مجالس الشراب ( السيمبوزيون) في الفن اليوناني منذ الارخي حتي نهاية الکلاسيکي دراسة وصفية تحليله | ||
| حولية الاتحاد العام للآثاريين العرب "دراسات فى آثار الوطن العربى" | ||
| Article 7, Volume 24, Issue 1, 2021, Pages 117-141 PDF (1.59 M) | ||
| Document Type: Original Article | ||
| DOI: 10.21608/cguaa.2021.54361.1056 | ||
| Author | ||
| هبه النحاس* | ||
| الاداب، جامعة طنطا ، قسم الآثار اليونانية والرومانية | ||
| Abstract | ||
| مجالس الشراب الخاصة بالرجال – السيمبوزيون کانت أمرا أساسيا وهاما في الثقافة اليونانية. سيطر على تنظيم المجالس الأرستقراطية ثلاثة عناصر: الرفاهية، والتقاليد، والمرح. فکان علي الضيف تطبيق القواعد العامة للضيافة، والتي يعد من أهمها الالتزام بعدد الکؤوس التي يقررها المضيف أو عضو المجلس المختار لإدارة الجلسة وقد أظهرت الأواني مشاکل الإسراف في الشراب وعواقبه مذکرة بقانون المجلس. وفي نفس الوقت کان علي المضيف النبيل توفير وتنظيم الجلسة بما يناسب ثروته ويتناسب مع ضيوفه على أن يمنحهم المرح لخلق روح الأخوة والتقارب فبعد توفير الشراب المناسب وهو النبيذ المخلوط في آواني الکرايتر والتي تظهر دائما تظهر جنبًا إلى جنب مع الأوخينوي والکؤوس کإعلان عن توزيع النبيذ وبدء الاحتفال.استطاع الفنان اليوناني التعبير عن وجهة نظره في طقوس وممارسات السيمبوزيون بعيدا عن المثالية التي کتب عنها شعراء وکتاب السيمبوزيون ، وربما اهتم فقط بالتعبير عن احتفالات المجلس کنقطة جذب لحدث مهم استمر علي مدار العصر اليوناني . تنوعت وسائل الترفيه و الاحتفال ما بين الغناء وألقاء المزاح والشعر وأحاديث السياسة و مابين الألعاب بما فيها من قذف النبيذ والهدف الواجب تحقيقه للحصول علي المکافأة المنشودة، مع وجود عازفي الموسيقي وسيدات الترفيه. يستمر الاحتفال حتي بعد انتهاء المجلس بظهور مواکب صاخبة في حالة سکر يرقصون في أنحاء المدينة ويعزفون الموسيقى ويغازلون الأولاد والذي رغم کل عبثه وصخبه کان يتم احتواءه ولم يسبب أي مشکلة للمجتمع الأثيني القديم. Drinking Gatherings (Symposia) in Greek Art (Archaic to Classical Period): A Descriptive, Analytical Study Abstract: Men’s drinking gatherings (symposia) were an essential and important element of Greek culture. Three elements controlled the organization of these aristocratic gatherings: luxury, tradition, and festivity. The host had to observe the general rules of hospitality, the most important of which included respecting a certain number of cups determined by the head guest or symposiarch chosen to oversee the gathering. These cups reveal the problems of excessive drinking and its consequences, recalling the symposium’s laws. At the same time the noble host was required to provide for and organize the gathering according to his level of wealth and his guests for whom he was also required to provide a festive atmosphere to help generate a fraternal spirit of closeness. After providing the appropriate drink, which was watered down wine in krater jars (often depicted alongside oenochoe pitchers and cups as a signal to serve the wine and begin the celebration. The Greek artist managed to depict his viewpoint of the rituals and practices of the symposium stripped of the idealism with which the poets and symposium writers did. They may have been concerned only with expressing the celebrations of the gathering as a point of attraction for an important event that recurred throughout the Greek epoch. Modes of entertainment and celebration varied from singing to the telling of jokes, the recitation of poetry and political discussions, to games including throwing wine at a target in return for a prize, and it all took place in the presence of musicians and courtesans. The celebration would go on after the end of the gathering when loud processions of drunken people could be seen dancing, playing music and flirting with the boys across the city, a phenomenon that despite its huge potential for disruption ancient Athenian society could contain so that problems were avoided. | ||
| Keywords | ||
| السيموزيون; طقوس; ممارسات; أواني Symposium; Rituals; Practices; Pottery | ||
| References | ||
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