This study utilises reconstruction technologies together with material and experimental photometric data to investigate how light intersects with perceptual processes inside subterranean painted ...tombs in Tarquinia, Italy. A fifth century BCE tomb, the Tomba dei Demoni Azzurri located in the Necropoli dei Monterozzi in Tarquinia, Italy is used to illustrate the usefulness of the methodology. Patterns involving the organisation of tomb imagery together with an analysis of specific lighting conditions in a scaled 3D space reframes tomb paintings in a manner that further recognises the performance of burial rites and other funerary activities from the perspective of human cognition. The methodology has applicability across archaeological settings and regions, particularly with respect to settings where little or no natural lighting is present.
•In depth understanding of levels of illumination inside the subterranean Etruscan painted tomb.•Use of reconstruction technologies and photometric data to investigate how light intersects with perceptual processes.•New methodology with applicability across archaeological contexts and regions where little or no natural lighting is present.•First assessment of an Etruscan setting using photometric data and exploratory technologies to clarify burial ritual.•Consideration of Etruscan burial rites and other funerary activities from the perspective of human cognition.
The Tomba dei Demoni Alati is located in the Etruscan necropolis of Sovana (Grosseto, Southern Tuscany, Italy). At the end of the 1990s, excavation revealed remains of this aedicule tomb, carved into ...red tuff; in 2004, further excavation highlighted new important figurative elements. The Etruscans used different methods to decorate the rock surfaces of the tomb, which were particularly difficult to paint. For this reason, the porous and irregular surface of the tuff was modelled and coated with specific materials. The aim of this work was to study the materials and manufacturing techniques of the preparatory layers applied onto the rock surface in the Tomba dei Demoni Alati. Minero-petrographic, chemical, and micro-chemical characterization of the layers was carried out. The obtained results suggest that different methods were used to prepare the tomb surfaces to be painted. In particular, in the niche of the tomb, two preparatory layers were found: a Ca-based plaster covers the rock; above it, a thin white Ca lime layer was applied. In the sculptures inside the niche, the colors were applied onto two finishing white Ca lime layers of similar composition, whereas, in the decorations of the sculptured surfaces on the outside, paint layers were laid onto a thin white silica stratum. The data allow us to determine the use of plaster, for the first time, in Tuscany, as well as the discovery of a preparation layer never before found in any other local archaeological context.
The present research analyzes Lamia’s figure, thanks to literary and iconographic sources. The purpose is distinguishing Lamia from the other child-snatching female demons of Greek culture and ...understanding if her androgyny is an original element or if it is taken from the Near Middle East. Through the study of sources is possible to follow Lamia and all of her metamorphosis, in Greek culture and also in the Latin one.
Focusing on Slovenian mythology the book contains a review of Slovenian mythological, historical, and narrative material. Over 150 supernatural beings are presented, both lexically and according to ...the role that they have in Slovenian folklore. They are classified by type, characteristic, features, and by the message conveyed in their motifs and contents. The material has been analysed in the context of European and some non-European mythological concepts, and the author deals with theory and interpretations as well as the conclusions of domestic and foreign researchers. The book forms new starting points and a classification of supernatural beings within a frame of a number of sources, some of which have been published for the first time in this book.
Platon u Timeju kozmos drži »svetilištem vječnih bogova«. Osim o demijurgu, govori on i o drugim bogovima koje naziva djecom (paides, 43a), kojoj demijurg prepušta rađanje smrtnih bića (41b–41e). ...Naziva ih i mladim bogovima (42d). Ti su bogovi postali, ali nepropadljivi. To su vidljivi bogovi. Većina tumača tog mitskog kazivanja iz Timeja drži da se to odnosi na zvjezdana božanstva. Osim vidljivih, Platon međutim spominje i neka druga nevidljiva božanstva koja imenuje demonima (40d–e). No što su uistinu ta ‘niža’ božanstva prema Platonu? Tim su se pitanjem bavili mnogi tumači njegove filozofije.
U ovom članku zanima nas prije svega Kalcidijev stav, a potom i stav Hermana Dalmatina o tome. Poznato je, naime, da se Herman u svojoj kozmologiji izloženoj u spisu De essentiis u velikoj mjeri oslanjao na Kalcidijev prijevod i komentar Timeja.
No govoreći o nebu kao drugotnom uzroku stvaranja, onom srednjem u kozmičkoj hijerarhiji, on razvija jedno izrazito astrologijsko tumačenje neba i nebeskih bogova / duhova. U tome se uglavnom prepoznaje utjecaj arapskih pisaca i Ptolemeja, koji mu je bio posredovan arapskim autorima.
U tekstu pitamo je li isticanje značenja astrologije u Hermana uistinu rezultat isključivo arapskih utjecaja ili već u kasnijih Platonovih tumača poput Kalcidija nalazimo elemente astrološke interpretacije Timeja, koji su mogli poslužiti kao poticaj za Hermanovo isticanje uloge astrologije u tumačenju svijeta.
Na to pitanje nastojimo odgovoriti ponajprije analizom Kalcidijeva tumačenja mjesta iz Timeja od 37d do 43a, dakle dijela u kojem Platon na nekoliko mjesta spominje druge bogove, a potom onda i Hermanova izlaganja o nebu i nebeskim duhovima, naznačujući istovremeno nejasnoće u vezi s tumačenjem Timeja što ih nalazimo u Kalcidija te one što su u vezi s razumijevanjem djelovanja nebeskih duhova u Hermana.
U članku Tihomira Đorđevića, «Porođajni demoni u vjerovanju našega naroda», nailazimo na spomen o brojnim vjerovanjima o porođajnim demonima na prostorima bivše Jugoslavije. Kroz osvrt na taj članak ...će se pokušati ukazati na zajedničko porijeklo tih vjerovanja a možda i uskih veza sa sličnim vjerovanjima u cijelom svijetu, koja bi sva potekla od postojanja drevnog ženskog božanstva starog koliko i neka hipotetski uvjetovana ljudska prakultura.
Provider: - Institution: - Data provided by Europeana Collections- Compoziția este organizată pe vertical. Centrul de interes este fixat pe personajul feminin. Acesta este așezat pe o multitudine de ...forme mai mult sau mai puțin recognoscibile. Deasupra acesteia sunt lilieci. În lpartea stângă sunt insinuate siluete mici demonice.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Autor polazi od pretpostavke da su demoni psihičke stvarnosti. Kao ispričana stvarnost postvaruju se u pričama. Te priče – pisane ili usmene – pripadaju književnoj vrsti predaje. Demonološke su ...predaje vjerojatno najveća skupina tradicijskih predaja i zrcale postojeća ili nestala vjerovanja u svijet nastanjen demonima. Propituju se motivi suvremenih priča o susretu s nepozvanim demonskim putnikom koji se nepozvan penje na kola (jarac, užareni čovjek) i potom nestaje, te predaje o "nestalom autostoperu" i o "crnoj ženi", koja se kao slučajna suputnica pojavljuje na mjestu stvarne automobilske nesreće. Autor smatra da je i suvremenim predajama cilj tumačenje i razumijevanje neobjašnjivog i nevjerojatnog jer se ljudi i danas osjećaju ugroženima i pričanjem priča žele ublažiti svoju nesigurnost.
Provider: - Institution: - Data provided by Europeana Collections- il piccolo quadretto rappresenta il tormento di un condannato: un uomo a torso nudo si dibatte tra le fiamme, circondato da esseri ...mostruosi. Il fuoco è reso utilizzando le marezzature della tartaruga. Cornice dorata ornata.- "Opera notevole del bolognese Lionello Spada", così la definisce il Lavagnino (p. 25)- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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