Attische Reproduktion einer schwarzfigurigen Amphorenvase. Auf der einen Seite ist in der Mitte Dionysos mit seinem Kantharos dargestellt, während zwei Satyrn und eine Mänade tanzen. Auf der anderen Seite ist in der Mitte Hermes mit seinem Hermesstab dargestellt, links Poseidon mit seinem Dreizack und rechts Athene mit Schild und Speer. Der obere Teil der Szenen ist mit einem Mäander verziert und der untere Teil ist mit einem „Wolfszähne“-Dekor bemalt. Höhe 30,5 cm, Munddurchmesser 12 cm, Sockeldurchmesser 11,5 cm.
Maenad Holding a Thyrsus and Shaking a Leopard in the Air - Dionysus Follower - Ancient Greek Attic White Ground Kylix - Staatliche Museum Details: Condition: New, Copy, Handmade in Greece. Material: Clay Height: 10cm (4") Diameter: 21cm (8.2") Width including handles: 27cm (10.5") The original item is located in the Staatliche Antikensammlungen in Munich. This Kylix shows a Maenad carrying a thyrsus and a leopard with a snake rolled up over her head. It was Hand made in Greece, its diameter is approximately 8 inches. Our clay items are Hand painted and not fastly made, nor are they cheaply made of substitute materials such as resin. We stick to the materials and methods used by ancient Greeks and use only top-quality ceramics and paints. Do not expect "perfection" as if these clay vases were not mass produced from a machine like many are but by hand. (61) Note that sizes may vary a little because everything is Hand Made Check our collection of ceramic vases at https://www.etsy.com/shop/TalosArtifacts?ref=profile_header§ion_id=37382206
In der Mythologie werden die Begleiterinnen des Dionysos und auch die Anhängerinnen seines Kultes als Mänaden bezeichnet.
An antique Victorian picture button with a mythological portrait depicting a maenad or bacchante, a follower of Bacchus. Button is 11/16" & has a loop shank back. ***Additional buttons, if available, in similar condition. ♫ For MORE ANTIQUE BUTTONS: http://www.etsy.com/shop/OldeTymeNotions?section_id=6143401 VINTAGE & NEWER BUTTONS: https://www.etsy.com/shop/OldeTymeNotions?section_id=6143405 & for ANTIQUE BUTTON JEWELRY visit: http://www.AlliesAdornments.Etsy.com
8.25 Inches High x 4 Inches Wide x 3 Inches Deep This piece was once thought to be a Tanagra Figurine, which were terracotta pieces found in excavating the ancient City of Tanagra. Numerous studies have determined that this statuette was created earlier, around 375-350 B.C.E., and was made in the historical Attic region of Greece which encompassed Athens. The subject may be a dancer, bride, or nymph, but in any case, its function and meaning are still debated today. "Titeux" is the name of the sculpture's first owner after its discovery in 1846 at the Acropolis. Museum: Louvre Museum, Paris Origin: The Acropolis, Athens, Greece Time Period: Ancient Greek, 375-350 B.C.E. 1911 Catalog ID # - 1525 Sources: Néguine, Mathieux. "The 'Titeux' Dancer." Louvre Museum, http://www.louvre.fr/en/oeuvre-notices/titeux-dancer.
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Pottery: red-figured bell-krater with scene of anodos: in a cave, youthful god with sceptre (Iakchos? Apollo?) rising from ground, with small figure of flying Nike; to left, seated Dionysos holding thyrsos, maenads and satyr; to right, maened holding tray with grapes (back: three youths).
Pottery: red-figured bell-krater. Designs red on black ground, with faded white accessories; carelessly executed, especially on reverse. Round the top, a laurel-wreath; below the design, egg-moulding; under the handles, patterns of palmettes. (a) In the centre a Seilenos seated to right, partly bald, with rough hair and beard, holding out a tympanon in both hands. Before him is a Maenad seated on a higher level to right, looking back; she has her hair gathered up in an opisthosphendone, earrings, necklace, bracelets, long girt bordered chiton and embroidered diploidion, right hand raised, in left a dish. On the left and on a yet higher level is a similar Maenad seated to left, looking to right, with thyrsos in right hand, extended holding out sash. (b) In the centre is a female figure to right, with hair in knot at back, fillet, long chiton, and himation with broad border wrapped round her; facing her is an ephebos wrapped in a bordered himation, with right hand extended to her. On the left is an ephebos to right, in a himation, holding out a strigil in right hand; in front of him is a flower.
The two separate areas of figural decoration on this vase have been attributed to different painters: the small satyr and maenads on the shoulder to the Berlin Painter; and the larger figures of
Ohrringe im etruskischen Stil mit Darstellung der Mänade, Symbol des Schutzes, aus vergoldetem Messing, mit Lapislazuli-Stein. Antike Ornamente. Kein Nickel. Handwerkskunst von SofiaLiubov!
Isadora Duncan was certainly aware of yoga. In fact, “The Mother of Modern Dance” was developing her work about the same time Krishnamacharya, “The Father of Modern Yoga,” was reinvigorating the asana aspect of Patanjali’s eight-limbed yogic path and introducing yoga to the mainstream. At the turn of the twentieth century, yogic practices and ideas were filtering westward, and dance scholar Nancy Ruyter cites Genevieve Stebbins’ early encounter with yogis in London and her incorporation of pranayama (breathing) exercises into her version of the Delsarte system, which she eventually called “psycho-physical culture.” Duncan studied images like this lunging Maenad for the line in her dances. Stebbins authored numerous pamplets and books explicating French actor and orator Francios Delsarte’s laws governing human expression, including an 1893 publication entitled Dynamic Breathing and Harmonic Gymnastics (Rutyer, The Cultivation of Mind and Body in Nineteenth-Century American Delsartism). Ruth St. Denis actually saw Stebbins perform some of her Greek statue dances onstage, and Duncan, who early in her career acknowledged Delsarte’s influence on the development of her ideas (but later denied knowledge of his system), was likely also familiar with Stebbins’ publications. To my knowledge, there is only one direct reference to yoga in all of Isadora’s writings—a small snippet in a letter to artistic soul mate Edward Gordon Craig. Duncan wrote of her difficulty in sitting still in an attempt to meditate, and described the capabilities of yogis as “beyond nature.” She writes, “Well, unless one can be a Yogi, one must live according to one’s nature—only the Yogi lifts above all and I haven’t yet heard of a woman Yogi” (ed. Francis Steegmuller, “Your Isadora:” The Love Story of Isadora Duncan and Gordon Craig). Peaceful Warrior Pose Photograph by Deanne Clark Of course, in 1906 when that letter was written, yoga practice was still largely limited to men. Duncan, in her search for natural dance movements, focused first on the needs of women, and for her, movement of the body through space, motivated by the solar plexus (which she called “the central spring of all movement…the unity from which all diversities of movement are born” (Duncan, The Art of the Dance)), was the key to experiencing mind/body unity. In her essay “The Philosopher’s Stone of Dancing,” Duncan identified three different types of dancers, one physical, one emotional, and one spiritual. This last dancer, she claimed, had the ability to “convert the body into a luminous fluidity, surrendering it to the inspiration of the soul” (Duncan, The Art of the Dance). In my opinion, Duncan’s dance practice, with its goal of luminosity, is a practice of devotion, in line with bhakti yoga practices. So, Austinites, what then would Isadora have thought of Dave Stringer’s kirtan Friday night at East Side Yoga? Kirtan, a devotional singing practice, certainly raises energy in the spiraling-up-and-out pattern that Duncan insisted music should accomplish. Likely, Isadora would have taken Stringer up on the opportunity to fade to the back of the crowd, where there was room set aside for inspired dancing. But, she might have disagreed with his assertion that the chanting, the singing, is the pinnacle of ecstatic expression. Following Nietzsche, Duncan identified ecstatic expression with Dionysus and Dionysus with the dance, insisting, “Man must speak, then sing, then dance. But the speaking is the brain, the thinking man. The singing is the emotion. The dancing is the Dionysian ecstasy which carries all away” (Duncan, The Art of the Dance).
