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Table of contents
My ideas and work have been shaped by a variety of forces and circumstances, including various personal experiences, engagements with the ideas and works of others, and travels through space and time. Of course these are not separable, and I have discussed elsewhere their unity in terms of a wide variety of themes, crosscurrents, tensions, and transformations Knopp, These have characterized and continue to characterize my ongoing process of becoming as a geographer, a gay man, a radical, and an activist among other things.
For purposes of this chapter I focus more narrowly on the significance of one particular lens through which these processes can be considered: the experience of movement. Being in motion is of course part of what CQ Press Your definitive resource for politics, policy and people.
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Looks like you do not have access to this content. Click here for free trial login. With their backs to the tumulus, a row of five colossal seated figures, set on a tiered podium about seven metres above the sanctuary level, face towards the sunrise. Built in courses of ashlar blocks, originally each statue would have stood between eight and nine metres high, and they bring to mind the Colossi of Memnon at Thebes. Their heads, which alone measure two or more metres in height, have tumbled to the sanctuary floor as a result of seismic activity in the region, and have now been carefully arranged in a line in front of the appropriate statue.
These seated figures are flanked on either side by statues of a lion and an eagle, intended to protect the sanctuary. A chain fence and a whistle-blowing guard prevent close access to the sculptures, but the visitor cannot help being overwhelmed by the majesty and scale of these figures.
Zone of Silence
From the lengthy thanksgiving inscription carved into the rear of their thrones and their distinctive iconography, these five enthroned figures have been identified as Antiochus and a pantheon of Graeco-Persian tutelary gods. He wears a cloak over his long-sleeved tunic, an apron-like skirt and low boots and holds a bundle of twigs barsom symbolizing the sacred fire used during Persian-Mithraic religious rituals.
His head is crowned with a Persian tiara and his face is fully bearded. As one faces the colossi, the statue of Tyche, or Fortuna, the goddess of Commagene, is seated to the left south of Zeus. She is the only female figure among the deities and up until the s, this statue was still intact, with her head on her shoulders.
The goddess wears a himation and high sandals and is holding a cornucopia filled with fruit and flowers in her left hand. She also has a garland of fruit in her right hand and lap.
Apollo-Mithras-Helios-Hermes is seated to the right of Zeus, and this syncretic deity represents the fusion of the Greek god of the sun with the Persian Mithras, god of light and the helper of Ahuramazda. Like Zeus, he wears a cloak over a long-sleeved tunic, an apron-like skirt, and low boots, and holds a barsom in his left hand, but he is clean shaven. The god-king Antiochus is seated to the left of Tyche. He wears Persian-style boots and holds a barsom in his left hand like Zeus and Apollo. His face is smooth and clean shaven in the Hellenistic manner, but his head is adorned with a Parthian-inspired diadem and tiara.
Artagnes-Heracles-Ares is seated to the right of Apollo-Mithras. He is dressed like the other gods but holds a club in his left hand. He is bearded like Zeus, but his diadem and tiara are carved out of the same block as his bust. Carved into the back of these enthroned gods — and hence not visible to the visitor — is the two hundred and thirty-seven line Greek inscription which explains the ruler cult of Antiochus and specifies how the associated rituals should be performed. In a verbose, pompous style, the sacred laws or nomos dictate such details as what type of clothes the priests should wear and what utensils the worshippers should eat from.
Goells excavations of the East Terrace discovered a row of five very fragmentary reliefs running below and parallel to the seated gods. Four of these stelae depicted Antiochus greeting the gods — the dexiosis — and the fifth reproduced the so-called horoscope lion relief found earlier by Humann and Puchstein, the significance of which will be discussed in further detail below.
A row of now badly damaged stelae once lined the north and south sides of this sanctuary. The row of pedestals that once held these stelae is still visible and originally there was a small fire altar in front of each pedestal.
Albergo diurno di Porta Venezia
Eastern Terrace with thrones and heads. From the East Terrace, the visitor follows the processional way around to the long, narrow North Terrace bordered by a series of sandstone pedestals. In early spring, this northern side of the monument may still be covered in snow, which at the time of my first visit in early April reached thigh-high. The pathway was deeply buried and it took considerable effort to battle through the deep snow to the West Terrace.
The less adventurous members in our group turned back to the car park along the path on the southern side of the tumulus.
Great Montenegro Tour
The cone-shaped tumulus itself is made up of 30, cubic metres of crushed limestone rubble and is 50 metres high and metres in diameter. Despite repeated attempts, neither excavation nor tunnelling nor modern resistivity or seismic refraction methods have located any sign of a burial chamber. Stunning view from the western terrace.
The West Terrace is considerably narrower than its eastern counterpart, and had no main altar.
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With their backs once again to the tumulus, but facing the setting sun, the sequence of giant enthroned gods and their guardian lions and eagles is repeated on the West Terrace. However, those on the West Terrace are in a more ruinous condition, standing only two or three courses high and lack the commanding dominance of their counterparts on the East Terrace. But their colossal toppled heads are better preserved, and when not buried tantalizingly in snow, it is easier to observe the carved detailing of their head gear and hairstyles.
Originally arranged in line at a slightly lower level at the northern end of the row of enthroned gods and flanked at each end by a small lion and eagle were another series of dexiosis stelae depicting Antiochus shaking hands with each member of his pantheon. The celebrated lion horoscope relief, mentioned above, found by Puchstein and Humann in , also belongs to this sequence.