Veria Archaeological Museum in Macedonia, Greece
Veria Archaeological Museum
The museum includes collections of Hellenistic and Roman sculpture (funerary reliefs, funerary and honorary altars, portraits, table supports, statues) from the city of Veroia and other sites of the district, Hellenistic pottery and figurines from the cemeteries of Veroia, Hellenistic and Roman architectural parts (columns, bases, capitals etc.) exhibited in the courtyard, inscriptions from Veroia and the adjacent areas.
The most important exhibits of the museum are:
Red-figure bell crater (Kertsch style). The front view bears a representation of the iconographic cycle of Aphrodite and Dionysos. Dated to the middle of the 4th century BC.
Bronze hydria-calpis used as a funerary urn in a cist-grave at Veroia. Dated to 370-360 BC.
Medusa head. Large head of the mythical Medusa, which was attached to the north-east gate of the fortification walls of Veroia. It was an apotropaic symbol, used to discourage and frighten the city attackers. Dated to the first half of the 2nd century BC.
Funerary stele of Paterinos. Tall, palmette relief stele depicting the dead Paterinos, son of Antigonos, standing in the middle of the panel. It is a good specimen of the local sculpture workshop, dated to the end of the 2nd century BC.
Gold jewellery from a female burial. Pair of gold earrings, a gold ring and a necklace made of gold and cornelian rings. Dated to the 2nd century BC.
Law concerning the Gymnasium. A remarkable inscription recording the rules of the Gymnasium of Veroia. The preserved text refers to the obligations of the youths practicing in the Gymnasium. Dated to the first half of the 2nd century BC.
Bust of Olganos from Kopanos, near Naoussa. Protome of the river-god Olganos, son of the mythical Veretos and brother of Mieza and Veroia. This elegant statue is dated to the second half of the 2nd century AD.
Marble table support (trapezophoron). It bears the relief representation of Zeus, transformed into an eagle, abducting Ganymedes. Dated to the 2nd century AD.
Greek treasures on display at Oxford's Ashmolean Museum
More than 500 gold, silver and bronze exhibits from a royal tomb have gone on display at Oxford's Ashmolean Museum.
They were discovered in the ancient palace of Aegae in Greece.
On display is an incredibly delicate golden wreath of myrtle flowers. Some of the finds date to the early Iron Age (1000 - 700 BC).
Macedonian art specialist, Dr Angeliki Kottaridi, said: This exhibition is the most important Greek cultural event in many years.
Greece, Ancient Pella
Photographer:Samuel Magal
Music:Suzanne Teng September's Angels
Pella is an ancient city located in Central Macedonia, Greece, best known as the historical capital of the ancient Greek kingdom of Macedon and birthplace of Alexander the Great. On the site of the ancient city is the Archaeological Museum of Pella.
Why the Macedonians have ALWAYS been Greek
THIS IS WHY THE MACEDONIANS WERE AND ARE STILL GREEKS!
answer to fyrom propagandist bobo87mk!
MACEDONIA IS ONE AND GREEK!
MACEDONIA IS GREECE!
LONG LIVE MACEDONIA!
those are someof the reasons macedonians were always greeks there others too
Greece, Macedonias Parthenon: The palace of Philip II, king of ancient Macedonia (360-336 BC)
Όσο τρεις Παρθενώνες το ανάκτορο του Έλληνα βασιλιά της Μακεδονίας Φιλίππου Β' στις Αιγές (Ελλάδα/Greece, Μακεδονία/Macedonia, Ιστορία/History).
The palace of Philip II, king of ancient Macedonia (360-336 BC.) was a huge two-storey mansion, three times the size of the Parthenon. The archaeologist Angeliki Kottaridi, who works at the archaeological site of Aigai - capital of the ancient Macedonian kingdom (today known as Vergina) - rebuilt the palace on paper, based on the results of excavations and new data. With a facade measuring 13.60 metres in length and 78 metres in height, many columns and arches, the building was probably the most prestigious of its time. According to Kottaridi, it took 10 to 12 years for the ambitious construction to be completed. The archaeologist calls the palace Macedonias Parthenon and the second most important construction of ancient Greece. With the palace of Philip II, a new style of architecture was introduced to the Hellenistic world, and became a new architectural motif.
BBC Alastair Sooke: Treasures Of Ancient Greece - Aigai (Vergina) Macedonia 2015
To the south of River Haliacmon, in the “land of Macedon”, as described by Herodotus, on the foothills of Pieria, the ancient “Macedonian mount”, lays Aigai, the first city of Macedon, the land with many goats (“Aigai” in ancient Greek means “goats”).
Aigai was a city formed by distinct villages, an “open” urban agglomeration having a central core and multiple settlements of various sizes developing around it. This multiplicity explains the plural suffix of its name (the diphthong “ai”), like in the names of other ancient cities, e.g. “Athinai”, “Thibai” or “Ferai”, and reflects the ancient model of a society founded on the aristocratic structure of clans having as its point of reference and cohesion pole, the royal authority.
In the mid-7th century BC, Perdiccas I, a Dorian from Argos, a descendant, according to tradition, of the family of Hercules, became king of Macedonians. Aigai became the cradle of the Temenids, the dynasty that will rule Macedonia for 3.5 centuries and will give to humanity Philip II and his son Alexander the Great, who set off from Aigai and changed the history of Greece and the World.
The name “Makednoi” or “Macedonians” is derived from the root mak-, as in the Greek adjective μακρύς (long), and originally meant the “tall ones” or “highlanders” in Greek. According to Herodotus, the Macedonians were the same tribe as the Dorians, who originally resided in the Pindus mountain range.
In the beginning of the last pre-Christian millennium, the Macedonians, whose main economic activity was animal husbandry, are found in the northern side of mount Olympos and around the ancient Macedonian mount (the mountains of Pieria).
Here, to the south of river Haliacmon, in Herodotus’ “land of Macedon”, on the foothills of the “Macedonian mount”, lays Aigai, the land with many goats, the first city of Macedon. Built at the beginning of the route that crossed the mountains and from the Macedonian basin led to the south, Aigai was an important centre playing a pivotal role in the region from as early as the 10th-8th century BC.
Archaeological Museum of Veria
The museum includes collections of Hellenistic and Roman sculpture (funerary reliefs, funerary and honorary altars, portraits, table supports, statues) from the city of Veroia and other sites of the district, Hellenistic pottery and figurines from the cemeteries of Veroia, Hellenistic and Roman architectural parts (columns, bases, capitals etc.) exhibited in the courtyard, inscriptions from Veroia and the adjacent areas.
The most important exhibits of the museum are:
Red-figure bell crater (Kertsch style). The front view bears a representation of the iconographic cycle of Aphrodite and Dionysos. Dated to the middle of the 4th century BC.
Bronze hydria-calpis used as a funerary urn in a cist-grave at Veroia. Dated to 370-360 BC.
Medusa head. Large head of the mythical Medusa, which was attached to the north-east gate of the fortification walls of Veroia. It was an apotropaic symbol, used to discourage and frighten the city attackers. Dated to the first half of the 2nd century BC.
Funerary stele of Paterinos. Tall, palmette relief stele depicting the dead Paterinos, son of Antigonos, standing in the middle of the panel. It is a good specimen of the local sculpture workshop, dated to the end of the 2nd century BC.
Gold jewellery from a female burial. Pair of gold earrings, a gold ring and a necklace made of gold and cornelian rings. Dated to the 2nd century BC.
Law concerning the Gymnasium. A remarkable inscription recording the rules of the Gymnasium of Veroia. The preserved text refers to the obligations of the youths practicing in the Gymnasium. Dated to the first half of the 2nd century BC.
Bust of Olganos from Kopanos, near Naoussa. Protome of the river-god Olganos, son of the mythical Veretos and brother of Mieza and Veroia. This elegant statue is dated to the second half of the 2nd century AD.
Marble table support (trapezophoron). It bears the relief representation of Zeus, transformed into an eagle, abducting Ganymedes. Dated to the 2nd century AD.
Veria of Imathia The City
Veria of Imathia The City
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Veria (Greek: Βέροια or Βέρροια), officially transliterated Veroia, historically also spelled Berea, is a city in Macedonia, northern Greece, located 511 kilometres (318 miles) north-northwest of the capital Athens and 73 km (45 mi) west-southwest of Thessalonica.
Even by the standards of Greece, Veria is an old city; first mentioned in the writings of Thucydides in 432 BC, there is evidence that it was populated as early as 1000 BC.[2] Veria was an important possession for Philip II of Macedon (father of Alexander the Great) and later for the Romans. Apostle Paul famously preached in the city, and its inhabitants were among the first Christians in the Empire. Later, under the Byzantine and Ottoman empires, Veria was a center of Greek culture and learning. Today Veria is a commercial center of Central Macedonia, the capital of the regional unit of Imathia and the seat of a Church of Greece Metropolitan bishop in the Ecumenical Patriarchate as well as a Latin Catholic titular see.
Byzantine Veria
Resurrection of Christ Byzantine church
Crucifixion fresco (1315) by Georgios Kalliergis in the Resurrection of Christ church
Saint Patapius
Under the Byzantine Empire Berrhoea continued to grow and prosper, developing a large and well-educated commercial class (Greek and Jewish) and becoming a center of medieval Greek learning; signs of this prosperity are reflected in the many Byzantine churches that were built at this time, during which it was a Christian bishopric (see below).
Byzantine museum
In the 7th century, the Slavic tribe of the Drougoubitai raided the lowlands below the city, while in the late 8th century Empress Irene of Athens is said to have rebuilt and expanded the city and named it Irenopolis (Ειρηνούπολις) after herself, although some sources place this Berrhoea-Irenopolis further east, towards Thrace.[5]
The city was apparently held by the Bulgarian Empire at some point in the late 9th century. The 11th century Greek bishop Theophylact of Ohrid wrote that during the brief period of Bulgarian dominance, Tsar Boris I built there one of the seven cathedral churches built by him and refers to it as one of the beautiful Bulgarian churches.[6] In the Escorial Taktikon of ca. 975, the city is mentioned as the seat of a strategos, and it apparently was the capital of a theme in the 11th century.[5] The city briefly fell to Tsar Samuel of Bulgaria at the end of the 10th century, but the Byzantine emperor Basil II quickly regained it in 1001 since its Bulgarian governor, Dobromir, surrendered the city without a fight.[5] The city is not mentioned again until the late 12th century, when it was briefly held by the Normans (1185) during their invasion of the Byzantine Empire.[5] After the Fourth Crusade (1204), it briefly became part of Boniface of Montferrat's Kingdom of Thessalonica, until the latter was conquered by the Despotate of Epirus in 1224. It changed hands again in 1246, being taken by the Emperor of Nicaea John III Doukas Vatatzes, and formed part of the restored Byzantine Empire after 1261.[5]
The 14th century was tumultuous: captured by the Serbian ruler Stephen Dushan in 1343/4, it became part of his Serbian Empire. It was recovered for Byzantium by John VI Kantakouzenos in 1350, but lost again to the Serbians soon after, becoming the domain of Radoslav Hlapen after 1358.[5] With the disintegration of the Serbian Empire, it passed once more to Byzantium by ca. 1375, but was henceforth menaced by the rising power of the Ottoman Turks. The city changed hands several times over the next decades, until the final Turkish conquest around 1430.[5]
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Archaeological Museum of Thessaloniki / Macedonia(Greece)
Archaeological Museum of Thessaloniki / Macedonia(Greece)
The Archaeological Museum of Thessaloniki is a museum in Thessaloniki, Greece. It holds and interprets artifacts from the Archaic, Classical, Hellenistic and Roman periods, mostly from the city of Thessaloniki but also from the region of Macedonia in general.
National Archaeological Museum of Athens Part Two, Greece
A footage of masterpieces of the archaelogical museum in Athens, such as Attic Funerary Monuments and Bronze Collections. May 2011
Macedonia is Hellenic / Macedonia is part of Greece
Macedonia is Hellenic
Η Μακεδονια ειναι Ελληνικη
Mакедония это Γреция
مقدونيا هي اليونا
Македония е гърция
Macédoine est la Grèce
Mazedonien ist Griechisch
マケドニアは、ギリシャ
Macedonia es Grecia
MAKEDONIJA JE GRČKA
МАКЕДОНИЈА ЈЕ ГРЧКА
Македонія ото Греція
La Macedonia è Grecia
Macedonia to Grecja
Macedonia należy do Grecji
Masedonya ay Griyego
მაკედონია საბერძნეთია!
Performing Identity: The Balkan Aromanians (Cogealac - part II)
This short documentary is part of the project Performing Identity - The Balkan Aromanians”, 2018, produced by NGO Cultural Center for Image and Sound - Bucharest (Elena Dobîndă and Emilian Mărgărit) with the significant help of Eliza Zdru.
This project is being developed in partnership with Thessaloniki International Film Festival (Eirini Delidaki) and The Historical MuseumDiexodos – Mesologgi (Gregoris Douliotis), and supported by the Goethe-Institut and the Project Fund of the Cultural Management Academy in Sofia, Bucharest and Thessaloniki.
Ancient Macedonia - Louvre 2011
Ancient Macedonia - Louvre 2011 (Macedoine Antique - Louvre 2011)
Alexander the Great conquered the Louvre
Eric Bietry-Rivierre
The museum focuses the treasures of the palaces and temples of ancient Macedonia. Gold, silver, marble, mosaics: a forgotten kingdom was hiding under the caption of one man.
Prior to being great, Alexander was Macedonian. More than the conquest and the myth is this context of an ancient kingdom located in the northern margin of Greece suggests that the Louvre. Its wealth and refinement were, there is little, unexpected. The venerable and many remains of Delphi and Athens, and more the legend of one man, they were in the shade. But here they reappear on the occasion of miraculous excavation, still in progress.
Vases, jewelry, weapons, dishes, sculptures dazzle like the sun today in the showcase of impeccable Hall Napoléon. As gold and silver between the black walls and the windows where the brushed stainless steel is an ideal setting! In this exemplary set design, signed Fryland Brigitte and Marc Barani, this profusion of rare metal objects reminded that Macedonia was originally fortunately endowed with natural resources. But even more artists and craftsmen of genius.
The jewelry reflects a degree of virtuosity and stunning sophistication. Similarly, the mosaics of river pebbles are a delicacy as it is easy to imagine that they competed with the works of Apelles. Whoever goes to the first painter in history was a favorite of Alexander. But lived in Macedonia as Pindar, Euripides, Zeuxis, Lysippus or Aristotle, tutor to the young prince, who, in Mies, participated in the excitement of the first university in the world. The Sorbonne, Fez, Padua and Oxford have their ancestor not far from Thessaloniki.
The intelligence of this company also remains in the clean lines of its cups and its Dionysian oinochoai. Parts so fresh that they seem out of the best factories of the nineteenth century. It still reads in the polychrome glass, carvings in marble. Most of these treasures were never out of local museums. They alternate with peaks of spears, shields, pieces of the star struck Macedonian bronze helmets and laminated with gold. Prior to accompany the dead, these funeral may have served the famous wars.
Chasseau lion mosaic, pebble coated. (© Hellenic Ministry of Culture and Tourism / Archaeological Receipts Fund / Musée du Louvre) The phalanx ultimate weapon
During the reign of Philip II, father of Alexander, the Macedonians had learned to fight in phalanx. The ultimate weapon would allow Alexander to dominate the whole known world, says Commissioner Sophie Descamps, head of the Department of Greek, Etruscan and Roman. This horrible quadrangular mass moved in one piece, seemed to live like an animal and function as a machine, Flaubert imagined it before. In passing, we note the rehabilitation of Philip II, who was yet to Demosthenes for a drunken brute of a double.
Yet here we will look in vain for a detailed account of the victories on the banks of the Granicus or Issus against Darius III. We will not see more Alexander and his 35,000 men shave Tyre, founded Alexandria with its lighthouse and its library. None of the Indus elephant in sight. Much less evocative of the cohort of admirers, of Caracalla in Louis XIV. However, we understand what led to such feats, and the impact they had on an entire culture. The course embraces indeed Macedonia since the fifteenth century BC until the conquest by imperial Rome.
It begins with a cleverly reverse chronology. We start from the most recent excavations to address the archeology of the nineteenth century. It discovered the first pieces of Roman art. And this marble sarcophagus, the pride of the Louvre, which is a funerary bed on which you can see the dead. It weighs seven tons. It dates from the late second century AD If the marble of Attica, it was revealed in Thessaloniki. Then the sense of time is restored and we discover Macedonia through broad themes: architecture (with the remains included in the decorations of the palace-size, giving full-scale), the objects of life Earth and funerary objects.
The most fascinating? These masks or helmets of bronze. Some seem to smile. And, of course, Alexander himself. In god Pan, with a spear, hunting lions with a friend, or in a rare marble portrait about contemporary is a young man who looks away.
October 13 to January 16, Hall Napoleon of the Louvre.
Fine Greek sculptures in German hands
pay more attention on the guy with spear and dog, its from Macedon Greece
Thessaloniki, Greek Macedonia, Greece - Greece's cultural capital
Thessaloniki is a Greek port city on the Thermaic Gulf of the Aegean Sea. Thessaloniki is the second-largest city in Greece and the capital of Greek Macedonia, the administrative region of Central Macedonia and the Decentralized Administration of Macedonia and Thrace. Much of its center was destroyed in the Great Fire of 1917. Evidence of its Roman, Byzantine and Ottoman history remains, especially around Ano Poli, the upper town. The rebuilt 20th-century city has a modern European layout, and is a hub for international trade and culture.
Thessaloniki is Greece's second major economic, industrial, commercial and political centre, and a major transportation hub for the rest of southeastern Europe; its commercial port is also of great importance for Greece and the southeastern European hinterland. The city is renowned for its festivals, events and vibrant cultural life in general, and is considered to be Greece's cultural capital. Events such as the Thessaloniki International Trade Fair and the Thessaloniki International Film Festival are held annually, while the city also hosts the largest bi-annual meeting of the Greek diaspora. Thessaloniki was the 2014 European Youth Capital.
The city of Thessaloniki was founded in 315 BC by Cassander of Macedon. An important metropolis by the Roman period, Thessaloniki was the second largest and wealthiest city of the Byzantine Empire. It was conquered by the Ottomans in 1430, and passed from the Ottoman Empire to modern Greece on 8 November 1912.
Thessaloniki is home to numerous notable Byzantine monuments, including the Paleochristian and Byzantine monuments of Thessaloniki, a UNESCO World Heritage Site, as well as several Roman, Ottoman and Sephardic Jewish structures. The city's main university, Aristotle University, is the largest in Greece and the Balkans.
Thessaloniki is a popular tourist destination in Greece. Among street photographers, the center of Thessaloniki is also considered the most popular destination for street photography in Greece.
Hellenistic Civilization Photostory
Performing Identity: The Balkan Aromanians (Veria - part III)
This short documentary is part of the project Performing Identity - The Balkan Aromanians”, 2018, produced by Thessaloniki International Film Festival (Eirini Delidaki). This project is being developed in partnership with NGO Cultural Center for Image and Sound (Elena Dobîndă and Emilian Mărgărit)– Bucharest, the Historical Museum Diexodos (Gregoris Douliotis) from Mesologgi, and supported by the Goethe-Institut and the Project Fund of the Cultural Management Academy in Sofia, Bucharest and Thessaloniki.
Βυζαντινό Μουσείο Βέροιας / Byzantine Museum of Veria Greece
Το Βυζαντινό Μουσείο της Βέροιας στεγάζεται στον Μύλο του Μάρκου, ένα πρόσφατα ανακαινισμένο βιομηχανικό κτίριο των αρχών του αιώνα, το οποίο βρίσκεται στη γειτονιά της διατηρητέας συνοικίας της Κυριώτισσας.
Περιλαμβάνει τρεις ορόφους, συνολικού εμβαδού 720 τ.μ. καθένας από τους οποίους θα φιλοξενεί μια εννοιολογικά αυτοτελή ενότητα της μόνιμης έκθεσης. Το υλικό της μόνιμης έκθεσης περιλαμβάνει μέρος της πλούσιας συλλογής φορητών εικόνων, τοιχογραφίες από ναούς και κοσμικά κτίρια, ψηφιδωτά δάπεδα, χειρόγραφα και παλαίτυπα, έργα αγγειοπλαστικής και μικροτεχνίας, νομίσματα και ξυλόγλυπτα, ταφικά ευρήματα, αρχιτεκτονικά γλυπτά και μαρμάρινες επιγραφές.
Οι στόχοι που φιλοδοξεί να πετύχει το νέο μουσείο καθορίστηκαν με γνώμονα τη φυσιογνωμία της σύγχρονης κοινωνίας, η οποία επιβάλλει σ' αυτό να συνδυάσει όλες τις παραδοσιακές αξίες του μουσείου ως οργανισμού, με το ενδιαφέρον για την ενεργό και αμφίδρομη συνεργασία με όλους τους κοινωνικούς φορείς. Το μουσειολογικό πρόγραμμα είναι βασισμένο στην ιδέα ενός μουσείου με περιφερειακό χαρακτήρα, το οποίο θα παραπέμπει στον πολιτισμό όλης της Κεντρικής και Δυτικής Μακεδονίας, συμπληρώνοντας παράλληλα τις συλλογές της Θεσσαλονίκης.
Ειδικότερα η Έκθεση του πρώτου ορόφου με την οποία εγκαινιάστηκε το μουσείο, παρουσιάζει τα κύρια στοιχεία του βυζαντινού πολιτισμού μέσα από το παράδειγμα της Βέροιας, μιας πόλης της περιφέρειας της αυτοκατορίας με σημαντική ιστορία και αξιόλογο μνημειακό πλούτο. Κύριος άξονας της οργάνωσης του εκτιθέμενου υλικού είναι οι ποικίλες πολιτισμικές σχέσεις μεταξύ της Βέροιας και των μεγάλων κέντρων του βυζαντινού κόσμου, όπως η Κωνσταντινούπολη και η Θεσσαλονίκη, αλλά και με τις πόλεις του εγγύτερου μακεδονικού χώρου.
Η επικοινωνία των πόλεων ανιχνεύεται πολύπλευρα: στη λατρεία, στην τέχνη, στις οικονομικές και εμπορικές συναλλαγές, αλλά και στο ανθρώπινο δυναμικό, το βασικό φορέα διάδοσης των κυρίαρχων ιδεών. Με κριτήριο την πληροφορία που το ίδιο το αντικείμενο εμπεριέχει, καταρτίστηκαν πέντε ενότητες οι περισσότερες από τις οποίες φέρουν το συμβατικό τίτλο της πόλης με την οποία σχετίζεται η Βέροια.
Πεδία μελέτης αυτής της επικοινωνίας είναι η Κωνσταντινούπολη που εκφράζει την παραγωγή του κέντρου, η Θεσσαλονίκη που αντανακλά την πρωτεύουσα και η Καστοριά, ως παράλληλο παράδειγμα πόλης της περιφέρειας. Πτυχές από την κοινή γλώσσα παρουσιάζονται ενδεικτικά μέσα από τα μνημεία της Βέροιας σε όλη τη μακρά ιστορία του Βυζαντίου, αλλά και στο μετα-Βυζάντιο, ιδιαίτερα μέσα από έργα ζωγραφικής, μιας τέχνης που εκπροσωπήθηκε πλουσιοπάροχα στην περιοχή.
Τέλος, έμφαση δίνεται στη συμβολή του ανθρώπινου δυναμικού, των καλλιτεχνών, οι μετακινήσεις των οποίων συνέβαλαν στην διάδοση των ιδεών, των αισθητικών αξιών και των ιδεολογικών ρευμάτων της αυτοκρατορίας.
NATIONAL ARCHAEOLOGICAL MUSEUM (GREECE)
A WALK IN NATIONAL ARCHAEOLOGICAL MUSEUM IN ATHENS (GREECE)
TravGreece - The museum of Pella
A visit in the museum of Ancient Greek culture