Votive riders seated side-saddle at early Greek sanctuaries

Voyatzis, Mary E.

doi:10.1017/s0068245400015173

Cited by 8 publications

(3 citation statements)

References 8 publications

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“…In accordance with Voyatzis (1992), the first pictures painted of a female seated aside on a horse refer to the Late Bronze Age. Arnod (1999) marked 1502 as the first year when special dress for women riders had been tailored for Elizabeth of York, the Queen Consort of England.…”

Section: Introductionmentioning

confidence: 93%

Research on 3D reconstruction of late Victorian riding skirts

Kuzmichev¹,

Moskvin

Moskvina

et al. 2018

IJCST

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Purpose Virtual design of contemporary and historical clothes is a very intensive and developing area of science that can be considered as a bridge between costume heritage and modern way of its presentation by means of CAD. The purpose of this paper is to apply 2D and 3D existing CAD for virtual reconstruction of the very specific kind of women’s clothes such as a side-saddle riding habit (RH) used in 1875–1915. Design/methodology/approach The construction of RH was adapted to the aesthetic rules of the mentioned time, ergonomic posture of a woman sitting on a horse, surface of the horse’s body which the woman is sitting on. For the new method, the huge databases were obtained after analyzing the historical pattern manuals and features of pattern blocks used, possible postures of riding, construction of RH and converting it into virtual system “avatar – RH.” To reconstruct the side-saddle RH in virtual reality, the images dated 1887 and authentic pattern blocks were used. Special attention has been given to the topology of contacting areas existing between the sitting woman and “shaped” riding skirt and to the method of presenting it by means of special points combination. Findings The authors have developed a new method of virtual reconstruction of an RH that is based on automatic consideration of all joining elements such as “shaped” riding skirt, avatar and its ergonomic posture. The new approach allows reconstruction of the clothes in virtual reality in three ways: by using the real skirts, the historical pattern blocks or pictures. Originality/value The results obtained allow increased possibilities of virtual reconstruction and include in the list new objects of engineering achievements of the nineteenth century such as the side-saddle RH. This study should help researchers and practical specialists to recreate and save the historical treasure in a digital way.

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Section: Introductionmentioning

confidence: 93%

Research on 3D reconstruction of late Victorian riding skirts

Kuzmichev¹,

Moskvin

Moskvina

et al. 2018

IJCST

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“…It might also be the case that the relief was never completed and the long 'drapery' would have been articulated as legs on a male figure, such as Kakasbos or Sozon. A divinity riding side-saddle, such as Artemis sometimes does, seems also to be an option (Smith 1997: 8-9;Voyatzis 1992).…”

Section: Cults and Imagesmentioning

confidence: 99%

Highland gods: rock-cut votive reliefs from the Pisidian Survey

Smith

2011

Anatol. Stud.

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Between 1982 and 1996 a group of rock-cut votive reliefs was discovered during archaeological survey in Pisidia under the direction of Stephen Mitchell and the sponsorship of the British Institute (of Archaeology) at Ankara. The types represented include a horseman deity, perhaps Kakasbos, the Dioscuri with ‘goddess’ and the moon-god Men. The reliefs are discussed according to their cults and iconography, and their contribution to art and religion both locally and beyond. As a religious phenomenon, they are further considered in relation to both regional traditions and empire-wide practices. It is suggested that reliefs of this type, that are associated with the protection of mortals, should also be viewed as part of the history of devotional art and added to discussions of rock art that extend beyond the Greek and Roman worlds. A detailed catalogue of the reliefs, organised by iconographic type, concludes the article.

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“…45 For an example of a LC Base-ring horse figurine with a human riding side-saddle, see Karageorghis (2002a, 52, figure 108). For Greek comparisons of riders riding side-saddle, see Voyatzis (1992 (Figure 153). 52 The depositional pattern of limestone horse and riders is almost identical to Karageorghis' observations of the terracotta compositions.…”

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confidence: 99%

Cypro-Archaic Bird Iconography: Types, Uses, and Meanings

Dissinger¹

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Images of birds became common in the art of Cyprus during the Archaic period, ca. 750-475 BC, and this study explores the types of birds created, the use of the images, and ultimately, the meanings imbedded in the representations. Despite their prevalence, most scholars have noted the birds in passing, and interpreted them as added decoration. A majority of scholarship about the decipherment of avian images in the ancient Mediterranean focuses on the Greek world, the Near East, and Egypt, while Cypriot bird portrayals lack in-depth analyses. Therefore, this project has three goals: first, to create a typological system for identification of bird images and objects, based on bird types; second, to establish a representative sample of known CyproArchaic bird images; third, to elucidate the cultural connotations associated with bird portrayals during the Cypro-Archaic period.This investigation begins by providing an introduction to how avifaunae and their images were perceived during antiquity in the eastern Mediterranean. In two subsequent chapters, the sculpted and painted birds are discussed separately, and are analyzed based on their classified bird type, as derived from the typological system created. Birds of prey, songbirds, and waterfowl have been identified in the Cypriot artistic repertoire. The context of the bird portrayals are also examined in order to distinguish patterns of deposition which highlight the use of the artifacts. Bird images are also analyzed in relation to the many other types of animal representations made on Cyprus during the Archaic period. Such comparisons situate the bird depictions in the larger sphere of Cypriot art and culture. In the conclusion, each bird type (bird of prey, songbird, and waterfowl) is summarized to expose the cultural connotations associated with each, and additionally, two major themes, religion and death, drawn from the analysis are discussed.It is demonstrated that each of the three identified bird types (bird of prey, songbird, and waterfowl) were deposited and used in particular ways during the Cypro-Archaic period, indicating that each type was perceived to have its own cultural connotation. The rarely created birds of prey were primarily deposited within private cultic contexts, suggesting they may have been apotropaic devices or manifestations of power. Representations of songbirds are mainly associated with ritualistic paraphernalia and have been found in sanctuaries, indicating their use in cultic rituals and thought. Waterfowl portrayals are most commonly discovered in mortuary assemblages, insinuating a relationship between the bird and conceptions of death. Thus, it is suggested that the three types of bird representations gained their cultural connotations by associations the ancient Cypriots attached to their live counterparts.

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Votive riders seated side-saddle at early Greek sanctuaries

Cited by 8 publications

References 8 publications

Research on 3D reconstruction of late Victorian riding skirts

Research on 3D reconstruction of late Victorian riding skirts

Highland gods: rock-cut votive reliefs from the Pisidian Survey

Cypro-Archaic Bird Iconography: Types, Uses, and Meanings

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