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of
Dionysus. This part of the mosaic is severely damaged and is missing much of the original piece. What remains of the center is the eight-spoked wheel of a chariot car that is piled with the garlands of Dionysus's chariot. Behind the chariot is the illustration of a
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with a red strap; the purpose of the pictured red strap is unknown. Dionysus is often depicted wearing the skin of a panther, and usually wore this article of clothing during times of war
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Another reason for
Dionysus's appearance in the mosaic is the item he is most affiliated with wine. The mosaic is showcased in what would have been a
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itself was 2.5 meters by 10 meters at the time of excavation. It consists of a square panel that is defined by two bands; the bands are multi-colored
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is often pictured in manuscripts and illustrations hosting drinking parties, which could have been the reason for including the god of wine and his
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gives a detailed account of
Dionysus's life, and includes characters depicted in the mosaic; the characters are also considered to be a part of the
180:. The color palette consists of black, brown, green, pink, red, white, and yellow. Mosaics were a very popular type of floor art throughout the
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that are created by a sawlike pattern band with colored fillets. Between the square panel and the outermost circle is the embodiment of
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cycle. The adventurous nature of the poem could be considered a reason for the depiction of
Dionysus in this Byzantine mosaic.
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There are several theories as to why
Dionysus and his entourage were depicted in a
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273:"The Triumph of Dionysus in Constantinople: A Late 5th Century Mosaic in Context"
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This article is about the mosaic in
Samatya. For the mosaic in Dion, see
307:. Monographien des Römisch-Germanisches Zentralmuseum. pp. 127–134.
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Dalgic, Orgu (2010). "The Corpus of Floor
Mosaics of Constantinople".
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of a wealthy person, where lavish parties would have been thrown.
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in the room where guests would have been entertained.
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133:with an unidentified object in her hand, a male
322:. Longmans, Green, and Co. pp. 242–244.
304:Byzanz – das Römerreich im Mittelalter
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58:landscape. What remains is a traditional
417:. London: Thames & Hudson. pp.
400:. Princeton: Princeton University Press.
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161:The artist(s) of this piece used baked
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333:Stassinopoulos, Arianna; Beny (1983).
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414:The Complete World of Greek Mythology
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283:: 15–47 – via Academia.
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320:Religion in Greek Literature
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370:. Oxford University Press.
47:is severely damaged due to
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411:Buxton, Richard (2004).
396:Weitzmann, Kurt (1951).
318:Campbell, Lewis (1898).
364:Cormack, Ryan (2000).
277:Dumbarton Oaks Papers
271:Dalgic, Orgu (2015).
141:related to Dionysus.
18:Dionysus mosaic, Dion
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241:References
216:Dionysiaca
212:Dionysiaca
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165:, natural
103:guilloches
220:Dionysian
194:Byzantine
157:Materials
60:Byzantine
52:machinery
27:found in
231:Dionysus
174:tesserae
115:Dionysus
71:Dionysus
33:Istanbul
479:Silenus
235:thiasos
188:Meaning
151:panther
146:chariot
135:flutist
123:Silenos
119:thiasos
75:thiasos
67:chariot
41:century
29:Samatya
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341:97–113
178:mosaic
171:marble
169:, and
131:maenad
111:Winter
99:mosaic
93:Design
79:parade
63:mosaic
45:mosaic
167:stone
127:satyr
77:, or
56:urban
423:ISBN
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97:The
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