Ἀστιούνειος Ἀναξαγοραίοι ἐς Λαρίσας
Earrings have rodax ("Rodakas" - Mycenaean Greek motif) on eight rays sun, two oak acorns, and bullhead motif, associated with the ancient Hellenic cult of Minotaur. Found at Lete, Mygdonia, Central Macedonia. Dating from III century B.C.
Alexander the Great fighting the Persian king Darius III in the battle of Issus 333 BC. Detail from mosaic from the House of the Faun, Pompeii. Displayed at Naples National Archaeological Museum, Naples, Italy. Click here to see the whole mosaic!
The portrait of Alexander is one of his most famous. Alexander's breastplate depicts Medusa (Pan-Hellenic symbol from Greek muthology), the famous Gorgon, and his wavy hair is typical of royal portraiture as established in Greek art of the fourth century B.C. He is portrayed sweeping into battle at the left, on his famous horse, Bucephalos, and focusing his gaze on the Persian leader.
Alexander Mosaic dating from circa 100 BC. It is found at House of the Faun in Pompeii. Displayed at Naples National Archaeological Museum. It depicts the battle of Issus between the armies of Alexander the Great and Darius III of Persia. Artist is unknown.
Dimensions: 582 cm × 313 cm (19ft in × 10ft 3 in in)
According to many scholars, hunters from the mosaic are Alexander the Great and Craterus.
Mosaic from ancient Pella, Macedonia, Greece.
Marble portrait (bust) of a young Alexander the Great. From Hellenistic era, between 2nd and 1st century BC.
Found in Alexandria, present-day Egypt. Displayed in the British Museum, London.
Μαρμάρινο πορτραίτο (προτομή) του Μεγάλου Αλεξάνδρου. Από την ελληνιστική εποχή, μεταξύ του 2ου και του 1ου αιώνα π.Χ.
Βρέθηκε στην Αλεξάνδρεια, Αίγυπτος. Εκτίθεται στο Βρετανικό Μουσείο.
The Lion of Chaeronea
Documents-Macedon.Blogspot.com
It is sure, this monument was build after the battle of Chaeronea. But, we don't know of which army is dedicated this monument. On one side at battle of Chaeronea were Macedonians with their allies, and on other side was Greek city-state coalition (Athens, Thebes and allies). In this battle, also participated the Sacred Band of Thebes. Plutarch suggests that all 300 of the Sacred Band were killed at the battle, having previously been seen as invincible. Modern excavations found the remains of 254 soldiers underneath the monument; it is therefore generally accepted that this was indeed the grave of the Sacred Band, since it is unlikely that literally every member was killed. According to Pausanias, the monument was erected by the Thebans in memory of their dead. According to him, Macedonians did not erect trophies:
In the territory of Chaeroneia are two trophies, which the Romans under Sulla set up to commemorate their victory over the army of Mithridates under Taxilus. But Philip, son of Amyntas, set up no trophy, neither here nor for any other success, whether won over Greeks or non-Greeks, as the Macedonians were not accustomed to raise trophies. [7] The Macedonians say that Caranus, king of Macedonia, overcame in battle Cisseus, a chieftain in a bordering country. For his victory Caranus set up a trophy after the Argive fashion, but it is said to have been upset by a lion from Olympus, which then vanished. [8] Caranus, they assert, realized that it was a mistaken policy to incur the undying hatred of the non-Greeks dwelling around, and so, they say, the rule was adopted that no king of Macedonia, neither Caranus himself nor any of his successors, should set up trophies, if they were ever to gain the good-will of their neighbors. This story is confirmed by the fact that Alexander set up no trophies, neither for his victory over Dareius nor for those he won in India. [9] As you approach the city you see a common grave of the Thebans who were killed in the struggle against Philip. It has no inscription, but is surmounted by a lion, probably a reference to the spirit of the men. That there is no inscription is, in my opinion, because their courage was not favoured by appropriate good fortune. [10] (Pausanias, Description of Greece; 9. 40. 7, 8, 9, 10.)But Diodorus of Sicily, says that Philip erected a trophy on the battlefield:
Likewise, many of the Boeotians were killed and not a few taken prisoners. After the battle Philip raised a trophy of victory, yielded the dead for burial, gave sacrifices to the gods for victory, and rewarded according to their deserts those of his men who had distinguished themselves. (Diodorus of Sicily, World History; XVI, 86, 8)Also there is copy of this lion monument in Amphipolis. In the reign of Alexander, Amphipolis was an important naval base, and the birthplace of three of the most famous Macedonian Admirals: Nearchus, Androsthenes and Laomedon whose burial place is most likely marked by the famous lion of Amphipolis.
Skeleton of Philip II, displayed at the National Museum of Thessaloniki. It was unearthed in 1977 during excavations in Vergina, in the northern Greek region of Macedonia, by archaeologist Manolis Andronikos. The body was buried in Tomb II of Great Tumulus (Megali Toumba), along with many valuable and precious artеfacts. Some scientists still disagree that this body is Philip's II body. According to them, these male bones belong to Philip III Arrhidaeus, who was son of Philip II and half-brother of Alexander III of Macedon.
Sumatra, Indoneasia
Ritual fan 19th century
gold, silver, precious stones
National Museum of Indonesia, Jakarta
On this ceremonial fan, the Malay inscription in Arabic script (known as jawi) evokes the blessings of Allah while declaring the illustrious rulers of the Islamic kingdom of Johor to be direct descendants of Alexander the Great (Sultan Iskandar Zulkarnaen). The leaf-like shape of this fan may allude to a legend which suggests Alexander was named after a leaf which miraculously healed his mother.
The form also echoes that of the central mountain or tree motif in the Southeast Asian region’s shadow puppet performances – variously known as gunungan, kekayon or waringan – as well as everyday fans woven from palm leaf.
A golden medal with depiction of Olympia, mother of Alexander III of Macedon, founded at Abukir, Egypt in 1903.
Obverse: Gold medallion depicting Queen Olympias, wife of king of Macedonia, Philip II, mother of Alexander the Great.
Reverse: Nereid riding on Poseidon with trident, on a fantastic sea creature.
Archaeologists believe that these medals were awarded to the victors in the Olympic Games which survived during the Roman period in Macedonia cities such as Veria.
These Games, known as the Alexandrian Olympics, were held in honour of the Roman emperors who visited the cities of Macedonia.
Original belongs to Archaeological Museum of Thessaloniki.
A statue of Buddha with a bust of Alexander behind it
The photographs are very characteristic. The influence of Greek art on the statues is quite clear from the folds of the garments, etc. The appearance of Alexander beside Buddha shows the profound influence he had on the peoples he conquered.
(From the file of Mr. Nestor Matsas)
Reconstruction of the polychrome decoration of the Alexander Sarcophagus from the Royal necropolis of Sidon, representing the battle of Issos.
Study: Vinzenze Brinkmann and Ulrike Koch-Brinkmann.
Stereolithography: Alphaform, Munich.
Restoration of the missing parts: Joseph Kotti, Sylvia Kellner.
Painting: Ulrike Koch-Brinkmann.
Original: Archaeological national museum of Istanbul. Exposure "Bunte Götter" in the version shown in Athens.
The Alexander Sarcophagus (together with the full-colour makeover) is on display at the Istanbul Museum was the tomb of Sidon's king Abdalonymos, whom Alexander placed on the Sidonian throne after his victory over the Persians at Issos in 333. He appears in the hunting and battle scenes on the carved panels along with Alexander.
by magicmountain
Fragments of head of bronze statue from Shami shrine, Malamir. Cat. Stein LHAS Photo 25 (4)
Two halves of a bronze mask slightly larger than life-size. The modelling shows Hellenistic influence. It is from the Parthian shrine of Shami. The cult place was completely wrecked and burned. The fragments which had evidently been subjected to blows with a hammer show marks of the violent treatment.
Aurel Stein's photo
