Mithradates VI Amisos, Pontos 85-65 BC Æ (21mm, 6.8g) Obverse: Head of youthful Dionysos right, wreathed with ivy. Reverse: AMIΣOY, Cista mystica with panther skin, diadem and thyrsos. Monogram to left. SNG British Museum (Black Sea) 1202; BMC 53; SNG BMC 1202

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The Attic Greek vase-painter, also known conventionally as Berlin Painter, had his day in the spotlight: his first solo exhibition at Princeton Art Museum.

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).

Pottery: red-figured hydria. Dionysos, Ariadne and Thiasos. In the centre Dionysos in anaxyrides and jerkin decorated with circles and Y marks, over which a panther skin is knotted and tied, with a pair of high boots, and with his thyrsos lying alongside against his right shoulder, sits to left on his mantle, leaning back and clasping with his left arm the left arm of Ariadne, who stands behind him; with his right he seems to be drawing down her face to his, but this hand is for the most part lost. Her left arm passes over his shoulder; she has long wavy hair, and wears a long tied Doric chiton and himation. On the left, facing Dionysos, a Maenad in a long tied chiton, a mantle and chequered sphendone, is sitting looking on, and holds upright on her left knee, with her left hand on its upper edge (in an attitude recalling the well-known motive of Aphrodite or Nike with a shield), a tympanon decorated with a central star and an edging of dotted lozenges; her chiton has slipped off the right shoulder, over which a black band passes. On the top of the tympanon stands Eros, a full-grown boy, with short wavy hair, fillet, and a large palmette-shaped fan in his left, with which he seems to be fanning Dionysos. Behind the seated Maenad, but on a higher level, Pan looks on, playing on the syrinx; he is beardless and has short snub nose, but otherwise ordinary human profile, goat's horns, ears and tail, but human feet, and a mantle hanging from his left shoulder; his hair grows far down the nape of his neck. Behind him, above the side handle, a short bearded figure with goat's legs and ears, and a skin around his left arm (Ægipan ?), dances in an uncouth attitude to left, and bends forward over a pithos buried to its neck in the ground, into which he appears to be pouring liquid from an oinochoe in his left hand, or else rejoicing at the sight of the wine and about to plunge his oinochoe into it. The figure considerably overlaps the palmette ornament. On the right of Ariadne, but on rather higher ground, a Maenad in a mantle which leaves her body bare to the waist, shoes, and with her hair fastened around the head in a plait, dances to left, striking with her right the tympanon which she carries against her left shoulder: it is decorated with a central star and a border of wave pattern. Behind her a bearded Satyr with goat's ears and a mantle about his legs is seated in three-quarter face to left playing upon the triangular harp (magadis): his hair is very rough and is wreathed with ivy. Above the right handle a diminutive winged figure, possibly Echo (or Nyx, 'Night'; see curator's comment), completely muffled in a voluminous mantle, so that only her eye and the fringe of hair on the forehead are seen, stands en face, but looking down on the central scene her wings spread as if about to take flight to the right. The two Maenads wear bracelets, earrings, necklace and beaded headdress. Fine style. White, with yellow details, on the red ground is used for the flesh of the Maenad on the right and of Eros. Gilding on a raised ground for the jewellery, details of the thyrsos, ivy wreath, strings of harp, the necklace of pendants around the neck of the vase, and the centres of the egg pattern round the lip. Hair in light brown wavy strokes. Below, a band of sets of four maeanders separated by chequer squares; at the back, a fine pattern composed of six palmettes with spirals; and below each side handle a single palmette. The design curves over the shoulder.

Terracotta lekythos (oil flask), maenad with thyrsos & satyr eating grapes Attributed to Hermonax, Greek, Attic, ca. 460 B.C.

Side A: Women with olive twig, woman with thyrsos, a third woman. Side B: Three women; the one in the center carries a thyrsos and kantharos. Graffite on base. (b) Cover. Graffito on base. [Label text]: Six women participate in a festival of Dionysus in this painted scene. Two women carry thyrsoi, one carries a kantharos, and the others bear vines or twigs. It is possible that the women are celebrating the Anthesteria, an early spring holiday celebrating the opening of new wine.

Dionysus sandals is a pair of womens slingback sandals with ankle strap and metal buckles. They are made of 100% genuine leather in natural light brown color that fits with all styles of outfits.

Marble relief of a maenad and two satyrs in a Dionysiac procession Roman, about AD 100 From the Villa Quintiliana on the Via Appia, south of Rome This ecstatic procession features two satyrs and a female follower of Dionysos (Bacchus), god of wine. The satyr and maenad at the front play pipes and a small drum. The other satyr carries a thyrsos, Dionysos' staff, and is accompanied by a panther, recalling the god's exotic origins. The relief was made in the Roman period, but the figures derive from Attic prototypes of the 4th century BC. Townley Collection GR 1805.7-3.128 (Sculpture 2193)

Dionysos ist der griechische Gott des Weines, der Pflanzenwelt, der Freude, der Festlichkeit, des Wahnsinns und der wilden Raserei. Farben, die mit diesem Gott verbunden sind, sind Schattierungen von Lila, Grün (ähnlich wie Trauben und ihre Reben) und Gold, also habe ich beschlossen, diese in diesen Stücken darzustellen. (20 cm) Die Trauben sind hinzugefügt, da sie eines seiner Hauptsymbole sind. (19 zoll) Neben dem Trauben-Anhänger habe ich ein Weinglas hinzugefügt, um sein Attribut und seine Mythologie des Weins darzustellen, und einen Tannenzapfen für seinen Thyrsos. 🍇 Diese Perlen sind die perfekte Ergänzung für jeden Altar und ein wunderbares Stück, das Sie beim Beten oder beim Durchführen von Ritualen für Dionysos verwenden können. 🍇 Die 21-cm-Perlen (8 Zoll) haben an einem Ende eine Karabinerklaue, die sie für unterwegs oder als Anhänger verwenden können. 🍇 Diese Perlen sind nicht als Schmuck zu tragen. Ich empfehle auch, sich von Flüssigkeiten fernzuhalten.

Demetrius II Nicator, (Greek: “Victor”) (born 161 bc—died 125), king of Syria from 145 to 139 and from 129 to 125 bc. The son of King Demetrius I Soter, he went into exile when his father was killed fighting the usurper Alexander Balas in 150. Obverse; Athena Reverse; Thyrsos

This byzantine icon is a lithography with double varnish layer to ensure vivid colors and waterproof

I made a thyrsus as a prop for a painting and it turned out beautifully! thyrsus ˈθəːsəs / noun (in ancient Greece and Rome) a staff or spear tipped with an ornament like a pine cone, carried by Bacchus and his followers.

The coin on this medallion was produced via a hand-made die (this coin was not cast or copied, it was struck with a coin press). The technique allows only a limited number of these coins to be produced. Size: about 26mm Weight: about 8,65 grams Material: Sterling Silver (925) The medallion can be worn on both sides: Obverse; Wreathed head of Dionysos left, thyrsos over shoulder. Reverse; Herakles standing fasing, resting on clubset on rock, crowned by Nike standing on column. The coin was created after an actual ancient Greek coin Herakleia Pontika mint.

Roman Provincial PHRYGIA, Cadi. Severan Era. AD 193-235. Æ 3,30 g - 18,17 mm Obv: Helmeted bust of Athena right, wearing aegis / Rev: Dionysus standing left, holding cantharus and thyrsus; at feet left, panther. condition - fine BMC 4; SNG Copenhagen 240.