The Kore Goddess: A Mythology & Psychology

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Alexandria: According to Epiphanius, a temple of Kore existed in Alexandria. He describes a celebration of the birth of Aion from Kore the Virgin which took place there on 6 January. [150] Aion may be a form of Dionysus, reborn annually; [151] an inscription from Eleusis also identifies Aion as a son of Kore. [152] Some information can be obtained from the study of the cult of Eileithyia at Crete, and the cult of Despoina. In the cave of Amnisos at Crete, Eileithyia is related with the annual birth of the divine child and she is connected with Enesidaon (The earth shaker), who is the chthonic aspect of the god Poseidon. [101]

a b c A companion to ancient aesthetics. Destrée, Pierre. Hoboken, NJ. 2015-04-28. pp.95–96. ISBN 9781119009788. OCLC 905450335. {{ cite book}}: CS1 maint: location missing publisher ( link) CS1 maint: others ( link)

At Locri, a city of Magna Graecia situated on the coast of the Ionian Sea in Calabria (a region of southern Italy), perhaps uniquely, Persephone was worshiped as protector of marriage and childbirth, a role usually assumed by Hera (in fact, Hera seems to have played no role in the public worship of the city [125]); in the iconography of votive plaques at Locri, her abduction and marriage to Hades served as an emblem of the marital state, children at Locri were dedicated to Proserpina, and maidens about to be wed brought their peplos to be blessed. [126] Diodorus Siculus knew the temple there as the most illustrious in Italy. [127] During the 5th centuryBC, votive pinakes in terracotta were often dedicated as offerings to the goddess, made in series and painted with bright colors, animated by scenes connected to the myth of Persephone. Many of these pinakes are now on display in the National Museum of Magna Græcia in Reggio Calabria. Locrian pinakes represent one of the most significant categories of objects from Magna Graecia, both as documents of religious practice and as works of art. [128] Cinerary altar with tabula representing the abduction of Proserpina. White marble, Antonine Era, 2nd century Rome, Baths of Diocletian a b Eisenfel d, Hanne (1 October 2016). "Life, Death, and a Lokrian Goddess. Revisiting the Nature of Persephone in the Gold Leaves of Magna Graecia". Kernos. Revue internationale et pluridisciplinaire de religion grecque antique (29): 41–72. doi: 10.4000/kernos.2388. Archived from the original on 18 April 2019 . Retrieved 14 May 2019– via journals.openedition.org.

For most Greeks, the marriage of Persephone was a marriage with death, and could not serve as a role for human marriage; the Locrians, not fearing death, painted her destiny in a uniquely positive light. [129] While the return of Persephone to the world above was crucial in Panhellenic tradition, in southern Italy Persephone apparently accepted her new role as queen of the underworld, of which she held extreme power, and perhaps did not return above; [130] Virgil for example in Georgics writes that "Proserpina cares not to follow her mother", [131] – though note that references to Proserpina serve as a warning, since the soil is only fertile when she is above it. [132] Although her importance stems from her marriage to Hades, in Locri she seems to have the supreme power over the land of the dead, and Hades is not mentioned in the Pelinna tablets found in the area. [133] Many pinakes found in the cult are near Epizephyrian Locri depict the abduction of Persephone by Hades, and others show her enthroned next to her beardless, youthful husband, indicating that in Locri Persephone's abduction was taken as a model of transition from girlhood to marriage for young women; a terrifying change, but one that provides the bride with status and position in society. Those representations thus show both the terror of marriage and the triumph of the girl who transitions from bride to matron. [134] Peter Kingsley (1995) Ancient Philosophy, Mystery, and Magic: Empedocles and Pythagorean Tradition Oxford University Press. a b c d Hannelore, Hägele (2013-09-11). Colour in sculpture: a survey from ancient Mesopotamia to the present. Newcastle upon Tyne, UK. pp.74–76. ISBN 9781443852654. OCLC 859834125. {{ cite book}}: CS1 maint: location missing publisher ( link) The 10th-century Byzantine encyclopedia Suda introduces a goddess of a blessed afterlife assured to Orphic mystery initiates. This Macaria is asserted to be the daughter of Hades, but no mother is mentioned. [51] Interpretation of the myth [ edit ] Fragment of a marble relief depicting a Kore, 3rd centuryBC, from Panticapaeum, Taurica ( Crimea), Bosporan Kingdom

Scientists and art historians counter this bias by providing evidence of visible remaining colors through microscopy and pigment analysis, ultraviolet fluorescence and reflection, and raking light. [4] Vinzenz Brinkmann and his colleagues have been working to recreate the possible appearances of ancient sculptures in their original color. [4] Examples [ edit ] Kore of Lyons, circa 540 BC