iconographe

The connection with Hermes is attested in the remarkable relief from Philippopolis (Cončev 1954, 15-20; Tacheva-Hitova 1982, 267-70; Fol 1994, 286-88), where Pan is also pictured. Hermes (as well as Pan) is one excellent indication of the connection with  death, death itself as a chthonic idea, which is a way to immortality. This monument dating back tothe 3rd c. and is unprecedented in the imagery of Sabazios, in which the story appears in two figurative fields: re-confirmation of the “chthonic-solar” transition in the Heros with the“Phrygian” hat and the strobile in the hand on the lower level, while the upper level is organised around the “Phrygian” (according to iconographic indications) Sabazios, crowned with strobiles. The chthonic deity is moving from death towards new life, moving upwards in the semantic fields,and occupies the highest place, becoming a Uranic deity, the “Thracian god Cosmocrator” (a  of Tacheva-Hitova relevant to that age; Tacheva-Hitova 1982, 270).
7

THE ADVENTURES OF SAM VIMES
(Aka: see, look, I had the badge on for a while… then lost it. ::sadface.jpg::)

THIS ACTUALLY HAPPENED:

Thorin Oakenshield: Sir Samuel! We’d like to sing for you the original lyrics to the Lonely Mountain!

Dwarves, in unison: Gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold, gold… 

thewomanofscandal asked:

I love reading your metas for Hannibal! When I saw your latest, I couldn't resist asking you a question (particularly given your interest in Classics). Recently, in my Greek class, my professor brought up the etymology of the word 'Anthology' which originally meant a bouquet of flowers. Which makes sense- picking the best of a variety to make a superior whole. So my question is: Do you think that this is what Hannibal was doing in Futamono? Essentially creating a poisonous 'Greatest Hits' list?

[bear with me my ancient greek is creaky & lapsing]

yes—ἄνθος [anthos], “flower” + λέγειν [legein], “to say/speak” or “to choose/gather/collect/pick together” [complicated verb, heidegger has a field-day with those two senses of it in his lecture “geschichte”] = anthologia, ἀνθολογία, “a flower-gathering/collection”

we’ve seen hannibal at his most derivative [the antler-impaled corpse of cassie boyle, the glasgow smile of dr. sutcliffe] and at his most creative [the “blind”, “mindless and heartless” judge]. this tableau, of a human corpse intertwined with and systemically penetrated by a tree, feels like the latter: the idea of “blooming” isn’t simply hannibal’s burgeoning affair with alana; it’s hannibal himself, growing more daring and ambitious and egotistic. 

i think it is a sort of “greatest hits”. the ripper removes organs from bodies which he already considers empty vessels, wasted flesh, and transforms them into things of beauty—exquisite morsels of food. but, beautiful as hannibal’s food appears, the meat is defiled, polluted with murder, it’s taboo, it’s toxic, it breeds corruption. 

jack names three flowers specifically; hannibal has three victims he’s presently “poisoning”: will, alana, jack. and the flowers correspond to the way that he poisoned them: “belladonna for the heart” is jack, and his love for bella; the “chain of white oleander for the intestines” is will, and the ear he was forced to ingest; “ragwort for the liver” is alana, and the poisoned wine [ragwort was once used as an aphrodisiac]. all three of these victims have eaten human flesh at hannibal’s table. 

this is hannibal’s power: to invade his victim, slice out with precise scalpel-cuts those raw parts which are most vital and human, and fill that void with his own baneful beauty. furthermore, every work of art hannibal creates is a seduction, a token of affection for will; and hannibal’s love is the love that kills.

"You never see a positive drug story on the news. They always have the same LSD story. You’ve all seen it: "Today a young man on acid…thought he could fly…jumped out of a building…what a tragedy!" What a dick. He’s an idiot. If he thought he could fly, why didn’t he take off from the ground first? Check it out? You don’t see geese lined up to catch elevators to fly south; they fly from the fucking ground. He’s an idiot. He’s dead. Good! We lost a moron? Fucking celebrate. There’s one less moron in the world…

…Wouldn’t you like to see a positive LSD story on the news? To base your decision on information rather than scare tactics and superstition? Perhaps? Wouldn’t that be interesting? Just for once?…

"Today, a young man on acid realized that all matter is merely energy condensed to a slow vibration – that we are all one consciousness experiencing itself subjectively. There’s no such thing as death, life is only a dream, and we’re the imagination of ourselves. Here’s Tom with the weather."

Credit: Wellcome Library, London Illustration showing a Zodiac man. Persian annotations on the image. Diagram in a Persian MSS of the Zakhira-i Khvarazm Shahi of al-Jurjani and Tashrih-i Mansuri of Mansur. Watercolour
Published: [Iran],  Circa Nineteenth Century
Size: image 31.3 x 21.2 cm.
Collection: Iconographic Collections
Library reference no.: Iconographic Collection 582971i
Full Bibliographic Record Link to Wellcome Library Catalogue

Movie was made in our studio, feauturing Fr. Theodores and Valentin Streltsov's work

Imago Dei is an experimental documentary which paints a haunting portrait of an Eastern Orthodox iconographer exploring what it means to represent the image of an invisible God. It enters the internal world of the artist, Father Theodore Koufos, through an intimate exploration of his approach to producing and experiencing images while contemplating his history and the history of his artistic tradition. Through a slow, meditative cinematic journey of the artist and his work, it is only nearing the end of the film that the magnitude of his images, and the spiritual window they create, are revealed.

2013. Produced with funding by the Social Sciences and Humanities Research Council of Canada.

Nominated for York University Thesis Prize.

Screened @ Depth of Field Series at the Art Gallery of Ontario, 2014.

source: http://nathanskulstad.com/imago-dei

The ritual nature of all types of musical instruments is indisputable. Indisputable is also the snake – a basic zoomorphic image of the deity reincarnated for new life, as described in the rite byDemosthenes (18.259-60). The so called “Anatolian/Phrygian” stasis of Sabazios represents his most popular identification with the snake (again according to Demosthenes). On the one side, the snakeunites Sabazios and Zeus, thus influencing the iconographic image of Zeus-Sabazios. On the otherhand, it ushers him into the literary Orphism with the “horned snake” mythos and Clemens of Alexandreia (Protr . 2.15.1), who equates him to Dionysos-Zagreus. The snake remains a divine identification in the realm of the unwritten, which springs up from the roots of non literaryOrphism. Except for the bronze hand from Ekaterinoslav, we see the snake also in the relief from the British Museum facing the bearded rider. The iconography of a hand found in Gradnitsa, and dating as far back as the 2nd-3rd c. is very close to the one from Ekaterinoslav: there is a snake windingaround the wrist and rising to the little finger with its head kept on the palm of the hand, and a similar piling up of imagery: a strobile upon the thumb, a branch, part of an eagle, the head of a ram,present also in the relief from the British Museum (the ritual sacrifice), a tortoise, a frog, a lizard ora crocodile (?) as in Voysil (chthonic attributes of the deity, but in no case his zoomorphic expression). The strobile and the branch/tree are indisputably phallic signs/symbols and the bird of prey most probably suggests the idea of the presence of the Great Goddess. In the reliefs of both hands the caduceus of Hermes appears.