Synonyms for hierothesion or Related words with hierothesion
Examples of "hierothesion"
The arrangement of such statues is known by the term
. Similar arrangements have been found at Arsameia on Nymphaios at the
of the father of Antiochus, Mithridates I Callinicus.
Arsameia on the Nymphaios (, , ) is an ancient city located in Old Kâhta in the Turkish province of Adıyaman. The site is near Kâhtaçay, known in ancient times as Nymphaios. Arsameia was a royal seat of the kingdom of Commagene. It is best known for the
of King Mithridates I Kallinikos, built for him by his son and heir Antiochos I.
This is the
[sacred site or foundation] of Isias, whom the great King Mithridates (she being his own mother)…deemed worthy of this final hour. And…Antiochis lies herein, the king’s sister by the same mother, the most beautiful of women, whose life was short but her honours long-enduring. Both of these, as you see, preside here, and with them a daughter’s daughter, the daughter of Antiochis, Aka. A memorial of life with each other and of the king’s honour.
The Greek word
(ἱεροθέσιον) is term for the holy burial areas of those belonging to the royal house, and is only known from Commagene. Apart from the
which Antiochos himself built on Nemrut Dağı, and the second one on Karakuş which his son Mithridates II built for the female members of the royal house, a third is to be found in Arsameia, the burial site and the associated cultic area for Antiochus' father Mithridates. A processional way leads up the mountain in the form of a Z and passes three sites which its discoverer Friedrich Karl Dörner marked as Sites I–III. At the first of these, Site II, stands the fragment described as the Mithras Relief. It is the right hand side of a dexiosis, which shows Antiochos or Mithridates shaking hands with the sun god Mithras. Antiochus and those associated with him depicted themselves as being on the same level as the gods through these representations which are distributed throughout Commagene. Dörner was able to re-erect the upper and lower halves of Mithras, of the left-hand side of the relief only part of a shoulder was found, which Dörner however identified with one of the kings due to its clothing.
The path leads on further to Site III. Here on a wall of rock was found an inscription of Antiochos in five columns, in which he relates the story of how the city was founded and the building of the
as well as detailed instructions about how to carry out the rites that needed to be performed. Since the inscription had been almost completely covered in earth from ancient times it is still in an amazing condition. In the lower part of the inscribed wall a walkway begins that goes steeply up the rock and then suddenly ends after 158 metres. Nothing is known about its purpose. Above the wall stands the best preserved dexiosis relief of Commagene. It shows one of the two kings, either Antiochos or Mithridates shaking hands with a naked Herakles, recognized by a club.
Having resigned the directorship of the Academy in 1969, Brown remained Professor in Charge of the Classical School until his retirement in 1976, when he received the Academy's Medal of Merit for his many years of outstanding service to that institution. He continued to serve the Academy thereafter as Thomas Spencer Jerome Lecturer in 1979, from which series came the book "Cosa: The Making of a Roman Town" (1980), and as the leader of a summer seminar sponsored by the National Endowment for the Humanities on the early colonies of Rome in 1980. In 1982 he was Senior Fellow at the Center for Advanced Study in the Visual Arts of the National Gallery in Washington where he continued to work on Vitruvius and returned to the study of the architecture of the
of Antiochus I of Commagene at Nemrud Dagh, a project he had helped develop for ASOR in the 1950s. His last years in Rome were given over to the preparation of final reports on the excavations in the forum of Cosa and the Regia in the Roman Forum. On 21 April 1983, he was honored for his services to Italian archaeology by the city of Rome as Cultore di Roma.
Copyright © 2017