The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement inst... more The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement institutionalized freedom of personal expression of the artist and presented various art styles, which were rooted mainly in topics of the past. One of the manifestations of the romantic spirit was Neoclassicism which was based on copies of works of Greek and Roman antiquities. Romantic painters, musicians and architects have left as heritage an amazing wealth of art works.
The purpose of this research is to highlight some characteristic examples of the golden works dep... more The purpose of this research is to highlight some characteristic examples of the golden works depicting the gorgoneio and Gorgon. These works are part of the wider chronological and geographical context of the ancient Greek world. Twenty six artifacts in total, mainly jewelry, as well as plates, discs, golden bust, coins, pendant and a vial are being examined. Their age dates back to the 6th century. B.C. until the 3rd century A.D. The discussion is about making a symbol of the deceased persist for long in the antiquity and showing the evolution of this form. The earliest forms of the Gorgo of the Archaic period depict a monster demon-like bellows, with feathers, snakes in the head, tongue protruding from the mouth and tusks. Then, in classical times, the gorgonian form appears with human characteristics, while the protruded tusks and the tongue remain. Towards Hellenistic times and until late antiquity, the gorgoneion has characteristics of a beautiful woman. Snakes are the predomi...
The purpose of this research is to investigate, re-evaluate and synthesize earliest images depict... more The purpose of this research is to investigate, re-evaluate and synthesize earliest images depicting the Gorgoneion (gorgon’s head) and Gorgon (whole-body). These figures refer to prehistory covering a wide chronological frame in the Aegean World. Ten artefacts in total comprising of pottery, masks, seals are examined simultaneously for the first time. A detailed, critical evaluation of their dating, and the trade connections between mainland Greece and the Aegean are discussed. The issue is about making a symbol of the deceased introduced much earlier than the Archaic and later antiquity, showing the evolution of this form and the associated mythology has deep roots in the remote past. The forms of the Gorgon of the Archaic period depict a monster demon-like bellows, with feathers, snakes or spiral tentacles in the head, tongue protruding from the mouth and tusks. Snakes are the predominant element of this gorgon, which composes the gargoyle's hairstyle. This figure is identifi...
In the present article the puzzled absence of mythical
representations of the Gorgoneion and Gorg... more In the present article the puzzled absence of mythical representations of the Gorgoneion and Gorgo/Medusa in the period from the 11th to the 8th c. is critically discussed. The investigation is achieved through exploration of the historical context of the time, which is illuminated by the archeological excavation data and the literary sources more specifically the epics. An attempt is made to highlight this absence in art, even though in the epics that reflect events of the post-Mycenaean period the gorgoneion and gorgon are mentioned for the first time.
Our paper aims at a critical reviewing of the research that has
dealt with the Gorgon-Medusa and... more Our paper aims at a critical reviewing of the research that has
dealt with the Gorgon-Medusa and Gorgoneion (decapitated head) apotropaic
feminine beast, as recorded in various artifacts and monuments of the ancient
Greek World, from early 19th century until today. Multiple works by ancient
sources provide a wide-ranging and diverse picture of the fabled creature and
her fateful encounter with the Greek hero Perseus. The use of ancient written
historical sources is particularly emphasized and eastern influences on texts
and iconography is discussed. As a natural consequence of the interactions,
the association of Gorgons with other deities and the Potnia theron (Mistress
of Animals) has been variously assessed by scholars with predominant its
apotropaic property. Medusa appears in a variety of mythological stories and
is depicted in a variety of ways in ancient art. The source of the artistic creation
in painting and sculpture is founded on the legends and myths from the
remote past, with a sudden appearance and apex in the Greek Archaic period.
The review covers the period from prehistory to Late antiquity, whereas, the
earliest form of a scarecrow is transformed to the known image of Gorgon/
Medusa, and eventually from an ugly to beautiful, a metamorphosis which
has been attaching various interpretations. The uniqueness of this “beast”
form has emerged through its multifaced representations and mythological
reports in the known ancient Greek World of the southeastern Mediterranean
and its neighbor areas. Gorgon/Medusa-Gorgoneion in art as witnessed in
archaeological remains has been shown to persist in all everyday activities of
the ancient World and has been subjected to wide social, cultural, ideological
considerations
Our paper aims at a critical reviewing of the research that has dealt with the Gorgon-Medusa and ... more Our paper aims at a critical reviewing of the research that has dealt with the Gorgon-Medusa and Gorgoneion (decapitated head) apotropaic feminine beast from early 19th century until today. Multiple works by ancient sources provide a wide-ranging and diverse picture of the fabled creature and her fateful encounter with the Greek hero Perseus. The use of ancient written sources is particularly emphasized and eastern influences on texts and iconography is discussed. As a natural consequence of the interactions, the association of Gorgons with other deities and the Potnia theron has been variously assessed by scholars with predominant its apotropaic property. Medusa appears in a variety of mythological stories and is depicted in a variety of ways in ancient art. The source of the artistic creation in painting and sculpture is founded on the legends and myths from the remote past, with a sudden appearance and apex in the Greek archaic period. The review covers the period from prehistory to Late antiquity, whereas, the earliest form of a scarecrow is transformed to the known image of Gorgon / Medusa, and eventually from an ugly to beautiful, a metamorphosis which has been attaching various interpretations. The uniqueness of this “beast” form has emerged through its multifaced representations and mythological reports in the known ancient Greek World of the southeastern Mediterranean and its neighbor areas. Gorgon/Medusa-Gorgoneion in art has been shown to persist in all everyday activities of the ancient World and has been subjected to wide social, cultural, ideological considerations.
The purpose of this research is to investigate, re-evaluate and synthesize earliest images
depic... more The purpose of this research is to investigate, re-evaluate and synthesize earliest images
depicting the Gorgoneion (gorgon’s head) and Gorgon (whole-body). These figures refer to prehistory
covering a wide chronological frame in the Aegean World. Ten artefacts in total comprising of pottery,
masks, seals are examined simultaneously for the first time. A detailed, critical evaluation of their dating,
and the trade connections between mainland Greece and the Aegean are discussed. The issue is about
making a symbol of the deceased introduced much earlier than the Archaic and later antiquity, showing
the evolution of this form and the associated mythology has deep roots in the remote past. The forms
of the Gorgon of the Archaic period depict a monster demon-like bellows, with feathers, snakes or spiral
tentacles in the head, tongue protruding from the mouth and tusks. Snakes are the predominant element
of this gorgon, which composes the gargoyle's hairstyle. This figure is identified and appropriately
assessed from a dozen of images in pottery and semiprecious stones, in the wider prehistoric Aegean,
making the related myths on Gorgon-Medusa interwoven with myths that have had a wide reflection
throughout the later ancient times.
The purpose of this research is to highlight some characteristic examples of the golden works dep... more The purpose of this research is to highlight some characteristic examples of the golden works depicting the gorgoneio and Gorgon. These works are part of the wider chronological and geographical context of the ancient Greek world. Twenty six artifacts in total, mainly jewelry, as well as plates, discs, golden bust, coins, pendant and a vial are being examined. Their age dates back to the 6th century. B.C. until the 3rd century A.D. The discussion is about making a symbol of the deceased persist for long in the antiquity and showing the evolution of this form. The earliest forms of the Gorgo of the Archaic period depict a monster demon-like bellows, with feathers, snakes in the head, tongue protruding from the mouth and tusks. Then, in classical times, the gorgonian form appears with human characteristics, while the protruded tusks and the tongue remain. Towards Hellenistic times and until late antiquity, the gorgoneion has characteristics of a beautiful woman. Snakes are the predominant element of this gorgon, which either composes the gargoyle's hairstyle or is plundered like a jewel under its chin. This female figure with the snakes is interwoven with Gorgo-Medusa and the Perseus myth that had a wide reflection throughout the ancient times.
The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement inst... more The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement institutionalized freedom of personal expression of the artist and presented various art styles, which were rooted mainly in topics of the past. One of the manifestations of the romantic spirit was Neoclassicism which was based on copies of works of Greek and Roman antiquities. Romantic painters, musicians and architects have left as heritage an amazing wealth of art works.
The present article reports all ancient writers and poets who dealt with the Gorgoneian head and ... more The present article reports all ancient writers and poets who dealt with the Gorgoneian head and the Gorgon-Medusa related myth presented in a chronological order basically during the 1 st millennium B.C. from Homeric epics to Late Antiquity of Fabius Planciades Fulgentius and Ioannis Malalas in the 5 th and 6 th c. A.D. Essentially it is a discussion on the ancient written sources, based on the original texts. Especially for the most ancient sources such as Homer, Hesiod, Cyclic epics-and references were made to known scholars in the field of philology. Particularly critical discussion and comments are made, along with the investigation of the primary ancient writing sources, as well as the related iconography. The final conclusions show the degree of influence of ancient written sources on art, but also vice versa, that is, how much art influenced ancient texts.
Χρησιμοποιώντας τη μέθοδο Raman επιχειρήσαμε να μετρήσουμε εννέα σπαράγματα από δείγματα τοιχο... more Χρησιμοποιώντας τη μέθοδο Raman επιχειρήσαμε να μετρήσουμε εννέα σπαράγματα από δείγματα τοιχογραφιών της Ιεράς Μονής Κομνηνείου Λάρισας. Στόχος μας ήταν να ανακαλύψουμε τις χρωστικές που συνθέτουν το χρώμα του εκάστοτε σπαράγματος που εξετάζουμε. Οι μετρήσεις έγιναν στο εργαστήριο σε διαφορετικούς χρόνους και έδωσαν κάποια αποτελέσματα τα οποία επεξεργαστήκαμε με δύο διαφορετικά προγράμματα, το Excel και το Origin. Η δυσκολία ήταν ιδιαίτερη λόγω στρωματογραφικών επιστρωματώσεων. Εντοπίστηκαν χρωστικές όπως ερυθρές ( ερυθρές γαίες, ώχρες, ριζάρ=πορπουρίνη), λευκές (γύψου, μολύβδου), μαύρες (άνθρακα), κίτρινες (ινδικό, Νάπολης), μπλε (αζουρίτη), πορτοκαλί (mars orange), πράσινες (μαλαχίτης, χρωμίου). Using the Raman spectroscopic method, we attempted to measure nine fragments of samples of frescoes at the Holy Monastery of Komninos, Larissa. Our goal was to identify the pigments that make up the color of each crack we are looking at. The measurements were made in the laboratory at different times and yielded some results that we processed with two different programs, Excel and Origin. The difficulty was obvious where stratigraphy was dense. Ιτ It was intedified pigments from the colors such as red (ochres, porpourine), white (gypsum, lead), black (carbon), yellow (indian, Naples), blue (azourite), orange (mars orange), green (malachite, chrome).
The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement inst... more The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement institutionalized freedom of personal expression of the artist and presented various art styles, which were rooted mainly in topics of the past. One of the manifestations of the romantic spirit was Neoclassicism which was based on copies of works of Greek and Roman antiquities. Romantic painters, musicians and architects have left as heritage an amazing wealth of art works.
The purpose of this research is to highlight some characteristic examples of the golden works dep... more The purpose of this research is to highlight some characteristic examples of the golden works depicting the gorgoneio and Gorgon. These works are part of the wider chronological and geographical context of the ancient Greek world. Twenty six artifacts in total, mainly jewelry, as well as plates, discs, golden bust, coins, pendant and a vial are being examined. Their age dates back to the 6th century. B.C. until the 3rd century A.D. The discussion is about making a symbol of the deceased persist for long in the antiquity and showing the evolution of this form. The earliest forms of the Gorgo of the Archaic period depict a monster demon-like bellows, with feathers, snakes in the head, tongue protruding from the mouth and tusks. Then, in classical times, the gorgonian form appears with human characteristics, while the protruded tusks and the tongue remain. Towards Hellenistic times and until late antiquity, the gorgoneion has characteristics of a beautiful woman. Snakes are the predomi...
The purpose of this research is to investigate, re-evaluate and synthesize earliest images depict... more The purpose of this research is to investigate, re-evaluate and synthesize earliest images depicting the Gorgoneion (gorgon’s head) and Gorgon (whole-body). These figures refer to prehistory covering a wide chronological frame in the Aegean World. Ten artefacts in total comprising of pottery, masks, seals are examined simultaneously for the first time. A detailed, critical evaluation of their dating, and the trade connections between mainland Greece and the Aegean are discussed. The issue is about making a symbol of the deceased introduced much earlier than the Archaic and later antiquity, showing the evolution of this form and the associated mythology has deep roots in the remote past. The forms of the Gorgon of the Archaic period depict a monster demon-like bellows, with feathers, snakes or spiral tentacles in the head, tongue protruding from the mouth and tusks. Snakes are the predominant element of this gorgon, which composes the gargoyle's hairstyle. This figure is identifi...
In the present article the puzzled absence of mythical
representations of the Gorgoneion and Gorg... more In the present article the puzzled absence of mythical representations of the Gorgoneion and Gorgo/Medusa in the period from the 11th to the 8th c. is critically discussed. The investigation is achieved through exploration of the historical context of the time, which is illuminated by the archeological excavation data and the literary sources more specifically the epics. An attempt is made to highlight this absence in art, even though in the epics that reflect events of the post-Mycenaean period the gorgoneion and gorgon are mentioned for the first time.
Our paper aims at a critical reviewing of the research that has
dealt with the Gorgon-Medusa and... more Our paper aims at a critical reviewing of the research that has
dealt with the Gorgon-Medusa and Gorgoneion (decapitated head) apotropaic
feminine beast, as recorded in various artifacts and monuments of the ancient
Greek World, from early 19th century until today. Multiple works by ancient
sources provide a wide-ranging and diverse picture of the fabled creature and
her fateful encounter with the Greek hero Perseus. The use of ancient written
historical sources is particularly emphasized and eastern influences on texts
and iconography is discussed. As a natural consequence of the interactions,
the association of Gorgons with other deities and the Potnia theron (Mistress
of Animals) has been variously assessed by scholars with predominant its
apotropaic property. Medusa appears in a variety of mythological stories and
is depicted in a variety of ways in ancient art. The source of the artistic creation
in painting and sculpture is founded on the legends and myths from the
remote past, with a sudden appearance and apex in the Greek Archaic period.
The review covers the period from prehistory to Late antiquity, whereas, the
earliest form of a scarecrow is transformed to the known image of Gorgon/
Medusa, and eventually from an ugly to beautiful, a metamorphosis which
has been attaching various interpretations. The uniqueness of this “beast”
form has emerged through its multifaced representations and mythological
reports in the known ancient Greek World of the southeastern Mediterranean
and its neighbor areas. Gorgon/Medusa-Gorgoneion in art as witnessed in
archaeological remains has been shown to persist in all everyday activities of
the ancient World and has been subjected to wide social, cultural, ideological
considerations
Our paper aims at a critical reviewing of the research that has dealt with the Gorgon-Medusa and ... more Our paper aims at a critical reviewing of the research that has dealt with the Gorgon-Medusa and Gorgoneion (decapitated head) apotropaic feminine beast from early 19th century until today. Multiple works by ancient sources provide a wide-ranging and diverse picture of the fabled creature and her fateful encounter with the Greek hero Perseus. The use of ancient written sources is particularly emphasized and eastern influences on texts and iconography is discussed. As a natural consequence of the interactions, the association of Gorgons with other deities and the Potnia theron has been variously assessed by scholars with predominant its apotropaic property. Medusa appears in a variety of mythological stories and is depicted in a variety of ways in ancient art. The source of the artistic creation in painting and sculpture is founded on the legends and myths from the remote past, with a sudden appearance and apex in the Greek archaic period. The review covers the period from prehistory to Late antiquity, whereas, the earliest form of a scarecrow is transformed to the known image of Gorgon / Medusa, and eventually from an ugly to beautiful, a metamorphosis which has been attaching various interpretations. The uniqueness of this “beast” form has emerged through its multifaced representations and mythological reports in the known ancient Greek World of the southeastern Mediterranean and its neighbor areas. Gorgon/Medusa-Gorgoneion in art has been shown to persist in all everyday activities of the ancient World and has been subjected to wide social, cultural, ideological considerations.
The purpose of this research is to investigate, re-evaluate and synthesize earliest images
depic... more The purpose of this research is to investigate, re-evaluate and synthesize earliest images
depicting the Gorgoneion (gorgon’s head) and Gorgon (whole-body). These figures refer to prehistory
covering a wide chronological frame in the Aegean World. Ten artefacts in total comprising of pottery,
masks, seals are examined simultaneously for the first time. A detailed, critical evaluation of their dating,
and the trade connections between mainland Greece and the Aegean are discussed. The issue is about
making a symbol of the deceased introduced much earlier than the Archaic and later antiquity, showing
the evolution of this form and the associated mythology has deep roots in the remote past. The forms
of the Gorgon of the Archaic period depict a monster demon-like bellows, with feathers, snakes or spiral
tentacles in the head, tongue protruding from the mouth and tusks. Snakes are the predominant element
of this gorgon, which composes the gargoyle's hairstyle. This figure is identified and appropriately
assessed from a dozen of images in pottery and semiprecious stones, in the wider prehistoric Aegean,
making the related myths on Gorgon-Medusa interwoven with myths that have had a wide reflection
throughout the later ancient times.
The purpose of this research is to highlight some characteristic examples of the golden works dep... more The purpose of this research is to highlight some characteristic examples of the golden works depicting the gorgoneio and Gorgon. These works are part of the wider chronological and geographical context of the ancient Greek world. Twenty six artifacts in total, mainly jewelry, as well as plates, discs, golden bust, coins, pendant and a vial are being examined. Their age dates back to the 6th century. B.C. until the 3rd century A.D. The discussion is about making a symbol of the deceased persist for long in the antiquity and showing the evolution of this form. The earliest forms of the Gorgo of the Archaic period depict a monster demon-like bellows, with feathers, snakes in the head, tongue protruding from the mouth and tusks. Then, in classical times, the gorgonian form appears with human characteristics, while the protruded tusks and the tongue remain. Towards Hellenistic times and until late antiquity, the gorgoneion has characteristics of a beautiful woman. Snakes are the predominant element of this gorgon, which either composes the gargoyle's hairstyle or is plundered like a jewel under its chin. This female figure with the snakes is interwoven with Gorgo-Medusa and the Perseus myth that had a wide reflection throughout the ancient times.
The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement inst... more The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement institutionalized freedom of personal expression of the artist and presented various art styles, which were rooted mainly in topics of the past. One of the manifestations of the romantic spirit was Neoclassicism which was based on copies of works of Greek and Roman antiquities. Romantic painters, musicians and architects have left as heritage an amazing wealth of art works.
The present article reports all ancient writers and poets who dealt with the Gorgoneian head and ... more The present article reports all ancient writers and poets who dealt with the Gorgoneian head and the Gorgon-Medusa related myth presented in a chronological order basically during the 1 st millennium B.C. from Homeric epics to Late Antiquity of Fabius Planciades Fulgentius and Ioannis Malalas in the 5 th and 6 th c. A.D. Essentially it is a discussion on the ancient written sources, based on the original texts. Especially for the most ancient sources such as Homer, Hesiod, Cyclic epics-and references were made to known scholars in the field of philology. Particularly critical discussion and comments are made, along with the investigation of the primary ancient writing sources, as well as the related iconography. The final conclusions show the degree of influence of ancient written sources on art, but also vice versa, that is, how much art influenced ancient texts.
Χρησιμοποιώντας τη μέθοδο Raman επιχειρήσαμε να μετρήσουμε εννέα σπαράγματα από δείγματα τοιχο... more Χρησιμοποιώντας τη μέθοδο Raman επιχειρήσαμε να μετρήσουμε εννέα σπαράγματα από δείγματα τοιχογραφιών της Ιεράς Μονής Κομνηνείου Λάρισας. Στόχος μας ήταν να ανακαλύψουμε τις χρωστικές που συνθέτουν το χρώμα του εκάστοτε σπαράγματος που εξετάζουμε. Οι μετρήσεις έγιναν στο εργαστήριο σε διαφορετικούς χρόνους και έδωσαν κάποια αποτελέσματα τα οποία επεξεργαστήκαμε με δύο διαφορετικά προγράμματα, το Excel και το Origin. Η δυσκολία ήταν ιδιαίτερη λόγω στρωματογραφικών επιστρωματώσεων. Εντοπίστηκαν χρωστικές όπως ερυθρές ( ερυθρές γαίες, ώχρες, ριζάρ=πορπουρίνη), λευκές (γύψου, μολύβδου), μαύρες (άνθρακα), κίτρινες (ινδικό, Νάπολης), μπλε (αζουρίτη), πορτοκαλί (mars orange), πράσινες (μαλαχίτης, χρωμίου). Using the Raman spectroscopic method, we attempted to measure nine fragments of samples of frescoes at the Holy Monastery of Komninos, Larissa. Our goal was to identify the pigments that make up the color of each crack we are looking at. The measurements were made in the laboratory at different times and yielded some results that we processed with two different programs, Excel and Origin. The difficulty was obvious where stratigraphy was dense. Ιτ It was intedified pigments from the colors such as red (ochres, porpourine), white (gypsum, lead), black (carbon), yellow (indian, Naples), blue (azourite), orange (mars orange), green (malachite, chrome).
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Papers by Anna Lazarou
representations of the Gorgoneion and Gorgo/Medusa in the period from the
11th to the 8th c. is critically discussed. The investigation is achieved through
exploration of the historical context of the time, which is illuminated by the
archeological excavation data and the literary sources more specifically the
epics. An attempt is made to highlight this absence in art, even though in the
epics that reflect events of the post-Mycenaean period the gorgoneion and
gorgon are mentioned for the first time.
dealt with the Gorgon-Medusa and Gorgoneion (decapitated head) apotropaic
feminine beast, as recorded in various artifacts and monuments of the ancient
Greek World, from early 19th century until today. Multiple works by ancient
sources provide a wide-ranging and diverse picture of the fabled creature and
her fateful encounter with the Greek hero Perseus. The use of ancient written
historical sources is particularly emphasized and eastern influences on texts
and iconography is discussed. As a natural consequence of the interactions,
the association of Gorgons with other deities and the Potnia theron (Mistress
of Animals) has been variously assessed by scholars with predominant its
apotropaic property. Medusa appears in a variety of mythological stories and
is depicted in a variety of ways in ancient art. The source of the artistic creation
in painting and sculpture is founded on the legends and myths from the
remote past, with a sudden appearance and apex in the Greek Archaic period.
The review covers the period from prehistory to Late antiquity, whereas, the
earliest form of a scarecrow is transformed to the known image of Gorgon/
Medusa, and eventually from an ugly to beautiful, a metamorphosis which
has been attaching various interpretations. The uniqueness of this “beast”
form has emerged through its multifaced representations and mythological
reports in the known ancient Greek World of the southeastern Mediterranean
and its neighbor areas. Gorgon/Medusa-Gorgoneion in art as witnessed in
archaeological remains has been shown to persist in all everyday activities of
the ancient World and has been subjected to wide social, cultural, ideological
considerations
depicting the Gorgoneion (gorgon’s head) and Gorgon (whole-body). These figures refer to prehistory
covering a wide chronological frame in the Aegean World. Ten artefacts in total comprising of pottery,
masks, seals are examined simultaneously for the first time. A detailed, critical evaluation of their dating,
and the trade connections between mainland Greece and the Aegean are discussed. The issue is about
making a symbol of the deceased introduced much earlier than the Archaic and later antiquity, showing
the evolution of this form and the associated mythology has deep roots in the remote past. The forms
of the Gorgon of the Archaic period depict a monster demon-like bellows, with feathers, snakes or spiral
tentacles in the head, tongue protruding from the mouth and tusks. Snakes are the predominant element
of this gorgon, which composes the gargoyle's hairstyle. This figure is identified and appropriately
assessed from a dozen of images in pottery and semiprecious stones, in the wider prehistoric Aegean,
making the related myths on Gorgon-Medusa interwoven with myths that have had a wide reflection
throughout the later ancient times.
Drafts by Anna Lazarou
Using the Raman spectroscopic method, we attempted to measure nine fragments of samples of frescoes at the Holy Monastery of Komninos, Larissa. Our goal was to identify the pigments that make up the color of each crack we are looking at. The measurements were made in the laboratory at different times and yielded some results that we processed with two different programs, Excel and Origin. The difficulty was obvious where stratigraphy was dense. Ιτ It was intedified pigments from the colors such as red (ochres, porpourine), white (gypsum, lead), black (carbon), yellow (indian, Naples), blue (azourite), orange (mars orange), green (malachite, chrome).
representations of the Gorgoneion and Gorgo/Medusa in the period from the
11th to the 8th c. is critically discussed. The investigation is achieved through
exploration of the historical context of the time, which is illuminated by the
archeological excavation data and the literary sources more specifically the
epics. An attempt is made to highlight this absence in art, even though in the
epics that reflect events of the post-Mycenaean period the gorgoneion and
gorgon are mentioned for the first time.
dealt with the Gorgon-Medusa and Gorgoneion (decapitated head) apotropaic
feminine beast, as recorded in various artifacts and monuments of the ancient
Greek World, from early 19th century until today. Multiple works by ancient
sources provide a wide-ranging and diverse picture of the fabled creature and
her fateful encounter with the Greek hero Perseus. The use of ancient written
historical sources is particularly emphasized and eastern influences on texts
and iconography is discussed. As a natural consequence of the interactions,
the association of Gorgons with other deities and the Potnia theron (Mistress
of Animals) has been variously assessed by scholars with predominant its
apotropaic property. Medusa appears in a variety of mythological stories and
is depicted in a variety of ways in ancient art. The source of the artistic creation
in painting and sculpture is founded on the legends and myths from the
remote past, with a sudden appearance and apex in the Greek Archaic period.
The review covers the period from prehistory to Late antiquity, whereas, the
earliest form of a scarecrow is transformed to the known image of Gorgon/
Medusa, and eventually from an ugly to beautiful, a metamorphosis which
has been attaching various interpretations. The uniqueness of this “beast”
form has emerged through its multifaced representations and mythological
reports in the known ancient Greek World of the southeastern Mediterranean
and its neighbor areas. Gorgon/Medusa-Gorgoneion in art as witnessed in
archaeological remains has been shown to persist in all everyday activities of
the ancient World and has been subjected to wide social, cultural, ideological
considerations
depicting the Gorgoneion (gorgon’s head) and Gorgon (whole-body). These figures refer to prehistory
covering a wide chronological frame in the Aegean World. Ten artefacts in total comprising of pottery,
masks, seals are examined simultaneously for the first time. A detailed, critical evaluation of their dating,
and the trade connections between mainland Greece and the Aegean are discussed. The issue is about
making a symbol of the deceased introduced much earlier than the Archaic and later antiquity, showing
the evolution of this form and the associated mythology has deep roots in the remote past. The forms
of the Gorgon of the Archaic period depict a monster demon-like bellows, with feathers, snakes or spiral
tentacles in the head, tongue protruding from the mouth and tusks. Snakes are the predominant element
of this gorgon, which composes the gargoyle's hairstyle. This figure is identified and appropriately
assessed from a dozen of images in pottery and semiprecious stones, in the wider prehistoric Aegean,
making the related myths on Gorgon-Medusa interwoven with myths that have had a wide reflection
throughout the later ancient times.
Using the Raman spectroscopic method, we attempted to measure nine fragments of samples of frescoes at the Holy Monastery of Komninos, Larissa. Our goal was to identify the pigments that make up the color of each crack we are looking at. The measurements were made in the laboratory at different times and yielded some results that we processed with two different programs, Excel and Origin. The difficulty was obvious where stratigraphy was dense. Ιτ It was intedified pigments from the colors such as red (ochres, porpourine), white (gypsum, lead), black (carbon), yellow (indian, Naples), blue (azourite), orange (mars orange), green (malachite, chrome).