Greek Theme Decorations

greek theme decorations

  • (decorate) deck: be beautiful to look at; "Flowers adorned the tables everywhere"

  • (decorate) make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"

  • (decorate) award a mark of honor, such as a medal, to; "He was decorated for his services in the military"

  • The process or art of decorating or adorning something

  • A thing that serves as an ornament

  • Ornamentation

  • A native or national of modern Greece, or a person of Greek descent

  • the Hellenic branch of the Indo-European family of languages

  • a native or inhabitant of Greece

  • The ancient or modern language of Greece, the only representative of the Hellenic branch of the Indo-European family

  • A Greek-speaking person in the ancient world, typically a native of one of the city-states of Greece and the eastern Mediterranean

  • of or relating to or characteristic of Greece or the Greeks or the Greek language; "Greek mythology"; "a Grecian robe"

  • provide with a particular theme or motive; "the restaurant often themes its menus"

  • a unifying idea that is a recurrent element in literary or artistic work; "it was the usual `boy gets girl' theme"

  • An idea that recurs in or pervades a work of art or literature

  • The subject of a talk, a piece of writing, a person's thoughts, or an exhibition; a topic

  • The first major constituent of a clause, indicating the subject-matter, typically being the subject but optionally other constituents, as in “poor he is not.”

  • subject: the subject matter of a conversation or discussion; "he didn't want to discuss that subject"; "it was a very sensitive topic"; "his letters were always on the theme of love"

An Exceptional and Highly Important Greek (Laconian) Bronze Group with Shepherd on Solid Base

An Exceptional and Highly Important Greek (Laconian) Bronze Group with Shepherd on Solid Base

Bronze, Late Geometric I-II, ca. 725 B.C.E., From Pisa near Olympia
H. 10.25 cm.

Solid-cast by the lost wax process. Carefully incised, polished and worked in the cold. The edge of the base is decorated with a double parallel line and the upper edge with regular notches; the eyebrows of the shepherd notched more naturalistically, and his hair indicated by horizontal zigzag lines is delimited at the nape by notches. The eyes of the shepherd and the lion may have been inlaid.

Condition: patina olive green partly incrusted with green chloride which has caused slight damage, a little reddish earth and on the left side of the shepherd's belt and buttock reddish cuprite with traces of iron. Missing: the right forearm of the shepherd and the weapon, of which a small piece of the shaft still protrudes from the back of the lion, the tip of his tail as well as that of the dog. A fissure through the left leg of the man above the ankle and his left forearm fractured at the wrist.

A votive offering, recalling Homeric similes involving shepherds and attacking lions [1].

Peloponnesian [2] and probably Laconian as is also the bronze group found on Samos [3], a composition from the same workshop[4].

The relationship between Olympia, Laconia, Arcadia and Argos was very close in the Late Geometric period and cross-influences obviously considerable. The earliest of the three groups, the man and centaur said to be from Olympia [5], is considered to be Laconian on account of the similarity of the body of the centaur to Laconian horses and most especially for its typical Laconian base.

There is an affinity in spirit expressed in the subject matter, the confrontation between man and beast, and in details such as the hollow eyes and the headdress of the man, not to mention the general attitude, though the whole is both sharper and more static than our group, being of earlier date.

To be noted however, is its triple belt like the one on a nude warrior found in Olympia, ascribed to Argos, of similar date around 750 B.C. [6], like that of our shepherd. But our shepherd shows an affiliation with the charioteer from Olympia in Berlin [7] and the charioteers with parts of their chariots in Olympia [8], now ascribed to Laconia [9], for the general shape of the face (though the eyes differ), the hairline over the nape, the short thighs and the ankles and feet. These last three would seem to be products of a Laconian workshop active in Olympia.

Disturbing however is what this author perceived to be an Argive-type of decoration under the stand: a labyrinth made of the same rather deeply incised wide flat lines as under the base of the Mare (cat. no. 76 n. 7). Of similar execution and spirit of design is the swastika under the group found on Samos [10]. The famous bronze seal from Mersin [11] (Cilicia) with four swastikas underneath is done in a similar though less angular fashion. Since artisans worked in the same quarter, they must have taken over ideas from each other and for the present ensemble and the lion group found on Samos the Argive-type design surely adapted better to the shape of the base.

Notwithstanding the Greek debt to myths, ideas and artistic prototypes from the East, to be more precise in this case, the heroic struggle between man and beast, the swastika motif, and the headdress of the shepherd, there is no doubt that the lion groups are pure Peloponnesian products made in Olympia [12]: a Laconian workshop probably produced the present group though the possibility remains that an Argive [13] workshop may have done so.

The centre of our group is the terrifying lion with his jaws and fangs. Somewhat to the side appears a shepherd [14] whose greater height indicates his mastery of the situation as he tries to save the calf. If we imagine the missing forearm and short sword, we have a more homogeneous composition that reminds one of a semi-pyramidal construction as also in the other lion group.

In spite of a certain awkwardness, a masterly artistic and technical achievement for the period.

On view: Musee d'Art et d'Histoire, Geneva: 1967-1968

Phillips Stevens, G.: A small primitive bronze group of either Greek or Etruscan origin, Assoc.Intern.Studi Medit., Boll. 4, no. 6, 1934, p. 27 pl. VIII,2-5.
Hanfmann, G.: Altetruskische Plastik, I (Tubingen, 1936),p. 116.
Gehrig, U.L.: Die geometrischen Bronzen aus dem Heraion von Samos (Hamburg, 1964), p. 26 ff.
Muller, P.: Lowen und Mischwesen in der archaischen griechischen Kunst (Zurich, 1978), no. 20, p. 233.
Heilmeyer, W.-D.: Fruhgriechische Kunst (Berlin, 1982), p. 47 ff., ill. 39-40.
Rolley, Cl.: Les bronzes grecs (Fribourg, 1983), no. 35, pp. 58-59, no. 216 (base), p. 228 ill.
id.: La sculpture grecque. I Des origines au milieu du Ve siecle (Paris, 1994), pp. 109-111 fig. 95.

Kukahn, E.: Der griechische Helm (Marburg, 1936), no. 2 , p. 13 n. 120. - Brommer, F.: Herakles (Munster/Cologne, 1953), p. 69 n. 3. - Kubler, K.: Die

Christmas is coming Tom !

Christmas is coming Tom !

This story is real….

Tom is from Ireland.. When I met him I realised that I met a very special man… a man, who before everything else is a real human.. a rare species.. He seems to be informed about so many things and his thinking is so clear, and his sense of humour so sharp .. But mostly he seems to have a positive attitude about everyone and to be so sensitive to everything around him….

Yesterday, amidst the Christmas decorations in the Centre of Athens, in Sintagma square, Tom was sitting on a bench watching the crowd harrying to their Christmas shopping.. But soon he had to move “behind the fence” (yes the Christmas decorations include a fence !). He was asked to move by a member of the town police with the excuse that his dog was bothering the passing crowd.. Maybe.. or… maybe he just looked different from the crowd ..without the Santa shopping hat - and the cap thought that he maybe dangerous.. Tom moved without any complains, with the expression of somebody who is used to this kind of requests.. the face of somebody how understands.. He simply obeyed.. and he moved behind the gold Christmas fence..

???? ? ??????? ????? ??????????.. ????? ???????...

? Tom ??? ??? ????????.. ?????????? ??? ???? ???? ??????? ??????????. ????, ???? ??? ???, «???????». ???????????? ?? ???? ????? ????????, ?? ?????????? ??? ??????? ??? ???? ??????????????. ??? ???? ??? ????? ??? ????????? ???? ??????, ???? ???????? ??? ????. ? Tom ??????? ??????? ??? ?? ???????, ?? ??? ????? ???? ??? "??????????" ????????, ??? ??? ??????? ??? ??????? ????????? ? ??????. ?????? ?????? ?? ??????????? ???? ??? ?? ???????, ????? ??????? ??? ????????? ?????????? ??? ?? ??????, ?? ?? ??????????? ??? ? ?????? ??? ???????? ??????? ??? ?????.. ????.. ???? ???? ?? ??????? ??? ?????? ? Tom ???????? ???????? ???????????? ? ?????? ??????????… ? Tom ?????? ?? ?? ???? ????? ??? ????????, ????? ??? ??? ?????? ?? ????? ??????, ????? ??? ???? ?????????.. ???? ????????.. ???????, ?? ???????? ????? Tom.. ?? ?? ??? ?????? ??? ?????. ???? ?????? ???? ?????????!. ?????? ??? ?? ??????? Tom!!!

Spirofoto's photo-reportage
Athens, December 2007.

spirofoto's photo-reportage theme: Christmas is coming Tom !
Athens, December 2007.

greek theme decorations

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