Η Αριστοτελική φιλοσοφική σχολή του 14ου αιώνα, στην Κρήτη.

Αποτελεί παγκόσμιο πολιτιστικό γεγονός, η ανακάλυψη της Αριστοτελικής Σχολής Φιλοσοφίας στην Κρήτη τα πρώτα χρόνια της Ενετοκρατίας, την οποία είχε δημιουργήσει ο ιερωμένος φιλόσοφος Ιωσήφ Φιλάγρης.

Εντοπίστηκε στο όρος Αστερούσια στην κορυφή του Κόφινα, νότια του Νομού Ηρακλείου, σε υψόμετρο περίπου χιλίων μέτρων, κοντά στο χωριό Καπετανιανά και στην τοποθεσία Λουσούδι.

Η Σχολή, που λειτουργούσε πολύ κοντά στο Μετόχι των Τριών Ιεραρχών, το οποίο ανήκει στη Μονή Κουδουμά, αποτελούσε κέντρο πνευματικής και πολιτικής αντίστασης στα σκληρά χρόνια της Ενετοκρατίας, όταν οι κατακτητές απέκοψαν την Κρήτη από το Βυζάντιο και θέλησαν βιαίως να την εκλατινιστούν, με την κατάργηση της ελληνικής γλώσσας, της εκπαίδευσης και της Ορθόδοξης Εκκλησίας. Αυτό είχε σαν αποτέλεσμα τις διαρκείς επαναστάσεις και εξεγέρσεις των Κρητών μέχρι που ενσωμάτωσαν τους Ενετούς κατακτητές.

Το μείζον θέμα για την ελληνική ιστορία, αλλά και για την παγκόσμια πολιτιστική κληρονομιά είναι πως ο Ιωσήφ Φιλάγρης, μετά τους διωγμούς που εξαπέλυσαν οι Βενετοί, έφυγε από το Ηράκλειο, πήγε στα απρόσιτα Αστερούσια και δημιούργησε μία Σχολή Φιλοσοφίας, που δίδασκε Φιλοσοφία, Αστρονομία, Γραμματική, Θεολογία και Ιατρική.
Ταυτόχρονα όμως είχε στήσει και ένα εξελιγμένο εργαστήριο αντιγραφής αρχαίων κειμένων, ο ίδιος ήταν αριστοτελικός φιλόσοφος με σπουδές στο Πανδιδακτήριο της Κωνσταντινούπολης και αντέγραφε η ομάδα του αρχαία κείμενα, την εργασία των οποίων επόπτευε ο ίδιος και έκανε τα σχόλια πλαγίως των κειμένων. Τα κείμενα αυτά, εκτός από την Κρήτη και την Κωνσταντινούπολη, ταξίδευαν στην Ευρώπη, συμβάλλοντας στη διάσωση και διάχυση της αρχαίας ελληνικής σκέψης, που υπήρξε το εφαλτήριο της Αναγέννησης και του Διαφωτισμού. Στη χειμαζόμενη σήμερα Ευρώπη από τα έγκατα της ελληνικής γης φυτρώνει η ελπίδα του πνεύματος και της αντίστασης.

Ο Αριστοτέλης θέτει το ζήτημα της άμεσης δημοκρατίας, της πολιτικής ισότητας, της απελευθέρωσης των δούλων για πρώτη φορά παγκοσμίως, της κοινωνικής δικαιοσύνης και της ελευθερίας, μαζί με τις επιστημονικές μεθόδους ανάλυσης των κοινωνικών και επιστημονικών φαινομένων στις θετικές επιστήμες. Μάλιστα, κώδικες των αντιγράφων του Φιλάγρη έχουν βρεθεί μέχρι στιγμής στην Biblioteca Angelica της Ρώμης, στην Εθνική Βιβλιοθήκη του Λονδίνου, των Παρισίων, της Βιέννης και του Βουκουρεστίου.

Η ανακάλυψη έγινε πριν από μερικές ημέρες από τον ομότιμο καθηγητή της Βυζαντινής Αρχαιολογίας του Πανεπιστημίου Ιωαννίνων, Αθανάσιο Παλιούρα. Ηδη προγραμματίζεται για το επόμενο διάστημα εκτεταμένη ανασκαφή για να έρθει στην επιφάνεια όλο το κτηριακό συγκρότημα της Σχολής Φιλοσοφίας και του μοναστηριακού συμπλέγματος.
Στον αποξεχασμένο και για αιώνες εγκαταλελειμμένο αυτό χώρο μεγαλούργησαν κάποτε τα ελληνικά γράμματα, η θεολογία και η φιλοσοφία, με κορυφαία προσωπικότητα τον Ιωσήφ Φιλάγρη. Χρέος όλων μας είναι να τον αναδείξουμε.

Ρέθυμνο, 19 Ιαν.2012

Γιάννης Κοτζιάνογλου

TripAdvisor Includes Crete’s Chania in Top Twelve Global Destinations

TripAdvisor, Inc., the world’s largest travel site, announced the top destinations that are on the rise in 2012, according to surveys amongst TripAdvisor travelers and editors.
Chania is among the top 12 destinations for 2012 proposed by TripAdvisor. Chania, according to lifo.gr, was chosen for its quiet old town, restored Venetian mansions, traces of a small mosque that add to the charm of the landscape, and of course for the its beautiful sandy beaches.
The diverse list offers something for all travel tastes and budgets, including cities such as Moscow, Tallinn, Riga, Vilnius but also Bordeaux and Lyon, Austin of Texas, Seminyak of Bali, Chaweng in Thailand, Mendoza in Argentina, San Sebastian in Spain, Essaouira in Morocco, Zurich in Switzerland and Fethiye in Turkey.
Rethymnon, the 16^th of Jan.2012
Yiannis Kotzianoglou

The Cretan collection is one of the most important groups of material in the Ashmolean

The new Aegean World gallery in the redeveloped Ashmolean Museum

Arthur Evans and Minoan Crete

A number of personal stories are told in the new Aegean World gallery, some in more detail than others. The personalities discussed include Duncan Mackenzie, Piet de Jong, the Gilliérons, David Hogarth and Heinrich Schliemann. Tribute is also paid to the workers who played their own significant role in making archaeology happen, such as the ‘superman among foremen’, the Cypriot Gregoris Antoniou, while in the A.G. Leventis gallery of Ancient Cyprus the visitor can discover more on John Myres and his correspondence with Michael Ventris.

The personality that dominates the Aegean gallery is that of Arthur Evans. His official 1907 ‘Richmond portrait’, the way he wanted to be remembered, a romantic doyen of archaeology — is juxtaposed with the cartoon drawn in 1924 by Piet de Jong — the way people actually saw him: as an energetic 'monkey' even at the age of 73 when the cartoon was drawn. A quotation from his half-sister, Joan Evans, provides a glimpse of his character with all the pros and cons, while a timeline informs the visitor about the most important events in Evans’s life. Next to the portrait of Evans is a case in which a clay rhyton from Palaikastro is displayed in front of an archival drawing showing the Cup-Bearer: the first Minoan on a fresco fragment to be discovered by Evans at Knossos? This case offers the opportunity to discuss various themes: from skeuomorphism and fresco restorations to textiles and the way seals (gems) were worn.

A table case accompanies the information panel: the story of Evans is broken down into three major periods, echoing his favourite tripartite system of Minoan chronology. The first period focuses on his work at the Ashmolean (1884-1908) and the Chester seal: a gem on which Evans first identified signs of a pre-alphabetic writing system. This seal is said to have sparked his interest in 1889 in ascertaining the existence of pre-alphabetic writing in the Aegean. Although Evans was looking for one script to prove his theory, he managed to identify three different systems of writing which he dubbed Cretan Hieroglyphic, Linear A and Linear B respectively. While in Athens in 1893, art dealers informed Evans that most of these gems came from the island of Crete and it was there that Evans made his most extraordinary discoveries. The second section of this display is appropriately dedicated to his travels and explorations on Crete (1894-1899).

The third part of this table case focuses on his Knossos excavations (1900-1935). Although neither the first modern excavator of Knossos (this title belongs to Minos Kalokairinos) nor the only one who had a special interest in the site (many were the suitors, amongst them Heinrich Schliemann) he was the only one to succeed in purchasing the entire land where the palace once stood and the first to thoroughly bring the ruins back to life. Despite several criticisms raised by modern archaeologists about the excavations at Knossos, including the fact that only one archaeologist, Evans’s chief collaborator Duncan Mackenzie, was responsible for supervising more than a hundred workmen and several different trenches simultaneously (!), the overall quality of archaeological documentation from Knossos is generally good, especially by the standards of the time. Evans involved in his work professional workers, artists, restorers, architects, conservators and photographers. His workforce comprised Christian and Muslim Cretans as well as women and children; a complicated task made possible through his determination, often stubbornness, and financial resources, most of which he inherited from his father, the famous prehistorian, Sir John Evans.

Next to the story of Evans are some romantic watercolour drawings of various rooms of the palace of Knossos along with the replica of the Priest-King, in one of its many versions. The drawings were used in the Palace of Minos, Evans’s monumental publication of his excavations at Knossos though not an excavation account strictly speaking; rather a compendium on how Evans viewed the archaeology, history and art of Minoan Crete. The drawings were also used as blueprints for his restorations of various rooms at Knossos. The Priest-King, cherished by Evans as the ruler of Knossos, is now thought to represent another youthful figure, probably part of a procession perhaps in association with rites of passage taking place at the palace.

A case with seals (the Ashmolean has more than 550 of these little Bronze Age Aegean gems) complements Evans’s story and quest for pre-alphabetic writing. The Ashmolean holds some of the finest examples, purchased by Evans from local owners and art dealers. These little gems were known locally as galopetres: charms/amulets that ensured the flow of milk to lactating mothers. The seals, given their small size and often intricate representations and colours, are accompanied by the Corpus der minoischen und mykenischen Siegel drawings so as to make them more accessible to the non-specialists. A family-friendly text provides, amongst others, information on the manufacturing of these gems.

The wall opposite the story of Arthur Evans is dominated by five large cases in a row. Four of them offer an overview of Minoan Crete from about 7000 to 1000 BC. Themes include the Knossos stratigraphy, warrior burials, arts and crafts and cult and ritual. Pottery, figurines, weapons, fresco fragments, metal and stone vessels all help to illustrate the archaeology and art of Bronze Age Crete. Although the bulk of the material on display comes from Knossos, other sites represented include, among others, Kato Zakros, Palaikastro, Pseira, Phaistos and Ayia Pelagia. The fifth case is dedicated to the Cave of Psychro in the Lasithi Plateau. Objects from this cave include stone and metal human and animal figurines, offering tables (one inscribed in Linear A), bronze tools, weapons and utensils, seals, jewellery, votive plaques and pottery fragments. This display also addresses attitudes to workers as well as excavation methods.

In the middle of the gallery, between these five cases and the Evans story, are two plinths dedicated to Power in Minoan Crete. The east plinth focuses on Power in Death: different larnakes (coffins) are on display along with pottery found by Evans in the Knossos tombs. Labels help visitors familiarise themselves with the burial practices of the people at Knossos, especially during the later stages of the Late Bronze Age (1450-1200 BC). A table case displays jewellery worn in life and death and presents objects associated with craftsmanship, such as bronze tools used in building and agriculture and stone moulds for the production of ornaments.

The west plinth focuses on Power in Life: a table case looks at Aegean scripts and administration; this is also conveniently placed close to the Evans story and the seals display. Visitors are encouraged to read two Linear B tablets with the aid of graphics: a page-shaped tablet recording women worker and their children at the palace of Knossos first interpreted by Evans as a list of ‘Royal concubines’, and a leaf-shaped tablet that records sheep herded at kutato, probably a coastal site in northern Crete. Clay sealings (seal impressions) are also on display in an attempt to illustrate the basic steps of administration on the island, especially around the period of the Linear B tablets, about 1375 BC. On the west plinth there is also the drain pipe from Knossos; the large pithos from one of the storerooms with a capacity of about 550 litres; the octopus jar with the six tentacles and the partial reconstruction of E. Gilliéron the younger of the north wall of the Throne Room at Knossos with two alabastra and a replica of the throne on display. The process of excavating, reconstructing and interpreting this particular room is narrated along the lecterns. The lectern at the front of the plinth tells the story of Evans’s reconstructions at Knossos by using archival photographs documenting the different stages of ‘reconstitution’.

Rethymnon 01Jan.2011
Yiannis Kotzianoglou

Events at the Acropolis Museum during the Festive season.

On Thursday 29 December at 5 p.m. the Audio String Quartet will present classical, romantic and neoromantic music, on the balcony of the second floor overlooking the Archaic Gallery.

InstumentalsQ Alfred Shtuni (violin), Laertes Kokolanis (violin), George Gaitanos (viola) and Ria Anastasiou (cello)

Rethymnon, Crete 26th of December 2011.

Yiannis Kotzianoglou

God loves caviar

Filming for the new film of Iannis Smaragdis has already begun in Greece and is planned to continue in St. Petersburg, Russia in January 2012, before the film is set to appear on screen by October 2012.
 
“God Loves Caviar” is a new production about caviar, love and revolution, presenting a famous international cast including John Cleese, Catherine Deneuve, Juan Diego Botto, Sebastian Koch and Greek actor Lakis Lazopoulos.
Based on true events, the film tells the story of Ioannis Varvakis, a pirate in the Aegean Sea, who became a magnate caviar exporter in Russia and then, spiritually inspired, returned to Greece to give away his entire fortune to aid the 1821 revolution against the Ottoman Empire.

“For me as an actor its the different states in his life, to play that its wonderful of course, and what I said before the pirate is always in this man, he has still this strong energy in him, but he is getting almost religious, like a saint at the end” said staring Sebastian Koch, who had been awarded with a Golden Globe for 2006’s “Lives of Others”.

“God Loves Caviar” is directed and produced by Greek filmmaker Iannis Smaragdis, who is known for his other films on prominent Greek figures “Cavafy” and “El Greco”.

“I was moved by the fact that he was a person who became very rich but when he realized what God wanted from him in order to be satisfied with him, he did it. And essentially that is how he found happiness. I think the film makes the issue that anyone who is able to realize why they are in this process called life then they can be happy and come close to God, like Varvakis did” said Smaragdis, according to BigPondNews.

According to Reuters, the film’s timing is very poignant, as Varvakis’s life story has some interesting messages about patriotism, philanthropy and spiritual fulfillment at the same time Greece is going through an economic crisis.
The film’s production is mainly funded by private donors and its budget is estimated at almost 8 million Euros. Sony Pictures, the Hellenic Film Center and Greek National Television have also contributed in the funding of the film.
“Especially in Greece, and especially at this time when the country is being tested, people like Varvakis do not exist – I am afraid that they don’t exist. 

Very wealthy people exist, especially from the shipping industry, who are consumed in if I may say so this foolish competition over who will have more ships. But the people during Varvaki’s period competed more for who would contribute more to their nation, or for the common good, or for charity” commented Smaragdis on the difficulty of shooting a film during crisis.
The Greek director expressed his hopes that his film will become a kind of positive motivation to the Greek people in terms of solidarity and self-sacrifice for good cause.

Yiannis Kotzianoglou

Source: Greek Reporter

Le minoen qui est sorti de terre.

Il y a 3.600 années, un grand séisme a dévasté l'île. Les résultats des fouilles à Anogia (Crète centrale) ont ouvert de nouvelles pistes pour les chercheurs de la civilisation minoenne.

Le tremblement de terre fut d'une grande amplitude et le bâtiment de Zominthos a fortement bougé de part et d'autre.

Tandis que les secousses continuaient, les murs ont commencé à reculer, les poutres en bois qui soutenaient le rompit ont été cassées et tout a fini par s'effondrer.

Quand les étages sont tombés, les sols des ces derniers ont éliminé les espaces intermédiaires et un grand nombre d’objets fut pris au piège entre.

Fin juillet dernier, un après midi où l’archéologue Efi Sapouna-Sakellaraki guidait les habitants du village d’Anogia dans le site archéologique, un beau Minoen en bronze a émergé de terre.

L’homme porte une longue robe avec ceinture à sa taille. Sa main droite est posée sur son front et sa main gauche touche sa cuisse gauche. Il a une chevelure élaborée avec un chignon à l'arrière de sa tête, d'où émergent des boucles.

Sur les fouilles de cette année, l'idole constitue une découverte surprenante mais pas l’unique de Zominthos. En effet, des sceaux illustrant une scène avec un lion, des oiseaux aquatiques et des perles d'agate et de sarde (d'un collier qui a été brisé au moment du séisme) ont aussi été retrouvés.

Une corne en céramique, faisant partie d'un rhyton de grande taille (vase rituel) en forme de taureau, donne une nouvelle image du bâtiment de Zominthos.

Ce lieu est situé à 1.200 mètres d’altitude, en pleine montagne et se trouve sur la route entre Cnossos et la grotte d’Ideon. On peut y contempler un immense bâtiment aux murs de pierre, couvrant une superficie de 1600 m² du début du 17e siècle avant J-C, qui fait reconsidérer les données actuelles sur les palais.

Les Minoens qui vivaient ici n'étaient pas composés que de bergers ou s'ils l'étaient, ils ne vivaient pas seulement d'élevage, de ce que laissent supposer les articles de luxe retrouvés en altitude, signes de richesse.

Réthymnon, le 26 Nov.2011

Yiannis Kotzianoglou

Ancient Egyptians ‘styled their hair with fat-based gel’

Ancient Egyptians styled their hair with a fat-based “gel” to make sure that they look good both in life and death, a new study has found.

Natalie McCreesh of the University of Manchester, UK and her colleagues examined hair samples from 15 mummies from the Kellis 1 cemetery in Dakhla oasis, Egypt, and a further three samples from mummies housed in museum collections in the US, the UK and Ireland.

The mummies were of both sexes, between 4 and 58 years old when they died, and dated from 3500 years to 2300 years ago.

When examined with light and electron microscopes, it became clear that the hairs of most mummies were coated with a fatty substance.

“Once we started looking [for these], we found interesting hairstyles. The hair was styled and perfectly curled,” New Scientist quoted McCreesh as saying.

McCreesh thinks that the fatty coating is a styling product that was used to set hair in place. It was found on both natural and artificial mummies, so she believes that it was also a key part of the mummification process.

“People presume the ancient Egyptians shaved their heads. The priests and priestesses did, but not everyone. They did take pride in their appearance,” says McCreesh.

“The whole point of mummification was to preserve the body as in life. I guess they wanted to look their best. You’d be dressed in your fancy party outfit. You’d want to look beautiful in preparation for the next life,” she added.

The research has now been published in the Journal of Archaeological Science.

Rethymnon, 19 Nov.2011

Yiannis Kotzianoglou