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by Marcel MEULDER. — Peirôs, a Thracian warrior in the Ilias, has the same name as the Hittite rider god Pirwa. Some facts defend this assumption…
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by Éric RAIMOND. — The number Nine is well-attested in many ancient myths…
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Egyptian and Egyptianising sculptural representations need to be carefully considered when archaeological context is missing. In this type of study, attention needs to be drawn to the style and the iconography. The present article focuses on an Egyptian statue without provenance exhibited in the Royal Museum of Mariemont in Belgium. Many scholars interpret this piece as an Isis figure from a roman context. The object shows an awareness of Egyptian traditions. Stylistically the statue from Mariemont seems to fit within the Ptolemaic Egyptian repertoire but the lack of parallels with statues from a certified context lead us to reconsider its authenticity. This sculpture has been interpreted as a roman copy in monographs. New observations based on the folds allow us to identify parallels with a statue from Alexandria dating from the second century BC. This comparison raises serious questions concerning terms such as copy, imitation or eclecticism. In conclusion, this paper tries to suggest a new key for our understanding of the statue from Mariemont.
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the Greek notion of sphere is part of a process of continuity / rupture which goes back to Sumer. There, the cosmos becomes in astronomy the celestial sphere, known under two aspects: that of the theory where, although absent from the lexicon, we can deduce from two tangent circles which wrap it; and that of the practice where is used the hemispherical sundial, named scaphe by the Greeks; at the same time, the "totality" is, on the clay tablet, a perfect disk / ring. In Greece, the mathematical sphere, which assumes a perfect shape and acquires for the human thought a remarkable efficiency, also ensues from the vision of a cosmos influenced by Mesopotamia and feeds, in the diverse stages of its elaboration, contributions of the Babylonian astronomy.
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Studies on the origin and development of the alphabet are very abundant: considering the last twenty years only, I listed more than thirty papers and monographs, which focus their attention on the mother script and antiquity of the Greek alphabet or the place and modalities of its transmission. In this paper, I shall comment three key theories, namely these of B.B. Powell (1991), related with Homeric epics, R.D. Woodard (1997), related with Cypriot syllabic writing, and S.-T. Teodorsson (2006), related with oriental literature. I chose them because they offer a global model of the alphabet’s historical reconstitution, which takes into consideration all parts of the question. Powell’s “Homer related” theory and Woodard’s, on a Cypriot origin, apparently completely opposed, seem to be combined to a certain degree by Teodorsson, who proposes a kind of compromise between literary influence and trade routes.
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L. BOMBARDIERI & A. M. JASINK. — Le Kouris Valley Project est un projet de recherche mené par l’Université de Florence en collaboration avec les Universités de Chieti et de Turin dans la région de Kourion (Limassol, Chypre)…
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Dans l’Écriture Sacrée de Evhémère le Messinien, conseiller du roi des Macédoniens, Cassandre décrit la situation socio-économique des îles de l’Océan indien, que lui-même a visitées. Les traits caractéristiques de la structure de la société et de l’économie des îles sont la répartition sociale du travail entre la population, l’évaluation positive du manoeuvre, ainsi que la politique économique centralisée et l’économie des incitations à la partie la plus productive de la population. Un passage souligne ce que possèdent les prêtres, lesquels exercent le pouvoir supérieur. Le travail de Evhémère, relevant du genre littéraire politique ‘mytho-historique’ (Staatsroman) des temps hellénistiques, appartient à la catégorie du mirror for princes, qui aboutit à projeter sur le prince la conception de la société idéale.
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Looking for the authenticity of the sacred one may find out that the first human’s gods could often take the animal form. Since the prehistoric times, human beings worshipped wild animals and represented them in art with care and precision. During the Antiquity, even the most anthropocentric streams of philosophy couldn’t impede the survival of these popular beliefs. Some peoples, like ancient Egyptians, developed a very sophisticated zoomorphic pantheon. Greece and Rome testified a high level of the animal symbolism in mythology and divination. As for the Asia Minor, according to the old traditions, the idea of the wild nature couldn’t be separated there from the perception of the realm of the gods. This paper gives an approach to some historical evidences of god’s metamorphoses into animals and tries to examine the origins of these beliefs in the ancient Mediterranean world.
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In this paper, the author redraws essential stages of the life of Diodorus of Sicily. The trip which this one accomplished in Egypt must exercise important influence for the writing of his work : the Library of History. This sicilian historian could consult sources kept in Alexandria, what allowed him to insert new books (I-VI) dedicating in events previous to the war of Troy.
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J. VANSCHOONWINKEL. — Oriental objects are present at Lefkandi on the island of Euboea from the end of the eleventh century and Greek protogeometric vases, specifically euboean, are imported in the Levant in the tenth century…
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Cet essai analyse le mot ἐπίστασις qui figure dans deux inscriptions dialectales pamphyliennes provenant de Pergé…
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Cette étude commence par un ultérieur approfondissement sur la situation des opérateurs du culte mycéniens et leur organisation…
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The origin of the name of the deity Apollo is still a matter of debate. The name is attributed to Greek, Anatolian or a substrate language of the Aegean area. Whatever the position one takes on this question, it has consequences far beyond the linguistic debate: it concerns the constitution of the Greek religious belief by inherited or by loan elements. In this article it is decisively taken part for the Greek origin of the deity, which is further linked to elements of Indo-European culture. In spite of some astonishing facts which could be in favor of an Anatolian (or substrate) origin, such an origin is refused. These facts belong already to a further development of the nature of the deity. The whole question is linked to the history of the movements of Indo-European men-groups to unknown regions, notably to the Greek presence in Western Anatolia which is older than generally asumed. In this perspective, Apollo can be considered as a kind of ‘frontier god’ who get’s ‘civilized’ in parallel to the institutional development of the political units venerating him.
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In archaic and classical Greece, the infernal world is characterized by a large network of rivers and marshy zones. The landscape appears essentially like a meadow (leimwvn), in other words a field heavy with moisture. Nevertheless, it is no flat open country as will be shown in this paper.
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E. SCAFA. — D’après la tablette PY An 724 il est possible de reconstituer la hiérarchie de commandement de la flotte : wanax – lawagetas et le me-nu-wa (= « ministre de la Marine »). Le personnel est composé par les e-re-ta (= rameurs, et en même temps aristocrates guerriers)…
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Greek painter Polygnotos’ paintings are only preserved by Pausanias’ description and by some isolated mentions of other Greek and Latin writers. At the end of the nineteenth century, the German scholar Carl Robert wrote three books on the works of this artist, in which he attempts to reconstitute three pictures (Nekyia, Ilioupersis and the Battle of Marathon). His attempt is part of a tradition that traces back to the middle of the eighteenth century. This paper shows how these studies on the Greek painting fall into line with Carl Robert’s research works, in what they are distinguishable from previous reconstitutions and which innovations they brought in the knowledge of the Greek painting of the fifth century B.C. as well as in the edition of Pausanias’ text.
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By the time when Vergil wrote the Aeneid, the number and identification of the Olympian Gods had long been determined. The Gods were twelve in number, collectively known as “dodekatheoi”, and their names, in Latin, were: Apollo, Ceres, Diana, Iuno, Iuppiter, Mars, Mercurius, Minerva, Neptunus, Venus, Vesta and Vulcanus. Yet it may be safely assumed that no order or, as it were, logical sequence, was ever imposed for the group as a whole, so that any artist or writer in Antiquity remained free to represent or describe them in the order of his choice. This article focuses on the question of the Twelve Olympians in the Aeneid. It puts forward a method whose purpose is to examine whether each book of the poem may be said to be dominated by one particular Olympian god. This investigation comes as a complement of previous studies already published about the literary architecture of the Aeneid.
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À propos de Thèbes ΎΠΟΠΛΑΚΊΗ: La critique moderne tend à situer Thèbes Ύποπλακίη, la capitale des Ciliciens, d’après une vision « restrictive » de la guerre de Troie et de son étendue réelle.Toutefois, si nous nous fixons l’objectif de déterminer – au-delà des exigences poétiques d’insérer plusieurs événements dans un cadre unitaire – les témoignages objectifs que l’épos homérique nous offre – enrichis par les données de la tradition – relatifs à Thèbes Ύποπλακίη apparaîtront sous un jour tout à fait différent, situés dans une campagne militaire qui a précédé la guerre de Troie, dans un bien différent contexte géopolitique.
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J. VANSCHOONWINKEL. — After a first paper devoted to the iconographical evidence from the temple of Ramesses III at Medinet Habu, this one analyzes the weapons of the Philistines from the textual evidence of the Old Testament, especially the description of the duel between Goliath and David. The scale-corset, the greaves of bronze, the javelin likened to a « weaver’s beam » and the singular contest give us some interesting information. In the problem of the supposed Aegean roots of the Philistine material culture, a close examination of the weapons and the singular contest shows that, apart from the greaves, they are typical in the ancient Near East at the end of the second millennium B.C.
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Some cuneiform texts found in the palace archives of Hattuša (BoÄŸazköy), the hittite capital, are the principal source of information for the history of the Aegean islands and western Asia Minor from 15th to 13th century BC. The question of the nature of Hittite involvement in Aegean area is one of the recurring problems arousing arduous debate about the Mycenaean-Hittite relations and the contacts between Hittite and Greeks towards Miletus (hittite Milawa(n)da), Aegean coast and islands (Lesbos/Lazpa ?). Although most of this study is obviously based on written sources, use is also made of the rich archaeological evidence about Mycenaean sites along the western coast of Anatolia and the nearest islands (Samos, Rhodes, Dodecanese).
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In his contribution R. Lebrun gives a confirmation for the equation Alašiya = Cyprus. He presents also an historical approach relating to the hittito-luwian presence in the island, namely during the hittite Empire. The study is based on epigraphical and archaeological evidence.
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At the end of the late Bronze Age, Alashiya was characterized by a very mixed population: Mycenians, Hittites, “people of the sea”, Syrians.
The different excavations carried on the island show a general state of prosperity, with international trade expansion. Relations were numerous particularly with Ugarit as shown by the finding of a lot of cypriot ceramics in this city and its harbour, a specific writing, the settlement of Alashiyan people in Ugarit, letters sent between the two courts. The documentation unearthed from the “Urtenu’s house” confirms these relationships. People from Alashiya worked in Ugarit, Cyprus shifted copper, Ugarit horses, oil and handicrafts. Both royal courts exchanged “presents” and pieces of information; it might even be possible that they had been bound by mariage.
The different excavations carried on the island show a general state of prosperity, with international trade expansion. Relations were numerous particularly with Ugarit as shown by the finding of a lot of cypriot ceramics in this city and its harbour, a specific writing, the settlement of Alashiyan people in Ugarit, letters sent between the two courts. The documentation unearthed from the “Urtenu’s house” confirms these relationships. People from Alashiya worked in Ugarit, Cyprus shifted copper, Ugarit horses, oil and handicrafts. Both royal courts exchanged “presents” and pieces of information; it might even be possible that they had been bound by mariage.
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Drawing a parallel between Apollo and Telipinu as founders brings to light the numerous analogies between the foundation processes in ancient Greece and Anatolia. Such analogies, which can hardly be put down to a common Indo-European origin, lead us to wonder whether Anatolia did not play a prominent part in the building up of the Apollo-centered foundation process in ancient Greece.
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Drawing a parallel between Apollo and Telipinu as founders brings to light the numerous analogies between the foundation processes in ancient Greece and Anatolia. Such analogies, which can hardly be put down to a common Indo-European origin, lead us to wonder whether Anatolia did not play a prominent part in the building up of the Apollo-centered foundation process in ancient Greece.
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J. VANSCHOONWINKEL. — This contribution discusses the supposed Anatolian origin of the Minoan double axe suggested by many archaeologists and historians. The Cretan archaeological and iconographical evidence and the Anatolian one are firstly analysed…
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Dans l’article, l’auteur compare des types monétaires des ateliers de Metimna, Chios, Samos, Ialysos, Clazomènes, Siphnos et de l’île de Chypre avec ceux analogues de la Lycie : la documentation numismatique, à travers la transmission de modèles, témoigne de la présence de rapports entre les îles de la Méditerranée orientale et la Lycie. Cette documentation n’est cependant pas, toute seule, apte à clarifier la nature et l’intensité des pièces identiques.
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