Forwarded from • Hellas • Ελλάδα • Greece (Maria)
The Gold of Macedon
I. Gold Diadem with a bust of Aphrodite, early 3rd c. BC
II. Gold floral jewellery, fitted on ivory, Stavroupoli, Thessaloniki, 325-300 BC
III. Detail from the inside of a silver kalyx, Sevasti, Pieria Prefecture, 350-325 BC
IV. Gold medal depicting Olympia, mother of Alexander the Great, Abukir, Egypt, AD 225-250
V. Gold Diadem with Eros, Sedes, Thessaloniki, 350-325 BC
@GreekLeague
I. Gold Diadem with a bust of Aphrodite, early 3rd c. BC
II. Gold floral jewellery, fitted on ivory, Stavroupoli, Thessaloniki, 325-300 BC
III. Detail from the inside of a silver kalyx, Sevasti, Pieria Prefecture, 350-325 BC
IV. Gold medal depicting Olympia, mother of Alexander the Great, Abukir, Egypt, AD 225-250
V. Gold Diadem with Eros, Sedes, Thessaloniki, 350-325 BC
@GreekLeague
Forwarded from • Hellas • Ελλάδα • Greece (Maria)
The Macedonian tomb of Agios Athanasios, 325-300 BC
The frescoes’ styles combine the Doric and Ionic decorations and the tomb’s pediment shows a golden sun-disk between the two griffins facing each other. It’s also possible to see, just below the pediment, the stunning Ionian frieze.
The frieze depicts a “symposium” scene where 6 men (of which some a bearded while someone else are shown as beardless) are reclining on “triclinia” with some amazing examples of colourful textiles. The first man is shown with a raising arm, asking a female flautist to start playing some music. The banquet is full of fruits and vegetables displayed on three different tables near the “triclinia”.
On the entrance sides the archaeologists also found two men figures standing. Also we see the traditional Macedonian clothes and the famous Macedonian spear: the sarissa (σάρισα) introduced in the army by Philip II of Macedon. @GreekLeague
The frescoes’ styles combine the Doric and Ionic decorations and the tomb’s pediment shows a golden sun-disk between the two griffins facing each other. It’s also possible to see, just below the pediment, the stunning Ionian frieze.
The frieze depicts a “symposium” scene where 6 men (of which some a bearded while someone else are shown as beardless) are reclining on “triclinia” with some amazing examples of colourful textiles. The first man is shown with a raising arm, asking a female flautist to start playing some music. The banquet is full of fruits and vegetables displayed on three different tables near the “triclinia”.
On the entrance sides the archaeologists also found two men figures standing. Also we see the traditional Macedonian clothes and the famous Macedonian spear: the sarissa (σάρισα) introduced in the army by Philip II of Macedon. @GreekLeague
Forwarded from Eichengeflüster
(9/14)
In addition to gods, our ancestors also believed in powerful middle beings, some friendly and some hostile to man. They populated mountains and valleys, forests and meadows with giants (Hünen) and dwarves (elves), personifications of the forces of nature.
These include the helpful little Mountain Men, whom the people still said to live in the mountains of Immenstadt a hundred years ago, the equally kind Elfs in the highest mountain alps, the Moss Women mentioned everywhere, the Memminger house spirit Schlorkhanns, who helps the girls sweep the house, but also the dreaded Schrättele, who causes the nightmares and braids the horses' manes into inextricable plaits.
In addition to gods, our ancestors also believed in powerful middle beings, some friendly and some hostile to man. They populated mountains and valleys, forests and meadows with giants (Hünen) and dwarves (elves), personifications of the forces of nature.
These include the helpful little Mountain Men, whom the people still said to live in the mountains of Immenstadt a hundred years ago, the equally kind Elfs in the highest mountain alps, the Moss Women mentioned everywhere, the Memminger house spirit Schlorkhanns, who helps the girls sweep the house, but also the dreaded Schrättele, who causes the nightmares and braids the horses' manes into inextricable plaits.
Forwarded from European Tribalism - Mythology, European culture, survival
'Die Ruine Rabenstein bei Virgen, Windisch-Matrei in Tirol'
Thomas Ender - 1840
#art
@EuropeanTribalism
Thomas Ender - 1840
#art
@EuropeanTribalism
Forwarded from European Tribalism - Mythology, European culture, survival
In the Proto-Indo-European language there are many words for animals and few for fruits, veggies, and grains suggesting a meat-based diet.
Combined with the fact that for example the Scythians were nomadic pastoralists makes the Keto diet a peak #IndoEuropean way of nutrition.
@EuropeanTribalism
Combined with the fact that for example the Scythians were nomadic pastoralists makes the Keto diet a peak #IndoEuropean way of nutrition.
@EuropeanTribalism
Forwarded from European Tribalism - Mythology, European culture, survival
In Proto-Indo-European there is a word for winter/cold (h₂ŕ̥tḱos). (It also is translated to 'bear'.)
It suggest #IndoEuropean|s originated in a more northern climate.
Colder climate indicates higher intelligence, as higher temperatures do not benefit a high cognitive performance.
@EuropeanTribalism
It suggest #IndoEuropean|s originated in a more northern climate.
Colder climate indicates higher intelligence, as higher temperatures do not benefit a high cognitive performance.
@EuropeanTribalism
Forwarded from European Tribalism - Mythology, European culture, survival
The language base is what forms the cognitive processes used by a people in their perception of the world. The #IndoEuropean languages are solidly based on the concept of time as a series of "events" which flow from the future to the past through the present. The verb forms and their declensions certainly show this. We face the future. "Time is like a river," said Heraclitus, facing upstream, "you cannot step into it twice."
However, this is not true for most languages. Many languages do not require people to recognize "time" as a flowing substance or for time to have significance. There are large differences between languages, which cause different speakers to use entirely different analytical methods in reaching an understanding of the world.
#history
@EuropeanTribalism
However, this is not true for most languages. Many languages do not require people to recognize "time" as a flowing substance or for time to have significance. There are large differences between languages, which cause different speakers to use entirely different analytical methods in reaching an understanding of the world.
#history
@EuropeanTribalism
Forwarded from England 🏴
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Bradford on avon ~ Wiltshire 🏴
Forwarded from Agents Of Truth
The same people pushing the depopuIation through so-called vaccines and cIimate change hoax are doing this to our planet. They really care about the planet and environment don’t they?
Forwarded from • Hellas • Ελλάδα • Greece (Maria)
Indo-Greek stone palette with Apollo and Daphne, 2nd-1st century BC, Gandhara. @GreekLeague
Forwarded from Wäinölä 🇫🇮
“Then the mistress of Northland
sent Jack Frost the evil one
on that Northland sea
upon the open expanse
and she put this into words
both told and declared:
‘Jack Frost, little boy
my own fair one I brought up:
go where I tell you—
tell and compel you!
Chill the rogue’s small boat
wanton Lemminkäinen’s craft
upon the high seas
upon the open expanse
and chill the master himself
freeze the rogue on the waters
so that he’ll never get out
never in this world be free
unless I get to letting him out
get round to relieving him!’”
— The #Kalevala: 30: 123 – 142
(Bosley translation)
Art: Illustration for the Kalevala by Björn Landström. 🇫🇮
sent Jack Frost the evil one
on that Northland sea
upon the open expanse
and she put this into words
both told and declared:
‘Jack Frost, little boy
my own fair one I brought up:
go where I tell you—
tell and compel you!
Chill the rogue’s small boat
wanton Lemminkäinen’s craft
upon the high seas
upon the open expanse
and chill the master himself
freeze the rogue on the waters
so that he’ll never get out
never in this world be free
unless I get to letting him out
get round to relieving him!’”
— The #Kalevala: 30: 123 – 142
(Bosley translation)
Art: Illustration for the Kalevala by Björn Landström. 🇫🇮