Τετάρτη 6 Νοεμβρίου 2024

Concert at Hotel Divani Caravel of composer Panagiotis Karousos

 

Sunday, November 3, 2024. The concert with works by the internationally renowned music composer Panagiotis Karousos was held with great success at the Caravel Hotel, Mykines hall by the Club for UNESCO of Piraeus and Islands Greetings were given by Ioannis Maronitis, president of the Club for UNESCO of Piraeus and Islands and of the international organization International Action Art.

Poems set to music by music composer Panagiotis Karousos, Parthenon (Kostis Palamas), Caryatides (Ioannis Polemis), "Maid of Athens, ere we part" (Lord Byron) were successfully presented. The "Rhapsodes" Choir and lyrical soloists participated: Rea Voudouri (soprano), Nina Giatra (soprano), Maria Grigoriou (alto), Fotini Papachristou (alto), Niki Zacharopoulou (alto), Ekaterina Dachkova (soprano), Argyris Kontonikolou ( tenor), Glykeria Nikolopoulou (alto), Panagiotis Drizos (tenor), Christiana Manou (piano). Communications: Niki Zacharopoulou. Coordination: Rea Voudouris. Artistic directions: Panagiotis Karousos.

Dimitris Karydis, Deputy Mayor of the Municipality of Piraeus for Planning and Sustainable Development with the responsibilities of the Directorate of Planning and Sustainable Development attended.

The singer Nadia Karagianni participated with well-known songs by Sofia Vembo presented by the actor Vassilis Traiforos.

Organized by the Club for UNESCO of Piraeus and Islands - building peace in the minds of people.








































Δευτέρα 4 Νοεμβρίου 2024

Ancient Egyptian jewelry

 


Ancient Egyptian jewelry; much more than just an ornament - the jewelry and amulets worn by both men and women, in addition to being beautiful adornments, protected them in earthly life and, more importantly, in the afterlife ...

Jewelry played a fundamental role in daily life and funeral customs of the inhabitants of the country of the Nile. The pharaohs and their relatives, the clergy, the nobles and all those who could afford it adorned their bodies with jewels , which were only available to a minority and were therefore a symbol of their high social status.
In a text from late Old Kingdom, The Lamentations of the Wise Ipuwer , a major crisis in Egyptian history is recalled, in which "beaded necklaces adorn the necks of slave girls, while noble ladies wander about lamenting that they have nothing to put in their mouths"; a sign that, under normal circumstances, only the most favoured classes could wear these expensive ornaments. But jewellery in ancient Egypt also had magical and religious power as protective amulets, effective both in life and in the afterlife.
Egyptians created all kinds of jewellery, with which they adorned themselves from head to toe: bracelets, bangles, rings, necklaces, breastplates, belts, amulets, anklets, crowns, tiaras and earrings. Archaeology has shown that jewellery was used without distinction by men and women. Both men and women valued precious metals equally, especially gold and precious and semi-precious stones, so the Egyptians dressed and adorned themselves with a multitude of jewellery both in everyday life and on special occasions.
Many pieces were made of silver, electrum (an alloy of gold and silver), copper and bronze, often supplemented with precious or semi-precious stones such as quartz, turquoise, lapis lazuli, carnelian, gems, alabaster and amethyst, and with coloured glass. But the vast majority were made of pure gold. This was the metal most prized by the Egyptians, who attributed divine connotations to it; one inscription read: "Gold is the flesh of the gods [...]. Remember what were the words of Re when he began to speak: 'My skin is pure gold'."
Gold was mined mainly in deserts of Nubia – nb or "land of gold" – while silver was imported from Near East and, from 7th Century BC, from Iberian Peninsula via the Phoenicians . Copper was mined in the Sinai, and tin , which was mixed with copper to produce bronze, was obtained from Near East, Cassiterides Islands (British Isles) or Iberian Peninsula. Representations have been found on the walls of mastabas showing the delivery of metals to the pharaohs as a result of mining, trade, tributes and the spoils of military campaigns.
The importation of precious metals allowed the development of important jewellery workshops in Egyptian cities, particularly in Memphis, Coptos, Thebes and Alexandria. These workshops were supported by the State, which introduced a long list of positions and specialists related to metalworking: workshop heads, heads of craftsmen, heads of goldsmiths, chisellers, engravers and blowers, among others. Although they never signed their works, the goldsmiths enjoyed great prestige.
Thanks to the reliefs in some of the tombs, we can see how their work was carried out and the type of tools they used: from burins, chisels and hammers to blow pipes, bellows, ovens and moulds. Jewellers developed increasingly sophisticated goldsmithing techniques , from openwork and chiselling to embossing and, above all, engraving.
📷 : Pectoral from the tomb of Tutankhamun in the Valley of the Kings. It depicts the pharaoh between god Ptah and lioness goddess Sekhmet. (Egyptian Museum, Cairo)
© National Geographic




Angkor Thom - Cambodia

 


Angkor Thom South Gate, Angkor (near Siem Reap) - Cambodia :

Angkor Thom (Great City) is quadrangle of defensive walls totaling 12km that once protected Khmer capital of the same name. Built in late 12th and early 13th Centuries CE, by King Jayavarman VII, walls are divided by two axes running north-south and east-west. A gateway lies at the end of each axis, four in total, facing the four cardinal directions. An additional gate, called the 'Gate of Victory', pierces the east wall just north of the 'Gate of the Dead', the east gate along the central axis. Significance of additional gate is that it provided access to a terrace of the royal palace. As for other gates, the two axes intersect at the center of the enclosed area where Bayon temple sits.
South gate of Angkor Thom is the best preserved. It is approached from outside via a causeway that extends about fifty meters across a moat. On each side of causeway are railings fashioned with 54 stone figures engaged in the performance of a famous Hindu story: the myth of the Churning of Ocean. On left side of moat, 54 Devas (guardian gods) pull head of snake 'Shesha' while on right side 54 Asuras (demon gods) pull snake's tail in opposite direction. In this myth, body of the snake is wrapped around central mountain Mt. Meru, perhaps corresponding here to Bayon temple at center of site. In any case, myth relates that as Devas pulled the snake in one direction and gods pushed in other, ocean began to churn and precipitate elements. By alternating back and forth, ocean was 'milked', forming earth and cosmos anew.
Central tower of the stone gate is capped by three face-towers that face the four directions (the central tower faces both out and in). Below them at the base of the gate are two sets of elephant statues that flank the entrance on both sides. Sitting on each elephant is a figure of the god Indra carrying his usual weapon, the vadra (a lightning bolt). The gate itself is shaped like an upside-down 'U' and is corbelled at the top (instead of arches, the builders of Angkor preferred to use corbelling to span distances). It is still possible to see where wooden doors once fitted to the gate through openings in the stone.
There is some debate as to the functionality of Angkor Thom as a whole. If it was a wall intended for defense, it was rather poorly designed, since there is nowhere along the wall for defenders to take refuge from incoming fire or shoot back from a shielded location. This is surprising since Angkor had been sacked in 1177 CE, by Champa invaders, and one can readily imagine that its new King, Jayavarman VII would have been concerned with defense should the invaders return.
If not intended for defense, the walls may simply have been an additional enclosure around the Bayon temple, more for ceremony than for practical use. As in Southern India, Angkor rulers built temples surrounded by walls, but usually not with walls as thick and grand as those of Angkor Thom.
📷 : Credit to the Owner


The Piraeus Lion (Leone del Pireo)

 


The Piraeus Lion (Leone del Pireo) is one of four lion statues on display at the Venetian Arsenal, Italy. The statue is made of white marble and stands some 3 m (9 ft.) high. It is particularly noteworthy for two lengthy runic inscriptions on its shoulders and flanks; these were likely carved by Scandinavians sometime in the 11th Century AD. It lion was originally located in Piraeus harbour of Athens, but looted by Venetian naval commander Francesco Morosini in 1687 as plunder from the Great Turkish War against the Ottoman Empire. Copies of the statue can also be seen at the Piraeus Archaeological Museum and the Swedish History Museum in Stockholm.

In the second half of the 11th century, two runic inscriptions were carved onto the lion. The runes are carved in the shape of an elaborate lindworm dragon-headed scroll, in much the same style as on runestones in Scandinavia. According to Erik Brate's translation of the runes, they state they were carved by "suiar", or the Swedes. The Norsemen who carved the runes on the lion could have been Varangians, mercenaries in the service of the Byzantine (Eastern Roman) Emperor, or Norsemen who travelled from Scandinavia around Europe’s Atlantic coastline.

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