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.

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

Mystery Historical

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

Mystery Historical

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.

Mystery Historical

Συναυλία στο Ξενοδοχείο Caravel με έργα του διεθνούς φήμης μουσικοσυνθέτη Παναγιώτη Καρούσου

 ΟΜΙΛΟΣ ΓΙΑ ΤΗΝ UNESCO ΠΕΙΡΑΙΩΣ ΚΑΙ ΝΗΣΩΝ

ΔΙΕΘΝΗΣ ΟΡΓΑΝΙΣΜΟΣ INTERNATIONAL ACTION ART

ΠΡΟΣΚΛΗΣΗ

ΦΕΣΤΙΒΑΛ «ΙΣΤΟΡΙΑ – ΜΝΗΜΕΣ – ΠΑΡΑΔΟΣΗ»

Συναυλία με έργα του διεθνούς φήμης μουσικοσυνθέτη Παναγιώτη Καρούσου

Κυριακή 3 Νοεμβρίου 2024, ώρα έναρξης: 20:00 μ.μ.
Ξενοδοχείο Caravel, αίθουσα Μυκήνες
ΕΙΣΟΔΟΣ ΕΛΕΥΘΕΡΗ

Χαιρετισμός-παρουσίαση: Ιωάννης Μαρωνίτης, πρόεδρος του Ομίλου για την UNESCO Πειραιώς και Νήσων και του διεθνούς οργανισμού International Action Art

Μελοποιημένα ποιήματα από τον μουσικοσυνθέτη Παναγιώτη Καρούσο, Παρθενών (Κωστής Παλαμάς), Καρυάτιδες (Ιωάννης Πολέμης), Κόρη των Αθηνών (Λόρδος Βύρων)

Συμμετέχουν: Χορωδία «Ραψωδοί» και σολίστ λυρικού τραγουδιού. Ρέα Βουδούρη (σοπράνο), Γιώργος Κεραμιδάρης (τενόρος), Νίνα Γιατρά (σοπράνο), Γιάννης Δάρρειος (τενόρος), Μαρία Γρηγορίου (άλτο), Γιάννος Κοτζιάς (τενόρος), Φωτεινή Παπαχρήστου (άλτο), Νίκη Ζαχαροπούλου (άλτο), Ekaterina Dachkova (σοπράνο), Αργύρης Κοντονικολάου (τενόρος), Παναγιώτης Δρίζος (τενόρος), Γλυκερία Νικολοπούλου (άλτο), Ευγενία Μιχαλοπούλου (άλτο), Αποστολία Συντριβάνη (φλογέρα), Χριστιάνα Μάνου (πιάνο).
Υπεύθυνη επικοινωνίας: Νίκη Ζαχαροπούλου
Καλλιτεχνική επιμέλεια: Παναγιώτης Καρούσος

Ο Όμιλος UNESCO Πειραιώς και Νήσων και ο διεθνής οργανισμός International Action Art σας προσκαλούν στις εκδηλώσεις που διοργανώνουν στο ξενοδοχείο Caravel (Λεωφ. Βασιλέως Αλεξάνδρου 2, Τ.Κ. 161 21 Αθήνα), το διήμερο 2 και 3 Νοεμβρίου 2024.

Συμμετέχουν σημαντικές προσωπικότητες της Πολιτείας, του Aθλητισμού, της Eπιστήμης και του Πολιτισμού.

Σάββατο 2/11, ώρα 10.30, Αίθουσα Μυκήνες

Ημερίδα «Ο φαύλος κύκλος της βίας», σε συνεργασία με τον Σύλλογο Ελλήνων Ολυμπιονικών και τους Εθελοντές Αχαρνών Θρακομακεδόνων

Στην εκδήλωση θα απευθύνουν χαιρετισμό

Αντιπεριφερειάρχης Πειραιώς, κα Σταυρούλα Αντωνάκου.

Γεν. Γραμματέας ΠΣΑΤ, κος Γιάννης Θεοδωρακόπουλος

Πρόεδρος ΣΕΦ, κα Χριστίνα Τσιλιγκίρη

Κυριακή 3/11, ώρα 10.00, Αίθουσα Μυκήνες

Μάρμαρα του Παρθενώνα: Ημερίδα για το ναυάγιο του "Μέντωρ", δύο αιώνες μετά.

Κυριακή 3/11, ώρα 18.00, Αίθουσα Μακεδονία

Χορωδιακό Φεστιβάλ "ΑΓΑΠΗ ΕΙΝΑΙ..." με τη συμμετοχή εκατοντάδων χορωδών.

Κυριακή 3/11, ώρα 20.00, Αίθουσα Μυκήνες - Πέλλα

Χορευτικό φεστιβάλ «Ιστορία, Μνήμες, Παράδοση».

ΠΑΝΗΠΕΙΡΩΤΙΚΟΣ ΣΥΝΔΕΣΜΟΣ ΕΛΕΥΣΙΝΑΣ

ΣΥΛΛΟΓΟΣ ΚΡΗΤΩΝ ΠΕΤΡΟΥΠΟΛΗΣ “ΜΕΓΑΛΟΝΗΣΟΣ”

ΣΥΛΛΟΓΟΣ ΑΡΚΑΔΩΝ “ΘΕΟΔΩΡΟΣ ΚΟΛΟΚΟΤΡΩΝΗΣ”

ΧΟΡΕΥΤΙΚΗ ΟΜΑΔΑ ΔΗΜΟΥ ΑΓΙΑΣ ΒΑΡΒΑΡΑΣ

ΕΛΛΗΝΟΓΕΩΡΓΙΑΝΟΣ ΣΥΛΛΟΓΟΣ ΚΟΛΧΙΔΑ

Θα ερμηνευτούν τραγούδια του διεθνούς φήμης συνθέτη Παναγιώτη Καρούσου Παρθενών (Κ. Παλαμάς), Καρυάτιδες (Ι. Πολέμης), Kορη των Αθηνών (Λόρδος Βύρων)

Ειδικό αφιέρωμα «ΕΣΥ ΣΟΦΙΑ ΤΗΣ ΚΑΡΔΙΑΣ»

Ερμηνεύει η ΝΑΝΤΙΑ ΚΑΡΑΓΙΑΝΝΗ, Αφήγηση Παρουσίαση : ΒΑΣΙΛΗΣ ΤΡΑΪΦΟΡΟΣ, στο πιάνο: ΑΝΤΙΓΟΝΗ ΠΕΝΕΖΗ, Μπουζούκι - Κιθάρα: ΣΤΑΘΗΣ ΣΑΒΒΙΔΗΣ.

ΣΤΟ ΠΛΑΙΣΙΟ ΤΩΝ ΠΟΛΛΑΠΛΩΝ ΠΟΛΙΤΙΣΤΙΚΩΝ ΕΚΔΗΛΩΣΕΩΝ ΘΑ ΛΕΙΤΟΥΡΓΗΣΕΙ ΟΜΑΔΙΚΗ ΕΚΘΕΣΗ ΕΙΚΑΣΤΙΚΩΝ ΜΕ ΕΛΕΥΘΕΡΟ ΘΕΜΑ

ΣΤΗΣΙΜΟ ΕΚΘΕΣΗΣ: ΣΑΒΒΑΤΟ 2/11 ΚΑΙ ΩΡΑ 9.15 π.μ

ΟΙ ΣΥΜΜΕΤΕΧΟΝΤΕΣ ΘΑ ΠΡΕΠΕΙ ΝΑ ΕΧΟΥΝ ΤΟ ΔΙΚΟ ΤΟΥΣ ΚΑΒΑΛΕΤΟ.

“The Hole of Fate”

 “The Hole of Fate”

There, in ancient times, the Panathenaia was held every four years. It was the great festival of Athens dedicated to the goddess Athena. In the early years, the stadium was made of earth, so the spectators sat on the ground. However, there were only a few wooden seats for the city’s rulers. However, under the eastern rampart there was an underground tunnel. Athletes entered the track through it. Despite the continuous reconstruction of the stadium, this particular portico was the only part of the ancient stadium that has been preserved intact to this day. This portico is therefore also known as the “Hole of Fate”. The portico ended at the bottom of the Stadium, on the left side of the horseshoe, and was 57 meters long and 4 meters wide.

In the early years of its creation, the tunnel was decorated with marble and gold statues and Doric columns. When in Roman times the Stadium was converted into an arena, where animal fights and duels took place, the animals that would compete in the arena passed through the arcade. The Middle Ages, however, began to be associated with various beliefs. It was heard that the arcade was a place chosen by witches. Various popular superstitions, in fact, stated that the Fates lived there and "divination" was performed. Of course, no specific event was ever mentioned, nor was it even a figment of the imagination. However, there was this general feeling that something hidden and magical was happening in this arcade in Athens. For this reason, it was called the "hole of fate".

source: www.olympia.gr/

_____________________

«Η τρύπα της Μοίρας»

Εκεί, κατά την αρχαιότητα, τελούνταν κάθε τέσσερα χρόνια τα Παναθήναια. Επρόκειτο για την μεγάλη γιορτή της Αθήνας που ήταν αφιερωμένη στη θεά Αθηνά. Τα πρώτα χρόνια στάδιο ήταν χωμάτινο και έτσι οι θεατές κάθονταν στο έδαφος. Υπήρχαν, ωστόσο, μόνο μερικά ξύλινα εδώλια για τους άρχοντες της πόλης. Κάτω όμως από το ανατολικό ανάλημμα υπήρχε μία υπόγεια σήραγγα. Από αυτήν εισέρχονταν στο στίβο οι αθλητές. Παρά τις συνεχείς ανακατασκευές του σταδίου, η συγκεκριμένη στοά αποτέλεσε το μοναδικό κομμάτι του αρχαίου σταδίου που διατηρήθηκε αλώβητη μέχρι σήμερα. Αυτή λοιπόν η στοά είναι γνωστή και ως «Τρύπα της Μοίρας». Η στοά κατέληγε στο βάθος του Σταδίου, στην αριστερή πλευρά του πετάλου, κι είχε μήκος 57 μέτρων και πλάτος 4 μέτρων.

Τα πρώτα χρόνια της δημιουργίας της, η σήραγγα ήταν διακοσμημένη από μαρμάρινα και χρυσά αγάλματα και δωρικούς κίονες. Όταν τα Ρωμαϊκά χρόνια το Στάδιο μετατράπηκε σε αρένα, όπου γίνονταν θηριομαχίες και μονομαχίες μέσα από τη στοά περνούσαν τα ζώα που θα αγωνίζονταν στην αρένα. Το Μεσαίωνα, ωστόσο, άρχισε να συνδέεται με διάφορες δοξασίες. Ακουγόταν ότι η στοά αποτελούσε χώρου που επέλεγαν οι μάγισσες. Διάφορες λαϊκές προλήψεις, μάλιστα, ανέφεραν ότι εκεί κατοικούσαν οι Μοίρες και γίνονταν «μαντολόγια». Ποτέ δεν αναφέρθηκε, βέβαια, κάποιο συγκεκριμένο συμβάν ούτε καν αποκύημα φαντασίας. Υπήρχε όμως αυτή η γενική αίσθηση ότι κάτι κρυφό και μαγικό συμβαίνει σε αυτή τη στοά στην Αθήνα. Γι’ αυτό το λόγο, λοιπόν, ονομάστηκε «τρύπα της μοίρας».

πηγη: www.olympia.gr/

Ancient Ellenic Civilization/Ελληνικός Πολιτισμός

The tomb at Vergina by Professor Antonis Bartsiokas

 

Does the tomb at Vergina belong to Alexander the Great?

This is supported by Professor Antonis Bartsiokas (Ph.D. 1989, University of London)

The Identification of the Sacred "Chiton" (Sarapis) of Alexander the Great found in Tomb II at Vergina, Macedonia, Greece, by Professor Andronikos in 1977 belongs to Alexander the Great!

SUMMARY

Unknown material was found in the Royal Tomb II of Vergina, (tomb of Philip II, father of Alexander the Great) inside the golden ossuary (larnax) with the bones of the man and his golden wreath. Physical, chemical and microscopic analyses have shown that it is a cotton cloth dyed purple, sandwiching one or two layers of a whitish material made mainly of the mineral hundite. The presence of cotton is particularly significant, as it dates it to Tomb II.

The physical description matches exactly the description in ancient sources of the sacred Persian sarapis robe that belonged to the greatest king of all, Alexander the Great, and was therefore the most valuable object in antiquity.

This "Chiton" Sarapis is also depicted on the frieze of Tomb II of the sixth hunter, identified with Alexander.

The Persian gazelle, depicted on the frieze, also dates it to Tomb II. Thus, many of the artifacts in Tomb II belonged to Alexander the Great.

Antonis Bartsiokas (Ph.D. 1989, University of London) is Emeritus Professor of Physical Anthropology and Paleoanthropology in the Department of History and Ethnology, Democritus University of Thrace.

Received 02 Apr 2024, Accepted 02 Sep 2024, Published online: 17 Oct 2024

More:

https://www.tandfonline.com/.../10.../00934690.2024.2409503

Video English subtitles: https://www.youtube.com/watch?v=mv5Mk0S-Emw&t=22s

1. Facade of the tomb of Philip II of Macedon at Vergina (or Alexander the Great), Greece. The door is of Doric marble.

2. Larnaca Gold of Philip II

_______________________

Ο τάφος στη Βεργίνα ανήκει στον Μέγα Αλέξανδρο ;

Αυτό υποστηρίζεται από τον καθηγητή Αντώνη Μπαρτσιώκα (Ph.D. 1989, University of London)

Η Ταύτιση του Ιερού «Χίτωνα» (Σαράπης) του Μεγάλου Αλεξάνδρου που βρέθηκε στον Τύμβο ΙΙ στη Βεργίνα, Μακεδονία, Ελλάδα, από τον καθηγητή Ανδρόνικο το 1977 ανήκει στον Μέγα Αλέξανδρο!

ΠΕΡΙΛΗΨΗ

Άγνωστο υλικό βρέθηκε στον Βασιλικό Τάφο ΙΙ της Βεργίνας, (τάφος του Φιλίππου Β', πατέρα του Μεγάλου Αλεξάνδρου) μέσα στο χρυσό οστεοφυλάκιο (λάρναξ) με τα οστά του άνδρα και το χρυσό στεφάνι του. Φυσικές, χημικές και μικροσκοπικές αναλύσεις έδειξαν ότι πρόκειται για ένα βαμβακερό ύφασμα βαμμένο μωβ, το οποίο στριμώχνει ένα ή δύο στρώματα από ένα υπόλευκο υλικό κατασκευασμένο κυρίως από τον ορυκτό χουντίτη (Χουντίτης). Η παρουσία του βαμβακιού είναι ιδιαίτερα σημαντική, καθώς χρονολογεί τον Τάφο II.

Η φυσική περιγραφή ταιριάζει ακριβώς με την περιγραφή στις αρχαίες πηγές του ιερού Περσικού μεσολεύκωνα sarapis που ανήκε στον μεγαλύτερο βασιλιά όλων, τον Μέγα Αλέξανδρο και ως εκ τούτου ήταν το πολυτιμότερο αντικείμενο στην αρχαιότητα.

Αυτός ο «Χίτων» Σαράπης απεικονίζεται επίσης στη ζωφόρο του Τύμβου ΙΙ του έκτου κυνηγού, που ταυτίζεται με τον Αλέξανδρο.

Η περσική γαζέλα, που απεικονίζεται στη ζωφόρο, χρονολογεί επίσης τον Τάφο II. Έτσι, πολλά από τα τεχνουργήματα στον τάφο II ανήκαν στον Μέγα Αλέξανδρο.

Ο Αντώνης Μπαρτσιώκας (Ph.D. 1989, Πανεπιστήμιο του Λονδίνου) είναι Ομότιμος Καθηγητής Φυσικής Ανθρωπολογίας και Παλαιοανθρωπολογίας στο Τμήμα Ιστορίας και Εθνολογίας του Δημοκρίτειου Πανεπιστημίου Θράκης.

Λήψη 02 Απρ 2024, Αποδοχή 02 Σεπ 2024, Δημοσίευση διαδικτυακά: 17 Οκτ 2024

Περισσότερο:

https://www.tandfonline.com/.../10.../00934690.2024.2409503

Αγγλικοί υπότιτλοι βίντεο: https://www.youtube.com/watch?v=mv5Mk0S-Emw&t=22s

1. Πρόσοψη του τάφου του Φιλίππου Β' της Μακεδονίας στη Βεργίνα (ή Μέγας Αλέξανδρος), Ελλάδα. Η πόρτα είναι από μάρμαρο δωρικό.

2. Χρυσό Λάρνακα Φιλίππου Β΄

Ancient Ellenic Civilization/Ελληνικός Πολιτισμός