scholarly journals «PTAH OF THE SOUTHERN WALL (OF HIS TEMPLE)» – TO THE INTERPRETATION OF THE EPITHET

Author(s):  
R.A. Orekhov ◽  
Keyword(s):  
1943 ◽  
Vol 184 (13) ◽  
pp. 383-383
Author(s):  
H. A.
Keyword(s):  

2018 ◽  
Vol 59 (7) ◽  
pp. 1329-1358 ◽  
Author(s):  
Stéphane Rouméjon ◽  
Gretchen L Früh-Green ◽  
Beth N Orcutt ◽  

1992 ◽  
Vol 107 (1-2) ◽  
pp. 1-7 ◽  
Author(s):  
Marie-Pierre Aubry ◽  
William A. Berggren ◽  
André Schaaf ◽  
Jean-Marie Auzende ◽  
Yves Lagabrielle ◽  
...  

Icarus ◽  
2018 ◽  
Vol 302 ◽  
pp. 62-79 ◽  
Author(s):  
Yang Liu ◽  
Timothy A. Goudge ◽  
Jeffrey G. Catalano ◽  
Alian Wang

Author(s):  
D. Abate ◽  
S. Hermon ◽  
I. Eliades

The octagonal domed church of the Christ Antiphonitis in the district of Kyrenia (Cyprus) was originally completely decorated with frescoes along its interior walls. Two of these are exceptional for their artistic and historic value: the story of the Tree of Jesse (a pictorial genealogy of the Virgin) located on the southern wall of the octagon, and the Last Judgment, on the northern wall. Following the invasion of Cyprus by Turkish military forces in 1974, looters stripped many of the region churches, removing an estimated 15,000 to 20,000 icons and several dozen major frescoes and mosaics, intending to sell them illegally on the antique market. The Church of Antiphonitis was among them. The walls with the two biblical episodes suffered major damages and big portions of their pictorial decoration were removed. Since the end of the 1990s, due to efforts of Cypriot authorities, more than 70 fragments of its frescoes returned from USA and Europe to the Byzantine Museum of Nicosia, where they are currently under conservation and restoration for future display. These were digitally documented through high-resolution ortophotos. The inner space of the church was documented by similar means, in order to virtually re-position the frescoes in their original locations. The virtual re-composition of the frescoes along the looted walls helped quantifying the missing parts, correctly re-locate virtually each fragment at its original position, obtain accurate colour information and prepare a digital musealisation product, to be included in the permanent exhibition display at the museum which will feature a 1:1 scale reproduction of the church walls.


2021 ◽  
Author(s):  
◽  
Nikki Carter

<p>Situated on Mount Kotilion in the Peloponnese, the Temple of Apollo at Bassae sits high in the middle of a mountain range. Upon rediscovery, it became evident that most of the offerings had long since disappeared, and this was in turn paired with a lack of primary literature. Though the temple is mentioned in Pausanias’ work, discussion about the cultic aspects of the temple is severely lacking. This leads to a large gap in the knowledge of the temple’s religious function. It is for this reason that the architecture of Bassae is explored to help understand the cultic aspects of this temple. This thesis shows that multiple cults were celebrated at the temple of Bassae, and that there is a high probability that multiple cult worship occurred in the adyton of the building.  The cult at Bassae has been celebrated since geometric times, and worship to Apollo was fairly consistent until the sanctuary’s demise in the third century BCE. Three epikleseis are often associated with this temple: Apollo Epikourios, Apollo Bassitas and Hyperborean Apollo. The epithet of Epikourios comes from Pausanias’ passage, and nowhere else. The original reason for this epithet may be either medicinal or martial, and both are explored within this thesis. Bassitas is another epithet provided. However, this is in the form of a singular archaeological find, a small bronze tablet found in the wider Kotilion sanctuary. The third epithet, Hyperborean, is a tenuous but commonly made connection. This epithet relies heavily on the localised subject matter of the sculptural programme at Bassae.  The architecture of the building is also in need of discussion. The temple at Bassae is famed for its odd, and in some cases, unparalleled architectural design. The temple is on a north-south axis, and features not only a northern entranceway, but also an opening in the eastern wall, leading into the adyton. This eastern doorway allows light to enter twice a year, which hits the southern wall. The decorative features of the temple are unparalleled, with the first known Corinthian column and extended engaged Ionic columns. These unusual design features create a focus within the adyton.  Within the adyton, four positions can be considered possible sites for housing offerings or cult statues. These include the southwest corner, the centre of the southern wall, the centre of the northern limits of the adyton directly south of the Corinthian column, and finally, the Corinthian column itself. The evidence for these positions being a focus for cult comes from architectural features, such as the paving of the adyton floor, the light phenomenon and a small plinth.  These four positions are by no means definite, and this thesis discusses the probability of each of these positions in terms of the likelihood of them being the focus of a cult. While the southwest corner is the most likely position for a cult statue, the Corinthian column seems the least likely.  The architecture at the Temple of Apollo at Bassae strongly suggests worship occurring inn the adyton of the temple, and it seems likely it was at least one of these three epithets that was celebrated in one of the four positions in the adyton.</p>


Author(s):  
D. Abate ◽  
S. Hermon ◽  
I. Eliades

The octagonal domed church of the Christ Antiphonitis in the district of Kyrenia (Cyprus) was originally completely decorated with frescoes along its interior walls. Two of these are exceptional for their artistic and historic value: the story of the Tree of Jesse (a pictorial genealogy of the Virgin) located on the southern wall of the octagon, and the Last Judgment, on the northern wall. Following the invasion of Cyprus by Turkish military forces in 1974, looters stripped many of the region churches, removing an estimated 15,000 to 20,000 icons and several dozen major frescoes and mosaics, intending to sell them illegally on the antique market. The Church of Antiphonitis was among them. The walls with the two biblical episodes suffered major damages and big portions of their pictorial decoration were removed. Since the end of the 1990s, due to efforts of Cypriot authorities, more than 70 fragments of its frescoes returned from USA and Europe to the Byzantine Museum of Nicosia, where they are currently under conservation and restoration for future display. These were digitally documented through high-resolution ortophotos. The inner space of the church was documented by similar means, in order to virtually re-position the frescoes in their original locations. The virtual re-composition of the frescoes along the looted walls helped quantifying the missing parts, correctly re-locate virtually each fragment at its original position, obtain accurate colour information and prepare a digital musealisation product, to be included in the permanent exhibition display at the museum which will feature a 1:1 scale reproduction of the church walls.


Balcanica ◽  
2002 ◽  
pp. 253-262
Author(s):  
Janko Radovanovic

In the church dedicated to Holy Virgin Odigitria in the Patriarchate of Pec, the foundation of Archepiscope Danilo II, among several images of Virgin Mary the greatest attention of the researchers was attracted by Holy Virgin the Milkprofferer (Nurturer). Mother of God was painted on the southern wall of the narthex, sitting in the throne with the child Christ suckling in her lap. On the left and right side two angels are represented, showing their respect. To the right, three young women or girls approach, greeting her with their arms outstretched. The fresco was painted about 1330. Close links between the theological ideas expressed in the Akathist service (praise to Holy Virgin Odigitria) and the fresco of Holy Virgin the Milkprofferer are evident. Those ideas found their expression also in the fresco of Holy Virgin the Milkprofferer in the monastery Matejci near Kumanovo, painted a quarter of a century later.


Author(s):  
Gisèle Hadji-Minaglou

This chapter describes the architecture of Kellia. At their maximum development, in the sixth and seventh centuries, the settlements of Kellia were covered with hermitages established at a certain distance from each other. These autonomous units were demarcated by enclosures whose size varied, depending on the number of occupants. The enclosures had a rectangular shape with a general southeast-northwest orientation and the habitations were predominantly established in their western corner. The entrance of the hermitage was usually in the south, thus protected from the prevailing winds. A well, dug in the southeastern part of the courtyard, provided the inhabitants with the water for their daily needs as well as for the watering of the garden. Latrines were installed against the southern wall and the sewage was drained out of the enclosure toward the south.


Sign in / Sign up

Export Citation Format

Share Document