FEATURED ITEM: Hellenistic Bronze Face of Silenus Greek god of Drunkenness and Wine

Hellenistic Bronze Face of Silenus Greek god of Drunkenness and Wine

HellenisticBronzeFaceOfSilenusGreekGodOfDrunkennessAndWine

Baidun Fine Antiquities – Since 1927 – http://www.Baidun.com

 

FEATURED ITEM: Hellenistic Bronze Face of Silenus Greek god of Drunkenness and Wine

This Hellenistic Bronze Face of Silenus Greek god of Drunkenness and Wine (as of 28 / June / 2017) is still available for sale from http://www.Baidun.com:

Reference: SI_GR_1016
Civilization: Hellenistic 300 B.C.E. – 200 B.C.E.
Size: H. 6.5 cm
Condition: Two holes below the mouth. Surface with light punch marks
Price: $8,500 USD
Provenance: The Baidun Collection

DIRECT WEB SITE LINK: http://baidun.com/hellenistic-bronze-face-of-silenus-greek-god-of-drunkenness-and-wine/
SHORT URL: http://www.goo.gl/yAV5L4

Silenus Greek god of Drunkenness and Wine-Making

This bronze depiction of Silenus, Greek god of drunkenness and wine-press, dates to the Hellenistic period 300 B.C.E. – 200 B.C.E. He was companion of the wine god Dionysus, and from the 5th century B.C.E. the name Silenus was applied to Dionysus’ foster father, which thus aided the gradual absorption of the Satyrs and Sileni into the Dionysiac cult.

Here Silenus is depicted as an old satyr with a long mustache and a square beard with big curling hair locks. The face has strong features with chubby cheeks, snub-nose, fleshy lips, frowning brows, as well as pointed ears with ivy leaves set over both of them. The face is finely modeled with a strong and living expression. It is framed with a contour line at the border of the missing upper and back parts of the head.

Such a facial depiction was applied on a statue which was possibly made of other material. The punched surface of the face may indicate that it was plated or sheathed with silver or gold.

Classical Depictions of Silenus

A notorious consumer of wine, Silenus was usually drunk and had to be supported by satyrs or carried by a donkey. When intoxicated Silenus was said to possess special knowledge and the power of prophecy: It was believed that he acquired arcane knowledge and was able to predict the future. Seilenos was, in essence, the spirit of the treading dance of the wine-press – his name being derived from the words seiô, “to move to and fro,” and lênos, “the wine-trough.”

 

Hellenistic Bronze Face of Silenus Greek god of Drunkenness and Wine
SHORT URL: http://www.goo.gl/yAV5L4

 

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FEATURED ITEM: Bronze Imperial Roman Bull Stomping Hoof

Bronze Imperial Roman Bull Stomping Hoof

ImperialRomanBronzeBull

Baidun Fine Antiquities – Since 1927 – http://www.Baidun.com

FEATURED ITEM: Bronze Imperial Roman Bull Stomping Hoof

This Bronze Imperial Roman Bull Stomping Hoof (as of 23 / June / 2017) is still available for sale from http://www.Baidun.com:

Reference: SI_RM_1085
Civilization: Roman, 200 C.E. – 300 C.E.
Size: H. 16 cm
Condition: Fine condition
Price: Available upon request
Provenance: The Baidun Collection, Ex German Private Collection, acquired in the 1980s

DIRECT WEB SITE LINK: http://baidun.com/bronze-imperial-roman-bull-stomping-hoof/

SHORT URL: http://www.goo.gl/xXbxjW

 

Bronze Imperial Roman Bull Stomping Hoof

This incredible Bronze Imperial Roman Bull statuette dating from 200 – 300 C.E. is decorated with two stylized markings on its flanks and one large ribbon across its torso. The bull’s powerful stance is accentuated by his head that is turned, as well as his front left leg that is raised in an aggressive stomping motion.  Additional decorations are present on the bull’s head in the form of decorous curls. This Bronze Imperial Roman Bull statuette was part of a composed relief depicting a procession that leads to the sacrifice of the bull which was performed for the welfare of the Roman empire.

For more than 5,000 years, bronze and other copper alloys have been essential materials used to create everything from life-size sculptures to objects of daily life such as weapons, jewelry, tableware, and as featured here: This incredible Bronze Imperial Roman Bull statuette. Similar pieces are found in museums such as the Met Museum in New York City, but few found are as majestic and powerful as this piece.

 

Roman Bull in Cult of Magna Mater (Great Mother of the gods) Cybele

The religious practices of the Roman Empire of the 2nd to 4th centuries C.E. included the taurobolium, in which a bull was sacrificed for the well being of the people and the state. Around the mid-2nd century C.E. the practice became identified with the worship of Magna Mater (i.e. the Great Mother of the gods, Cybele), but was not previously associated only with that cult (cultus).

After 159 CE all private taurobolia inscriptions mention Magna Mater. Public taurobolia enlisting the benevolence of Magna Mater on behalf of the emperor became common in Italy, Gaul, Hispania, and Africa. The last public taurobolium for which there is an inscription was carried out at Mactar in Numidia at the close of the 3rd century C.E. It was performed in honor of the emperors Diocletian and Maximian.

Roman Bull in Eastern Cult of Mithras

Another Roman mystery cult in which a sacrificial bull played a role was that of the 1st-4th century C.E. Mithraic Mysteries. The cult of Mithras was very popular throughout the Roman Empire and was followed especially by soldiers. It was one of several eastern cults that spread rapidly as a result of the Pax Romana (Roman peace) – others included the worship of Jupiter Dolichenus, Manichaeism, and of course Christianity.

Shrouded in secrecy, ancient mystery cults fascinate and capture the imagination. Like all Greco-Roman mysteries, the cult of Mithraic Mysteries was limited to initiates, and there is very little known about the cult’s beliefs or practices. In the so-called “tauroctony” artwork of that cult (cultus) – and which appears in all its temples – the god Mithras is seen to slay a sacrificial bull. The tauroctony should not be confused with a “taurobolium”, which was an actual bull-killing cult act performed by initiates of the Mysteries of Magna Mater, and has nothing to do with the Mithraic Mysteries.

Although there has been a great deal of speculation on the subject, the mystery that the tauroctony scene was intended to represent remains unknown. Like the other ancient “mystery religions” such as the Eleusinian mysteries and the mysteries of Isis, Mithraism maintained strict secrecy about its teachings and practices, revealing them only to initiates. As a result, reconstructing the beliefs of the Mithraic devotees has posed an enormously intriguing challenge to scholarly ingenuity.

Owing to the Mithraic cult’s secrecy, we possess almost no literary evidence about the beliefs of Mithraism. The few texts that do refer to the cult come not from Mithraic devotees themselves, but rather from outsiders such as early Church fathers who mentioned Mithraism in order to attack it, as well as from Platonic philosophers who attempted to find support in Mithraic symbolism for their own philosophical ideas.

However, although our literary sources for Mithraism are extremely sparse, an abundance of material evidence for the cult exists in the many Mithraic temples and artifacts that archaeologists have found scattered throughout the Roman empire – from England in the north and west to Palestine in the south and east. The temples – called mithraea by scholars – were usually built underground in imitation of caves. These subterranean temples were filled with an extremely elaborate iconography:  carved reliefs, statues, and paintings – depicting a variety of enigmatic figures and scenes. This iconography is our primary source of knowledge about Mithraic beliefs, but because we do not have any written accounts of its meaning the ideas that it expresses have proven extraordinarily difficult to decipher.

 

Bronze Imperial Roman Bull Stomping Hoof
SHORT URL: http://www.goo.gl/xXbxjW

 

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