Golden Age in the context of "Golden age (metaphor)"

In ancient Greek religion and mythology, Cronus, Cronos, or Kronos (/ˈkroʊnəs/ or /ˈkroʊnɒs/; Ancient Greek: Κρόνος) was the leader and youngest of the Titans, the children of Gaia (Earth) and Uranus (Sky). He overthrew his father and ruled during the mythological Golden Age until he was overthrown by his son Zeus and imprisoned in Tartarus. According to Plato, however, the deities Phorcys, Cronus, and Rhea were the eldest children of Oceanus and Tethys.

Cronus was usually depicted with a harpe, scythe, or sickle, which was the instrument he used to castrate and depose Uranus, his father. Cronus was likely originally a harvest god, which is why in many regions of Greece the month of the harvest was named Cronion after him. In Athens, on the twelfth day of the Attic month of Hekatombaion, a festival called Kronia was held in honour of Cronus to celebrate the harvest, suggesting that, as a result of his association with the virtuous Golden Age, Cronus continued to preside as a patron of the harvest. Cronus was also identified in classical antiquity with the Roman deity Saturn.

Saturn (Latin: Sāturnus [saːˈtʊrnʊs]) was a god in ancient Roman religion, and a character in Roman mythology. He was described as a god of time, generation, dissolution, abundance, wealth, agriculture, periodic renewal and liberation. Saturn's mythological reign was depicted as a Golden Age of abundance and peace. After the Roman conquest of Greece, he was conflated with the Greek Titan Cronus. Saturn's consort was his sister Ops, with whom he fathered Jupiter, Neptune, Pluto, Juno, Ceres and Vesta.

Saturn was especially celebrated during the festival of Saturnalia each December, perhaps the most famous of the Roman festivals, a time of feasting, role reversals, free speech, gift-giving and revelry. The Temple of Saturn in the Roman Forum housed the state treasury and archives (aerarium) of the Roman Republic and the early Roman Empire. The planet Saturn and the day of the week Saturday are both named after and were associated with him.

Sargon II (Neo-Assyrian Akkadian: 𒈗𒁺, romanized: Šarru-kīn, meaning "the faithful king" or "the legitimate king") was the king of the Neo-Assyrian Empire from 722 BC to his death in battle in 705. Probably the son of Tiglath-Pileser III (r. 745–727), Sargon is generally believed to have become king after overthrowing Shalmaneser V (r. 727–722), probably his brother. He is typically considered the founder of a new dynastic line, the Sargonid dynasty.

Modelling his reign on the legends of the ancient rulers Sargon of Akkad, from whom Sargon II likely took his regnal name, and Gilgamesh, Sargon aspired to conquer the known world, initiate a golden age and a new world order, and be remembered and revered by future generations. Over the course of his seventeen-year reign, Sargon substantially expanded Assyrian territory and enacted important political and military reforms. An accomplished warrior-king and military strategist, Sargon personally led his troops into battle. By the end of his reign, all of his major enemies and rivals had been either defeated or pacified. Among Sargon's greatest accomplishments were the stabilization of Assyrian control over the Levant, the weakening of the northern kingdom of Urartu, and the reconquest of Babylonia. From 717 to 707, Sargon constructed a new Assyrian capital named after himself, Dur-Sharrukin ('Fort Sargon'), which he made his official residence in 706.

Kaiser (/ˈkaɪzər/ KY-zər; German pronunciation: [ˈkaɪzɐ]) is the title historically used by German and Austrian emperors. In German, the title in principle applies to rulers anywhere in the world above the rank of king (König). In English, the word kaiser is mainly applied to the emperors of the unified German Empire (1871–1918) and the emperors of the Austrian Empire (1804–1918). During the First World War, anti-German sentiment was at its zenith; the term kaiser—especially as applied to Wilhelm II, German Emperor—thus gained considerable negative connotations in English-speaking countries.

Especially in Central Europe, between northern Italy and southern Poland, between western Austria and western Ukraine and in Bavaria, Emperor Franz Joseph I is still associated with Der Kaiser (the emperor) today. As a result of his long reign from 1848 to 1916 and the associated Golden Age before the First World War, this title often has still a very high historical respect in this geographical area.

Macedonian art is the art of the Macedonian Renaissance in Byzantine art style. The period in which the art was produced, the Macedonian Renaissance, followed the end of the Byzantine iconoclasm era lasting from 867 to 1056, concluding with the fall of the Macedonian dynasty. The advent of the Macedonian Empire allowed for a new era of Byzantium revival where many aspects of the empire flourished including quality of life, art, architecture, technology, and military prowess, ultimately leading to the empires Medieval peak. This Macedonian era of the Byzantine empire was so prosperous it is considered the empire's Golden Age. Additionally the empire coincided with the Ottonian Renaissance in Western Europe.

"Macedonian" refers to the ruling dynasty of the period, rather than where the art was created. The court-quality pieces have, as with other periods, traditionally thought to have mostly been created in the capital, Constantinople, or made by artists based or trained there, although art historians have begun to question whether this easy assumption is entirely correct.

Arcadia (/ɑːrˈkeɪdiə/; Greek: Ἀρκαδία, romanized: Arkadía) refers to a vision of pastoralism and harmony with nature. The term is derived from the Greek province of the same name which dates to antiquity; the province's mountainous topography and sparse population of pastoralists later caused the word Arcadia to develop into a poetic byword for an idyllic vision of unspoiled wilderness. Arcadia is a poetic term associated with bountiful natural splendor and harmony. The 'Garden' is often inhabited by shepherds. The concept also figures in Renaissance mythology. Although commonly thought of as being in line with Utopian ideals, Arcadia differs from that tradition in that it is more often specifically regarded as unattainable. Furthermore, it is seen as a lost, Edenic form of life, contrasting to the progressive nature of Utopian desires.

The inhabitants were often regarded as having continued to live after the manner of the Golden Age, without the pride and avarice that corrupted other regions. It is also sometimes referred to in English poetry as Arcady (/ˈɑːrkədi/). The inhabitants of this region bear an obvious connection to the figure of the noble savage, both being regarded as living close to nature, uncorrupted by civilization, and virtuous.

Satya Yuga (a.k.a. Krita Yuga, IAST: Kṛta-yuga), in Hinduism, is the first and best of the four yugas (world ages) in a Yuga Cycle, preceded by Kali Yuga of the previous cycle and followed by Treta Yuga. Satya Yuga lasts for 1,728,000 years (4,800 divine years).

Satya Yuga is known as the age of truth, when humanity is governed by gods, and every manifestation or work is close to the purest ideal and humanity will allow intrinsic goodness to rule supreme. It is sometimes referred to as the "Golden Age". Dharma (depicted in the form of a bull) symbolizes morality and stood on all four legs during this period; the legs of Dharma reduce by one in each yuga that follows. As per Bhagavata Purana, the four legs of Dharma are Tapas lit. 'austerity', Śauca lit. 'cleanliness' (or Dāna lit. 'charity'), Dayā lit. 'compassion' and Satya lit. 'truth'.

Armenian illuminated manuscripts (Armenian: Հայկական մանրանկարչություն, romanized: Haykakan manrankarch'owt'yown), form an Armenian tradition of formally prepared documents where the text is often supplemented with flourishes such as borders and miniature illustrations. They are related to other forms of Medieval Armenian art, Persian miniatures, and to Byzantine illuminated manuscripts. The earliest surviving examples date after the Golden Age of Armenian art and literature in the 6th century. Armenian illuminated manuscripts embody Armenian culture; they illustrate its spiritual and cultural values.

The most famous Armenian miniaturist, Toros Roslin, lived in the 13th century. The art form flourished in Greater Armenia, Lesser Armenia and the Armenian Diaspora. Its appearance dates back to the creation of the Armenian alphabet in Armenia, in the year 405 AD. Very few fragments of illuminated manuscripts from the 6th and 7th centuries have survived. The oldest fully preserved manuscript dates from the 9th century. Art experienced a golden age in the 13th and 14th centuries when the main schools and centers started to pop up (fifteen hundred centers of writing and illumination). The most striking are those of Syunik, Vaspurakan and Cilicia. Many Armenian illuminated manuscripts outside the country of Armenia have also survived the centuries. Despite the creation of the Armenian printing press in the 16th century, the production of miniatures continued until the 19th century and survives through modern Armenian painting and cinema.