How long has medusa existed

When Perseus asked Atlas for a place to rest for a short while, his request was refused. Perseus also encountered Andromeda , the daughter of the Aethiopian king Cepheus and his wife Cassiopeia. Although Medusa is commonly regarded as a monster, her head is often seen as a protective amulet that would keep evil away.

One such example of a protective Medusa head pendant appeared in the form of a late 2nd to 4th century AD Roman artifact recently unearthed in the Cambridgeshire countryside.

A 2,year-old marble head of Medusa was found not too long ago at a former Roman commercial center in Turkey as well. There are also numerous coins that bear not only the imagery of Perseus holding the head of Medusa, but also the head in its own right. These factors remind us that myths of the ancient world are still alive and with us in the modern world. Top Image: Detail of a modern representation of Medusa.

Source: Riordan Wiki. Atsma, A. Goldsborough, R. Deeper Meanings, Medusa. Hesiod, Theogony [West, M. Ovid, Metamorphoses [Online] [Garthm S. Perseus - Medusa Coin Series. Although his primary interest is in the ancient civilizations of the Near East, he is also interested in other geographical regions, as well as other time periods Read More.

Speaking of Atlas I won't get too much into the background of Enoch but, I will say this due to tragic events that takes place in the sacred Text I got the name of Wicked Fallen Angel's who caused castrophic issues to nearly tear the Heaven's and Earth apart.

I know everyone most likely will probably think of me as crazy. As for Perseus an Zeus I was more aware of The Greek story about these two then 11 month's back in l, I read a locked in the Tower story from Ireland same concept but, didn't read about that glittering shower of Gold that resulted in Perseus mother being impregnated with Him. The name was an Irish Hero and it involved some Giant that had one Eye and could obliterate anything that this Thank King?

This Irish Hero saved the day knocked the Giant in the eye forgot what weapon this Hero chose but that Eye obliterated the Palace and perhaps an Army of Giant's or this Giant's own Kingdom. Other points about Perseus story is the different places Perseus encountered and met his future wife; Andromeda.

I'm starting to think Perseus may have had Two Wives because of the confusion when Perseus met chained up Women about to be sacrificed to some sea creature due to their mother's offending some goddess. It's certainly plausible in the Ancient World; they tended too have more than one wife, I know present day Asia Minor keeps this practice, an a few LDS not all but a Few. I got an idea the plural marriages was still happening once I read and watched the , movie Joy Luck Club.

This is all I'll say about Real Story of Medusa other than great exciting article too all about, so until next time Everyone, Goodbye! Just admit that Medusa is a black female with a dreadlock hairdo all before the time of the Ethiopian Rastafarians and Jamaican reggae music A very horrible face as shown in most photos - and there is Medusa.

Nothing new, nothing fantastic. Just a person of less-than-desirable facial features like bucktoothed William Kidd, "Billy the Kidd" who shot people for making any mention of this features. Same for this person of reciprocal hatred for the beautiful human race. Ancient Origins has been quoted by:. At Ancient Origins, we believe that one of the most important fields of knowledge we can pursue as human beings is our beginnings.

And while some people may seem content with the story as it stands, our view is that there exist countless mysteries, scientific anomalies and surprising artifacts that have yet to be discovered and explained. The goal of Ancient Origins is to highlight recent archaeological discoveries, peer-reviewed academic research and evidence, as well as offering alternative viewpoints and explanations of science, archaeology, mythology, religion and history around the globe.

The snake-haired Medusa does not become widespread until the first century B. The Roman author Ovid describes the mortal Medusa as a beautiful maiden seduced by Poseidon in a temple of Athena. While these stories sound fantastical today, to the ancient Greeks they were quasi-historical. Myths, as well as the stories recorded by Homer and Hesiod, were considered part of a lost heroic past when men and women interacted with heroes, gods, and the supernatural.

Tales from this period were repeated in every medium; the evidence from Greece presents a world saturated with heroes and monsters in poetry, prose, and art. As such, Medusa was not just a fantastical beast, but part of a shared past and present in the minds of ancient viewers. She signified a historical menace—the story of Perseus vanquishing and harnessing her energy was not just a story, but a chapter in the shared allegorical and historical record of the Greeks.

Just as Medusa exists in multiple types of stories in the mythological record, she is also portrayed in multiple ways in ancient art. Her appearance changes drastically through the centuries, but she is always recognizable due to her striking frontality. It is rare in Greek art for a figure to face directly out, but in almost all representations of Medusa, despite style and medium, she stares ahead and uncompromisingly confronts the viewer.

The term gorgoneion refers to the head and face of Medusa, which was used often as a decorative motif. It is a prolific symbol of her particular power that appears in architecture , vase painting , and metalwork.

The gorgoneion was a pervasive image in temple decoration of the Archaic period ca. Perhaps the largest example comes from Temple C built ca. In Sicily, southern Italy, and mainland Greece, temples were decorated with numerous antefixes ornamental terracotta roof tile covers that bore gorgoneia During this time, Medusa is depicted as a monster; she has a round face, wide eyes, a beard, and a gaping mouth with an extended tongue and gnashing, sharp teeth Medusa remains a popular image on later architectural components, but her form is more specifically human and female.

She loses the frightful teeth and beard, but is still recognizable Greek vases, cups, and related terracotta objects sometimes included a decorative gorgoneion as well. In some cases it was painted at the bottom of a drinking vessel Pieces from the seventh and sixth centuries B. The circular shape of many of these ceramics offers a particularly appropriate space to depict the rotund face of the Archaic Gorgon; it is outrageous, with oversized features that combine the feminine curled hair and earrings with the masculine beard.

She is present as the central decoration on many vases Just as in architecture , these late fourth- and third-century B. Gorgons evolve from the grotesque to the feminine but retain their specific frontal quality. The fifth century B. Perfection and beauty became the standards of this new Classical style, and Medusa, despite her role as a monster, was not exempt.

Medusa is truly ubiquitous—she is represented not only in architecture and pottery, but also in metalwork. Her head is a common ornament on the handles of bronze vessels The circular shape and protective qualities of her countenance also lend themselves to jewelry; she appears on earrings, pendants, and rings The Gorgon is also reproduced on armor.

More commonly, the gorgoneion is the central motif on the aegis of Athena. Depictions of the goddess in both vase painting The most renowned sculpture of Athena, the gold and ivory Athena Parthenos that once stood in the Parthenon, included two gorgoneia: one on her aegis and one on her shield. The presence of Medusa on armor reinforces the idea that her presence held significant power to protect the wearer against enemies.

The gorgoneion is not the only artistic representation of Medusa; she is also shown in scenes illustrating the adventures of Perseus. A monumental example of this type is the central decoration of the early sixth-century B. Following the moment her head was removed, a Pegasus flew out of her body, representing the birth of beauty. Just as the Medusa was powerless to fight against the repressive actions forced upon her, so too was she powerless against the continual metamorphosing of the myth which resulted in the more popular Medusa myth commonly known today.

In this popular version the Medusa is a monster with hair of a thousand snakes. She is under a curse which causes everything she looks at to turn to stone.

Cixous explains that this monstrous image of the Medusa exists only because it has been directly determined by the male gaze. Once Cixous establishes that the myth of the Medusa is nothing more than a facade , she begins to question if the Medusa does in fact have the ability to turn things into stone or if her fearful imagery comes merely from our perception of her, a perception that has manifested itself from male warnings.

The metamorphosis of Medusa into a monster is similar to the change women underwent, going from sexually whole to sexually incomplete. Both transformations occurred as the result of a myth, a myth introduced by men and believed by women. In "The Myth of the Vaginal Orgasm," Koedt explains that men have created a myth which causes women to feel inadequate and incomplete. These feelings of inadequacy result from their inability to achieve a vaginal orgasm.

Koedt and Cixous each express the belief that the power of a myth lies in the degree to which the myth is believed.