#hellenistic period

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It has the symbol of Asklepios, the god of medicine and healing in ancient Greek religion, snakes entwined around her left arm and left leg, symbolizing life and death. In Greek mythology, the "Mountain of the Goddess" was Mount Ida in the ancient Troad region of western Anatolia (in modern-day Turkey) which was also known as the Phrygian Ida in classical antiquity and is the mountain that's mentioned in the Iliad of Homer and the Aeneid of Virgil. Both are associated with the mother goddess in the deepest layers of pre-Greek myth, in that Mount Ida in Anatolia was sacred to Cybele, who is sometimes called Mater Idaea ("Idaean Mother").

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Esta figurilla de Afrodita, que data de los siglos III-II a. C., es un ajuar funerario hallado en la necrópolis de Dardania, en el monte Ida. Presenta el símbolo de Asclepio, el dios de la medicina y la curación en la religión griega antigua: serpientes entrelazadas alrededor de su brazo y pierna izquierdos, que simbolizan la vida y la muerte. En la mitología griega, la «Montaña de la Diosa» era el monte Ida, situado en la antigua región de Tracia, al oeste de Anatolia (en la actual Turquía), también conocido como el Ida frigio en la Antigüedad clásica y mencionado en la Ilíada de Homero y la Eneida de Virgilio. Ambas están asociadas a la diosa madre en las capas más profundas del mito pregriego, ya que el monte Ida en Anatolia era sagrado para Cibeles, a quien a veces se llama Mater Idaea («Madre Idaea»).

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Questa statuetta di Afrodite, risalente al III-II secolo a.C., è un corredo funerario rinvenuto nella necropoli di Dardania sul Monte Ida. Presenta il simbolo di Asclepio, il dio della medicina e della guarigione nella religione greca antica: dei serpenti intrecciati attorno al braccio sinistro e alla gamba sinistra, che simboleggiano la vita e la morte. Nella mitologia greca, la "Montagna della Dea" era il Monte Ida nell'antica regione della Troade, nell'Anatolia occidentale (nell'odierna Turchia), noto anche come Ida frigio nell'antichità classica ed è la montagna menzionata nell'Iliade di Omero e nell'Eneide di Virgilio. Entrambe sono associate alla dea madre nei livelli più profondi del mito pre-greco, in quanto il Monte Ida in Anatolia era sacro a Cibele, talvolta chiamata Mater Idaea ("Madre Idaea").

Canakkale Archaeological Museum, Troy (Ilion), Turkey.

Cast Glass Pomegranate Vase. (ca. 2nd Century B.C. – 1st Century A.D.) In ancient Greek life, small fruit-shaped containers like this were commonly used to hold precious cosmetic or perfume oils. To achieve this rich burgundy color in the Hellenistic period, ancient glassworkers typically added a small amount of manganese or colloidal gold to the molten glass.

Marble relief of the goddess Nemesis. Nemesis, whose name is related to a verbal root meaning "to apportion" "or to give one one's due," was a deity who punished acts of hubris -- overweening arrogance, a key moral failing in ancient Greek thought. She had a cult from a very early period in the Attic deme of Rhamnous, where a beautiful Roman-era statue of her has been found (now in the National Archaeological Museum, Naples). Nemesis gained in importance in the Hellenistic period, when she was connected with the goddess Tyche (Fortune): Nemesis could be seen as one who balanced out the uneven gifts of Tyche.

This marble relief dates to the 3rd century BCE (early Hellenistic period) and was found at Brindisi (=ancient Brundisium), Italy. In it, Nemesis is shown wearing the polos, a cylindrical headdress that came to Greece from mother-goddesses of the ancient Near East, and holding a phiale, a flat dish used for pouring libations. She tramples on a defeated enemy, perhaps representing hubris. Two winged figures of Nike (Victory) flank her headdress, while six others attend her, three to a side.

@Louvre Museum, CC0, via Wikimedia Commons / Inv. Louvre AGER Bj 2152.

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It resembles a contemporary installation: an oxidised bronze cone, two 'wings' that cut through space, a golden crown of leaves. It is a pilos helmet with a crest holder: light and metal, power and beauty in the same profile.

Between the 4th and 3rd centuries BC, between late classicism and the Hellenistic period, Greek armour evolved towards lighter and more spectacular forms. The pilos (conical cap) replaced more cumbersome models; the vertical crest holder allowed for monumental crests or insignia that amplified the warrior's presence in parades and battle. The gold crown with plant motifs evoked honours and sacred offerings: virtue, rank and memory coexisted in a single object.

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El casco con alas, siglos IV-III a. C. Musée du Louvre, Paris – Département des Antiquités Grecques

Parece una instalación contemporánea: un cono de bronce oxidado, dos «alas» que atraviesan el espacio, una corona de hojas doradas. Es un casco pilos con porta-cimera: luz y metal, poder y belleza en un mismo perfil.

Entre los siglos IV y III a. C., entre el clasicismo tardío y la época helenística, el armamento griego evoluciona hacia formas más ligeras y espectaculares. El pilos (casco cónico) sustituye a los modelos más voluminosos; el porta-cimera vertical permite crestas monumentales o insignias que amplifican la presencia del guerrero en desfiles y batallas. La corona de oro con láminas vegetales evoca premios honoríficos y ofrendas sagradas: en un solo objeto conviven la virtud, el rango y la memoria.

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L'elmo con le ali, IV - III sec. a.C. Musée du Louvre, Paris – Département des Antiquités Grecques

Sembra un’installazione contemporanea: un cono di bronzo ossidato, due “ali” che fendono lo spazio, una corona d’oro a foglie. È un elmo a pilos con porta-cimiero: luce e metallo, potere e bellezza nello stesso profilo.

Fra IV–III sec. a.C., tra tardo classicismo ed età ellenistica, l’armamento greco evolve verso forme più leggere e scenografiche. Il pilos (calotta conica) sostituisce modelli più ingombranti; il porta-cimiero verticale permette creste monumentali o insegne che amplificano la presenza del guerriero in parate e battaglia. La corona d’oro a lamine vegetali richiama premi onorifici e offerte sacre: in un solo oggetto convivono virtù, rango e memoria.

Such a prominent and well-regarded woman would obviously have considerable influence at the royal court. The coincidence of her death and the peace treaty [between the Seleukids and Ptolemies] might suggest that it was her death which opened the way for the peace agreement to be made, and that she had been hostile to the new marriage [between her son Antiochus II and Berenike Phernophorus]. Her long apparent residence in Sardis will have made her a centre of power in Asia Minor, as would her ancestry and fame, and her gifts to the various deities made her influential elsewhere. Her association with Atargatis at Hierapolis-Bambyke in Syria involved the story of one of her courtiers castrating himself because his desire for her was so great. We do not have to believe the tale, but it goes along with the story of her being handed on to Antiochos I by his father, to suggest that she became the subject of male sexual innuendo and fantasy. If so, it only emphasizes her importance."