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In Greek mythology, Silenus (/ s aɪ ˈ l iː n ə s /; Ancient Greek: Σειληνός, romanized: Seilēnós, IPA: [seːlɛːnós]) was a companion and tutor to the wine god Dionysus. He is typically older than the satyrs of the Dionysian retinue ( thiasos ), and sometimes considerably older, in which case he may be referred to as a ...
The earliest cult images of Dionysus show a mature male, bearded and robed. He holds a fennel staff, tipped with a pine-cone and known as a thyrsus. Later images show him as a beardless, sensuous, naked or half-naked androgynous youth: the literature describes him as womanly or "man-womanish". [303]
In Greek mythology, a satyr [a] (Ancient Greek: σάτυρος, romanized: sátyros, pronounced), also known as a silenus [b] or silenos (Ancient Greek: σειληνός, romanized: seilēnós [seːlɛːnós]), and sileni (plural), is a male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated erection.
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In the center of the large mosaic, Dionysus is depicted in a chariot. Next to him stands a mature Silenus, who is more a helper of the god than a driver. [2] The carriage is drawn by two panthers, two centaurs hold their reins. One of the two centaurs is a mature, bearded man carrying a vessel (crater) that probably contains wine.
The Greeks created images of their deities for many purposes. A temple would house the statue of a god or goddess, or multiple deities, and might be decorated with relief scenes depicting myths. Divine images were common on coins. Drinking cups and other vessels were painted with scenes from Greek myths.
The southern pillar is decorated with relief scenes of a Dionysiac circle. Three sides of the southern pillar have relief representations: the central scene shows a cockerel whose head and neck are elongated into a phallus, on either side are groups containing Dionysus and a Maenad, with a small Silenus on one side and a figure of Pan on the ...
Bacchanalia is a c. 1615 oil painting of Bacchus, Silenus, bacchantes and satyrs by Peter Paul Rubens. Originally painted on panel, it was transferred to canvas by A. Sidorov in 1892. Originally painted on panel, it was transferred to canvas by A. Sidorov in 1892.