7 things you must see at the National Archaeological Museum

The National Archaeological Museum is the largest museum in Greece with some of the greatest collections of antiquities in the world. The museum was established in 1829 to house and protect antiquities from all over Greece and has operated from its neo-classical home in Athens since 1889. There are over 11,000 exhibits dating as far back as the Neolithic period through to late Antiquity.

Here are 7 of the must see exhibits on your visit to the museum.

The Kore and Kouros

The Kore (young maiden) and Kouros (young male) were discovered in Mirenda, south-east of Athens in 1972, with the female Kore being fully preserved and considered one of the most important pieces of Archaic art in existence. Both statues were created by the sculptor Aristion of Paros around 550-540BC.

Zeus or Poseidon

Zeus or Poseidon, the museum itself asks the same question as the experts can’t agree but the locals will tell you it is Zeus. Found in a shipwreck off the island of Euboea (Evia) the hollow cast bronze statue dates back to the early Classical period around 460BC and is one of the few original pieces in existence from this time.

Epinetra of Aphrodite

The museum has an extensive selection of ceramics on display. Known as an Epinetra, this example is crafted from clay as it most probably would have been presented as a wedding gift to a female. Most were made of wood and would fit to the thigh to be worn as a decoration. The bust of the woman is likely to be Aphrodite and dates back to 430-420BC.

The Antikythera Mechanism

After spending 2,000 years under the sea, the Antikythera Mechanism was found by sponge divers off the coast of the island Antikythera in 1901. Thought to be the world’s first computer, modern radiography has exposed a complex system of over 30 mechanical gears and study continues as to its exact purpose. The mechanical science behind the device was lost at some stage around antiquity and it took until 14th century AD before any mechanical system was applied to an astronomical clock. The exhibition displays the various pieces the device was found in and ancient Greek text can clearly be seen with the human eye on some parts.

The Mask of Agamemnon

The gold death mask of Agamemnon is one of the most famous gold artefacts of the Greek bronze age. Scientists have dated the mask back to the 16th century BC and therefore pre-dating the life Agamemnon but it is still commonly referred to by this title. The mask is one of five discovered in Mycenae in 1876 and covered the face of an important person in death.

Tombs of the Kerameikos

In 1891, excavation took place in the ancient cemetery of Kerameikos in central Athens. Two skeletons were found in an exceptionally fine state as their Sarcophagi were found covered in a layer of mud. This skeleton dates back to 460BC and was surrounded by 9 vases as grave offerings which was customary at the time in Classical Athens.

The Horse and Jockey

A centrepiece of the museum, this exceptionally preserved piece dates back to 140BC and was found in the same shipwreck as the statue of Zeus off the island of Euboea (Evia). Bronze items did not survive through history as most were melted down for their raw materials but even more rare is a sculpture depicting a racing horse from ancient Greece. The branded image of the goddess Nike is visible on the horse’s right thigh and the statue is virtually life size at 2.9 metres long and 2.1 metres high.

The museum is one of the few open 7 days per week (with the exception of public holidays) and during the summer months opens from 8:00am to 8:00pm. Special ticket packages are available allowing you to see the Byzantine & Christian Museum, Numismatic Museum and Epigraphic Museum all for the one price.

Source
http://www.ancientencyclopedia.ga
http://www.namuseum.gr
https://whyathens.com

700 bottles containing ancient antidepressants, heart medication found in ancient Greek city Bathonea,Constantinople,Turkey

Researchers carrying out excavations at the ancient Greek city of Bathonea located in Constantinople 's Avcılar district have found hundreds of unguentaria - small ceramic or glass bottles - containing traces of antidepressants and heart medications. The finding could have significant implications for the history of Istanbul, as it provides the first concrete evidence proving the siege of Constantinople by a joint Avar-Sassanid force in 626.

According to reports, around 700 unguentaria were found in the Bathonea excavations carried out off the banks of Küçükçekmece Lake in Avcılar district.

The excavations at Bathonea were launched in 2007 and are jointly led by Kocaeli University and the Ministry of Tourism and Culture. Teams consisting of hundreds of students and historians from Selçuk University, Ege University and Constantinople University, as well as many foreign historical institutions take part in the excavations. They are currently led by Dr. Şengül Aydıngün, an associate professor from Kocaeli University.

Aydıngün said that the latest excavation work has focused on laboratory, storage and analysis and has brought together hundreds of pieces of ceramics to form unguentaria.

She noted that 700 is a significant number for the ancient period, marking the first time that such an amount has been found in a single archaeological dig.

"Some of them are still being repaired, but meanwhile we have also found pestles of various sizes, mortars, and a stove, indicating that there was a pharmaceutical production center here" Aydıngün said, and added that there are specific plants on the site, which make up the essence of many medicines.

The analysis of residue found in unguentaria has reportedly been conducted by the state-run Scientific and Technological Research Council (TÜBİTAK) in Gebze district.

TÜBİTAK findings suggested that the residue contained Methanone and Phenanthrene, which are substances used for depression and have a soothing impact.

Professor Aydıngün continued by saying that a large fire residue has been found in Bathonea excavation site, and it can almost be seen on all structures throughout.

The carbon samples of the residue are reportedly analyzed by Wroclaw Archeology and Ethnography Institute in Poland and the findings could have immense implications for the history of Istanbul as they could provide concrete proof for the Avar invasions which took place between 620 and 640.

"If this is clarified, Bathnoea excavations will add a new page in the history of Constantinople" Aydıngün said.

The ports of Bathonea have also been used by the Vikings in the 9th and 11th centuries.

Lefantzis with new revelations about Amphipolis in Hermitage!

ΕΛΛΗΝΙΚΑ

Two important new information presented for the excavation of Amphipolis architect Michael Lefantzis in world archaeological conference in Russia.

The first revelation is about the demolition of the walls of Amphipolis for the construction of poros enclosure while the second revelation is about the marble sculpture that was identified and shows the "dead".
Speaking at the Hermitage of St. Petersburg Michael Lefantzis argued that the Ancient Greeks demolished in harry the North wall of Amphipolis to build the yard at tomb Casta as the basis of the lion.
According to what is presented, the limestone used to build the enclosure are identical to those of Amphipolis walls.

Walls removed along 183, 270 and 45 meters respectively at a point close to the Byzantine tower near the site where today organized events of Amphipolis Festival.
Scaled is the same amount of poros limestone slabs that were removed with those used in the construction of the enclosure.
But the important finding that occurs has to do with the dating of the walls and therefore the date of construction of the enclosure

The archaeologist Chaido Koukouli former head of curators Serres, dated coins made by the ancient Macedonians

This date is in the last quarter of the 4th century BC. This element alone belies years after the first same archaeologist and then Jenny Veleni and Angeliki Kotaridis for submissions in March 2016 in AEMTH on Roman burial complex creativity of Casta.

The architect of Amphipolis was also able to detect and identify a range of marble members associated with other twelve Leo frieze, the most important of this the "dead".
The sculpture shows a senior officer commanding outfit upside down holding a sword and back to follow the soldiers.

The marble reliefs have same characteristics height and width and together describe the entire history of the deceased. But a key element to study and explore the typology of the sword in sculpture resembling what depict the Great Alexander other sculptures
Michael Lefantzis made extensive reference to the leader of excavations Dimitris Lazaridis and archaeologist Katerina Peristeri.

Aμφίπολη: Νέα στοιχεία από παρουσίαση στο Ερμιτάζ

ENGLISH

Δυο νέα σημαντικά στοιχεία παρουσίασε για την ανασκαφή της Αμφίπολης ο αρχιτέκτονας Μιχάλης Λεφαντζής στο παγκόσμιο αρχαιολογικό συνέδριο στη Ρωσία.

Η πρώτη αποκάλυψη που έκανε αφορά το γκρέμισμα των τειχών της Αμφίπολης για την κατασκευή του πώρινου περιβόλου ενώ η δεύτερη αποκάλυψη αφορά το μαρμάρινο γλυπτό που ταυτοποιήθηκε και δείχνει τον αφηρωισμένο νεκρό.

Σε ομιλία του στο ΕΡΜΙΤΑΖ της Αγίας Πετρούπολης ο Μιχάλης Λεφαντζής υποστήριξε ότι οι Αρχαίοι Έλληνες γκρέμισαν αιφνιαδιστικά το Βόρειο τείχος της Αμφίπολης για να κατασκευάσουν τον περίβολο στο τύμβο Καστά όπως και τη βάση του λέοντα.

Σύμφωνα με τα όσα παρουσίασε, οι πωρόλιθοι που χρησιμοποιήθηκαν για την κατασκευή του περιβόλου είναι ίδιοι με αυτούς των τειχών της Αμφίπολης .

Aφαιρέθηκαν κατά μήκος 183, 270 και 45 μέτρα αντίστοιχα από σημείο που βρίσκεται κοντά στο Βυζαντινό πύργο πλησίον στο χώρο όπου διοργανώνονται σήμερα οι εκδηλώσεις του Φεστιβάλ της Αμφίπολης.

Βάσει κλίμακας πρόκειται για την ίδια ποσότητα πώρινων πωρόλιθων που αφαιρέθηκαν με αυτούς που χρησιμοποιήθηκαν στην κατασκευή του περιβόλου.

Η σημαντική διαπίστωση όμως που προκύπτει, έχει να κάνει με τη χρονολόγηση των τειχών και κατ επέκταση με την χρονολόγηση της κατασκευής του περιβόλου

Η αρχαιολόγος Χάιδω Κουκούλη πρώην προϊσταμένη της Εφορίας Αρχαιοτήτων Σερρών, χρονολόγησε με νομίσματα τις επισκευές που έκαναν οι αρχαίοι Μακεδόνες στα σημεία του Βόρειου τείχους απ όπου αποψιλώθηκαν οι πωρόλιθοι.

Η χρονολόγηση αυτή είναι στο τελευταίο τέταρτο του 4ου πχ αιώνα. Αυτό το στοιχείο από μόνο του διαψεύδει μετά από χρόνια πρώτα την ίδια την αρχαιολόγο και στη συνέχεια την Τζένη Βελένη και την Αγγελική Κοταρίδη για τα όσα υποστήριξαν το Μάρτιο του 2016 στο ΑΕΜΘ περί ρωμαϊκής δημιουργικότητας του ταφικού συγκροτήματος στον Καστά.

Ο αρχιτέκτονας της Αμφίπολης κατάφερε επίσης να εντοπίσει και να ταυτοποιήσει μια σειρά από μαρμάρινα μέλη που συνδέονται με άλλα δώδεκα της ζωφόρου του Λέοντα, με σημαντικότερο αυτό του αφηρωισμένου νεκρού.

Το γλυπτό δείχνει έναν υψηλόβαθμο αξιωματικό με επιβλητική στολή να κρατάει ανάποδα ένα σπαθί και πίσω του να ακολουθούν οι στρατιώτες. Η τυπολογία των γλυπτών είναι παρόμοια ενώ οι γόμφοι είναι στο ίδιο σημείο ώστε το ένα μαρμάρινο μέλος να κουμπώνει με τα προηγούμενο αλλά και το επόμενο .

Τα μαρμάρινα ανάγλυφα έχουν ίδια χαρακτηριστικά ύψους και πλάτους και σε συνδυασμό περιγράφουν ολόκληρη την ιστορία του νεκρού. Βασικό όμως στοιχείο προς μελέτη και διερεύνηση είναι η τυπολογία του σπαθιού στο γλυπτό που προσομοιάζει με αυτό που απεικονίζουν τον Μέγα Αλέξανδρος άλλα γλυπτά

Ο Μιχάλης Λεφαντζής ξεκίνησε την ομιλία του στο ΕΡΜΙΤΑΖ παρουσιάζοντας τον έργο του στην Ακρόπολη και μέσα από μια διαδρομή οκτώ χρόνων εξήγησε την πορεία του έως την Αμφίπολη.

Έκανε εκτενή αναφορά στον πρωτεργάτη των ανασκαφών Δημήτρη Λαζαρίδη και στην αρχαιολόγο Κατερίνα Περιστέρη.

Θέατρο Εφεσού

ENGLISH

Θέατρα

Το αρχαίο θέατρο στην Εφεσό χτίστηκε στην εποχή του Λυσίμαχου, στη δυτική πλαγιά και περνά διάφορες οικοδομικές φάσεις.
Είναι το μεγαλύτερο Θέατρο στο μικρασιατικό χώρο. Το Θέατρο πρέπει να πρωτοσχεδιάστηκε γύρω στο 274π.Χ. κατά την ίδρυση της πόλης. Κατά την εποχή της Ρωμαιοκρατίας διπλασίασε τις θέσεις του σε 24000. Τελευταία περιπέτεια του θεάτρου ήταν η μετατροπή του σε αρένα γύρω στο 140 – 144 μ.Χ. για τη διοργάνωση μονομαχιών και θηριομαχιών.

Η σκηνή είναι ασυνήθιστα μεγάλη από τα πρώτα ελληνιστικά χρόνια. Αλλάζει στον 1ο π.Χ. αιώνα και ξαναχτίζεται από τον 1ο - 2ο μ.Χ. αιώνα. Παίρνει τελική μορφή και το κοίλο για τους θεατές, με τρία διαζώματα κι έντεκα κερκίδες στο κάτω και μεσαίο διάζωμα και είκοσι δύο πάνω. Χωρούσε τριάντα χιλιάδες θεατές. Σ' αυτό διαδραματίζονταν γνωστές σκηνές κατά του Απόστολου Παύλου, όταν ο χρυσοχόος Δημήτριος, που έφτιαχνε μικρούς ναούς της Αρτέμιδας, από ασήμι για τους επισκέπτες του Αρτεμισίου, ξεσήκωσε τον ειδωλολατρικό λαό εναντίον του κι όλοι φωνάζανε για αρκετή ώρα «Μεγάλη η Αρτεμις των Εφεσίων», έτσι ώστε ο Παύλος αναγκάστηκε να φύγει άπρακτος από την Εφεσο.

Σχετικά οι «Πράξεις των Αποστόλων» (Ιθ΄ 23 κ.εξ.) μας πληροφορούν: «Εγεινε δε κατ' εκείνον τον καιρόν ταραχή ουκ ολίγη περί ταύτης της οδού. Διότι αργυροκόπος τις ονόματι Δημήτριος, κατασκευάζων ναούς αργυρούς της Αρτέμιδος, επροξένει εις τους τεχνίτας ουκ ολίγον κέρδος, τους οποίους συναθροίσας και τους εργαζομένους τα τοιαύτα, είπεν, άνδρες, εξεύρετε ότι εκ ταύτης της εργασίας προέρχεται η ευπορία ημών, και θεωρείτε και ακούετε ότι πολύ λαόν ου μόνον της Εφέσου, αλλά σχεδόν πάσης της Ασίας, ο Παύλος ούτως έπεισε και μετέβαλε, λέγων ότι δεν είναι θεοί οι διά χειρών κατασκευαζόμενοι. Και ου μόνον η τέχνη ημών αύτη κινδυνεύει να εξουθενωθεί, αλλά και το ιερόν της μεγάλης θεάς Αρτέμιδος να λογισθή εις ουδέν, και μέλλει μάλιστα να καταστραφή η μεγαλειότης αυτής, την οποίαν όλη η Ασία και η οικουμένη σέβεται. Ακούσαντες δε και εμπλησθέντες θυμού, έκραζον λέγοντες. Μεγάλη η Αρτεμις των Εφεσίων. Και η πόλις όλη επλήσθη ταραχής, και όρμησαν ομοθυμαδόν εις το θέατρον, αφού συνήρπασαν τον Γάιον και Αρίσταρχον τους Μακεδόνας, συνοδοιπόρους του Παύλου. Ενώ δε ο Παύλος ήθελε να εισέλθη εις τον δήμον, οι μαθηταί δεν άφινον αυτόν, τινές δε και εκ των Ασιαρχών, όντες φίλοι αυτού, έστειλαν προς αυτόν και παρεκάλουν να μην εκτεθή εις το θέατρον»(...). «Αφού δε έπαυσεν ο θόρυβος, προσκαλέσας ο Παύλος τους μαθητάς και ασπασθείς, εξήλθε διά να υπάγη εις την Μακεδονίαν. Και διαπεράσας τα μέρη εκείνα και προτρέψας αυτούς διά λόγων πολλών, ήλθεν εις την Ελλάδα». (Κ΄ 1,2). (Καινή Διαθήκη, κατά τους εβδομήκοντα, 1956).

Στην εποχή του Καρακάλα (3ος μ.Χ. αιώνας) το θέατρο Εφέσου επισκευάστηκε για τελευταία φορά.
Το όνομα της Εφέσου είναι μάλλον προελληνικό. Υπήρξε μεγάλη πόλη με φημισμένο ιερό της Αρτέμιδας στη δυτική ακτή της Μικρασίας, απέναντι από τη Σάμο, ανάμεσα στις οροσειρές της Μυκάλης και της «Μικρασίας άκρας», που σχηματίζουνε μικρό κόλπο. Ως Ελληνας οικιστής, στο τέλος του 11ου π.Χ. αιώνα, φέρεται ο Ανδροκλος, γιος του Κόδρου, μεσσηνοαττικής καταγωγής.

Theater of Ephesus

ΕΛΛΗΝΙΚΑ

Theaters

This is the most magnificent structure in Ephesus ancient city. The Great Theatre is located on the slope of Panayir Hill, opposite the Harbor Street, and easily seen when entering from the south entrance to Ephesus. It was first constructed in the Hellenistic Period, in the third century BC during the reign of Lysimachos, but then during the Roman Period, it was enlarged and formed its current style that is seen today.

It is the largest in Anatolia and has the capacity of 25,000 seats. The cavea has sixty six rows of seats, divided by two diazoma (walkway between seats) into three horizontal sections. There are three sections of seats. In the lower section, Marble pieces, used for restoration, and the Emperor's Box were found. The seats with backs ,made of marble, were reserved for important people. The audience entered from the upper cavea.

The stage building is three-storied and 18 meters high. The facade facing the audience was ornamented with relieves, columns with niches, windows and statues. There are five doors opening to the orchestra area, the middle one of which is wider than the rest. This enhanced the appearance of the stage, giving it a bigger, monumental look.

The theatre was used not only for concerts and plays, but also for religious, political and philosophical discussions and for gladiator and animal fights.

The Ancient Greek roots of Halloween

Greece doesn’t celebrate the festival of Halloween, but it was created in Greek antiquity nonetheless

While much of the Western world except Greece celebrates Halloween on Thursday October 31, the celebration actually is rooted in ancient Greek mythology. The Ancient Greeks believed that people who died went to the banks of the River Styx, the boundary between Earth and the Underworld. They would give the ferryman Charon a tip to transport them across the river to Hades so as to spend eternity.

If they lived a good life, they would reside in Elysium, a virtual paradise, and also be allowed to return to the world of the living for one day per year.

Christianity converted this myth by stating that the virtuous would become saints and their day with the living was set on November 1 for all saints day or the “hallowed ones” where they were honored with praise and prayer for evil spirits to leave them.

Halloween is the polar opposite of Carnival. The former has its origins in Samhain, a pagan festival that marks the beginning of winter, and the death of nature before its spring rebirth. Necessary as this death was for rebirth to happen, winter was scary—especially in an era of limited resources and shelter, when a long winter could literally cost lives. So, the Celts made this day a celebration of death in an effort to ostracize the fear of death. According to the Celtic tradition, on the night of October 31, the souls of those that have passed away during the year wander the earth before they pass on to the world that awaits them. The living wore ghoulish costumes to fit in with the unearthly visitors and to disguise themselves among them. Treats were left at the doorsteps of houses to appease the spirits—this practice evolved into  “Trick or Treat.”

As I already mentioned, in Greek Orthodox tradition, there is nothing similar to Halloween, but recently I realized that there is something that could be thought of as equivalent to Halloween: the four last Saturdays of the Easter Lent which are called Psychosavata─spelled ψυχοσάββατα, pronounced [psee-ho-sa-va-ta] and translated to “Saturdays of the souls.” During these days, the pious churchgoers, mainly the women in the family, cook Koliva as a humble offering to the dead. Koliva is a mixture of boiled kernels of whole grain, ground walnuts, sugar, finely chopped parsley, covered with confectioners’ sugar, decorated with Jordan almonds and shaped to resemble a freshly-filled grave. The tradition of offerings to appease the dead originates in ancient Greece, but the Church, just as with Carnival, after failing to eradicate the pagan tradition of offerings to the departed, embraced it in its own tradition. Koliva is blessed by the priest during the evening Mass and distributed to the Mass attendees in memory of the family’s departed, while part of the mixture is spread on the graves of the ancestors. I still remember walking among the graves at dusk with my grandmother as a very young child. We would make a stop, first at her parent’s grave to scatter Koliva on the tombstones, and then at my grandfather’s parents’ graves to do the same. I was too young to understand the meaning and significance of what my grandmother was doing, and too busy trying to wrap my head around the fact that my grandmother had parents and what it meant that they were dead! I was not able to make the connection between Psychosavata and Halloween until very recently since Psychosavata does not involve any of the graphic images of death that one encounters in Halloween, e.g. skulls and skeletons, and there is no mention of ghosts or ghouls. The dead are referred to as the “sleeping ones” and their souls are thought to visit our world in the form of moths. I am not sure whether the lack of graphic images of death in Psychosavata is due to excessive squeamishness of the Greek people towards the supernatural or the influence of the Church, but I do know that one of the reasons I like Halloween is because it comes with an abundance of such images. They serve as a reminder of mortality and darkness, and although I realize ghouls and ghosts do not exist, what they symbolize helps me keep things in perspective. Much like the ancient Celts, I like to face the darkness (the one that accompanies the winter, the one residing in the souls of humans, including my very own), make friends with it, and try to overcome it as best I can.

So, this Halloween, once more I will make peace with the idea of the upcoming winter; I will remember my beloved grandmother, who I know would agree that Halloween is more fun than Psychosavata, and think about mortality as a fact of life. Afterward, I will put on my witch’s hat, grab my broom, go out with friends who make me laugh, and celebrate my mortal heart off! Nobody can avoid mortality, but one can temporarily defeat it by living life to the fullest and that is what my Halloween is about. Have a great Halloween everyone!