Η εικονογραφία του 'Νεαρού Θεού' στο Αιγαίο κατά την Ύστερη Εποχή του Χαλκού
The iconographic depiction of a young male figure in the Aegean LBA art generates an interpretative issue. During the LM period, particularly since the LMIA, the selection of male figures on the surface of precious objects associated with ritual use and worship practice, is introduced into the Aegea...
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| Άλλοι συγγραφείς: | |
| Γλώσσα: | el_GR |
| Δημοσίευση: |
2018
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| Θέματα: | |
| Διαθέσιμο Online: | http://hdl.handle.net/11610/18303 |
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| Περίληψη: | The iconographic depiction of a young male figure in the Aegean LBA art generates an interpretative issue. During the LM period, particularly since the LMIA, the selection of male figures on the surface of precious objects associated with ritual use and worship practice, is introduced into the Aegean, following the pictorial tradition of Egypt and Near East.
The representation of these particular male figures is distinguished, according to the author's study in the context of her MA thesis, into three main categories. The first illustrates the man in Reference Point, the second as Potnios Theron while the third comprises the Palaikastro Kouros and its pictorial parallels. Common factor in the above categories is the concurrent depictive selection of patterns inspired by Natural World. Animal and plant decoration, astral symbols combined with weaponry, accompany the young male in a pictorial journey on sealing rings, seals, wall paintings and vessels, proving thus the bidirectional interaction of Man with the Environment. This may be the possible interpretation of the Youth God of the Minoan Religion, a worshipped figure depicted even in precious objects of the Late Helladic period.
The presentation of the study is categorized in three main parts. The first part includes the general features of the pantheon in the eastern Mediterranean basin, as well as a small reference to the basic elements of the Minoan and Mycenaean religions. In the second part the iconographic features of the Young God are theoretically mentioned along with how the particular category of religious iconography is related to the worship of the Storm Gods which comes from the eastern tradition. Finally the third part of the work elaborates on the pictorial material examined in this study , as well as the main research perspectives related to it. |
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