Î¼ÎµÏÎ· ÎµÎ¼ÏÎ»Î¿ÎºÎ® ÏÏÎ½ ÎÏÎ¹Î³Î¹Î¬Î²Î±, Î¼ÎÏÏ ÎºÎ±Î¹ ÏÎ¿Ï Piyamaradu, ÏÎµ ÎµÏÎ¸ÏÎ¹ÎºÎÏ ÎµÎ½ÎÏÎ³ÎµÎ¹ÎµÏ ÏÎµ Î²Î¬ÏÎ¿Ï ÏÏÎ½ Î§ÎµÏÏÎ¹ÏÎ¹ÎºÏÎ½ ÏÏÎ¼ÏÎµÏÏÎ½ÏÏÎ½.[11_9] ÎÎ»Î»ÏÏÏÎµ Î· ÏÎ±ÏÎ¿ÏÏÎ¯Î± ÏÎ¿Ï ÎÎ¹Î³Î±Î¹Î±ÎºÎ¿Ï ÏÏÎ¿Î¹ÏÎµÎ¯Î¿Ï ÏÏÎ·Î½ Kizzuwatna Î¼ÎµÏÎ¬ ÏÎ·Î½ ÏÏÎ¿ÏÏÏÎ·ÏÎ· ÏÏÎ½ Î§ÎµÏÏÎ±Î¯ÏÎ½ ÎµÎ¯Î½Î±Î¹ Î±Î´Î¹Î±Î¼ÏÎ¹ÏÎ²Î®ÏÎ·ÏÎ·, ÏÏÎ·Î½ ÏÎµÏÎ¹Î¿ÏÎ® Î¼Î¬Î»Î¹ÏÏÎ± ÏÎ¹ÏÏÎ¿ÏÎ¿Î¹ÎµÎ¯ÏÎ±Î¹ Î· Î¯Î´ÏÏÏÎ· ÏÎ¿Î»Î¹ÏÎ¹ÎºÎ®Ï Î¿Î½ÏÏÏÎ·ÏÎ±Ï (Walistin) Î¼Îµ ÎÎ½ÏÎ¿Î½ÎµÏ ÎÎ¹Î³Î±Î¹Î±ÎºÎÏ Î±Î½Î±ÏÎ¿ÏÎÏ! Î ÏÎµÏÎ¹Î¿ÏÎ® ÏÎ¿Î»Î¹ÏÎ¹ÎºÎ¬ ÎµÎºÎ¹Î½ÎµÎ¯ÏÎ¿ Î¼ÎµÏÎ±Î¾Ï ÏÏÎ½ Î§Î¬ÏÏÎ¹ ÎºÎ±Î¹ ÏÏÎ½ ÎÎ¹ÏÎ¬Î½Î¹, ÎµÎ½ÎµÏÎ¬ÏÎ¸Î· ÏÏÎ·Î½ ÎµÏÎ¹ÎºÏÎ¬ÏÎµÎ¹Î± ÏÏÎ½ ÏÏÏÏÏÎ½ ÎºÎ±ÏÎ¬ ÏÎ·Î½ Î±ÏÎ³Î® ÏÎ¿Ï ÎÎÎ¿Ï ÎÎ±ÏÎ¹Î»ÎµÎ¯Î¿Ï, ÏÎ¼ÏÏ Î´Î¹Î±ÏÎ®ÏÎ·ÏÎµ Î´Î¹Î±ÎºÏÎ¹ÏÎ® ÏÎ±ÏÏÏÏÎ·ÏÎ±, Î±ÏÏ Î¸ÏÎ·ÏÎºÎµÏÏÎ¹ÎºÎ®, Î³Î»ÏÏÏÎ¹ÎºÎ® ÎºÎ±Î¹ ÏÎ¿Î»Î¹ÏÎ¹ÎºÎ® Î¬ÏÎ¿ÏÎ·.
ÎÏÎµÎ¹ ÏÏÎ¿ÏÏÎ·ÏÎ¹ÏÎ¸ÎµÎ¯ ÏÏÎ¹ ÏÎ¿ ÏÎ½Î¿Î¼Î¬ ÏÎ·Ï ÎµÎ¼ÏÎ±Î½Î¯Î¶ÎµÏÎ±Î¹ Î¼ÎµÏÎ±Î³ÏÎ±Î¼Î¼ÎÎ½Î¿ ÏÏÎ·Î½ ÎÎ»Î»Î·Î½Î¹ÎºÎ® ÏÏ ÏÎ¿ ÎµÏÎ¯Î¸ÎµÏÎ¿ ÎÎ¹ÏÏÎ·á¿Ï,[11_10] ÏÎ¿ Î¿ÏÎ¿Î¯Î¿ Î±ÏÎ¿Î´Î¯Î´ÎµÏÎ±Î¹ Î±ÏÏ ÏÎ¿Î½ ÎÎ¼Î·ÏÎ¿ ÏÏÎ·Î½ Î¹ÎÏÎµÎ¹Î± ÎÎµÎ±Î½Ï (Il.6.298-301). Î£ÏÎ¿ ÏÏÏÏÏÏÎ¿ ÏÎ·Ï ÏÎµÎ»ÎµÏÏÎ±Î¯Î±Ï ÎµÎºÏÏÎ¬Î¶ÎµÏÎ±Î¹, Î¬Î»Î»ÏÏÏÎµ, ÎÎ½Î± Î¿Î¹ÎºÎµÎ¯Î¿ ÏÏÏÏÏÏÎ¿ ÏÎ·Ï ÎÎ½Î±ÏÎ¿Î»Î¹ÎºÎ®Ï ÎÎµÏÎ¿Î³ÎµÎ¯Î¿Ï, ÏÎ·Ï ÎÎ½Î±ÏÎ¿Î»Î¯Î±Ï ÏÎµÏÎ¹Î»Î±Î¼Î²Î±Î½Î¿Î¼ÎÎ½Î·Ï, ÏÏÎ¼ÏÏÎ½Î± Î¼Îµ ÏÎ¿ Î¿ÏÎ¿Î¯Î¿ Î· Î²Î±ÏÎ¯Î»Î¹ÏÏÎ± Î¼ÏÎ¿ÏÎ¿ÏÏÎµ Î½Î± ÏÏÎ½Î´ÏÎ¬Î¶ÎµÎ¹ ÎºÎ±Î¹ ÏÎ·Î½ Î¹Î´Î¹ÏÏÎ·ÏÎ± ÏÎ·Ï Î¹ÎÏÎµÎ¹Î±Ï. Î¤Î¿ ÏÎµÎ»ÎµÏÏÎ±Î¯Î¿ ÏÏÏÏÏÏÎ¿ Î±ÏÎ±Î½ÏÎ¬ÏÎ±Î¹ ÏÏÎ·Î½ Î§ÎµÏÏÎ¹ÏÎ¹ÎºÎ® Î±ÏÏÎ¿ÎºÏÎ±ÏÎ¿ÏÎ¯Î±, ÏÏÎ¿Ï Î¼Î¬Î»Î¹ÏÏÎ± Î³Î¹Î± ÏÎ·Î½ Î²Î±ÏÎ¯Î»Î¹ÏÏÎ± â ÏÏÏÎ¸Î¹ÎÏÎµÎ¹Î± ÏÏÎ®ÏÏÎµ ÎºÎ±Î¹ Î¿ ÏÏÎµÏÎ¹ÎºÏÏ ÏÏÎ¿Ï, tawananna, Î¿Î¼ÏÎ»Î¿Î³Î¿Ï ÏÎ¿Ï ÏÎ¯ÏÎ»Î¿Ï Labarna Î³Î¹Î± ÏÎ¿Î½ Î²Î±ÏÎ¹Î»ÎÎ±. Î¤Î¿ Î³ÎµÎ³Î¿Î½ÏÏ ÏÏÎ¹ ÏÎ¿ Î²Î±ÏÎ¹Î»Î¹ÎºÏ Î¶ÎµÏÎ³Î¿Ï ÏÏÎ½ Î§ÎµÏÏÎ±Î¯ÏÎ½ ÎµÎ¸ÎµÏÏÎµÎ¯ÏÎ¿ ÏÏ Î· ÎµÏÎ¯ ÏÎ·Ï Î³Î®Ï ÎµÎ½ÏÎ¬ÏÎºÏÏÎ· - Î±Î½ÏÎ±Î½Î¬ÎºÎ»Î±ÏÎ· ÏÎ·Ï ÎºÎµÏÎ±Î»Î®Ï ÏÎ¿Ï ÏÎ±Î½Î¸ÎÎ¿Ï ÏÎ¿ÏÏ (Î®ÏÎ¿Î¹ ÏÎ¿Ï ÎÎµÎ¿Ï ÏÎ·Ï ÎºÎ±ÏÎ±Î¹Î³Î¯Î´Î±Ï ÎºÎ±Î¹ ÏÎ·Ï Arinna), Î¼Î±Ï Î´Î¯Î½ÎµÎ¹ ÏÏÎ¬Î³Î¼Î±ÏÎ¹ ÏÎ¿ Î´Î¹ÎºÎ±Î¯ÏÎ¼Î± Î½Î± Î±Î½Î±ÏÏÏÎ·Î¸Î¿ÏÎ¼Îµ ÎµÎ¬Î½ ÏÎ¿ ÏÎ½Î¿Î¼Î± ÎÎµÎ±Î½Ï ÏÏÎ½Î´ÎÎµÏÎ±Î¹ Î¼Îµ ÏÎ¿Î½ Î§ÎµÏÏÎ¹ÏÎ¹ÎºÏ ÏÏÎ¿, Î¼Î¹Î¬Ï ÎºÎ±Î¹ Î· Î·ÏÎ·ÏÎ¹ÎºÎ® ÏÏÎ³Î³ÎÎ½ÎµÎ¹Î± ÎµÎ¯Î½Î±Î¹ ÎµÎ¼ÏÎ±Î½Î®Ï. Î ÏÎ¿Ï ÏÏÎ¿ÏÏÎ®ÏÎ¹Î¾Î· ÏÎ¿Ï ÎµÏÎ¹ÏÎµÎ¹ÏÎ®Î¼Î±ÏÎ¿Ï ÏÎ·Î¼ÎµÎ¹ÏÎ½Î¿ÏÎ¼Îµ ÏÎ·Î½ ÎµÏÎ¹Î²ÎµÎ²Î±Î¹ÏÎ¼ÎÎ½Î· ÎµÏÎ±ÏÎ® ÏÏÎ½ ÎÎ¹Î³Î±Î¯ÏÎ½ Î¼Îµ ÏÎ·Î½ ÎÎ¹Î»Î¹ÎºÎ¯Î±, ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ ÏÏÎ¹ Î· ÎµÏÏÏÏÎµÏÎ· ÏÎµÏÎ¹Î¿ÏÎ® ÏÏÎ®ÏÎ¾Îµ ÎºÎ±Ïâ ÎµÎ¾Î¿ÏÎ®Î½ Î¹ÎµÏÏ Î»Î¯ÎºÎ½Î¿ ÏÎ¿Ï Teshub. ÎÎµÎ´Î¿Î¼ÎÎ½Î¿Ï Î¼Î¬Î»Î¹ÏÏÎ± ÏÏÎ¹ Î¿ Î§ÎµÏÏÎ¹ÏÎ¹ÎºÏÏ ÏÏÎ¿Ï ÏÏÎµÏÎµÎ¯ÏÎ±Î¹ ÎµÏÏÎÏÏ Î±Î½ÎµÎ³Î½ÏÏÎ¹ÏÎ¼ÎÎ½Î·Ï ÎµÏÏÎ¼Î¿Î»Î¿Î³Î¯Î±Ï,[11_11] Î´ÎµÎ½ Î¸Î± Î±ÏÎ¿ÎºÎ»ÎµÎ¯Î±Î¼Îµ ÏÎ·Î½ Î±Î½ÏÎ¯Î¸ÎµÏÎ· ÎºÎ±ÏÎµÏÎ¸ÏÎ½ÏÎ· Î³Î¹Î± ÏÎ·Î½ ÎµÏÎ¹ÏÏÎ¿Î®.
Î£Î·Î¼ÎµÎ¹ÏÎ½ÎµÏÎ±Î¹ ÎµÏÎ¹ÏÏÏÏÎ¸ÎµÏÎ± ÏÏÎ¹ Î· ÏÏÎ½ÏÏÎ±ÏÎ¾Î· ÏÏÎ¿ Î¯Î´Î¹Î¿ ÏÏÏÏÏÏÎ¿ ÏÏÎ½ Î¹Î´Î¹Î¿ÏÎ®ÏÏÎ½ ÏÎ·Ï Î²Î±ÏÎ¯Î»Î¹ÏÏÎ±Ï ÎºÎ±Î¹ ÏÎ·Ï Î¹ÎÏÎµÎ¹Î±Ï, ÏÏÏÏ ÏÏÎ·Î½ Î§ÎµÏÏÎ¹ÏÎ¹ÎºÎ® tawananna, Î±ÏÏ Î¼ÎµÎ»ÎµÏÎ·ÏÎÏ Î±Î½Î±Î³Î½ÏÏÎ¯Î¶ÎµÏÎ±Î¹ ÏÏÎ¹ Î´Î¹Î±Î¸ÎÏÎµÎ¹ ÎÎ¹Î³Î±Î¹Î±ÎºÎ¬ ÏÏÎ¿Î·Î³Î¿ÏÎ¼ÎµÎ½Î±. Î Finkelberg, Î±Ïâ ÎµÎ½ÏÏ, ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ Î¿Î¹ Atchity â Barber, Î±Ïâ ÎµÏÎÏÎ¿Ï, ÎÏÎ¿ÏÎ½ ÎµÏÎ¹ÏÎ·Î¼Î¬Î½ÎµÎ¹ ÎµÏÎ³Î±Î¶ÏÎ¼ÎµÎ½Î¿Î¹ Î±Î½ÎµÎ¾Î¬ÏÏÎ·ÏÎ± ÏÏÎ¹ ÏÏÎ¿Î¹ÏÎµÎ¯Î± ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï Î¼ÏÎ¸Î¿Î»Î¿Î³Î¯Î±Ï ÏÎ±Î¯Î½ÎµÏÎ±Î¹ Î½Î± Î±ÏÎ·ÏÎ¿ÏÎ½ ÏÎ·Î½ Î´ÏÎ½Î±ÏÏÏÎ·ÏÎ± Î´Î¹Î±Î´Î¿ÏÎ®Ï ÏÎ¿Ï Î²Î±ÏÎ¹Î»ÎÏÏ Î±ÏÏ ÏÎ·Î½ ÎºÏÏÎ· ÏÎ¿Ï.[11_12] ÎÎ±ÏÎ¬ ÏÎ¿ÏÏ Î¯Î´Î¹Î¿ÏÏ Î· ÏÏÎ±ÏÎ¾Î· ÏÎÏÎ¿Î¹ÏÎ½ ÏÏÎ·Î¼Î¬ÏÏÎ½ / ÏÏÎ¸Î¼Î¯ÏÎµÏÎ½ ÎµÏÎ¹Î²ÎµÎ²Î±Î¹ÏÎ½ÎµÏÎ±Î¹ ÎºÎ±Î¹ Î±ÏÏ ÏÎ¿ Î³ÎµÎ³Î¿Î½ÏÏ ÏÏÎ¹ Î¿ Î±Î¾Î¯ÏÎ¼Î± ÏÎ·Ï Î¹ÎÏÎµÎ¹Î±Ï ÎµÎºÎ»Î·ÏÎ¿Î½Î¿Î¼ÎµÎ¯ÏÎ¿ Î±ÏÏ Î¼Î·ÏÎÏÎ± ÏÎµ ÎºÏÏÎ·, ÏÏÎ¿Î¹ÏÎµÎ¯Î¿ ÏÎ¿ Î¿ÏÎ¿Î¯Î¿ ÏÎ±Î¯Î½ÎµÏÎ±Î¹ Î½Î± ÏÏÏÏÎµÏÎ¯Î¶ÎµÎ¹ ÏÎ¿Î½ Î¹Î´Î¹ÏÎ¼Î¿ÏÏÎ¿ Î¸ÎµÏÎ¼Ï ÏÎ·Ï tawananna Î¼Îµ ÏÎ±ÏÎ¬Î»Î»Î·Î»Î± ÎÎ¹Î³Î±Î¹Î±ÎºÎ¬ ÏÏÎ®Î¼Î±ÏÎ± ÏÎ·Ï ÎÏÎ¿ÏÎ®Ï ÏÎ¿Ï Î§Î±Î»ÎºÎ¿Ï.
Î Daduá¸«epa (ÎµÏÎ¯ÏÎ·Ï Î³ÏÎ¬ÏÎµÏÎ±Î¹ Daduá¸«epa Î® Duduá¸«epa) Î¸Î±Î½Î¿ÏÏÎ± ÏÎµÏÎ¯ ÏÎ¿ 1345 Ï.Î§.[Î1] Î®ÏÎ±Î½ Î§ÎµÏÏÎ±Î¯Î± Î²Î±ÏÎ¯Î»Î¹ÏÏÎ±, ÏÏÎ¶ÏÎ³Î¿Ï ÏÎ¿Ï Tudhaliya I / II Î® Suppiluliuma I (1380-1345 Ï.Î§.). [Î2] Î ÎºÎ±ÏÎ±Î³ÏÎ³Î® Î±ÏÏÎ®Ï ÏÎ·Ï Î²Î±ÏÎ¯Î»Î¹ÏÏÎ±Ï Î´ÎµÎ½ ÎµÎ¯Î½Î±Î¹ ÏÎ¿Î»Ï ÏÎ±ÏÎ®Ï. Î£ÏÎ¼ÏÏÎ½Î± Î¼Îµ Î¿ÏÎ¹ÏÎ¼ÎÎ½ÎµÏ ÏÎ·Î³ÎÏ, ÏÏÎ®ÏÎ¾Îµ - ÏÏÏÏ Î®Î´Î· Î±Î½ÎµÏÎÏÎ¸Î· - ÏÏÎ¶ÏÎ³Î¿Ï ÏÎ¿Ï Tudhaliya I / II ÎºÎ±Î¹ Î¼Î·ÏÎÏÎ± ÏÎ¿Ï Suppiluliuma I.[Î3] Î£ÏÎ¼ÏÏÎ½Î± Î¼Îµ Î¬Î»Î»ÎµÏ ÏÎ·Î³ÎÏ, Î®ÏÎ±Î½ Î· ÏÏÏÏÎ· ÏÏÎ¶ÏÎ³Î¿Ï ÏÎ¿Ï Suppiluliuma I Î¼Îµ ÏÎ¿Î½ Î¿ÏÎ¿Î¯Î¿ Î±ÏÎÎºÏÎ·ÏÎµ ÏÏ ÏÎ±Î¹Î´Î¹Î¬ ÏÎ¿ÏÏ Î¼ÎµÏÎÏÎµÎ¹ÏÎ± Î²Î±ÏÎ¹Î»ÎµÎ¯Ï Arnuwanda II ÎºÎ±Î¹ Mursili II,[Î4] [Î5] ÎµÎ½Ï ÎÏÎµÎ¹ ÎµÏÎ¯ÏÎ·Ï ÏÏÎ¿ÏÎ±Î¸ÎµÎ¯ ÏÏÎ¹ Î²Î±ÏÎ¯Î»ÎµÏÏÎµ Î¼Îµ ÏÎ¿Î½ Tudhaliya II.[Î6]ÎÏÎ¹ÏÎ·Î¼Î±Î¯Î½ÎµÏÎ±Î¹ ÎµÎ½ ÏÏÎ¿ÎºÎµÎ¹Î¼ÎÎ½Ï ÏÏÎ¹ Î· (Î¯Î´Î¹Î± ;) Î²Î±ÏÎ¯Î»Î¹ÏÏÎ± Tanuhepa - ÏÏÎ¶ÏÎ³Î¿Ï ÏÎ¿Ï Mursili II - ÏÎµÎ»Î¹ÎºÏÏ ÎºÎ±ÏÎÏÏÎ³Îµ Î´Î¹ÏÎºÏÎ¼ÎµÎ½Î· ÏÏÎ·Î½ ÎÎ»Î»Î¬Î´Î±, ÏÏÏÏ ÎºÎ±Î¹ Î¿ Uhhaziti, Î²Î±ÏÎ¹Î»ÎµÏÏ ÏÎ·Ï Arzawa.[15_33] ÎÎ»Î·ÏÎ¿Î½ÏÎ¼Î·ÏÎµ ÏÎ¿Î½ ÏÎ¯ÏÎ»Î¿ ÏÎ·Ï Î±Î½ÏÎ¹Î²Î±ÏÎ¹Î»ÎµÏÎ¿ÏÏÎ±Ï Î²Î±ÏÎ¯Î»Î¹ÏÏÎ±Ï Î® Tawananna, ÎµÎ½ ÏÏÎ½ÎµÏÎµÎ¯Î± ÏÎ¿Ï Î¸Î±Î½Î¬ÏÎ¿Ï ÏÎ¿Ï Asmunikal.ÎÏÎ±Î½ ÎºÏÏÎ· ÏÎ¿Ï Tusratta ÎºÎ±Î¹ ÎºÎ±ÏÎ®Î³ÎµÏÎ¿ Î±ÏÏ ÏÎ·Î½ Ahhiyawa,[Î7] Î±ÏÏ ÏÏÎ¿Ï ÎµÎ¾Î¿ÏÎ¯ÏÏÎ·ÎºÎµ Î¼Îµ ÎµÎ½ÏÎ¿Î»Î® ÏÎ¿Ï Shubiluliuma Î³Î¹Î± Î½Î± Î±Î½ÏÎ¹ÎºÎ±ÏÎ±ÏÏÎ±Î¸ÎµÎ¯ Î±ÏÏ ÏÎ· Î´ÎµÏÏÎµÏÎ· ÏÏÎ¶ÏÎ³Ï ÏÎ¿Ï Henti.[Î8] ÎÎµÏÎ¬ ÏÎ¿ Î¸Î¬Î½Î±ÏÎ¿ ÏÎ¿Ï Shubiluliuma ÎµÏÎÏÏÏÎµÏÎµ ÏÏÎ¿ Hatti. ÎÏÎ±Î½ Î· Î¸ÎµÎ¯Î± ÏÎ¿Ï Î²Î±ÏÎ¹Î»Î¹Î¬ ÏÎ·Ï Ahhiyawa, Antarawas. [Î5]Î¤Î¿ Î³ÎµÎ½ÎµÎ±Î»Î¿Î³Î¹ÎºÏ Î´ÎÎ½Î´ÏÎ¿ ÏÎ±ÏÎ±ÎºÎ¬ÏÏ ÎµÎ¯Î½Î±Î¹ Î¼Î¹Î± ÏÎ¹Î¸Î±Î½Î® Î±Î½Î±ÎºÎ±ÏÎ±ÏÎºÎµÏÎ®, Î¼ÎµÏÎ±Î¾Ï Î¬Î»Î»ÏÎ½, ÏÎ·Ï ÎºÎ±ÏÎ±Î³ÏÎ³Î®Ï ÏÎ·Ï Î²Î±ÏÎ¹Î»Î¹ÎºÎ®Ï Î¿Î¹ÎºÎ¿Î³ÎÎ½ÎµÎ¹Î±Ï ÏÎ·Ï Î±ÏÏÎ¿ÎºÏÎ±ÏÎ¿ÏÎ¯Î±Ï ÏÏÎ½ Î§ÎµÏÏÎ±Î¯ÏÎ½. Î Î¿Î½Î¿Î¼Î±ÏÎ¿Î»Î¿Î³Î¯Î± ÏÏÎ½ Î·Î³ÎµÎ¼ÏÎ½ÏÎ½ ÎºÎ±Î¹ Î· ÏÏÎ³Î³ÎÎ½ÎµÎ¹Î± ÏÎ±ÏÎ±Î¼ÎÎ½Î¿ÏÎ½ Î±ÏÎ±ÏÎ® Î±ÏÏ ÏÎ¿Î»Î»ÎÏ Î±ÏÏÏÎµÎ¹Ï:[Î9] [Î10]
Î ÎºÎ±ÏÎ¬ÏÏÎ±ÏÎ· ÏÎ±Î¯Î½ÎµÏÎ±Î¹ Î½Î± ÏÎµÏÎ¹ÏÎ»ÎÎºÎµÏÎ±Î¹ ÏÎµÏÎ±Î¹ÏÎÏÏ Î¬Î½ ÏÎ·Î¼ÎµÎ¹ÏÏÎ¿ÏÎ¼Îµ ÏÏÎ¹ Î· ÏÎ¹Î¸Î±Î½ÏÏ ÎÎ¹Î³Î±Î¹Î±ÎºÎ®Ï ÎºÎ±ÏÎ±Î³ÏÎ³Î®Ï Daduá¸«epa ÎµÎ¼ÏÎ±Î½Î¯Î¶ÎµÏÎ±Î¹ Î½Î± Î´Î¹Î±ÏÎ·ÏÎµÎ¯ ÏÎ·Î½ Î¸ÎÏÎ· ÏÎ·Ï tawananna[100] ÎºÎ±Î¹ ÏÎ»Î¬Î¹ ÏÏÎ¿Î½ Akhenaton, ÎµÎ½ ÏÏÎ½ÎµÏÎµÎ¯Î± ÏÎ¿Ï Î¸Î±Î½Î¬ÏÎ¿Ï ÏÎ¿Ï Amenhotep III, ÏÎ±ÏÎÏÎ± ÏÎ¿Ï ÏÎµÎ»ÎµÏÏÎ±Î¯Î¿Ï.[185] ÎÎ»Î»Î¿Î¹, ÏÏÏÏ Î¿ Petrie, Î¿ Drioton ÎºÎ±Î¹ Î¿ Vandier ÎÏÎ¿ÏÎ½ ÏÏÎ¿ÏÎµÎ¯Î½ÎµÎ¹ ÏÏÎ¹ Î· Tadukhipa ÎÎ»Î±Î²Îµ Î½ÎÎ¿ ÏÎ½Î¿Î¼Î± Î±ÏÎ¿Ï ÎÎ³Î¹Î½Îµ ÏÏÎ¶ÏÎ³Î¿Ï ÏÎ¿Ï Akhenaten ÎºÎ±Î¹ ÎÏÏÎ¹ ÎÎ³Î¹Î½Îµ ÎµÎ½ ÏÏÎ½ÎµÏÎµÎ¯Î± Î³Î½ÏÏÏÎ® ÏÏ Î· Î´Î¹Î¬ÏÎ·Î¼Î· Î²Î±ÏÎ¯Î»Î¹ÏÏÎ± ÎÎµÏÎµÏÏÎ¯ÏÎ·.[200]
ÎÎ¯Î½Î±Î¹ ÎµÎ½Î´Î¹Î±ÏÎÏÎ¿Î½ Î½Î± Î±Î½Î±ÏÎÏÎ¿ÏÎ¼Îµ ÎµÏÎ¯ÏÎ·Ï ÏÎ·Î½ ÏÏÏÏÎÏÎ¹ÏÎ· ÏÎ¿Ï ÏÏÎ¿ÏÏÎ·ÏÎ¯Î¶ÎµÏÎ±Î¹ ÏÏÎ¹ ÎµÎ½Î´ÎµÏÎ¿Î¼ÎÎ½ÏÏ ÏÏÎ¬ÏÏÎµÎ¹ Î¼ÎµÏÎ±Î¾Ï ÏÎ¿Ï Î¿Î½ÏÎ¼Î±ÏÎ¿Ï ÏÎ·Ï Taduá¸«epa ÏÎ¿Ï Î±ÏÎ¿Î´Î¯Î´ÎµÏÎ±Î¹ ÏÏ Î¤Î±Î´ÏÎÏÎµÎ¹Î± (= ÎÎ±ÏÏÎ¹ÎÏÎµÎ¹Î± ;),[210] Î¬Î½ ÎºÎ±Î¹ Î´ÎµÎ½ ÏÎ±ÏÎÏÎ¿Î½ÏÎ±Î¹ Î±ÏÎ¿Î´ÎµÎ¯Î¾ÎµÎ¹Ï Î¿ÏÏÎµ ÎµÎ½Î´ÎµÎ¯Î¾ÎµÎ¹Ï ÏÏÎ¿Ï ÏÎ¿ÏÏÎ¿.
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[11_9]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 250, ÏÎ·Î¼. 1041 (Rutherford 2019, p. 826, n. 12).[11_10]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 250, ÏÎ·Î¼. 1042 (Morris 2013, p. 155). [11_11]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 251, ÏÎ·Î¼. 1043 (Blasweiler 2013, pp. 27-28. ÎÏÎ¿ÏÎ½ ÏÏÎ¿ÏÎ±Î¸ÎµÎ¯ Î´Î¹Î¬ÏÎ¿ÏÎµÏ ÎµÏÏÎ¼Î¿Î»Î¿Î³Î®ÏÎµÎ¹Ï ÏÏÏÏ Î¼Î·ÏÎÏÎ± ÏÎ¿Ï Labarna (Forrer), ÎµÎ½Î¬ÏÎµÏÎ· (Melchert) Îº.Î¬. Î ÎµÏÎ±Î¹ÏÎÏÏ Î±Î½Î¬Î»ÏÏÎ· ÏÎ·Ï Î²Î±ÏÎ¯Î»Î¹ÏÏÎ±Ï ÏÎµ ÎÎ½Î´Î¿ÎµÏÏÏÏÎ±ÏÎºÏ ÏÎ»Î±Î¯ÏÎ¹Î¿ ÏÎ±ÏÎÏÎµÎ¹ Î· Jones-Bley (Jones-Bley 2014)).[11_12]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 251, ÏÎ·Î¼. 1044 (Morris 2013, p. 152).

[Î1]. Kitchen, Kenneth Anderson (1962). "Suppiluliuma and the Amarna pharaohs: a study in relative chronology ' (in English) . Liverpool: Liverpool University Press . Retrieved December 13, 2017 .[Î2]. Ekrem Akurgal 2001, pp. 77-115.[Î3]. Bryce 1992, pp. 7 f.e. (The appointment in Kizzuwadna), <https://books.google.es/books?id=vItR.... Gamer-Wallert 1992, pp. 188-189. <https://books.google.de/books?id=X4Yi.... Ebeling, Meissner, and Edzard 1993, p. 54.[15_33]. ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï 2020, ÏÎµÎ». 313, ÏÎ·Î¼. 1334 (Cammarosano 2010, p. 56; Hawkins 2009a, p. 75; Kopanias forthcoming, p. 150. ÎÎ». ÎµÏÎ¯ÏÎ·Ï ÏÎ·Î½ âÎ ÏÎ¿ÏÎµÏÏÎ® ÏÎ¿Ï Mursili II/Muwatalli II/Urhi-Teshshup(?), ÏÏÎ¿ CTH 214.12.A (KUB 14.2)).[Î6]. Bernabe and Ãlvarez Pedrosa 2004, p. 18. <books.google.es/books?id=v0_LfhP3U7kC.... Ebeling, Meissner, Edzard 1993, p. 285.[Î8]. List of Hittite queens, Nuntarriyasha celebrations, official repertoire name: CTH 626 .[Î9]. Bryce 1997. [Î10]. Bryce 2012.
[100]. Remzi Tayfun Bilgin 2015, p. 26: ÎÎ¹ Î¼ÎµÎ³Î¬Î»ÎµÏ ÎÎ±ÏÎ¯Î»Î¹ÏÏÎµÏ Î´Î¹Î±ÏÎ·ÏÎ¿ÏÏÎ±Î½ ÏÎ·Î½ Î¸ÎÏÎ· ÏÎ¿ÏÏ Î³Î¹Î± Î¼Î¹Î± Î¶ÏÎ®, Î±ÎºÏÎ¼Î· ÎºÎ±Î¹ Î¼ÎµÏÎ¬ ÏÎ¿ Î¸Î¬Î½Î±ÏÎ¿ ÏÏÎ½ Î²Î±ÏÎ¹Î»Î¹ÎºÏÎ½ ÏÏÎ¶ÏÎ³ÏÎ½ ÏÎ¿ÏÏ. Î£Î±ÏÎ® ÏÎ±ÏÎ±Î´ÎµÎ¯Î³Î¼Î±ÏÎ± Î±ÏÏÎ¿Ï ÎµÎ¯Î½Î±Î¹ Î³Î½ÏÏÏÎ¬ Î¼Îµ ÏÎ¹Ï Î²Î±ÏÎ¯Î»Î¹ÏÏÎµÏ ÏÏÎ½ Å uppiluliuma I, MurÅ¡ili II ÎºÎ±Î¹ HattuÅ¡ili III, Î¿Î¹ Î¿ÏÎ¿Î¯ÎµÏ Î¬ÏÎ±ÏÎµÏ ÏÏÎ½ÎÏÎ¹ÏÎ±Î½ Î½Î± ÎºÎ±ÏÎÏÎ¿ÏÎ½ Î±ÏÏÏÎ½ ÏÎ¿Î½ ÏÎ¯ÏÎ»Î¿ ÎºÎ±Î¹ Î¼ÎµÏÎ¬ ÏÎ¿Î½ Î¸Î¬Î½Î±ÏÎ¿ ÏÏÎ½ ÏÏÎ¶ÏÎ³ÏÎ½ ÏÎ¿ÏÏ.57 ÎÏÎ¯ÏÎ·Ï, Î¿ Taduá¸«epa, Î· Î¿ÏÎ¿Î¯Î± ÎµÎ¼ÏÎ±Î½Î¯Î¶ÎµÏÎ±Î¹ ÏÏ Î· ÎÎµÎ³Î¬Î»Î· ÎÎ±ÏÎ¯Î»Î¹ÏÏÎ± Î´Î¯ÏÎ»Î± ÏÏÎ¿Î½ Å uppiluliuma I, ÎµÎ¯Î½Î±Î¹ ÏÎ¹Î¸Î±Î½Ï Î½Î± Î®ÏÎ±Î½ Î²Î±ÏÎ¯Î»Î¹ÏÏÎ± ÎµÎ½ÏÏ Î±ÏÏ ÏÎ¿ÏÏ ÏÏÎ¿ÎºÎ±ÏÏÏÎ¿ÏÏ ÏÎ¿Ï Å uppiluliuma.58 ÎÎ±Î½Î¿Î½Î¹ÎºÎ¬ Î· Î±ÏÏÎ¹ÏÏÎ¶ÏÎ³Î¿Ï ÏÎ¿Ï Î²Î±ÏÎ¹Î»ÎÏÏ Î¸Î± Î³Î¹Î½ÏÏÎ±Î½ Î· ÎÎµÎ³Î¬Î»Î· ÎÎ±ÏÎ¯Î»Î¹ÏÏÎ± Î¼ÏÎ½Î¿Î½ Î¼ÎµÏÎ¬ ÏÎ¿ Î¸Î¬Î½Î±ÏÎ¿ ÏÎ·Ï ÏÏÎ¿Î·Î³Î¿ÏÎ¼ÎµÎ½Î·Ï ÎÎµÎ³Î¬Î»Î·Ï ÎÎ±ÏÎ¯Î»Î¹ÏÏÎ±Ï .. [185]. Schulman 1979, p. 185, n. 37. Î Î¯Î´Î¹Î¿Ï ÎµÏÎµÏÎ½Î·ÏÎ®Ï Î±Î½Î±ÏÎÏÎµÎ¹ ÏÎ·Î½ ÏÏÎ±Î³Î¼Î±ÏÎ¿ÏÎ¿Î¯Î·ÏÎ· Î´Î¹ÏÎ»ÏÎ¼Î±ÏÎ¹ÎºÎ¿Ï Î³Î¬Î¼Î¿Ï ÏÎ¿Ï ÎÎ»Î»Î·Î½Î¹ÎºÎ®Ï ÏÏÏÏÎµÏÎ¯ÏÎµÏÏ Niqmaddu II, Î·Î³ÎµÎ¼ÏÎ½Î¿Ï ÏÎ·Ï Ugarit, Î¼Îµ Î³ÏÎ½Î±Î¯ÎºÎ± Î±ÏÏ ÏÎ·Î½ ÎÎ¹Î³ÏÏÏÎ¹Î±ÎºÎ® Î±ÏÎ»Î®![200]. Tyldesley 1998, pp. 87, 124; Mackey 2007, pp. 195, 205, nn. 487, 510.[210]. https://science.fandom.com/el/wiki/%C....
ÎÎÎÎÎÎÎÎ¡ÎÎ¦ÎÎ
ÎÎ¿Î½Î¹Î´Î¬ÏÎ·Ï, Î. Î. 2020. ÎÎ¹ Î§ÎµÏÏÎ±Î¯Î¿Î¹ ÎºÎ±Î¹ Î¿ ÎºÏÏÎ¼Î¿Ï ÏÎ¿Ï ÎÎ¹Î³Î±Î¯Î¿Ï, ÎÎ¸Î®Î½Î±Î¹.
https://books.google.de/books?id=IZ1t... Akurgal. 2001. The Hattian and Hittite Civilizations, Ministry of Culture.
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Ebeling, E., B. Meissner, and D.-O. Edzard. 1993. Real Lexicon of Assyriology and Near Eastern Archeology, de Gruyter.
Gamer-Wallert, I. 1992. Troy: Bridge between Orient and Occident, Attempto publishing house.
Bryce, T. 1992. The Role of Telipinu, the Priest, in the Hittite Kingdom (Hethitica XI), Peeters Publishers.
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Bernabe, A., and Ãlvarez Pedrosa, J. A. 2004. History and laws of the Hittites, Akal.
https://deepblue.lib.umich.edu/bitstr... Tayfun Bilgin. 2015. "Bureaucracy and Bureaucratic Change in Hittite Administration" (diss. Univ. of Michigan).
https://www.jstor.org/stable/544713Sc..., A. R. 1979. "Diplomatic Marriage in the Egyptian New Kingdom," JNES 38 (3), pp. 177-193.
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https://core.ac.uk/download/pdf/41234..., D. F. 2007. "A Revised History of the Era of King Hezekiah of Judah and its Background" (thes. Univ. of Sydney, New South Wales, Australia).
ÎÎ®ÏÏÎ±, Î. "ÎÎ¿ÏÏÎÏ ÎºÎ±Î¹ ÎÎÎ¼Î±ÏÎ± ÏÎ·Ï ÎÏÏÎ±Î¯Î±Ï ÎÎ»Î»Î·Î½Î¹ÎºÎ®Ï ÎÏÎ¸Î¿Î»Î¿Î³Î¯Î±Ï: ÎÎÎ£Î£ÎÎÎ ÎÎÎ Î® ÎÎÎ£Î£ÎÎÎ ÎÎÎ Î® ÎÎÎ£Î£ÎÎÎ Î," <https://www.greek-language.gr/digital...
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ORIGIN OF GORGO - MEDUSA

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[1]. Lazarou 2019, p. 382. Î ÎÎ¼Î·ÏÎ¿Ï, Il.11.35f., ÏÎµÏÎ¹Î³ÏÎ¬ÏÎµÎ¹ ÏÏÏ ÎµÎ¾Î¿ÏÎ»Î¯Î¶ÎµÏÎ±Î¹ Î¿ ÎÎ³Î±Î¼ÎÎ¼Î½ÏÎ½ Î³Î¹Î± ÏÎ·Î½ Î¼Î¬ÏÎ·, Î¼Îµ ÏÎ·Î½ Î±ÏÏÎ¯Î´Î± ÏÎ¿Ï Î½Î± ÏÎÏÎµÎ¹ ÎÎ½Î± Î³Î¿ÏÎ³ÏÎ½ÎµÎ¹Î¿ ÏÏ ÎºÎµÎ½ÏÏÎ¹ÎºÎ® ÎµÎ¹ÎºÏÎ½Î±:Ïá¿ Î´á¾½ á¼Ïá½¶ Î¼á½²Î½ ÎÎ¿ÏÎ³á½¼ Î²Î»Î¿ÏÏÏá¿¶ÏÎ¹Ï á¼ÏÏÎµÏÎ¬Î½ÏÏÎ¿ /Î´ÎµÎ¹Î½á½¸Î½ Î´ÎµÏÎºÎ¿Î¼ÎÎ½Î·, ÏÎµÏá½¶ Î´á½² ÎÎµá¿Î¼ÏÏ ÏÎµ Î¦ÏÎ²Î¿Ï ÏÎµ Î£Î·Î¼ÎµÎ¹ÏÏÏÎµ ÏÏÎ¹ ÏÎ¿ ÎÎ½Î± ÏÏÎ¿Î¹ÏÎµÎ¯Î¿ Î±ÏÏÎ®Ï ÏÎ·Ï ÎµÎ¹ÎºÏÎ½Î±Ï ÎµÎ¯Î½Î±Î¹ ÎºÎ±Î¹ ÏÏÎ¹Ï Î´ÏÎ¿ ÏÎµÏÎ¹ÏÏÏÏÎµÎ¹Ï Î¿ Î´ÎµÎ¹Î¼ÏÏ (ÏÏÏÎ¼Î¿Ï), ÎµÏÎ¯ÏÎ·Ï Î¿ ÏÏÎ²Î¿Ï, Î³Î¹Î±ÏÎ¯ ÎµÎ¯Î½Î±Î¹ ÏÏÎ¿Î¼ÎµÏÏ Î½Î± ÏÎ·Î½ ÎºÎ¿Î¹ÏÎ¬Ï (ÏÎ¼ÎµÏÎ´Î½Î®, Î±ÏÏ ÏÎ¿ ÏÎ¼ÎµÏÎ´Î±Î»ÎÎ¿Ï). ÎÎ³Î³Î»Î¹ÎºÎ® Î¼ÎµÏÎ¬ÏÏÎ±ÏÎ· Î²Î±ÏÎ¹ÏÎ¼ÎÎ½Î· ÏÏÎ¿ LSJ (Wolf 2019, p. 76, n. 261).[2]. Lazarou 2019, p. 358, fig. 1.[3]. Anastasiadou 2018, p. 170.
[4]. Anastasiadou 2018, fig. 2.
[5]. Zhiyuan Wang 2021; Wolf 2019, p. 78, n. 273. [6]. Karoglou 2018, p. 4.[7]. Hopkins 1934, p. 356.[8] Steymans 2020, p. 104, n. 34.
[9]. ÎÎ¹Î¬ ÏÎ¿ Î¸ÎÎ¼Î± ÏÎ·Ï ÏÏÎÏÎ¿ÏÏÎ±Ï Î¼Î¿ÏÏÎ®Ï ÏÏÎ·Î½ Î¼Î¹ÎºÏÎ¿Î³Î»ÏÏÏÎ¹ÎºÎ® ÏÎ¿Ï ÎÎ¬ÎºÏÎ¿Ï Î²Î». Lazarou (Lazarou 2019, p. 376-378).[10]. Napier 1987, p. 109.[10a]. Î Î¬Î½ÏÏÏ ÏÎ¿ ÎµÏÎ¹ÎºÏ Î¼ÏÎ¸Î¿Î»Î¿Î³Î¹ÎºÏ Î¸ÎÎ¼Î± ÏÎ·Ï Î´Î¹Î±ÏÎ¬Î»Î·Ï Î®ÏÏÎ¿Ï Î¼Îµ ÏÎÏÎ±Ï, ÏÏÎ½Î®Î¸ÏÏ ÎµÏÏÎµÏÎ¿ÎµÎ¹Î´Î¿ÏÏ Î¼Î¿ÏÏÎ®Ï, ÎµÎ¯Î½Î±Î¹ Î¹Î´Î¹Î±Î¯ÏÎµÏÎ± Î´Î¹Î±Î´ÎµÎ´Î¿Î¼ÎÎ½Î¿ ÏÏÏÎ¿Î½ ÏÏÎ¿Î½ ÎÎ½Î´Î¿-ÎÏÏÏÏÎ±ÏÎºÏ ÏÏÏÎ¿, ÏÏÎ¿Î½ ÎºÎ±Î¹ ÎµÎºÏÏÏ Î±ÏÏÎ¿Ï (Watkins 1995, p. 298), Î±ÎºÏÎ¼Î· ÎºÎ±Î¹ ÏÎµ ÎÏÎ¼ÎµÎ½Î¹ÎºÎ¿ÏÏ ÎºÎ±Î¹ ÎÎ¹Î¸Î¿ÏÎ±Î½Î¹ÎºÎ¿ÏÏ Î¼ÏÎ¸Î¿ÏÏ (West 2007, p. 430, n. 65). ÎÎ¹Î¬ ÏÎ¿ ÎµÏÏÎµÏÎ¿ÎµÎ¹Î´ÎÏ ÏÏÎ¿Î¹ÏÎµÎ¯Î¿ ÏÎ·Ï ÎÎ¿ÏÎ³Î¿ÏÏ Î²Î». Pind.P.10.46-8.a usually reptilian monster[11]. arachne.dainst.org.
[12]. Anastasiadou 2018, p. 168.[13]. ÎÏÎ¹ÏÏÎµÏÎ¬: Louvre AO 12460, Isin-Larsa (;) (1Î¿ Î®Î¼Î¹ÏÏ Î´ÎµÏÏÎÏÎ±Ï ÏÎ¹Î»Î¹ÎµÏÎ¯Î±Ï) Î® 1Î· Î´ÏÎ½Î±ÏÏÎµÎ¯Î± ÏÎ·Ï ÎÎ±Î²ÏÎ»ÏÎ½Î±Ï (;) (-2004 - -1763 ÎºÎ±Î¹ -1894 - -1595). ÎÎµÎ¾Î¹Î¬: ÎÎ 116624, ÏÏÎ¿Î½Î¿Î»Î¿Î³Î¿ÏÎ¼ÎµÎ½Î· ÏÎ·Î½ ÏÎµÏÎ¯Î¿Î´Î¿ 1800-1600 Ï.Î§. Î® ÏÎ·Î½ ÏÏÏÏÎ· ÏÎ¹Î»Î¹ÎµÏÎ¯Î± Ï.Î§. ÏÏÎ¼ÏÏÎ½Î± Î¼Îµ ÏÎ·Î½ S. B. Graff.[15]. Î Dexter ÏÎ·Î¼ÎµÎ¹ÏÎ½ÎµÎ¹: ÎÎ¾ÎµÏÎ¬Î¶Ï ÏÎ·Î½ ÎµÎ»Î»Î·Î½Î¿ÏÏÎ¼Î±ÏÎºÎ® ÎÎ¿ÏÎ³ÏÎ½Î±, ÏÎ·Î½ ÎÎÎ´Î¿ÏÏÎ±, Î´Î¹Î±ÏÎ¿Î»Î¹ÏÎ¹ÏÎ¼Î¹ÎºÎ¬, Î¼ÎÏÏ ÏÏÎ½ ÏÎµÏÎ¹ÏÏÏÏÎµÏÏÎ½ ÏÎ·Î¼Î±Î½ÏÎ¹ÎºÏÎ½ ÎµÎ»Î»Î·Î½Î¹ÎºÏÎ½ ÎºÎ±Î¹ ÏÏÎ¼Î±ÏÎºÏÎ½ ÎºÎµÎ¹Î¼ÎÎ½ÏÎ½ ÎºÎ±Î¹ ÎµÎ¹ÎºÎ¿Î½Î¿Î³ÏÎ±ÏÎ¯Î±Ï, ÏÏÎ¿ÎºÎµÎ¹Î¼ÎÎ½Î¿Ï Î½Î± ÎµÎ¾ÎµÏÎ¬ÏÏ ÏÎ·Î½ ÎºÎ±ÏÎ±Î³ÏÎ³Î® ÏÎ·Ï ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ ÏÎ¹Ï ÏÎ¿Î»ÏÏÎ»ÎµÏÏÎµÏ Î»ÎµÎ¹ÏÎ¿ÏÏÎ³Î¯ÎµÏ ÏÎ·Ï. ÎÎ± Î´ÎµÎ¯Î¾Ï ÏÏÎ¹ Î· ÎÎÎ´Î¿ÏÏÎ± ÎµÎ¯Î½Î±Î¹ Î¼Î¹Î± ÏÏÎ»Î»Î¿Î³Î® ÏÎ·Ï Î½ÎµÎ¿Î»Î¹Î¸Î¹ÎºÎ®Ï ÎµÏÏÏÏÎ±ÏÎºÎ®Ï, ÏÎ·Î¼Î¹ÏÎ¹ÎºÎ®Ï ÎºÎ±Î¹ Î¹Î½Î´Î¿ÎµÏÏÏÏÎ±ÏÎºÎ®Ï Î¼ÏÎ¸Î¿Î»Î¿Î³Î¯Î±Ï ÎºÎ±Î¹ ÎµÎ¹ÎºÎ¿Î½Î¿Î³ÏÎ±ÏÎ¯Î±Ï. ÎÎ¹ÎºÎ¿Î½Î¿Î³ÏÎ±ÏÎ¹ÎºÎ¬, Î´ÏÎ¿ ÏÎ¿Î»Ï Î´Î¹Î±ÏÎ¿ÏÎµÏÎ¹ÎºÎÏ Î±ÏÎµÎ¹ÎºÎ¿Î½Î¯ÏÎµÎ¹Ï ÏÏÎ½ÎµÎ½ÏÎ½Î¿Î½ÏÎ±Î¹ ÏÏÎ· ÎÎÎ´Î¿ÏÏÎ± ÏÎ·Ï ÎÎ»Î±ÏÎ¹ÎºÎ®Ï ÎÏÎ¿ÏÎ®Ï: Î· ÎÎµÎ¿Î»Î¹Î¸Î¹ÎºÎ® ÎÎµÎ¬ ÏÎ·Ï Î³ÎÎ½Î½Î·ÏÎ·Ï, ÏÎ¿Ï Î¸Î±Î½Î¬ÏÎ¿Ï ÎºÎ±Î¹ ÏÎ·Ï Î±Î½Î±Î³ÎÎ½Î½Î·ÏÎ·Ï, Î· Î¿ÏÎ¿Î¯Î± Î±Î½Î±ÏÎ±ÏÎ¯ÏÏÎ±ÏÎ±Î¹ ÏÏ ÏÎ¿ÏÎ»Î¯, ÏÎ¯Î´Î¹ Î® ÏÎ²ÏÎ¯Î´Î¹Î¿ ÏÎ¿ÏÎ»Î¯-ÏÎ¹Î´Î¹Î¿Ï. ÎºÎ±Î¹ ÏÎ¿Î½ Î´Î±Î¯Î¼Î¿Î½Î± ÏÎ·Ï ÎÎ³Î³ÏÏ ÎÎ½Î±ÏÎ¿Î»Î®Ï Humbaba ÏÎ¿Ï Î¿ÏÎ¿Î¯Î¿Ï ÏÎ¿ ÎºÎ¿Î¼Î¼ÎÎ½Î¿ ÎºÎµÏÎ¬Î»Î¹ ÏÏÎ·ÏÎ¹Î¼Î¿ÏÎ¿Î¹ÎµÎ¯ÏÎ±Î¹, ÏÏÏÏ ÎºÎ±Î¹ ÏÎ·Ï ÎÎÎ´Î¿ÏÏÎ±Ï, Î¼Îµ Î±ÏÎ¿ÏÏÎ¿ÏÎ±ÏÎºÏ ÏÏÏÏÎ¿. Î ÎÎÎ´Î¿ÏÏÎ± ÎµÎ¯Î½Î±Î¹ Î¬Î³ÏÎ¹Î±, Î±Î»Î»Î¬ ÏÎ¿ Î¼Î¹ÏÏ Î±Î¯Î¼Î± ÏÎ·Ï ÎµÎ¯Î½Î±Î¹ Î¸ÎµÏÎ±ÏÎµÏÏÎ¹ÎºÏ ÏÎ±ÏÎ¬ ÎºÎ±ÏÎ±ÏÏÏÎ¿ÏÎ¹ÎºÏ. ÎÏÎµÎ¹Î´Î® ÏÏÏÎ½Î¬ Î¸ÎµÏÏÎµÎ¯ÏÎ±Î¹ ÏÏÎ¿Î¼Î±ÎºÏÎ¹ÎºÎ® ÏÏÎ¿ÏÏ Î¹Î½Î´Î¿ÎµÏÏÏÏÎ±ÏÎºÎ¿ÏÏ ÏÎ¿Î»Î¹ÏÎ¹ÏÎ¼Î¿ÏÏ, Î±ÏÏÎ® Î· Î¬Î»Î»Î· ÏÎ»ÎµÏÏÎ¬ ÏÎ·Ï ÏÏÏÎ½Î¬ ÏÎ±ÏÎ±Î²Î»ÎÏÎµÏÎ±Î¹ ( Dexter 2010; 2018).[16]. Finlayson et al. 2021, fig. 2.
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