El uso de señales para la atención en el arte Griego antiguo: aspectos que influencian la concentración en la obra de arte y sus elementos

The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention’s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca. 7th -1st cent. BC. Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects). Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes.El objetivo de este estudio es identificar las señales para el proceso cognitivo de la atención en el arte Griego antiguo, con la intención de detectar su posible uso por los antiguos griegos (público y artistas). La evidencia de señales que desencadenan las disposiciones psicológicas de la atención se buscó mediante el análisis de contenido de reproducciones de imágenes de arte Griego antiguo (escultura y pintura de vasos desde el período arcaico hasta el período Helenístico – ca. 7º-1º siglo AC). Por medio de este análisis fue posible observar la presencia de señales que condicionan la orientación para la obra de arte (i.e. amplificación, contraste, énfasis emocional, simplificación, simetría), de una señal que provoca una atención diseminada a las partes de la obra (i.e. distribución de los elementos) y de señales que activan una atención selectiva a las partes de la obra (i.e. contraste de los elementos, color saliente, posicionamiento central de los elementos, composición con respecto al fluir de los elementos y objetos significativos). Los resultados apoyan la universalidad de esas disposiciones, probablemente relacionado con competencias básicas del sistema nervioso y de los procesos cognitivos

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention’s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca. 7th -1st cent. BC. Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects). Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes.</p

Asociando la imagen con el mito en monedas cretenses antiguas: Tres casos de estudio

Cretan coinage is characterized by a multitude of iconographic types, very often mythological in content. Various mythical figures and episodes are often difficult to identify or interpret due to either lack of clues that would lead to an interpretation or to the fact that could be identifiable with more than one existing myth. Thus, the identification of imagery on Cretan coins is not always self evident. Three major mints of the island are examined in this paper in order to investigate local myths, compared with the mythological tradition of mainland Greece; the myth of the Tree Nymph of Gortyn, the myth of the Labyrinth of Knossos and the myth of the Dog-nursed Infant of Kydonia. Cretan cities, through coin imagery and by carefully selecting the represented mythical figures, were bonding their citizens with a certain heritage, offering a sense of belonging, continuation and ethnic pride, differentiating themselves from other ethnic groups and city states of the island.La acuñación de moneda cretense se caracteriza por una multitud de tipos iconográficos, muy a menudo de contenido mitológico.Varias figuras y episodiosmíticos suelenser difíciles de identificar o interpretar debido a la falta de indicios que conduzcan a una interpretación o al hecho de que podrían identificarse con más de un mito existente. Por lo tanto, la identificación de la imaginería en las monedas cretenses no siempre es evidente. En este artículo se examinan las tres casas de la moneda principales de la isla para investigar los mitos locales, en comparación con la tradición mitológica de la Grecia continental; el mito de la ninfa del árbol de Gortina, el mito del laberinto de Cnosos y el mito del niño de Cidonia amamantado por una perra. Las ciudades cretenses, a través de la imaginería de las monedas y seleccionando cuidadosamente las figuras míticas representadas, vinculaban a sus ciudadanos con un cierto legado cultural, ofreciendo un sentido de pertenencia, continuación y orgullo étnico, diferenciándose a sí mismas de otros grupos étnicos y ciudades estado de la isla

Phalasarna : un port antique, un espace d’échanges en Méditerranée

Les ruines de l’ancienne Phalasarna se trouvent sur la côte la plus occidentale de la Crète, au fond du cap Kώρυκος ἄκρα ou Kίµαρος, actuelle Gramvousa, dans le golfe de Livadi (fig. 1). La région semble être habitée dès l’époque minoenne, et un petit nombre de fragments de vases du Minoen moyen ont été trouvés sur les flancs des montagnes voisines, à 500 m environ de l’espace archéologiqueet du bassin portuaire (fig. 2). Au vie siècle av. J.-C. la ville de Phalasarna se présente déjà comme u..

Le monnayage d’argent de Gortyne entre la seconde moitié du IIIe et le premier quart du Ier siècle av. J.-C. : remarques préliminaires

In anticipation of the publication of a corpus of the coinage from Gortyn in the Hellenistic period, this paper aims at the definition of the weight system and the dating of relevant coins issued between the second half of the third and the first quarter of the first century BC. Moreover, we reassess scholarly debate about the Rhodian influence on the weight system and coin types of Cretan cities and particularly of Gortyn in the second century BC.Dans l’attente d’un corpus du monnayage gortynien de l’époque hellénistique, nous essayons dans cette étude de définir l’étalon et la datation des pièces émises par Gortyne entre la seconde moitié du IIIe et le premier quart du Ier siècle av. J.-C. En outre, nous réexaminons les avis qui ont été présentés jusqu’à nos jours sur l’influence rhodienne sur l’étalon et les types monétaires des cités crétoises et en particulier de Gortyne au IIe siècle av. J.-C.Stefanaki Vassiliki, Stefanakis Manolis I. Le monnayage d’argent de Gortyne entre la seconde moitié du IIIe et le premier quart du Ier siècle av. J.-C. : remarques préliminaires. In: Revue numismatique, 6e série - Tome 170, année 2013 pp. 147-174

The Visits to Rhodes of Karol Lanckoroński (1848-1933)

Ekspedycje archeologiczne do Pamfilii i Pizydii w latach 1882/1883 i 1884, kierowane i finansowane przez Karola Lanckorońskiego, były przyczyną jego wizyt na Rodos. W drodze do Azji Mniejszej członkowie ekipy na dłuższy czas zatrzymali się w Rodos i Lindos. Wśród członków ekipy byli fotografowie. Dzięki ich działalności w archiwum fotograficznym Karola Lanckorońskiego – obecnie w Fototece Lanckorońskich Polskiej Akademii Umiejętności w Krakowie – zachowały się zdjęcia wykonane na Rodos. W pracy zaprezentowano także kilka unikatowych zdjęć prezentujących mieszkańców i ośrodki Rodos XIX stulecia.Archaeological expeditions to Pamphilia and Pisidia, 1882/1883 and 1884, directed and financed by Karol Lanckoronski (1848-1933), on their to Asia Minor twice visited Rhodes, forming their temporary base in Rhodes and Lindos. Photographers were among members of both archaeological expeditions. Thanks to their activity Lanckoroński’s archive – at present in the Archive of the Polish Academy of Arts and Sciences – has preserved unique photos from Rhodes. The article is also the presentation of some unique visual documentation of 19th century Rhodes

HISTIA: NAVAL HISTORY AND TEXTILE ARCHAEOLOGY. INVESTIGATING THE SAILS OF THE ANCIENT RHODIAN NAVY

The paper discusses the methodology, some preliminary results and scientific problems of the HISTIA research project studying the production, maintenance, and administration of a neglected area of research, namely the sails, rope and any textile equipment needed for the military ships of Rhodes, mainly based on similar studies carried out for the Athenian navy, as well as research on the naval power of Rhodes. By focusing on this previously unstudied field of naval studies, this project, not only aims at breaching a significant research gap, but also establishes a new field of textile archaeology that studies textiles intended for the ships.</p

Associating the image with the myth on ancient cretan coins: Three case-studies

Cretan coinage is characterized by a multitude of iconographic types, very often mythological in content. Various mythical figures and episodes are often difficult to identify or interpret due to either lack of clues that would lead to an interpretation or to the fact that could be identifiable with more than one existing myth. Thus, the identification of imagery on Cretan coins is not always self evident. Three major mints of the island are examined in this paper in order to investigate local myths, compared with the mythological tradition of mainland Greece; the myth of the Tree Nymph of Gortyn, the myth of the Labyrinth of Knossos and the myth of the Dog-nursed Infant of Kydonia. Cretan cities, through coin imagery and by carefully selecting the represented mythical figures, were bonding their citizens with a certain heritage, offering a sense of belonging, continuation and ethnic pride, differentiating themselves from other ethnic groups and city states of the island.La acuñación de moneda cretense se caracteriza por una multitud de tipos iconográficos, muy a menudo decontenido mitológico.Varias figuras y episodiosmíticos suelenser difíciles deidentificar o interpretar debido a la falta de indicios que conduzcan a una interpretación o al hecho de que podrían identificarse con más de un mito existente. Por lo tanto, la identificación de la imaginería en las monedas cretenses no siempre es evidente. En este artículo se examinan las tres casas de la moneda principales de la isla para investigar los mitos locales, en comparación con la tradición mitológica de la Grecia continental; el mito de la ninfa del árbol de Gortina, el mito del laberinto de Cnosos y el mito del niño de Cidonia amamantado por una perra. Las ciudades cretenses, a través de la imaginería de las monedas y seleccionando cuidadosamente las figuras míticas representadas, vinculaban a sus ciudadanos con un cierto legado cultural, ofreciendo un sentido de pertenencia, continuación y orgullo étnico, diferenciándose a sí mismas de otros grupos étnicos y ciudades estado de la isla

Virtual Reconstruction of the Temple on the Acropolis of Kymissala in Rhodes

In recent years, the rapid development of technology has offered scientists new powerful tools. Especially in the field of cultural heritage documentation, modern digital media are an integral part, contributing significantly to the process of recording, managing, and displaying architectural monuments, archaeological sites, and art objects in a fast and accurate way. Digital technologies have made it possible to produce accurate digital copies of heritage sites and contribute to their salvation and conservation. At the top of the hill of Agios Fokas, acropolis of the ancient Demos of Kymissaleis, are the remains of a small Hellenistic temple of the 3rd&ndash;2nd century BC. This article proposes a virtual reconstruction of the temple on the acropolis of Kymissala. The geometric documentation of the temple and the creation of a three-dimensional model with its virtual reconstruction are analyzed. Modern photogrammetric methods are applied by taking digital images in the context of the experimental application of a relatively simple and semi-automatic method that does not require highly specialized knowledge and therefore can be used by non-specialists. With the use of modeling software, a three-dimensional model of the temple is created with the main goal of its virtual reconstruction

Outpatient Clinic in Ancient Greece.

Introduction: Several sciences, including medicine, have their origin in Ancient Greece. It is intriguing to comprehend how Ancient Greek physicians were practicing medicine. The present study evaluates the role of an Ancient Greek physician in an outpatient clinic by examining the first depiction of such a clinic in Western history which is painted on the surface of a red-figured rounded small vase (aryvallos). Methods:An Ancient Greek aryvallos painted c. 480-450 BC, now on display at the Louvre museum, was meticulously studied regarding its painted surface, which presents an outpatient clinic in Ancient Greece. Other Ancient Greek works of art presenting medical activities have been also evaluated in order to reach informed conclusions regarding medical practice of that period. Results:The aryvallos depicts a physician performing bloodletting in a patient. Another five males, four of them with traumas holding canes are waiting their turn. Among them, a dwarf holding a hare on his shoulder can be seen. Suction cups on the wall and a copper basin on the floor for blood collection are also included in the picture. Discussion and conclusion: The aryvallos depicts the earliest known realistic scene of medical service in Western history. All previous Ancient Greek scenes which dealt with relevant themes, invariably included &quot;holy&quot; and divine interventions. Trauma management, as well as bloodletting seem to form part of the everyday medical practice of that time, while gifts to physicians (one of possible explanations of the dwarf&apos;s hare, which is depicted on the aryvallos scene) were common. Additionally, historical sources reveal that Ancient Greek physicians were well-paid and much respected. Medicine has always been an honorable practice throughout the centuries