Categories
Education

An Educational Web Portal for Cypriot UNESCO Monuments

REUSING CULTURAL HERITAGE DIGITAL DATA TO DEVELOP AN EDUCATIONAL WEB PORTAL FOR CYPRIOT UNESCO MONUMENTS

Digital Heritage Research Lab, Cyprus University of Technology[1]

At the beginning of the 21st century, technology had reached a point where the digitization of Cultural Heritage (CH) and massive storage of CH data was economically efficient and, on the other hand, due to human thread and massive environmental destruction there was a need for massive CH digitization. This fact has led to the formation of a high interest in turning the material into digital, for the information to be easily detected and retrieved and the knowledge to be widely and equally accessible. At the same time the Digital Agenda for Europe, promotes the creation, production and distribution of digital content and services for a creative, vibrant single market. [1] Reuse of Digital CH content is taking place now in Europe, characterized by the Europeana projects (Europeana Creative, E-Space, Europeana Food & Drink etc.), where experimental business models, innovative approaches and services are developed using Europe’s biggest -in digital items- library. [2] The concept of “use and reuse” of Digital CH Data has been established, while at the same time a demand developed for the further evolution of the technology in order to facilitate the exponential growth of the created content (big data) and their preservation.

Categories
Exhibitions Interviews

The Grandeur of Roman Mosaics

Roman mosaics decorated luxurious domestic and public buildings across the empire. Intricate patterns and figural compositions were created by setting tesserae — small pieces of stone or glass — into floors and walls. Scenes from mythology, daily life, nature, and spectacles in the arena enlivened interior spaces and reflected the cultural ambitions of wealthy patrons. Introduced by itinerant craftsmen, mosaic techniques and designs spread widely throughout Rome’s provinces, leading to the establishment of local workshops and a variety of regional styles.

Drawn primarily from the Getty Museum’s collection, Roman Mosaics across the Empire  at the Getty Villa in Los Angeles, California, presents the artistry of mosaics as well as the contexts of their discovery across Rome’s ever growing empire — from its center in Italy to provinces in North Africa, southern France, and ancient Syria. In this exclusive interview, James Blake Wiener of Ancient History Encyclopedia speaks to Dr. Alexis Belis, assistant curator in the Department of Antiquities at the J. Paul Getty Museum, about the various kinds of mosaics found within the former Roman Empire.

Categories
Exhibitions Photos

Rijksmuseum van Oudheden

Leiden, Netherlands is not exactly the first place that comes into mind when you think about ancient history. Even if you are in the city, you would most likely walk past the Rijksmuseum van Oudheden (National Museum of Antiquities) without noticing it. Hidden in an unremarkable building in the historic city center, it’s nothing like entering the magnificent building of the Louvre or the British Museum. Yet, judging the book by its cover would be a huge mistake. Once inside, right in the middle of the entrance hall, you are greeted with an actual Egyptian temple, built c. 2000 years ago, originally dedicated to Isis and later used as a Christian church, transported to the museum stone by stone from Taffeh, Egypt.

Temple of Taffeh
A real 2000-year-old Egyptian temple from the village Taffeh in the National Museum of Antiquities, Leiden. Photo © Ibolya Horvath

Categories
Photos

Ivory in the Ancient World

Ivory, with its ease of carving and exotic rarity, has been used to make art objects for millennia. True ivory actually refers to only the dentine of elephant tusks but it may also refer to the tusks and teeth of walrus, hippopotamus, narwhal and sperm whales, amongst others. The ancient world acquired its ivory either directly or through trade with Africa and India via the Levant, as attested by the Bronze Age Ulu Burun shipwreck which had ivory as part of its cargo.

In the modern day ivory is, of course, a strictly controlled commodity and its trade and use are illegal if taken from endangered species.  In the ancient world, though, ivory could be carved alone or added to metals or wood and used as inlay. The Egyptians buried ivory objects with the dead, the Greeks used it for giant statues such as the Parthenon Athena, and the Romans even burnt it at funerals.  Below are just some of the objects made from this precious and fragile material which have survived the centuries.

An ivory figurine representating a bull-leaper from a three dimensional composition (with two other figures and a bull) depicting this Minoan sporting or religious activity. Hair would have been added using bronze wire and clothes in gold leaf, 1600-1500 BCE. It is perhaps the earliest known attempt in sculpture to capture free movement in space. (Archaeological Museum Herakleion)
An ivory figurine representating a bull-leaper from a three dimensional composition (with two other figures and a bull) depicting this Minoan sporting or religious activity. Hair would have been added using bronze wire and clothes in gold leaf, 1600-1500 BCE. It is perhaps the earliest known attempt in sculpture to capture free movement in space. Archaeological Museum Herakleion, Crete. Photo © Mark Cartwright
Categories
Photos

Erotic Images from Ancient Times

Ancient art and archaeological remains have provided archaeologists and historians today with clues to how the ancients practiced their sexuality and their overall attitude toward sex. To the causal observer, it seems the ancients were more open about their sexuality then we are today. In ancient Rome there were artworks in living rooms or studies depicting erotic images of lovers performing various sexual acts and in ancient Mesopotamia mass-produced terracotta plagues would show couples having sex.

The Secret Cabinet

For the Romans, sex was a part of their everyday lives, state affairs, religious rites, myths, even warfare, and featured prominently in their art. One of the most famous collections of erotic art from Roman culture is the artwork featured in the secret cabinet (gabinetto segreto). The secret cabinet collection is now part of the Naples National Archaeological Museum. It is said when King Francis I of Naples visited with his wife and daughter in 1819 he was so shocked by the contents of the collection he had them locked away. A brick wall was even built over the doorway to keep the scenes from corrupting people.

The following are a few select images of the artwork and artifacts found in the secret cabinet collection.

Categories
Photos

Ancient Greek Temples of the Mediterranean

Here is another image post for you all to enjoy, today’s topic is the Greek temples!

Greek temples (naos – meaning dwelling place in reference to the belief that the god dwelt in that place, or at least temporarily visited during rituals) were places of formal worship. Each Greek community had its own sacred sites and temples which were looked after by priests.

The temple of Zeus at Nemea was constructed in c. 330 BCE and replaced an earlier temple which had stood from the 6th to 5th century BCE. Inside was a cult statue of the god. The temple was composed of an exterior Doric peristyle (6x12 unusually tall and slim columns) with an interior Corinthian colonade, topped by a second story of the Ionic order. There were no sculpted decorations on the exterior. It is regarded as the last of the great Doric temples of the Classical tradition. The temple measures a little over 20x42m, the material used is locally quaried limestone. Three of the now standing columns have stood since original construction (slighty darker colour), the others have been repositioned in the early 2000's CE using the orginal, fallen drums. Photo © Mark Cartwright.
The temple of Zeus at Nemea was constructed in c. 330 BCE and replaced an earlier temple which had stood from the 6th to 5th century BCE. Inside was a cult statue of the god. The temple was composed of an exterior Doric peristyle (6×12 unusually tall and slim columns) with an interior Corinthian colonnade, topped by a second story of the Ionic order. There were no sculpted decorations on the exterior. It is regarded as the last of the great Doric temples of the Classical tradition. The temple measures a little over 20×42 m, the material used is locally quarried limestone. Three of the now standing columns have stood since original construction (slightly darker colour), the others have been repositioned in the early 2000’s CE using the original, fallen drums. Photo © Mark Cartwright.
Categories
Interviews

Ancient Hairstyles of the Greco-Roman World

Tetradrachm with Apollo from Leontini, 435-430 BCE. The American Numismatic Society (1997.9.121). This silver coin together with coin no.19 span part of the ancient Greek-speaking world, from Leontini in Sicily to Alabanda in Asia Minor (modern western Turkey). The head of Apollo in profile on the obverse, or front, of marks the wide popularity of this perpetually youthful Olympian god. Greek adult men would ritually cut their hair and grow a beard, but Apollo, whose long hair is often described as golden, defines the ultimate appearance of an ephebe, a beardless adolescent. Apollo wears a wreath of leaves from a laurel, a tree associated with the god’s oracle and cult at Delphi. According to Greek myth, its origins lie in the story of the beautiful nymph Daphne (the Greek word for laurel), who was transformed by Zeus into a laurel tree in order to avoid Apollo’s ardent and unwanted advances. Her long tresses became the tree’s branches. The story was recounted, among others, by the ancient Roman poet Ovid in the Metamorphoses.
Tetradrachm with Apollo from Leontini, 435-430 BCE. The American Numismatic Society (1997.9.121). Greek adult men would ritually cut their hair and grow a beard, but Apollo, whose long hair is often described as golden, defines the ultimate appearance of an ephebe, a beardless adolescent. Apollo wears a wreath of leaves from a laurel, a tree associated with the god’s oracle at Delphi.

From the dawn of civilization to the present day, human hair has seldom been worn in its natural state. Whether cut, shorn, curled, straightened, braided, beaded, worn in an upsweep or down to the knees, adorned with pins, combs, bows, garlands, extensions, and other accoutrements, hairstyles had the power to reflect societal norms. In antiquity, ancient hairstyles and their depictions did not only delineate wealth and social status, or divine and mythological iconography; they were also tied to rites of passage and religious rituals. Hair in the Classical World, now on view at the Bellarmine Museum of Art (BMA) in Fairfield CT, is the first exhibition of its kind in the United States to present some 33 objects pertaining to hair from the Bronze Age to Late Antiquity (1500 BCE-600 CE). The exhibition takes the visitor on a rich cultural journey through ancient Greece, Cyprus, and Rome, in an examination of ancient hairstyles through three thematic lenses: “Arrangement and Adornment”; “Rituals and Rites of Passage”; and “Divine and Royal Iconography.”

In this exclusive 2015 holiday season interview, James Blake Wiener of Ancient History Encyclopedia (AHE) speaks to Dr. Katherine Schwab and Dr. Marice Rose, art history professors in the Department of Visual and Performing Arts at Fairfield University, who teamed up to co-curate this unprecedented exhibition.

Categories
Education Interviews Photos

The Ancient Minoans of Crete

dolphins
A detail of the dolphin fresco, the Minoan palace of Knossos, Crete, (c. 1700-1450 BCE). Photograph taken by Mark Cartwright for Ancient History Encyclopedia. Uploaded by Mark Cartwright, published on 26 April 2012 under the following license: Creative Commons: Attribution-NonCommercial-ShareAlike.

The Minoan civilization flourished on the Mediterranean island of Crete during the height of the Bronze Age (c. 2000-c. 1500 BCE). By virtue of their unique art and architecture, the ancient Minoans made significant contributions to the subsequent development of Western civilization. However, we still know less about the Minoans than the civilizations of Egypt or Mesopotamia. Professor Louise Hitchcock, an archaeologist specializing in Aegean archaeology at Melbourne University, introduces us to the world of the ancient Minoans and the importance of Aegean archaeology in this exclusive interview with James Blake Wiener of Ancient History Encyclopedia (AHE).

Categories
Exhibitions Interviews

The Power and Pathos of Hellenistic Bronze Sculpture

Banner

Power and Pathos: Bronze Sculpture of the Hellenistic World underscores the power, prestige, and pre-eminence of ancient sculpture during the Hellenistic Era. This blockbuster show, which opened at the Palazzo Strozzi in Florence, Italy this spring, is the first major international exhibition to assemble nearly 50 ancient bronzes from the Mediterranean region and beyond in a single venue. Prized over the centuries for their innovative, realistic displays of physical power and emotional intensity, the sculptures of the Hellenistic world mark a key and important transition in art history.

In this interview, Dr. James Bradburne, the recently departed Director General at the Palazzo Strozzi, introduces James Blake Wiener of Ancient History Encyclopedia (AHE) to the finer points of the exhibition.

Categories
Exhibitions Travel

The New Acropolis Museum Review

The New Acropolis Museum in Athens opened its doors to the public on June 20th 2009. Since then, millions of visitors have flocked to its airy halls. It was decided that a new museum was needed to replace the old nineteenth-century museum building (situated on the Acropolis) in order to house the ever increasing amount of archaeological material and to act as a fit and proper house for the marble sculptures of the Parthenon. We are so used to seeing old artefacts housed in old buildings, drowned in artificial light, but this museum, with its vast glass walls and lofty atmosphere, brings a true feeling of vitality to what it holds. It is because of this that the New Acropolis Museum is easily in my ‘Top 5 Museums’ list; how could it not be when the museum building itself is part of the attraction?

The Museum Entrance at Night-Time
The Museum Entrance at Night-Time.

One of the things that strikes me on each visit to this museum is just how much you can see in every single direction. On the first floor, you can look down and see the ruins of the archaeological site upon which the museum was built. If you look to your sides you will see ceiling-high displays of some of the finest Greek pottery. “Mind your back!” You nearly walked straight into a votive dedication to Asclepius, which thanks the god for healing an ancient Athenian’s ear, foot, and eye ailments (with the affected parts carved into the marble). In stooping down to look at some low-level displays you stand up and find yourself at the feet two Nikai statues, and if you look up, you see the ‘Bluebeard pediment’ looming where the first floor ramp meets the second floor. If you are looking for ancient Greek art and artefacts, you have certainly come to the right place!  The entire first floor of the museum is this long gradual ramp, and it displays artefacts that were found on the slopes of the Acropolis (video displays, a shop and a cloakroom fill the rest of the floor).