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spiroslyra 2006. jún. 20. Creative Commons License 69
Sheramy D. Bundrick
Assistant Professor of Art History, USF St. Petersburg
140 Seventh Avenue South, Davis Hall 258, St. Petersburg, FL 33701
phone: (727) 553-4062; fax: (727) 553-4526; bundrick@stpt.usf.edu
Education:
Ph. D., Art History, Emory University (1998)
Dissertation: “Expressions of Harmony: Representations of Female Musicians
in Fifth-Century Athenian Vase Painting,” dissertation adviser: Bonna Wescoat;
committee members: Cynthia Patterson, Gay Robins, H. Alan Shapiro
M.A., Art History, Emory University (1996)
M.A. Thesis: "The Royal Art of Rivalry: Ptolemaic and Antigonid Patronage of Delos
and Samothrace"
B.A., Art History, Emory University, summa cum laude (1992)
Academic Appointments:
Assistant Professor, University of South Florida St. Petersburg (Fall 2001- )
Visiting Assistant Professor, Emory University (Spring 2000)
Lecturer, Kennesaw State University (Winter 1998)
Dean's Teaching Fellow, Emory University (1997)
Teaching Associate, Emory University (Spring 1996)
Teaching Assistant, Emory University (1994-1995)
Honors, Grants, and Fellowships:
Faculty Research Grant, USF Interdisciplinary Center for Hellenic Studies (2004)
Fulbright grant funding participation in American School of Classical Studies
Summer Session II, Athens, Greece (2003)
Faculty Research Grant, USF Interdisciplinary Center for Hellenic Studies (2002)
Andrew W. Mellon Postdoctoral Fellowship, The Metropolitan Museum of
Art (September 2000–May 2001)
Dean’s Teaching Fellowship, Emory University (1997)
Samuel H. Kress Foundation Travel Fellowship in the History of Art (Fall 1996)
Visiting Student Associate Member, American School of Classical Studies (Fall 1996)
Award for Excellence in Graduate Research in the Humanities, Emory
University (1996)
Institute of International Education Grant for Summer Travel (1996)
Graduate Fellowship, Emory University (1992–1996)
Publications:
Music and Image in Classical Athens, forthcoming from Cambridge University Press.
Review of Antonio Invernizzi, Sculture di metallo di Nisa: Cultura greca e cultura
iranica in Partia (Centre international d’études Indo-Iraniennes, 1999),
American Journal of Archaeology 106.3 (July 2002).
“Portrait of Ptolemy IV Philopator,” in E. Varner, ed., From Caligula to Constantine:
Tyranny and Transformation in Roman Portraiture (Atlanta 2000) 86–87.
Selected Papers and Talks:
“Muses, Mousike, and Herakles the Dropout: Imaging Education in Fifth-Century
Athens” (Archaeological Institute of America conference, January 2004)
“The Fabric of the City: Images of Textile Production in Classical Athens”
(College Art Association conference, February 2003)
“Another Look at the Aulos” (Archaeological Institute of America conference, 2002)
“Let Me Not Live Without Music: Musical Imagery in Classical Athens” (Fellows’
Colloquium, The Metropolitan Museum of Art, March 2001)
“Expressions of Harmony: Female Musicians on Fifth-Century Attic Vases”
(Archaeological Institute of America conference, 1998)
“When Cultures Clash: Augustus, Actium, and the Paintings of Boscotrecase” (Yale
University conference, “Mediterranean Interactions II,” April 1996)
Work in Progress:
“The Fabric of the City: Images of Textile Production in Classical Athens” (article)
University Service:
Faculty mentor, USF Classics Student Forum (Spring 2004)
Arts Steering Committee, USF St. Petersburg (Spring 2003)
Panel judge, USF Classics Student Forum (Spring 2003)
Graphic Design Search Committee, USF St. Petersburg (Fall 2002-Spring 2003)
Faculty member, USF Interdisciplinary Center for Hellenic Studies (Fall 2001- )
Professional Activities:
Member, College Art Association (1996- )
Member, Archaeological Institute of America (1994- )
Additional Professional Experience:
Assistant Curator of Greek and Roman Art, Michael C. Carlos Museum,
Emory University (July 1998–August 2000)
Other positions held at the Michael C. Carlos Museum:
Curatorial Assistant for Special Exhibitions (July 1998–December 1999)
Co-Curator, “Nike: Competition and Victory at the Ancient Greek Festival Games”
(August 1995–April 1996)
Exhibition Intern/Research Assistant, “Reflections of Women in New Kingdom
Egypt: Egyptian Art from the British Museum” (January–June 1994)
Andrew W. Mellon Intern/Research Assistant, “From Hannibal to St. Augustine:
Ancient Art of North Africa from the Musée du Louvre” (May–August 1993)
Curatorial Assistant for Classical Art (August 1992–May 1996)
Curatorial Assistant for Ancient Near Eastern Art (May 1992–May 1993)
References:
Available upon request.
spiroslyra 2006. jún. 20. Creative Commons License 68

MUSIC AND IMAGE IN CLASSICAL ATHENS

During the fifth century B.C., Athens witnessed the explosion of images depicting musical performance, such as Apollo and the Muses, frisky satyrs, the poet Orpheus, youths at school, brides at weddings, and the dead at tombs. Primarily found in vase paintings, but also in sculpture and now-lost wall paintings, these images provide significant insight into the musical culture of the time and place, especially given that so much of the literary evidence for musical culture in Athens has been lost. In this study, Sheramy Bundrick proposes that the depictions of musical performance were intimately linked to contemporary developments in the field of music itself, such as the debate over music in education, theories of musical ethos, and the growing popularity of professional musicians. Moreover, she argues that music became a visual metaphor for the harmony – or disharmony – of the city. Her book is the first to consider the broad range of musical images in the dynamic Classical period, as well as their sociocultural and artistic implications.

Sheramy D. Bundrick is assistant professor of art history at the University of South Florida, St. Petersburg. She has received grants from the Samuel H. Kress Foundation and the Fulbright Foundation, and she was an Andrew W. Mellon Postdoctoral Fellow at The Metropolitan Museum of Art in 2000–1.



MUSIC AND IMAGE IN CLASSICAL ATHENS

SHERAMY D. BUNDRICK
University of South Florida, St. Petersburg



CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo

Cambridge University Press
40 West 20th Street, New York, NY 10011-4211, USA

www.cambridge.org
Information on this title: www.cambridge.org/9780521848060

© Sheramy D. Bundrick 2005

This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without
the written permission of Cambridge University Press.

First published 2005

Printed in Hong Kong by Golden Cup

A catalog record for this publication is available from the British Library.

Library of Congress Cataloging in Publication Data
Bundrick, Sheramy D.
Music and image in classical Athens / Sheramy D. Bundrick.
p. cm.
Includes bibliographical references and index.
ISBN 0-521-84806-7 (hardback)
1. Music, Greek and Roman – History and criticism. 2. Vases,
Ancient – Greece – Athens. 3. Music in art. I. Title
ML169.B96 2005
704.9′4978′09385 – dc22 2005002859

ISBN-13 978-0-521-84806-0 hardback
ISBN-10 0-521-84806-7 hardback

Cambridge University Press has no responsibility for
the persistence or accuracy of URLs for external or
third-party Internet Web sites referred to in this book
and does not guarantee that any content on such
Web sites is, or will remain, accurate or appropriate.



LET ME NOT LIVE WITHOUT MUSIC.
- EURIPIDES, HERAKLES 676



CONTENTS
Preface and Acknowledgments page ix
List of Illustrations xi
List of Abbreviations xv
1 MUSIC AND IMAGE IN FIFTH-CENTURY ATHENS 1
Sixth-Century Music and Musical Imagery 7
The New Democracy, “New Music,” and New Musical Imagery 9
2 REPRESENTING MUSICAL INSTRUMENTS 13
Stringed Instruments 14
The Chelys Lyre 14
The Kithara 18
The Barbitos 21
The Phorminx 25
The Thracian Kithara 26
The Harp 30
Wind Instruments 34
The Aulos 34
The Syrinx 42
The Salpinx 42
Percussion Instruments 46
3 MOUSIKE: THE ART OF THE MUSES 49
The Art of the Muses 51
Becoming an Aner Mousikos 60
The Lessons of Linos 71
Mousike and Gymnastike 74
Amateurs and Professionals: Mousike at the Symposion 80
Women and Mousike 92
4 ETHOS AND THE CHARACTER OF MUSICAL IMAGERY 103
Music on the Edge: Dionysos and His World 106
Ethos and Pathos in the Imagery of Orpheus 116
Thamyris: Music and Hubris 126
Marsyas, the Musical Satyr 131
5 HARMONIA AND THE LIFE OF THE CITY 140
The Harmonia of Apollo Kitharoidos 142
Music and Cult Ritual 150
Contest and Victory 160
Music and the Theater 175
Harmonia and the Wedding 179
Harmonia as Personification 193
6 MUSICAL REVOLUTIONS IN CLASSICAL ATHENS 197
Notes 203
Glossary 239
Bibliography 241
Index 253



PREFACE AND ACKNOWLEDGMENTS

This book began with my doctoral dissertation, “Expressions of Harmony: Representations of Female Musicians in Fifth-Century Athenian Vase Painting” (Emory University 1998). While researching scenes of women playing music in domestic environments, I realized that musical imagery in general positively exploded in the fifth century B.C. and decided this merited further study. The initial draft of this manuscript was written under the auspices of an Andrew W. Mellon postdoctoral research fellowship at The Metropolitan Museum of Art in 2000–1; I thank the Department of Greek and Roman Art, especially Joan Mertens, and the Education Department, particularly Marcie Karp, for their hospitality. Thanks are also due to the Samuel H. Kress Foundation, which awarded me a Travel Fellowship in 1996 for dissertation research. The manuscript was completed at the University of South Florida, St. Petersburg, in the period 2001–4.

Many others deserve thanks for their contributions. John H. Oakley has generously given of his time and support, for which I am most grateful; so too has H. Alan Shapiro, a member of my dissertation committee and helpful ever since: Both read preliminary drafts of the manuscript and offered valuable suggestions for its improvement. Thanks also to anonymous readers for Cambridge University Press for their comments; any errors that remain are my own. Bonna Wescoat served as adviser for my dissertation and actively encouraged the development of the book. Cynthia Patterson and Gay Robins were members of my dissertation committee. Bill and Suzanne Murray, who head the Interdisciplinary Center for Hellenic Studies at the University of South Florida, have shown much support; the Interdisciplinary Center for Hellenic Studies kindly awarded me two faculty research grants (2002 and 2004) to help acquire photographs. I thank the Publications Council of the University of South Florida for a subvention toward publication of the illustrations. My gratitude to all friends and colleagues who read portions of the manuscript, engaged in discussions about it, or otherwise showed their support. Special thanks to those who shared their knowledge and aspects of their own work, including Eric Csapo, Jenifer Neils, J. Michael Padgett, and Mark Stansbury-O’Donnell.

My appreciation extends to the numerous individuals, museums, libraries, and archives who assisted with research, provided photographs and permissions, or both. I am especially grateful to those who waived or reduced reproduction and copyright fees to help make publication possible. At Cambridge University Press, my profound thanks to Beatrice Rehl, Senior Editor, for shepherding the manuscript through the review process, seeing it through production, and answering all my questions, large and small.

My deepest, warmest gratitude to my family, to whom I dedicate this book with much love and appreciation.

All translations from Andrew Barker, ed., Greek Musical Writings, Vol. I: The Musician and His Art (Cambridge, 1984) are reproduced with permission from Cambridge University Press.



LIST OF ILLUSTRATIONS
1 Cup by Douris, ca. 490–480 B.C. page 2
2 Reverse of the cup in Fig. 1. 3
3 Amphora by the Berlin Painter, ca. 490 B.C. 4
4 Reverse of the amphora in Fig. 3. 5
5 Hydria attributed to the Group of Polygnotos, ca. 440 B.C. 15
6 Unattributed white-ground cup, ca. 480–470 B.C. 16
7 White-ground lekythos by the Timokrates Painter, ca. 460–450 B.C. 17
8 Amphora by the Brygos Painter, ca. 480 B.C. 19
9 Amphora by the Nikoxenos Painter, ca. 500 B.C. 20
10 Amphora by the Berlin Painter, ca. 480 B.C. 21
11 Exterior of a cup by the Foundry Painter, ca. 480 B.C. 23
12 Calyx krater by the Christie Painter, ca. 440–430 B.C. 24
13 Calyx krater by the Dokimasia Painter, ca. 470 B.C. 25
14 White-ground lekythos by the Achilles Painter, ca. 440 B.C. 27
15 Hydria attributed to the Group of Polygnotos, ca. 440–430 B.C. 28
16 Pelike by the Painter of Athens 1183, ca. 430 B.C. 29
17 Bell krater by Polion, ca. 420 B.C. 30
18 Amphora by the Peleus Painter, ca. 430 B.C. 31
19 Lebes gamikos by the Washing Painter, ca. 430–420 B.C. 32
20 Lebes gamikos by the Washing Painter, ca. 430–420 B.C. 33
21 Amphora by the Kleophrades Painter, ca. 500–490 B.C. 36
22 Reverse of the amphora in Fig. 21. 37
23 Plate by Epiktetos with satyr, ca. 500 B.C. 38
24 Cup in the manner of the Gales Painter, ca. 510–500 B.C. 39
25 Bell krater by the Danae Painter, ca. 440–430 B.C. 40
26 Hydria by the Duomo Painter, ca. 440–430 B.C. 41
27 White-ground pyxis by the Hesiod Painter, ca. 460–450 B.C. 43
28 Interior of a cup by the Ashby Painter, ca. 500 B.C. 45
29 Hydria by Hypsis, ca. 490 B.C. 46
30 Interior of a cup by Epiktetos, ca. 500 B.C. 47
31 Calyx krater by the Villa Giulia Painter, ca. 460–450 B.C. 54
32 Pelike by the Meidias Painter, ca. 410 B.C. 55
33 Amphora by the Eucharides Painter, ca. 490–480 B.C. 57
34 White-ground calyx krater by the Phiale Painter, ca. 440–430 B.C. 59
35 Hydria by Phintias, ca. 510–500 B.C. 61
36 Cup by Douris, ca. 480 B.C. 64
37 Amphora attributed to the Group of Naples 3169, ca. 470–460 B.C. 65
38 Hydria by the Painter of the Yale Oinochoe, ca. 470 B.C. 67
39 White-ground lekythos near the Thanatos Painter, ca. 450–440 B.C. 68
40 White-ground lekythos attributed to the Group of Berlin 2459, ca. 420–410 B.C. 69
41 White-ground lekythos by the Inscription Painter, ca. 460 B.C. 70
42 Skyphos by the Pistoxenos Painter, ca. 470–460 B.C. 71
43 Reverse of the skyphos shown in Fig. 42. 72
44 Exterior of a cup by Douris, ca. 480 B.C. 73
45 Interior of the cup in Fig. 44. 75
46 Cup by Douris, ca. 480 B.C. 76
47 Unattributed hydria, ca. 510–500 B.C. 77
48 Unattributed hydria, ca. 500 B.C. 79
49 Ram’s head rhyton by the Triptolemos Painter, ca. 480–470 B.C. 81
50 Cup by the Epeleios Painter, ca. 500 B.C. 82
51 Hydria by Euthymides, ca. 510–500 B.C. 83
52 Interior of the cup in Fig. 11. 85
53 Column krater by the Pig Painter, ca. 470–460 B.C. 86
54 Stamnos by Polygnotos, ca. 450–440 B.C. 87
55 Hydria by Polygnotos, ca. 450–440 B.C. 88
56 Phiale by the Phiale Painter, ca. 430 B.C. 89
57 Hydria by the Niobid Painter, ca. 460 B.C. 93
58 Amphora by the Niobid Painter, ca. 460–450 B.C. 94
59 Bell krater by the Danae Painter, ca. 440–430 B.C. 95
60 White-ground lekythos by the Achilles Painter, ca. 460–450 B.C. 100
61 Hydria attributed to the Group of Polygnotos, ca. 440 B.C. 101
62 Interior of a cup by the Brygos Painter, ca. 490–480 B.C. 108
63 Exterior side of the cup in Fig. 62. 109
64 Calyx krater by the Kleophrades Painter, ca. 500–490 B.C. 110
65 Reverse of the krater in Fig. 64. 111
66 Pointed amphora by the Kleophrades Painter, ca. 500–490 B.C. 112
67 Unattributed pelike, ca. 480–470 B.C. 113
68 Stamnos by Smikros, ca. 510–500 B.C. 114
69 Calyx krater by Euphronios, ca. 510–500 B.C. 115
70 Amphora by the Kleophrades Painter, ca. 500–490 B.C. 117
71 Cup by the Painter of Louvre G 265, ca. 480–470 B.C. 119
72 Stamnos by the Dokimasia Painter, ca. 470 B.C. 120
73 Amphora by the Phiale Painter, ca. 440–430 B.C. 121
74 Column krater by the Orpheus Painter, ca. 440 B.C. 122
75 Column krater by the Naples Painter, ca. 450 B.C. 123
76 Bell krater by the Painter of London E 497, ca. 440–430 B.C. 124
77 Hydria attributed to the Group of Polygnotos, ca. 440–430 B.C. 125
78 Hydria by the Phiale Painter, ca. 440 B.C. 128
79 Volute krater by Polion, ca. 420 B.C. 129
80 Athena and Marsyas, Roman marble statues possibly adapted from a fifth-century B.C. statue group. 134
81 Unattributed oinochoe with Athena and Marsyas, ca. 440 B.C. 135
82 Bell krater by the Pothos Painter, ca. 420–410 B.C. 136
83 Volute krater by the Kadmos Painter, ca. 420–410 B.C. 137
84 Hydria by the Berlin Painter, ca. 490–480 B.C. 143
85 Bell krater by the Villa Giulia Painter, ca. 460–450 B.C. 145
86 Amphora by the Niobid Painter, ca. 460 B.C. 147
87 Calyx krater by the Peleus Painter, ca. 430 B.C. 149
88 Section of the Parthenon north frieze with musicians, ca. 442–438 B.C. 151
89 Bell krater by the Kleophon Painter, ca. 430 B.C. 154
90 Stamnos by Polygnotos, ca. 440 B.C. 155
91 Calyx krater in the manner of the Kadmos Painter, ca. 420–410 B.C. 156
92 Stamnos by the Villa Giulia Painter, ca. 460 B.C. 157
93 Stamnos by the Chicago Painter, ca. 450 B.C. 158
94 Volute krater attributed to the Group of Polygnotos, ca. 440–430 B.C. 159
95 Amphora attributed to the Leagros Group, ca. 515–510 B.C. 161
96 Amphora by the Andokides Painter, ca. 530–520 B.C. 162
97 Calyx krater by Euphronios, ca. 510–500 B.C. 163
98 Pelike by the Pan Painter, ca. 480–470 B.C. 167
99 Calyx krater in the manner of the Peleus Painter, ca. 430–420 B.C. 169
100 Bell krater by the Kadmos Painter, ca. 430–420 B.C. 171
101 Unattributed calyx krater, ca. 415–410 B.C. 176
102 Drawing of volute krater by the Pronomos Painter with theatrical scene, ca. 400 B.C. 177
103 Drawing of a lebes gamikos by the Syriskos Painter, ca. 470 B.C. 179
104 Lekythos by the Amasis Painter, ca. 540 B.C. 180
105 Detail of the shoulder scene on the lekythos in Fig. 104. 181
106 Loutrophoros by the Washing Painter, ca. 430 B.C. 185
107 Loutrophoros with procession of bride and groom, ca. 430–420 B.C. 187
108 Lebes gamikos by the Washing Painter, ca. 430–420 B.C. 188
109 Pyxis by the Washing Painter, ca. 430–420 B.C. 189
110 Epinetron by the Eretria Painter, ca. 430–420 B.C. 193



LIST OF ABBREVIATIONS

AA


Archäologischer Anzeiger

ABV


J. D. Beazley, Attic Black-Figure Vase Painters. Oxford: 1956.

Add2


T. H. Carpenter. Beazley Addenda, 2nd ed. Oxford: 1989.

AJA


American Journal of Archaeology

AION


Annali dell’Istituto universitario orientale di Napoli. Dipartimento di studi del mondo classico e del Mediterraneo antico. Sezione di archeologia e storia antica.

AM


Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung

AntK


Antike Kunst

ARV 2


J. D. Beazley, Attic Red-Figure Vase Painters, 2nd ed. Oxford: 1963.

BCH


Bulletin de correspondence hellénique

BSA


Annual of the British School at Athens

CJ


Classical Journal

ClAnt


Classical Antiquity

CQ


Classical Quarterly

CRAI


Comptes rendus des séances de l’Académie des inscriptions et belles-lettres

CVA


Corpus Vasorum Antiquorum

CW


Classical World

EAD


Exploration archéologique de Délos

EchCl


Echos du monde classique/Classical Views

GaR


Greece and Rome

GRBS


Greek, Roman, and Byzantine Studies

IG


Inscriptiones Graecae

JdI


Jahrbuch des Deutschen Archäologischen Instituts

JHS


Journal of Hellenic Studies

JWalt


Journal of the Walters Art Gallery

LIMC


Lexicon Iconographicum Mythologiae Classicae. Vols. 1–8. Zurich: 1981–1997.

MEFRA


Mélanges de l’École française de Rome. Antiquité.

Para


J. D. Beazley, Paralipomena. Oxford: 1971.

RA


Revue archéologique

REA


Revue des études anciennes

REG


Revue des études grecques

ZPE


Zeitschrift für Papyrologie und Epigraphik
spiroslyra 2006. jún. 20. Creative Commons License 67
Kárpáti András: Enaulos kitharisis. Zenetörténeti megjegyzések a New York-i Polion-kratérhez
spiroslyra 2004. aug. 24. Creative Commons License 66
Numismatic Museum City/ Postal code 12 El. Venizelou Ave., Athens 106 71 Prefectorate Attica District Attica Director of the Museum Dr. Despina Eygenidou Opening hours Tickets Summer Opening Hours Tickets Olympics opening hours Winter Opening Hours Telephone +30-210-3643774, +30-210-3612190, +30-210-3612519 FAX +30-210-3635953 e-mail protocol@nm.culture.gr
spiroslyra 2004. aug. 24. Creative Commons License 65
Kedves Mihaly! Megprobaltam az internetrol meglelni neked a kert kepeket, sajnos nem sok sikerrel. Talan szeptembertol, ha nyitnak a konyvtarak, es mint minden evben egy sziszifuszi probalkozassal megkiserlem attekinthetove tenni az archivumomat. Milyen volt az asatas? Megjelent egy zene es tanc kiallitas katalogusa, elkezdem feldolgozni az anyagat. Ha megirod fenypostan a cimed, elkuldom neked is, ketnyelvu, angol es gorog, tanulmanyokkal. Kalo himona!:) Spyros
spiroslyra 2004. júl. 21. Creative Commons License 64
Jorgos baratunk Argoszbol ajanlja szives figyelmunkbe ezt a konyvet.
Megvan a Szabo Ervin Konyvtar zenei reszlegeben is, jomagam vagy harom-negy eve egy koruti antikvariumban bukkantam ra mint ritka kincsre...:)



Le Wed, 21 Jul 2004 13:56:22 +0300
George Kahrimanis <anakreon@hol.gr> ?ivait :
>AGAPHTE SPYRO, AFOU ASXOLEISAI ESTW KAI LIGO ME EIKONES
>SXETIKES ME MOUSIKH, AS SOU ANAFERW MIA ANATOLIKO-
>GERMANIKH SEIRA, "Musikgeschichte in Bildern", POU EXEI
>KAI ENA TOMIDIO ME ARXAIA ELLADA:
>
>AUTHOR: Wegner, Max, 1902-
>TITLE: Griechenland.
>PUBLISHED: Leipzig, Deutscher Verlag fur Musik
>(1963)
>DESCRIPTION: 141 p. illus. (part col.) facsim.,
> map. 35 cm.
>SERIES: Musikgeschichte in Bildern (Bd. 2, Lfg.
>4)
>NOTES: Bibliography: p. 133-136
>OCLC NUMBER: 5306230
>
>NA K ENAS ELLIPHS KATALOGOS THS SEIRAS:
>
> EJWTIKA
>Bd. 1, Lfg. 1. / Ozeanien.
>Bd. 1, Lfg. 2. / Amerika.
>Bd. 1, Lfg. 3. / Sudostasien.
>v. 1, pt. 4. / Sudasien; die indis
>Bd. 1, Lfg. 9. / Zentralafrika.
>Bd. 1, Lfg. 10. / Ostafrika.
>Bd. 1, Lfg. 11. / Westafrika.
> ARXAIA
>Bd. 2, Lfg. 1. / Agypten.
>Bd. 2, Lfg 2. / Mesopotamien.
>Bd. 2, Lfg. 4. / Griechenland.
>Bd. 2, Lfg. 5. / Etrurien und Rom.
>Bd. 2, Lfg. 7. / Alt-Amerika.
>Bd. 2 ; Lfg. 8. / Altindien.
>Bd. 2, Lfg. 9. / Mittelasien.
> MESAIWN KAI ANAGENNHSH
>Bd. 3, Lfg. 2. / Islam.
>Bd. 3, Lfg. 3 / Musikerziehung. Leh
>Bd. 3, Lfg. 4. / Schriftbild der ein
>Bd. 3, Lfg. 5. / Schriftbild der meh
>Bd. 3, Lfg. 8. / Musikleben im 15. J
>Bd. 3, Lfg. 9. / Musikleben im 16. J
> NEWTERA
>Bd. 4, Lfg. 1. / Oper, Szene und Dar
>Bd. 4, Lfg. 2. / Konzert.
>Bd. 4, Lfg. 3. / Haus- und Kammermus
>Bd. 4, Lfg. 4. / Tanz im 17. und 18.
>Bd. 4, Lfg. 5. / Tanz im 19. Jahrhun
>

>
>GEIA KAI XARA! -GIWRGOS KAXRIMANHS, ARGOS

spiroslyra 2004. júl. 21. Creative Commons License 63
http://www.beazley.ox.ac.uk/CGPrograms/Dict/ASP/OpenDictionaryBody.asp?name=Lyre

http://www.perseus.tufts.edu/cgi-bin/vaseindex?entry=RISD+15.005.

http://www.perseus.tufts.edu/cgi-bin/vaseindex?lookup=Philadelphia+MS2445.

http://www.christusrex.org/www1/vaticano/ET2-Etrusco.html.

eroticised and also clearly a skilled entertainer, as she holds a lyre. ... Publication:
Beazley, JD, Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963 ...
www1.hollins.edu/faculty/saloweyca/Athenian%20Woman/ knudsen/Kylix%20with%20Erotic%20Scenes.doc

http://www.educnet.education.fr/lettres/lycee/grec/seqt_1gr.htm


Vases grecs
- Le jugement de Pâris
Le site Louvre.edu offre la reproduction d'une amphore attique à figures noires qui représente ce sujet très populaire dans l'art grec du VIIe au IV e siècle av. J.-C.
" L'histoire du jugement de Pâris est connue par les Chants Cypriens qui relatent les causes et les débuts de la guerre de Troie. Tout commence au cours des noces de Thétis et Pelée où Éris, la Discord, lance la fameuse pomme d'or destinée "à la plus belle". Les dieux décident alors de charger Pâris, le fils du roi Priam, de choisir entre Athéna, Héra et Aphrodite.
Les cinq personnages principaux du mythe sont représentés : à droite, Pâris, barbu, vêtu d'un chiton et d'un himation, tient une lyre et s'enfuit, effrayé par la mission que les dieux veulent lui confier. Le messager de ces derniers, Hermés reconnaissable au pétase et au caducée, tente de le retenir. derrière lui, les trois déesses attendent. Elles sont vêtues d'un chiton et tiennent des couronnes. Aucun attribut ne permet de les identifier.
La grande popularité de ce thème est due à ses conséquences tragiques qui furent la guerre et la destruction de la ville de Troie. en effet, Aphrodite, choisie par Pâris, conseilla au jeune prince d'aller séduire Hélène, la plus belle des femmes. Or celle-ci était l'épouse d'un des plus puissants rois grecs, Ménélas. C'est son enlèvement qui provoqua l'expédition punitive des Grecs contre Troie. " (© [Louvre.edu], texte de Sophie Padel)
http://www.educnet.education.fr/lettres/lycee/grec/seqt_1gr.htm

Of special interest to classicists will be a red-figure cup by the Akestorides Painter which shows a youth displaying a book roll with a four-line stoichedon text. Both Beazley and Immerwahr have suggested readings which S. conflates in her commentary by citing Beazley's Greek (Iliad 9.399 or 13.638) and Immerwahr's translation "he who heeds me, will prosper."2 The author has also mistaken a sponge cum aryballos hanging above the boy holding the book roll on side A for a writing case. Since these objects clearly signify the palaestra, and the youth in the tondo is holding jumping weights, one could see the central youth on each exterior side as the same person shown in three different guises: as athlete (weights), musician (lyre) and school boy (writing case).
http://ccat.sas.upenn.edu/bmcr/1997/97.03.39.htm

http://www.ewolfs.com/past_auctions/oct_art/


http://ccat.sas.upenn.edu/awiesner/oralit.html.

http://members.aol.com/JWFvase2/page/cataloga4.htm

http://www.mlahanas.de/Greeks/Educations.htm

JIIA.it [contributo di Daniela Castaldo]
... In the scenes where Dionysus appears with the lyre there is a completely different
atmosphere: on a kylix of Arlesheim (2: NO BEAZLEY Black-figure Kylix a ...
www.jiia.it/JIIA.it/Sezione_II/JIIA_01/ Castaldo_D01/Articolo_D01/Castaldo_articolo_pag3.html

Autour d'Ariane
... Thésée enlevant Antiope Intérieur : Un jeune homme tenant une lyre (Thésée ?)
et une ... http://bama.ua.edu/~ksummers/cl222/LECT14/sld023.htm Beazley Archive. ...
www.ac-nancy-metz.fr/enseign/lettres/ LanguesAnciennes/Ariane/fichiers/ariane_autour.htm

http://www.christusrex.org/www1/vaticano/ET1-Etrusco.htm


http://www.utas.edu.au/docs/museum/gv21.htm

http://home.page.ch/pub/henaro@vtx.ch/nekyia.htm

http://assets.cambridge.org/0521809304/sample/0521809304WS.pdf

http://www.utexas.edu/courses/cc348hubbard/Web%20image%20pages/getty-86ae290i.htm
Előzmény: spiroslyra (39)
spiroslyra 2004. júl. 16. Creative Commons License 62
http://www.by-the-sword.com/acatalog/The_Greeks.html
spiroslyra 2004. júl. 16. Creative Commons License 61
http://members.aol.com/JWFvase2/page/catalogb.htm.
Előzmény: spiroslyra (39)
spiroslyra 2004. júl. 13. Creative Commons License 60
http://www.beazley.ox.ac.uk/BeazleyAdmin/Image2/200AddendaCarpenter.jpg

Beazley addenda :
additional references to ABV, ARV2 & Paralipomena /

Thomas H Carpenter; J D Beazley; Thomas Mannack; Melanie Mendonça; Lucilla Burn
1989 2nd ed.
English Book li, 481 p. ; 26 cm.
Oxford : Published for the British Academy by Oxford University Press, ; ISBN: 0197260691
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Title: Beazley addenda :
additional references to ABV, ARV2 & Paralipomena /
Author(s): Carpenter, Thomas H. ; Beazley, J. D.; 1885-1970. ; (John Davidson),; Mannack, Thomas. ; Mendonça, Melanie. ; Burn, Lucilla. ; Beazley addenda.
Corp Author(s): Beazley Archive.
Publication: Oxford : Published for the British Academy by Oxford University Press,
Edition: 2nd ed.
Year: 1989
Description: li, 481 p. ; 26 cm.
Language: English
Standard No: ISBN: 0197260691 LCCN: 89-106824
SUBJECT(S)
Descriptor: Vase-painting, Greek -- Indexes.
Vases, Greek -- Indexes.
Note(s): "Incorporating the 1st ed. (1982) compiled by Lucilla Burn and Ruth Glynn."
Class Descriptors: LC: NK4648; Dewey: 738.3/82/0938
Responsibility: compiled by Thomas H. Carpenter ; with Thomas Mannack and Melanie Mendonça, at the Beazley Archive.
Document Type: Book
Entry: 19890125
Update: 20010404
Accession No: OCLC: 20854806
Database: WorldCat
spiroslyra 2004. júl. 13. Creative Commons License 59
http://www.beazley.ox.ac.uk/Publications/Script/EarlyPublications.htm


1989
Beazley Addenda (second edition)
compiled by T.H. Carpenter at the Beazley Archive

http://www.beazley.ox.ac.uk/BeazleyAdmin/Image2/200AddendaCarpenter.jpg
spiroslyra 2004. júl. 13. Creative Commons License 58
http://www.zoroastriankids.com/maltese.jpg

This fifth century BC seal shows a Persian noblewoman playing a harp for her Maltese dog. The Phoenicians brought this dog from the island of Malta to Asia Minor (today’s Turkey) where it became very popular with wealthy Persians.
spiroslyra 2004. júl. 13. Creative Commons License 57
http://www.beazley.ox.ac.uk/Test/Vases/ASP/ViewDetails.asp?Vnum=17050
Előzmény: spiroslyra (56)
spiroslyra 2004. júl. 13. Creative Commons License 56
Mihaly 1.
Beazley Archive web site

Database Record Number: 17050
Technique: RED-FIGURE Shape: CUP STEMLESS
Inscription: Kalos/Kale: STROI[BOSKA]LOS STROIBOS KALOS Kalos/Kale: STROIBOS
Provenance:
Date: 575-525
Decorated Area: A - WARRIORS DEPARTING, DRAPED YOUTHS AND MEN (?), WOMEN
Decorated Area: B - WARRIORS ARMING, YOUTHS AND MEN, SOME DRAPED, OLD MAN, DRAPED YOUTH PLAYING PIPES
Decorated Area: UH - DRAPED YOUTH WITH LYRE AND DOG, DOGS FIGHTING
Current Collection:
Basel, Market, Munzen und Medaillen A.G.
Publication Record:
Carpenter, T.H., with Mannack, T., and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989), 392
Előzmény: spiroslyra (39)
spiroslyra 2004. júl. 10. Creative Commons License 55

Dear Mike!

 

I have made lots of lyres, but these are not proffesional experiences. There are lot proffesional or amature attempts of this kind. Some of them are mentioned, analysed and criticised in an essay of proff. Psarpudakis. I will send you this article. Into this publication he gives a new solution of how the "zygos" (crossbar) joins the pychis. This daedalic mechanism remained a mystery untill lately. If you want we can make a lyre for you as well. Now I am preparing a "kithara". Two samples of my lyres:

 

 

 

http://www.vilagvevo.radio.hu/sounds/lyra.htm

 

http://www.vilagvevo.radio.hu/adasok/31/spiros.htm

 

http://www.terrasoft.hu/kultura/kaboca/lyratort/

 

http://www.terrasoft.hu/kultura/kaboca/lyratort/kklyra01.jpg

 

This is the instrument of Petyus:

http://www.terrasoft.hu/~mikolap/zene/lyra/

 

Our friend Petyus in his site Kaboca offers space for the Lyre-laboratory, and for studies, therefore it would be nice if you joined us, with your studies, and when you finish your thesis, you could annonce your results.

 

 

http://www.terrasoft.hu/kultura/kaboca/ogorog/

 

I wish you make astonishing discoveries. Find a musical instrument as well...:)

 

Euge,

 

Spyros.

 

Előzmény: spiroslyra (53)
spiroslyra 2004. júl. 10. Creative Commons License 54

Intertran ferdites:)

 

Dear Do-nothing! Many lyrat keszitettem , these however only mukedvelo probalkozasok. Szamtalan amatol es office kiserletrol tudunk. Nehanyat these kozul stilts , analyze ertekel one tanulmanyaban Psaroudakis professor. Elkuldom the irast for you. In this one uj unlink roughs the kithara horn es cross rud dowel zigos puhis ). This dedalikus mechanism mindmaig mystery rebusz it had been. If I wanna , for you also keszitunk one lyrat. This time one kitharat carved. Lyraimbol shown ketto : sounds /lyra.htm adasok /31/spiros.htm http:/www.terrasoft.hu/ civilizes kaboca lyratort // http:/www.terrasoft.hu/ civilizes kaboca lyratort /kklyra01.jpg Slack Master score : http:/www.terrasoft.hu/~ when / music lyra // Slack baratunk , the Kaboca honlapjan make room the Lyra muhelynek tanulmanyoknak igy vertex vennenk , if resztanulmanyokkal es then if elkeszul the diszertaciod , Ann ismertetesevel abut hozzank. http:/www.terrasoft.hu/ civilizes kaboca ogorog // Kivanok szenzacios leleteket the asatasodnal! Soil one musical instrument also.:) Eugenics Spyros

 

Drogi Czynić - nic! Dużo lyrat keszitettem , tych jednakże tylko mukedvelo probalkozasok. Szamtalan miłosny es wydział kiserletrol tudunk. Nehanyat tych Kozubów szczudła , analizować ertekel jeden tanulmanyaban Psaroudakis profesor. Elkuldom ten irast pod kątem ty. W ten jeden uj nieodpowiedzialny mierzwi ten rodzina róg es przekreślać rud kołek zigos puhis ). Ten dedalikus mechanizm mindmaig tajemnica , rebus ono miał był. Jeśli JA bladość , pod kątem ty także keszitunk jeden lyrat. Ten czas jeden kitharat rzeźbiony. Lyraimbol pokazał kocioł : http:/www.vilagvevo.radio.hu/ dźwięki /lyra.htm http:/www.vilagvevo.radio.hu/ automatyczny system gromadzenia danych /31/spiros.htm http:/www.terrasoft.hu/ cywilizuje / kebab lyratort // http:/www.terrasoft.hu/ cywilizuje / kebab lyratort /kklyra01.jpg Opieszały Mistrz wynik : http:/www.terrasoft.hu/~ podczas / muzyka lyra // Opieszały baratunk , ten Kebab honlapjan zrobić pokój ten Lyra muhelynek tanulmanyoknak igy szczyt vennenk , jeśli resztanulmanyokkal es wtedy jeśli elkeszul ten diszertaciod , Anna ismertetesevel dotykać hozzank. http:/www.terrasoft.hu/ cywilizuje / kebab ogorog // Kivanok szenzacios leleteket ten asatasodnal! Plama jeden muzyczny instrument także.:) Eugenika Spyros

Előzmény: spiroslyra (53)
spiroslyra 2004. júl. 10. Creative Commons License 53

Kedves Mihaly!

 

Sok lyrat keszitettem, ezek azonban csak mukedvelo probalkozasok. Szamtalan amator es hivatasos kiserletrol tudunk. Nehanyat ezek kozul megemlit , elemez, ertekel egy tanulmanyaban Psaroudakis professzor. Elkuldom az irast neked. Ebben egy uj megoldast kinal a kithara szarv es kereszt rud illesztesre (zigos, puhis). Ez a dedalikus szerkezet mindmaig rejtely, rebusz volt. Ha akarod, neked is keszitunk egy lyrat. Most  egy kitharat faragok. Lyraimbol mutatoba ketto:

 

http://www.vilagvevo.radio.hu/sounds/lyra.htm

 

http://www.vilagvevo.radio.hu/adasok/31/spiros.htm

 

http://www.terrasoft.hu/kultura/kaboca/lyratort/

 

http://www.terrasoft.hu/kultura/kaboca/lyratort/kklyra01.jpg

 

Petyus Mester hangszere:

http://www.terrasoft.hu/~mikolap/zene/lyra/

 

Petyus baratunk, a Kaboca honlapjan helyet ad a

Lyra muhelynek, tanulmanyoknak, igy orommel vennenk, ha  resztanulmanyokkal es majd ha elkeszul a diszertaciod, annak ismertetesevel csatlakoznal hozzank.

 

http://www.terrasoft.hu/kultura/kaboca/ogorog/

 

Kivanok szenzacios leleteket az asatasodnal! Talalj egy hangszert is...:)

 

Euge

Spyros

Előzmény: Karbon (52)
Karbon 2004. júl. 10. Creative Commons License 52
Agapite Spyro, se eyxaristo gia ti boitheia sou. Milao mono polonika, rosika, agglika, italika, omos sxetika me ta gallika, eixa mono 5 mathimata :-(, sta ouggarezika mporei na me boithisei o adelfos mou, kai... opos katalaba sou aresoun oi paroimies:-). Eftiaxes mia LYRA!!!. WoW! Mporeis na mou steileis fotografia i recordings? Tha xairomoun polu an dexosoun na dimosieytei i lyra sou sti douleia mou, na prosexeis kai na mi xatheis, meta tin anaskafi tha grapso se sena kai ston prof Psaroudakes, dikos sou, Mike.
Előzmény: spiroslyra (49)
spiroslyra 2004. júl. 10. Creative Commons License 51
http://www.intertran.net/
Előzmény: spiroslyra (50)
spiroslyra 2004. júl. 10. Creative Commons License 50
Intertran 'ferdites' :) Kedves Spyros , köszönet nagyon részére Segítséged. ÉN beszél egyetlen fényesít , orosz , angol , olasz körülbelül francia : ( ÉN egyetlen 5 leckék -ból ez magyarul tud segítsen nekem bátyám : ) és ahogy ettem megvalósított Ön szeret közmondás : ) ÖN GYÁRTOTT Líra!!! vonít Van önnek némely fénykép -ból ez vagy regisztráló készülékek? Ez lesz nagy ha Ön elfogad -hoz közzétesz -a Líra munkámban!!! Vigyázz és kapcsolatban marad : ) Csak után kiásás I'll ír Ön és én prof. Psaroudakes. Öné Mihály Αγαπητέ Spyros , ευχαριστώ πολύ για δικό σου βοήθεια. εγώ μιλώ μόνο λούστρο , Ρώσσος , Άγγλος , Ιταλόs για Γάλλοs : ( εγώ είχα μόνο 5 μάθημα του αυτό μέσα Ούγγρος μπορώ βοήθησε με my αδελφόs : ) και όπως εγώ αντελήφθηκα You αρέσω παροιμία : ) YOU φτιαγμένος LYRE!!! πώπω έχετε μερικά φωτογραφία του αυτό ή καταγραφέας ήχου? αυτό θα να είμαι σπουδαίος εάν You δέχομαι σε δημοσιεύω δικό σου Lyre μέσα my δουλειά!!! προσέχω και διατηρώ επαφή : ) μόλιs μετά excavations I'll γράφω εσύ κι εγώ prof. Psaroudakes. δικό σου Μιχάληs
Előzmény: spiroslyra (49)
spiroslyra 2004. júl. 10. Creative Commons License 49
Dear Spyros, thanks a lot for Your help. I speak only polish, russian, english, italian about french :-( I had only 5 lessons of it in hungarian can help me my brother :-) and... as I realized You like proverbs :-) YOU MADE LYRE !!! WOW! Do You have some photos of it or recordings? It will be great if You accept to publish Your Lyre in my work !!! Take care and keep in touch :-) Just after excavations I'll write You and prof. Psaroudakes. Yours Michael
Előzmény: spiroslyra (48)
spiroslyra 2004. júl. 9. Creative Commons License 48
Dear Mike! I visite university as audience, taking part in cources of ancient greek music. This is how I met prof. Psaroudakes (Athens Universtity Department of Musicology). He is among the best researchers. You can read his proffessional bibliografy ant a study of him, as well as discussions of what is said during his lessons here: http://forum.index.hu/Article/showArticle?t=9103586. About me quickly, I was born in Hungary, older I returned in Greece, I made friends musicians, who were studing about ancient greek music. I started studing as well, I made a lyre... the rest I will write later, it is an endless adventure:) I looked at your list, I hope I will find the pictures. Untill then good work, excavation, καλό καλοκαίρι. Σε χαιρετώ, Σπύρος. P.S. Do you happen to speak french, it is easier to write, and our friend Amerso and Marie-Helen could help us.
Előzmény: spiroslyra (47)
spiroslyra 2004. júl. 9. Creative Commons License 47
Kedves Mihaly!

Vendeghallgatokent koptatom az egyetem padjait, okori zenei orakat hallgatva. Itt ismerkedtem meg Psaroudakes professzorral ( Atheni Kapodistria Egyetem Zenei Tanszek), aki elfogultsag nelkul mondva, a legkivalobb okor zene tudosok koze tartozik. Itt tobbet megtudhatsz rola, szakmai oneltrajza, egy tanulmanya is olvashato, valamint beszelgetesek az orajan elhangzottakrol:
http://forum.index.hu/Article/showArticle?t=9103586
Magamrol kutyafuttaban csak annyit, hogy Magyarorszagon szulettem, es felnott fejjel, mit sem tudva gorogul kerultem vissza. Itt gyorsan donteni kellett, mit tegyek, mivel nem tudtam egy kukkot sem gorogul. A szerencse ugy hozta, hogy zenebonalo tarsasagra leltem, akik az ogorog zenere is prabaltak 'rahangolodni'. Ez annyira megtetszett, hogy elhataroztam, komolyan tanulni fogom, nekifogtam lyra barkacsolasnak..., a tobbit majd elmeselem szepen sorjaban lassacskan, mert egy vege-hossza sincs kaland. Megnezem a listadat, remelem megtalalom hozza a kepeket. Addig is, jo kutatast, asatast, nyarat.

Udvozol:
Spyros



Előzmény: Karbon (43)
spiroslyra 2004. júl. 9. Creative Commons License 46
Gepi forditas, ugyanezt gorogre

Kita, ehi plaka, pos methafrazi to keimeno to Intertran mihani:

Αγαπητέ Spyros I'll έρχομαι σε επαφή prof. Psaroudakes μόλιs μετά my εκσκαφέας κοντά Odessa αυτό μέσα για 20th του Αύγουστος. είναι You φοιτητήs? πού Mr. Psaudorakes is prof.? πωs κάνω You γνωρίζω Ούγγρος εκτοντάδες του ερώτηση : ) δικός μας πανεπιστήμιο μέσα κροτίδα is ωραίος istn't αυτό?;-) καλά Spyros I'm κοιτάζω για λίγο illustrations σε my δουλειά. So , πιθανά You θα μπορούσεs βοήθησε με σε αποκτώ αυτούς. υπάρχει έναs κοντός ( διότι αυτό είναι beginning ;-) λίστα του βάζο I'd αγαπώ σε έχω οποιοσδήποτε γραφικός
Előzmény: spiroslyra (44)
spiroslyra 2004. júl. 9. Creative Commons License 45
Agapite Karbon!

Euharisto diplasia :0) to methafrasi. Ketszeres koszonet a gyors forditasert, kozben en is ferditettem egyet...
Előzmény: Karbon (43)
spiroslyra 2004. júl. 9. Creative Commons License 44
"Beutottem" az Intertran forditogepebe. Mokas az eredmeny:
'Kedves Spyros I'll kapcsolat prof. Psaroudakes csak után az én -m kiásás mellett Odessa azt jelenti körülbelül 20th -ból Augusztus. Van Ön hallgató? Hol Miszter. Psaudorakes van prof? Honnan tudod magyar Száz -ból kérdés : ) -unk Egyetem -ban Kiváló van szép istn't ez?;-) Jól Spyros , Keresem kevés illusztráció munkámhoz. Tehát , talán Ön tudna segítsen nekem -hoz kap őket. Van egy rövid ( mert az kezdet ;-) oldalra dől -ból váza I'd szerelem -hoz volna akármi mozi ':)
Előzmény: spiroslyra (39)
Karbon 2004. júl. 9. Creative Commons License 43
Se rotaei an eisai foititis:) Loipon i metafrasi apo tin arxi: Agapite Spyro Tha epikoinoniso me Prof. Psaroudakes meta tin anaskafi mou stin Odesso, diladi gyro stis 20 Aygoustou. Eisai foitetes? Pou einai kathigetes o kyrios Psaroudakis? Pos milas ouggarezika? Ekatontades erotiseis:-) To panepistimio mas stin Cracow einai oraio, den einai? Loipon, Spyro, psaxno kapoies parastaseis gia ti douleia mou. Isos tha mporouses na me boithiseis. Edo einai mia mikri (giati einai arxi:-) lista aggeion ton opoion tha ithela polu na exo kapoies eikones. (Ta noumera einai oi arithmoi tou arxeiou Beazley sto web site):........(Sou parathetei ti lista) Elpizo na min einai megalo problima gia sena na me boithiseis. I alli lista (mythologikes parastaseis) ton Aygousto. Dikos sou, filia Mike. PS1 Grapse mou kati gia sena an mporeis:-) PS2 Na peraseis kala stis diakopes!
Előzmény: spiroslyra (39)
Karbon 2004. júl. 9. Creative Commons License 42
Se rotaei an eisai foititis:) Loipon i metafrasi apo tin arxi: Agapite Spyro Tha epikoinoniso me Prof. Psaroudakes meta tin anaskafi mou stin Odesso, diladi gyro stis 20 Aygoustou. Eisai foitetes? Pou einai kathigetes o kyrios Psaroudakis? Pos milas ouggarezika? Ekatontades erotiseis:-) To panepistimio mas stin Cracow einai oraio, den einai? Loipon, Spyro, psaxno kapoies parastaseis gia ti douleia mou. Isos tha mporouses na me boithiseis. Edo einai mia mikri (giati einai arxi:-) lista aggeion ton opoion tha ithela polu na exo kapoies eikones. (Ta noumera einai oi arithmoi tou arxeiou Beazley sto web site):........(Sou parathetei ti lista) Elpizo na min einai megalo problima gia sena na me boithiseis. I alli lista (mythologikes parastaseis) ton Aygousto. Dikos sou, filia Mike. PS1 Grapse mou kati gia sena an mporeis:-) PS2 Na peraseis kala stis diakopes!
Előzmény: spiroslyra (39)
spiroslyra 2004. júl. 9. Creative Commons License 41
Kedves Alkman!

Ikon=kep
Martiria=tanusag

Ezzel szemben a masik forras a zeneregeszethez az irasos tanusagok, graptes martiries (grafi=iras).

Esetunkben tehat minden olyan regeszeti lelet, ami az ogorog zenehez kapcsolodik, vazakep, szobor, dombormu, erme, ekszer...

Mihaly baratunk, Lengyelorszagbol eppen errol ir doktori disszertaciot. Kerte segitsegunket, hogy a Krakkobol nehezen elerheto, megtalalhato dokumentumokat, melyekre a kutatasahoz szuksege volna, keressuk meg az archivumainkban, es kuldjuk el neki, amit keszsegesen megteszunk. Mihalyban egy kituno tudos baratra leltunk, aki vegig izgult velunk , szurkolva a gorog focicsapatnak...:) Most, ha jol ertem, epp a Fekete-tenger melle keszul egy asatasra. A neki szant kepeket itt is megnezhetitek. Remelem minel elobb megtanulom az uj modszert, hogy tehetek fel kepeket. Most meg nem sikerul. Adnal tanacsot mint a technikaban jaratos, a ketbalkezesnek? Tudod ki volt - ha ellopjuk a neved elejet es a veget- Alkman?:) Ha te 'szines' nevet adsz nekem, en is atkeresztellek...

Minden jot, nyaralast!

Spiros
Előzmény: Walkmann (40)
Walkmann 2004. júl. 9. Creative Commons License 40
Kedves Piros! Kik azok az "ikastikes martiries"? Elmondanád pár szóban? Szerintem valamiféle ókori mártirokról lehet szó, vagy valami egészen misztikus dologról, amiről nekem csak sejtéseim lehetnek