Description
| ITEM | Statuette of Dionysos with hand over his head |
| MATERIAL | Marble |
| CULTURE | Roman |
| PERIOD | 1st – 2nd Century A.D, inspired by a Greek style of the 5th century B.C |
| DIMENSIONS | 210 mm x 145 mm x 90 mm (without stand), 450 mm x 145 mm x 105 mm (with stand) |
| CONDITION | Good condition. Includes stand |
| PROVENANCE | Ex English private collection, acquired between 1960s – 1970s, from an inheritance and sold by his heirs |
Dionysus, also spelled Dionysos, also called Bacchus or (in Rome) Liber Pater, in Greco-Roman religion, a nature god of fruitfulness and vegetation, especially known as a god of wine and ecstasy. The occurrence of his name on a Linear B tablet (13th century BCE) shows that he was already worshipped in the Mycenaean period, although it is not known where his cult originated. In all the legends of his cult, he is depicted as having foreign origins.
Dionysus was the son of Zeus and Semele, a daughter of Cadmus (king of Thebes). Out of jealousy, Hera, the wife of Zeus, persuaded the pregnant Semele to prove her lover’s divinity by requesting that he appear in his real person. Zeus complied, but his power was too great for the mortal Semele, who was blasted with thunderbolts. However, Zeus saved his son by sewing him up in his thigh and keeping him there until he reached maturity, so that he was twice born. Dionysus was then conveyed by the god Hermes to be brought up by the bacchantes (maenads, or thyiads) of Nysa, a purely imaginary spot.
As Dionysus apparently represented the sap, juice, or lifeblood element in nature, lavish festal orgia (rites) in his honour were widely instituted. These Dionysia (Bacchanalia) quickly won converts among women. Men, however, met them with hostility. In Thrace Dionysus was opposed by Lycurgus, who ended up blind and mad.
In Thebes Dionysus was opposed by Pentheus, his cousin, who was torn to pieces by the bacchantes when he attempted to spy on their activities. Athenians were punished with impotence for dishonouring the god’s cult. Their husbands’ resistance notwithstanding, women took to the hills, wearing fawn skins and crowns of ivy and shouting the ritual cry, “Euoi!” Forming thyai (holy bands) and waving thyrsoi (singular: thyrsus; fennel wands bound with grapevine and tipped with ivy), they danced by torchlight to the rhythm of the aulos (double pipe) and the tympanon (handheld drum). While they were under the god’s inspiration, the bacchantes were believed to possess occult powers and the ability to charm snakes and suckle animals, as well as preternatural strength that enabled them to tear living victims to pieces before indulging in a ritual feast (ōmophagia). The bacchantes hailed the god by his titles of Bromios (“Thunderer”), Taurokeros (“Bull-Horned”), or Tauroprosopos (“Bull-Faced”), in the belief that he incarnated the sacrificial beast.
In Orphic legend (i.e., based on the stories of Orpheus), Dionysus—under the name Zagreus—was the son of Zeus by his daughter Persephone. At the direction of Hera, the infant Zagreus/Dionysus was torn to pieces, cooked, and eaten by the evil Titans. But his heart was saved by Athena, and he (now Dionysus) was resurrected by Zeus through Semele. Zeus struck the Titans with lightning, and they were consumed by fire. From their ashes came the first humans, who thus possessed both the evil nature of the Titans and the divine nature of the gods.
Dionysus had the power to inspire and to create ecstasy, and his cult had special importance for art and literature. Performances of tragedy and comedy in Athens were part of two festivals of Dionysus, the Lenaea and the Great (or City) Dionysia. Dionysus was also honoured in lyric poems called dithyrambs. In Roman literature his nature is often misunderstood, and he is simplistically portrayed as the jolly Bacchus who is invoked at drinking parties. In 186 BCE the celebration of Bacchanalia was prohibited in Italy.
The followers of Dionysus included spirits of fertility, such as the satyrs and sileni, and in his rituals the phallus was prominent. Dionysus often took on a bestial shape and was associated with various animals. His personal attributes were an ivy wreath, the thyrsus, and the kantharos, a large two-handled goblet. In early Greek art he was represented as a bearded man, but later he was portrayed as youthful and effeminate. Bacchic revels were a favourite subject of vase painters.
