- Title Pages
- Notes on Contributors
- Introduction the Greek Gods in the Twentieth Century
- 1 What is A Greek God?
- 2 Canonizing the Pantheon: The Dodekatheon in Greek Religion and its Origins
- 3 Gods in Greek Inscriptions: Some Methodological Questions
- 4 Metamorphoses of Gods into Animals and Humans
- 5 Sacrificing to the Gods: Ancient Evidence and Modern Interpretations
- 6 Getting in Contact: Concepts of Human—Divine Encounter in Classical Greek Art
- 7 New Statues for Old Gods
- 8 Zeus at Olympia
- 9 Zeus in Aeschylus: The Factor of Monetization
- 10 Hephaistos Sweats or How to Construct an Ambivalent God
- 11 Transforming Artemis: From the Goddess of the Outdoors to City Goddess
- 12 Herakles Between Gods and Heroes
- 13 Identities of Gods and Heroes: Athenian Garden Sanctuaries and Gendered Rites of Passage
- 14 Early Greek Theology: God as Nature and Natural Gods
- 15 Gods in early Greek Historiography
- 16 Gods in Apulia
- 17 Lucian's Gods: Lucian's Understanding of the Divine
- 18 The Gods in the Greek Novel
- 19 Reading Pausanias: Cults of the Gods and Representation of the Divine
- 20 Kronos and the Titans as Powerful Ancestors: A Case Study of the Greek Gods in Later Magical Spells
- 21 <i>Homo Fictor Deorum Est</i>: Envisioning the Divine in Late Antique Divinatory Spells
- 22 The Gods in Later Orphism
- 23 Christian Apologists and Greek Gods
- 24 The Materiality of God's Image: The Olympian Zeus and Ancient Christology
- 25 The Greek Gods in Late Nineteenth- and Early Twentieth-Century German and British Scholarship
Gods in Apulia
Gods in Apulia
- (p.335) 16 Gods in Apulia
- The Gods of Ancient Greece
Jan N. Bremmer
- Edinburgh University Press
The richest body of evidence for perceptions of the gods in Apulia consists of local figure decorated pottery made between about 430 and 300 BC. Though Greek in style, the vast majority of the pots on which the images appear have been found in Italic (non-Greek) tombs rather than in the tomb of Taranto, the one Greek city in Apulia. Most of the gods in these vase-paintings appear as peripheral figures, almost like spectators in a gallery. The one exception is Dionysos who is central to the scenes in which he appears. He is always shown as a beardless youth, often naked, a form that replaces the traditional bearded Dionysos on Athenian vases at about the same time it appears in Apulia. In this new form he is not the theatre god nor is he the god of wine; rather, he is a champion of the dead and a guarantor of personal afterlife.
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