Dionysos in the context of "Hector"

The Dionysia (/ˌdaɪ.əˈnɪzi.ə, ˌdaɪ.əˈnɪʃi.ə, ˌdaɪ.əˈnɪʃə/; Greek: Διονύσια) was a large festival in ancient Athens in honor of the god Dionysus, the central events of which were processions and sacrifices in honor of Dionysus, the theatrical performances of dramatic tragedies and, from 487 BC, comedies. It was the second-most important festival after the Panathenaia. The Dionysia actually consisted of two related festivals, the Rural Dionysia and the City Dionysia, which took place in different parts of the year.

The Triptolemos Painter was an ancient Greek vase painter, belonging to the Attic red-figure style. He was active in Athens between 490 and 470 BC. His real name is not known. He started working in the workshop of Euphronios, where he was probably taught by Douris. Later, he also worked for the potters Brygos, Hieron and Python. Initially, his style was strongly influenced by Archaic art. His later works are mediocre in quality. Nonetheless, his repertoire is broad, reaching from the Apaturia procession via erotic scenes and Theban scenes to the departure of Triptolemos (his name vase).

The dithyramb (/ˈdɪθɪræm/; Ancient Greek: διθύραμβος, dithyrambos) was an ancient Greek hymn sung and danced in honor of Dionysus, the god of wine and fertility; the term was also used as an epithet of the god. Plato, in The Laws, while discussing various kinds of music mentions "the birth of Dionysos, called, I think, the dithyramb." Plato also remarks in the Republic that dithyrambs are the clearest example of poetry in which the poet is the only speaker.

However, in The Apology Socrates went to the dithyrambic poetswith some of their own most elaborate passages, asking their meaning, but got a response of, "Will you believe me?" which "showed me in an instant that not by wisdom do poets write poetry, but by a sort of genius and inspiration; they are like diviners or soothsayers who also say many fine things, but do not understand the meaning of them."

The earliest known traces of wine were found near Tbilisi, Georgia (c. 6000 BCE). The earliest known winery, from c. 4100 BCE, is the Areni-1 winery in Armenia. The subsequent spread of wine culture around the Mediterranean was probably due to the influence of the Phoenicians (from c. 1000 BCE) and Greeks (from c. 600 BCE). The Phoenicians exported the wines of Byblos, which were known for their quality into Roman times. Industrialized production of wine in ancient Greece spread across the Italian peninsula and to southern Gaul. The ancient Romans further increased the scale of wine production and trade networks, especially in Gaul around the time of the Gallic Wars. The Romans discovered that burning sulfur candles inside empty wine vessels kept them fresh and free from a vinegar smell, due to the antioxidant effects of sulfur dioxide, which is still used as a wine preservative.

The altered consciousness produced by wine has been considered religious since its origin. The ancient Greeks worshiped Dionysus or Bacchus and the Ancient Romans carried on his cult. Consumption of ritual wine, probably a certain type of sweet wine originally, was part of Jewish practice since Biblical times and, as part of the eucharist commemorating Jesus's Last Supper, became even more essential to the Christian Church. Although Islam nominally forbade the production or consumption of wine, during its Golden Age, alchemists such as Geber pioneered wine's distillation for medicinal and industrial purposes such as the production of perfume.

37°58′13″N 23°43′40″E / 37.97034°N 23.727784°E / 37.97034; 23.727784

The Bema of Phaidros (Ancient Greek: Βῆμα τοῦ Φαίδρου) is the marble platform created in the third century CE that served as stage front to the Theatre of Dionysos in Athens. It is decorated with a Neo-Attic Roman sculpture of the Hadrianic or Antonine period, this sculpture was dismantled sometime in antiquity, moved from an unknown location, and rebuilt into the bema of the Theatre by Phaidros, archon of Athens. Four stone reliefs decorate the stage front illustrating scenes from the life of Dionysos they are: 1) The birth of Dionysos, 2) the entrance of Dionysos into Attica, 3) the sacred marriage of Dionysos and the Basilinna and 4) the enthronement of Dionysos. These scenes are framed by crouching Silenoi.

In ancient Greek religion, an orgion (ὄργιον, more commonly in the plural orgia) was an ecstatic form of worship characteristic of some mystery cults. The orgion is in particular a cult ceremony of Dionysos (or Zagreus), celebrated widely in Arcadia, featuring "unrestrained" masked dances by torchlight and animal sacrifice by means of random slashing that evoked the god's own rending and suffering at the hands of the Titans. The orgia that explained the role of the Titans in Dionysos's dismemberment were said to have been composed by Onomacritus. Greek art and literature, as well as some patristic texts, indicate that the orgia involved snake handling.