The Iconography of Bes with Particular Reference to the Cypriot Evidence

Wilson, Veronica

doi:10.1179/lev.1975.7.1.77

Cited by 39 publications

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“…132 On the ubiquity of demons and monsters in the Near East and Egypt, where it is difficult to match literary descrip tions with extant artistic evidence, see Wilson 1975;Fischer Malloura, Ayia Phylaxis, Rantidi, and Marion and in a few graves at Amathus. There is no stylistic uniformity, and it is likely that there are a variety of demons or monsters represented in mask form.132 Although fur rowed grotesque heads and faces from the Near East and Mediterranean are commonly labeled "Humbaba" masks, the identity of these faces is more complex.133 On Cyprus there is another divine figure often de picted with a large, round, grotesquely grimacing face; this deity is frequently imaged as a disembodied head or face that seems inspired by the Egyptian god Bes.134 Even though there are formal similarities between the Cypriot, Egyptian, and Near Eastern depictions of Bes and Humbaba, the Cypriot examples are unique.…”

Section: The Performers: Masks Theriomorphs and Kingsmentioning

confidence: 99%

Masks and Ritual Performance on the Island of Cyprus

Averett

2015

American Journal of Archaeology

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Section: The Performers: Masks Theriomorphs and Kingsmentioning

confidence: 99%

Masks and Ritual Performance on the Island of Cyprus

Averett

2015

American Journal of Archaeology

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“…1 Examples of apotropaic characters gesturing in bared teeth face fashion are abundant across the globe and can be traced back to early antiquity. One of the oldest is the Egyptian god Bes (whose origins may be traced back to Phoenicia in the 2nd millennium BC), who is a protective deity that is generally shown with a grotesque grinning mouth (Wilson, 1975; Fig. 1I).…”

Section: Examples From Visual Artmentioning

confidence: 99%

Reply to Crivelli et al.: The different faces of fear and threat. Evolutionary and cultural insights

Kret

Straffon

2018

Journal of Human Evolution

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License: Article 25fa pilot End User AgreementThis publication is distributed under the terms of Article 25fa of the Dutch Copyright Act (Auteurswet) with explicit consent by the author. Dutch law entitles the maker of a short scientific work funded either wholly or partially by Dutch public funds to make that work publicly available for no consideration following a reasonable period of time after the work was first published, provided that clear reference is made to the source of the first publication of the work.This publication is distributed under The Association of Universities in the Netherlands (VSNU) 'Article 25fa implementation' pilot project. In this pilot research outputs of researchers employed by Dutch Universities that comply with the legal requirements of Article 25fa of the Dutch Copyright Act are distributed online and free of cost or other barriers in institutional repositories. Research outputs are distributed six months after their first online publication in the original published version and with proper attribution to the source of the original publication.You are permitted to download and use the publication for personal purposes. All rights remain with the author(s) and/or copyrights owner(s) of this work. Any use of the publication other than authorised under this licence or copyright law is prohibited.If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons.

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“…figure vases, revellers with distended stomachs and jutting buttocks, often depicted in unseemly and trangressive activities. In fact, comic representations of Herakles with wide hips and a big belly are well-documented on Greek vase-paintings from the first half of the fourth century BC: either as 54 See Wilson (1975); Gourevitch and Grmek (1987: 357 (2000); on Roman negro sculpture, see Snowden (1970: 22-32 and (for example) fig. 50 Fat and thin bodies, then, were part of a shared cultural repertoire in which variation from the medium Polykleitian ideal corresponded socially and morally to a departure from acceptable lifestyle, particularly in the consumption of food and alcohol.…”

Section: The Marginal and The Ridiculousmentioning

confidence: 99%

“…58 Herakles was the uber-macho figure, and one that belonged as much to the genres of tragedy and comedy as to the world of the divine. In fact, comic representations of Herakles with wide hips and a big belly are well-documented on Greek vase-paintings from the first half of the fourth century BC: either as 54 See Wilson (1975); Gourevitch and Grmek (1987: 357). 55 On the Temple of Isis frescoes, see Balch (2003), and Bricault, 56 See Tougher (2005), especially p. 61 on fat deposits on eunuch bodies; Polemo, De Physiognomonia 1.161.9-163.…”

Section: The Marginal and The Ridiculousmentioning

confidence: 99%

Obesity, Corpulence and Emaciation in Roman Art

Bradley¹

2011

Pap. Br. Sch. Rome

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This article explores the significance of sculptural and painted representations of 'overweight' and 'underweight' body types in the visual culture of Roman Italy from the fourth century BC through to the late Empire, and considers the relationship of this imagery to Greek and Hellenistic precedents. In spite of the topical character of fat in 21st-century sociology, anthropology and medical science, obesity and emaciation in the ancient world remain almost completely unexplored. This article sets out to examine the relationship of fat and thin bodies to power, wealth, character and behaviour, and seeks to identify patterns and continuities in the iconography of fleshiness and slenderness across a stretch of several hundred years. Such bodies could be evaluated in a number of different ways, and this article exposes the diverseand sometimes contradictoryresponses to body fat in the art and culture of the Roman world. It first examines the significance of obesity and emaciation in language, literature and medicine, and then discusses visual representations under three headings: 'Fertility'; 'The marginal and the ridiculous', examining the relationship between body fat, humour and figures at the edge of civilized society; and 'Portraits', exploring fat and thin in the portraiture of real-life individuals in the realms of philosophy, Hellenistic rulership, Etruscan funerary art and Roman public sculpture.L'articolo esplora il significato delle rappresentazioni scultoree e pittoriche dei tipi di corpi 'sovrappeso' e 'sottopeso' nella cultura figurative dell'Italia romana dal IV secolo a.C. fino al Tardo Impero e considera la relazione di questo immaginario con i precedenti greci ed ellenistici. A differenza del carattere topico del grasso nella sociologia, antropologia e scienza medica del XXI secolo, l'obesità e la magrezza nel mondo antico rimangono argomenti quasi del tutto inesplorati. L'articolo si propone di esaminare il rapporto del corpo grasso e magro con il potere, la ricchezza, il carattere e il comportamento, e cerca di identificare i modelli e le continuità nell'iconografia della grassezza e della magrezza attraverso un arco cronologico di vari centinaia di anni. Simili corpi potrebbero essere valutati attraverso varie strade e questo articolo espone le diversee a volte contradditorierisposte al corpo grasso nell'arte e nella cultura del mondo romano. Prima si esamina il significato dell'obesità e magrezza nel linguaggio, letteratura e medicina, e poi si discuta le rappresentazioni visuali sotto tre aspetti: 'la fertilità'; 'il marginale e il ridicolo', esaminando la 1 This article represents one small part of a long-term project on foul bodies in the history, literature and art of ancient Rome. I owe a large debt of thanks to many individuals for suggesting approaches to this topic, identifying appropriate material and shaping my arguments: ; the Editor and two anonymous readers of Papers of the British School at Rome; audiences at Cambridge and Nottingham; as well as all the perceptive comments on my p...

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The Iconography of Bes with Particular Reference to the Cypriot Evidence

Cited by 39 publications

References 0 publications

Masks and Ritual Performance on the Island of Cyprus

Masks and Ritual Performance on the Island of Cyprus

Reply to Crivelli et al.: The different faces of fear and threat. Evolutionary and cultural insights

Obesity, Corpulence and Emaciation in Roman Art

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