S-afshar - Afshar's Itineraries

Ardashir Captures Ardava, Folio 181 from the Demotte Shahname, Ilkhanid, c. 1330-1340 CE. Freer Gallery of Art (ID: S1986.103), Smithsonian, Washington D.C.

An Armenian decorated incipit page of the Canon Tables with a portrait of its author, Eusebius, by Malnazar (active about 1630s), and Aghap'ir (active about 1630s), Isfahan, Persia, 1637-38.

Getty Center (Ms. Ludwig I 14 (83.MA.63), fol. 488v)

Scythian gold belt buckle of figures resting under a tree 4th-3rd C. BCE. H. 12.3, L. 16.1 cm, Wt. 465.04g. Southern Siberia. & Wooden headdress with pigtail. Pazyryk barrow no. 5. 252-238 BCE. Wood, leather, hair, wool, felt, silk. H. c. 40, diam. 17.8 cm. See 'Scythian mummy tomb (fifth Pazyryk kurgan), Pazyryk culture 4th-3rd C. BCE' post on my blog for more info on this burial.

On the Scythian gold belt buckle: "This outstanding and very famous object has been published many many times, as its imagery contains much that is synonymous with what we know about the Scythians. This scene is often referred to in literature as 'resting under the tree', and parallels may be drawn to surviving costume, hairstyles and weaponry of the Scythians. However, it should also be examined within a mythological context, as the presence of anthropomorphic characters in the art of the ancient nomads had a high degree of semantic significance, as did the special status of their owners. This is why the female deity, associated with the earth and flora - the tree in this scene is an allusion to the 'Tree of Life' - may represent the 'Great Mother', who was a giver of life but was also associated with underworld powers. Wedding rituals went hand in hand with ideas of death and funerary rites in archaic communities. The central quiver hanging from the branches of the tree recalls Herodotus' account of the important role the quiver played in the wedding symbolism of the nomads: 'There, when a man desires a woman, he hangs his quiver before her wagon, and has intercourse with her. none hindering' []. It appears that this entire scene may refer to a mythical story where the death of the protagonist parallels his marriage to the 'Great Mother'. This sacred union was seen as a requisite for the renewal of life and the completion of the full cycle of birth, death, and rebirth of all living creatures."

...

On the Scythian wooden headdress: "The base of this female headdress is a flat-topped wooden cap. Rectangular grooves on either side originally held thin ear-like plates with a smooth edge along the bottom, of which only the right one survives. The flat top of the cap was covered with leather. Two circular holes measuring 1.5-2cm across were made in the nape and four more in the crown (one in the centre and three around the edges). On either side of these are two short hollow cylinders covered in silk and attached to the wooden base by sinew passed through small holes. A row of small holes was drilled through the back, and three of these still contain scraps of sinew. It appears that the headdress originally had a nape cover made of soft material, either cloth, felt or leather, and the entire headdress may have been covered in cloth. This headdress was attached directly to the dark blonde hair of the woman who wore it. Her hair was largely shaved off but left intact on the crown. This portion was then divided into two braids looped through circular holes in the centre of the wooden cap, and wrapped around a black horsehair cord. Wool thread with thick, light-colored felt strips secured the entire headdress to the top of her head. Another braid, about 37cm long and made from the hair of the same woman with two woolen cords, was tied to the top of the headdress with twine and knotted at the top and the bottom.

Despite some similar features, the wooden base of this mid-third-century BCE headdress-wig from burial mound 5 at Pazyryk is different from earlier wigs. It most closely resembles the female headdress depicted on the belt plaques with the 'under the tree scene' from the Siberian Collection of Peter the Great. It is possible that the woman who wore this was a foreign consort of the chieftain buried in the fifth burial mound at Pazyryk, and this is supported by the fact that her tattoos include designs which are uncommon in Pazyryk imagery, but instead resemble those found to the west."

-Scythians, warriors of ancient Siberia. Edited by St. John Simpson and Svetlana Pankova. The British Museum.

~ Clay bulla with impression of a stamp seal depicting the Persian king spearing a Greek hoplite.

Place of origin: Near Eastern, Iranian

Culture: Persian

Period: Achaemenid

Date: 550–331 B.C.

Medium: Clay

“The Temple of Ramesses III at Medinet Habu was an important New Kingdom period temple structure in the West Bank of Luxor in Egypt. Aside from its size and architectural and artistic importance, the mortuary temple is probably best known as the source of inscribed reliefs depicting the advent and defeat of the Sea Peoples during the reign of Ramesses III.” [X]

Currently in love with Minoan offerings depicted in Egyptian tombs

Being powerful is like being a lady. If you have to tell people you are, you aren’t.

- Margaret Thatcher  

Stunning Frescoes of a Mysterious Dionysian Cult Discovered in Ancient Pompeii

Created more than a century before the eruption of Mount Vesuvius in 79 C.E., the wall paintings provide rare insights into secret rituals conducted in the Roman city.

Archaeologists in Pompeii have uncovered a series of nearly life-size frescoes spanning three walls of an ancient banquet hall. Set against a ruby-red backdrop, the wall paintings depict female followers of Dionysus—the Greek god of wine and ecstasy—engaged in secretive cult rituals.

Also known as maenads or bacchantes, the women have swords in their hands and slaughtered animals draped across their bare shoulders. Alongside flute-piping satyrs, they’re engaged in a wild, ritualistic dance, while shellfish, eels, squid and poultry dangle above them. In the center of it all, a clothed woman awaits her initiation into the cult.

Pompeii is full of colorful frescoes, but this one is particularly rare. The only other large wall painting depicting a Dionysian ceremony was unearthed in the so-called Villa of the Mysteries in the ancient city’s suburbs in 1909, according to a statement from the Pompeii Archaeological Park.

Known as a megalography—a Greek term for a large-scale painting—the banquet hall fresco was uncovered at the newly excavated House of Thiasus. It dates to the first century B.C.E., more than 100 years before Mount Vesuvius erupted in 79 C.E. and cast pumice and ash down upon Pompeii.

“In 100 years’ time, today will be remembered as historic,” Alessandro Giuli, the Italian culture minister, told reporters at the unveiling of the wall paintings on Wednesday, per Reuters’ Crispian Balmer. “Alongside the Villa of the Mysteries, this fresco forms an unparalleled testament to the lesser-known aspects of ancient Mediterranean life.”

As Giuli suggests, the festivals depicted in the frescoes were thoroughly secretive, even in antiquity.

“These were mystery cults, so what they did remains a mystery, even in the ancient written sources,” Sophie Hay, an archaeologist at Pompeii, tells the London Times’ Philip Willan.

Even so, the frescoes at Pompeii offer valuable insights into what worship of Dionysus, also known as the Roman god Bacchus, entailed.

Wine, of course, was central to these festivities. But researchers think cult members may have also consumed other substances, like opium, to enter “trance-like states,” Live Science’s Kristina Killgrove writes.

The women in the fresco are both hunters and dancers, suggesting that the duality of slaughter and revelry was a central tenet. The clothed, mortal woman who is awaiting initiation is depicted as “oscillating between these two extremes, two forms of the female being at the time,” Gabriel Zuchtriegel, director of the archaeological park, says in the statement.

“For the ancients, the bacchante or maenad expressed the wild, untameable side of women; the woman who abandons her children, the house and the city, who breaks free from male order to dance freely, go hunting and eat raw meat in the mountains and the woods,” he adds. In contrast, Zuchtriegel explains, were the women who emulated the goddess Venus and lived by the dictates of Roman society.

“The question is, what do you want to be in life, the hunter or the prey?” Zuchtriegel told reporters at the unveiling.

The hunting scenes may also stand as analogues for life and death. In the House of Thiasus, one woman eats raw meat. At the Villa of Mysteries, one breastfeeds a young goat.

“It’s the double function of death and rebirth. Dionysus dies and is reborn. Through initiation into the cult, you are born again,” Zuchtriegel says to the London Times.

By 186 B.C.E., these festivals were at risk of dying out, as Roman authorities attempted to crack down on the scandalous ceremonies. But the presence of the paintings in the House of Thiasus and the Villa of Mysteries suggest that the secret rituals survived.

Although archaeological work continues, the frescoes are now on public display.

By Eli Wizevich.

“Life will give you whatever experience is most helpful for the evolution of your consciousness. How do you know this is the experience you need? Because this is the experience you are having at the moment.” - Eckhart Tolle

Cosmic Sun Pyramid Talon Abraxas

Το Πλοίο του Σουλεϋμάν – Εισαγωγή

Stohastis Publishing House, 1993

The Ship of Suleyman – Safinah-i Sulaymani / سفینه سلیمانی Introduction of the Greek edition of The Ship of Suleyman / Book review: 

https://www.academia.edu/23396049/Safina_i_Sulaymani_Shah_Sulaymans_diplomatic_missions_deeds_in_Thailand_edition_M_S_Megalommatis Αυτό το κείμενο αποτελεί την Εισαγωγή της νεοελληνικής έκδοσης του συγγραφέντος από τον Ιμπν Μουχάμαντ Ιμπραήμ κειμένου – αναφοράς για τα πεπραγμένα της αποστολής στην οποία αυτός είχε συμμετάσχει. Ο Μουχάμαντ Ράμπια Ιμπν Μουχάμαντ Ιμπραήμ (محمد ربیع بن محمد ابراهیم/Muhammad Rabi` ibn Muhammad Ibrahim) ήταν ο επίσημος σαφεβιδικός γραφέας της αυτοκρατορικής αποστολ΄ής στο Σιάμ (Ταϋλάνδη). Υπέβαλε την αναφορά του αυτή στον Σάχη Σουλεϋμάν και ακριβώς γι’ αυτό ο τίτλος κάνει λόγο για το Πλοίο του Σουλεϋμάν. Ο Σάχης Σουλευμάν βασίλευσε από το 1668 έως το 1694. Η αποστολή στο Σιάμ ανεχώρησε την 27η Ιουνίου 1685 από το Μπαντάρ Αμπάς (ένα από τα λιμάνια του Ι΄ράν στον Περσικό Κόλπο) και επέστρεψε την 14η Μαΐου 1988. Η μετάφραση έγινε από την αγγλική έκδοση του John O’Kane, The ship of Sulaiman [by ibn Muhammad Ibrahim], London, Routledge & K. Paul [1972]. Η νεοελληνική έκδοση ακολουθεί την αγγλική στην διάρθρωση του κειμένου σε εισαγωγή, τέσσερα κεφάλαια (‘μαργαριτάρια’) και επιμύθιο. Είναι αναλυτικά σχολιασμένη και επεξηγημένη από τον μεταφραστή. Κυκλοφόρησε ως βιβλίο στις εκδόσεις Στοχαστής το 1993 (368 σελίδες). Το χειρόγραφο βρίσκεται στο Βρεταννικό Μουσείο. Περισσότερα για την αγγλική έκδοση: https://catalogue.nla.gov.au/Record/496059 Σχετικά με το θέμα (σε φαρσί): https://fa.wikifeqh.ir/سفینه_سلیمانی_(کتاب)

                                                    Εδώ μπορείτε να κατεβάσετε μία από τις ιρανικές εκδόσεις (σε φαρσί): asmaneketab.ir/product/کتاب-سفینه-سلیمانی-محمدربیع-بن-محمداب/ Εκδόσεις Στοχαστής, Αθήνα 1993 - Stohastis Publishing House, Athens 1993