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If you’ve read "The Parthenon Code: Mankind’s History in Marble" by Mr. Johnson, you’re in for a further treat. "Noah in Ancient Greek Art" goes deeper into the true identity of Athena, identifying the real woman she represents—the one who came through the Flood on the ark as Ham’s wife. It sounds fantastic, but just wait and see. The evidence is overwhelming. In the early post-Flood world, this woman was so influential in promoting the resurgence of the way of Kain (Cain) that every Mediterranean and Mid-eastern culture idolized her, often using different names for different aspects and achievements of this “goddess.” If you haven’t yet read "The Parthenon Code," you’re in for a big surprise in this book. What today’s scholars call ancient myth is not myth at all, but rather the history of the human race expressed from the standpoint of the way of Kain. This new book is written in such a way that you will be able to pick up and understand this crucial thread very quickly. In most cases, the ancient art speaks for itself. The Greek gods look exactly like people because, with rare exceptions, that is who they represent. In Plato’s Dialogue, "Euthydemus," Socrates referred to Zeus, Apollo and Athena as his “lords and ancestors.” Another witness to this obvious truth is the life of the great hero, Herakles. À la “George Washington slept here,” scores of Greek towns claimed that Herakles had performed some kind of great feat (often one of his twelve labors) within or near their boundaries. Herakles was a real man. In fact, he was the Nimrod of Genesis. On a vase-painting in the book, Athena picks up the hero Herakles in her chariot at his death, and takes him to immortality on Mount Olympus. Who does he join there, space aliens? Of course not. He joins his ancestors, the Olympian family. If it looks like a human, talks like a human, and acts like a human, it must be a human. This is the key to understanding Greek art. The Greeks claimed their descent from an original brother-sister/husband-wife pair named Zeus and Hera. Zeus and Hera are the Greek versions of Adam and Eve. The Greeks referred to Zeus as the father of gods (ancestors) and men, and to Hera as the mother of all living. Their poets and playwrights traced this first couple to an ancient paradise called the Garden of the Hesperides, and always depicted it with a serpent-entwined apple tree. You have probably heard at one time or another about Eve eating the apple. The Hebrew word for fruit in Chapter 3 of Genesis is a general term. The idea that Adam and Eve took a bite of an apple comes to us from the Greek tradition. The author gives you this, and all the other background you need to understand Noah’s place in ancient Greek art. As the narrative progresses, you’ll see that Noah was not some vague figure remembered by a few maverick Greek artists. Greek vase-artists and sculptors actually defined the rapid growth and development of their contrary religious outlook in direct relation to Noah and his loss of authority. Greek artists portrayed the victory of their man-centered idolatrous religion as the simultaneous defeat of Noah and his Yahweh-believing children. The twelve labors of Herakles sculpted on the temple of Zeus at Olympia (restored and explained in Section III of the book), in and of themselves, chronicled and celebrated mankind’s successful rebellion against Noah and his God after the Flood. The most important part of this book may be Section IV which explains why the scholarly world remains blind to the obvious and simple historical truths expressed in ancient art. The short answer is that Darwinism (what the author calls Slime-Snake-Monkeyism) has thoroughly polluted the mainstream sciences. Today, mainstream anthropologists do not study the record of our origins that our ancient ancestors have left us in their art and literature. Instead, they study chimpanzees. This is very sad, pitiful even. These grown men and women work diligently and proudly in an effort to find the evidence that will finally “prove” that they themselves, along with their vaunted intellects, are the products of unintelligent chance, with no expectation of immortality. The author continues to marvel along with the apostle Paul, as perhaps you will as well: “Does not God make stupid the wisdom of this world?” (I Corinthians 1:20). "Noah in Ancient Greek Art" features 140 illustrations including twenty-seven vase-scenes of Noah, most in an historical context. This book is the best evidence against Slime-Snake-Monkeyism you’ll ever read.
The hallmark of a healthy humanity is a genuine connection to the truth of our historical identity. History, simply put, is what happened. But how do we find our way to the origins of the human race thousands of years ago? We go back two and a half millennia to Greek artists who were closer to it, and whose marble sculptures and vase paintings bear a silent witness to the key characters and events described in the early chapters of the Book of Genesis, validating their reality. Here is some of what is revealed in this extraordinary book: Zeus' and Hera's connection to the serpent-entwined apple tree.Cain killing Abel depicted on the Parthenon.Seth-men depicted as Centaurs who seize Cain-women as their wives.The unique Greek depiction of Noah's Flood.The Cain-woman who survived the Flood as Ham's wife.The true landing site of Noah's ark in the mountains of Ararat.Naamah reconsecrates her grandson Nimrod to the way of Cain.Nimrod/Herakles usurps the authority of Noah.The Genesis serpent transfigured into Zeus.The Altar of Zeus in Pergamum is the throne of Satan in Revelation.The post-Flood Cainite onslaught against the line of Seth.The true identity of the Amazons.
From Noah's Ark to Diller + Scofidio's “Blur” Building, a distinguished art historian maps new ways to think about architecture's origin and development. Trained as an art historian but viewing architecture from the perspective of a “displaced philosopher,” Hubert Damisch in these essays offers a meticulous parsing of language and structure to “think architecture in a different key,” as Anthony Vidler puts it in his introduction. Drawn to architecture because it provides “an open series of structural models,” Damisch examines the origin of architecture and then its structural development from the nineteenth through the twenty-first centuries. He leads the reader from Jean-François Blondel to Eugène Viollet-le-Duc to Mies van der Rohe to Diller + Scofidio, with stops along the way at the Temple of Jerusalem, Vitruvius's De Architectura, and the Louvre. In the title essay, Damisch moves easily from Diderot's Encylopédie to Noah's Ark (discussing the provisioning, access, floor plan) to the Pan American Building to Le Corbusier to Ground Zero. Noah's Ark marks the origin of construction, and thus of architecture itself. Diderot's Encylopédie entry on architecture followed his entry on Noah's Ark; architecture could only find its way after the Flood. In these thirteen essays, written over a span of forty years, Damisch takes on other histories and theories of architecture to trace a unique trajectory of architectural structure and thought. The essays are, as Vidler says, “a set of exercises” in thinking about architecture.
This richly illustrated volume offers a fascinating introduction to ancient Greek vases for the general reader. It presents vases not merely as beautiful vessels to hold water and wine, but also as instruments of storytelling and bearers of meaning. The first two chapters analyze the development of different shapes of pottery and relate those shapes to function, the evolution in vase production techniques and decoration, and the roles of potters, painters, and their workshops. Subsequent chapters focus on vases as the primary source of imagery from ancient Greece, offering unique information about mythology, religion, theater, and daily life. The author discusses how to identify the figures and scenes depicted in vase paintings, what these narratives would have meant to the people who lived with them and used them, and how they therefore reflect the cultural values of their time. Also examined is the impact Greek vases had on the art, architecture, and literature of subsequent generations. Based on the rich collections of the British Museum and the J. Paul Getty Museum, the exquisite details of the works offer the reader the opportunity for an intimate interaction with the graphic beauty and narrative power of ancient vases often not available in a gallery setting.
This e-book has a life that began with 28 pages of recommendations to a high school teacher who requested ways of addressing a publishers three questions on the Neo-Evolution vs. Creation debate. This was in May 2005. Since then I expanded similar Q&As in various media, participated in public debates (2007-2009). I look back to the successful high level Evolution vs. Creation debates that were held during the 1970s and early 1980s. Dr. Henry M. Morris and Dr. Duane T. Gish had used their newly developed Creation Scientific Model to challenge those who defended the Evolution Scientific Model. The Debates format was very constructive and contributed strategically in addressing many key issues that required further clarification. The debaters were well prepared and well-disciplined and even if some of the debaters appeared to have lost in this round, the debate exercise itself helped to rejuvenate the debaters and the audience thus helping them to energize and look forward towards the next round of the continuing series of debates
Jewish Diaspora in Hellenistic, Roman and Byzantine periods from first to the eighth centuries C.E. is the subject of this work. The author thoroughly investigates origin, symbolism and significance of the mainly synagogal and funerary art forms in the Diaspora. Ancient Jewish Art and Archaeology in the Diaspora is the companion volume to the successful Ancient Jewish Art and Archeaeology in the Land of Israel (1988) by the same author. The geographical area covered includes Syria, Asia Minor, North Africa and Mediterranean Europe. The first section examines the characteristic features of Diaspora Art synagogue architecture and art (including the Torah shrine and mosaic pavements). Another section deals with burial and funerary practices. Of special importance are the sections on the Biblical scenes, designs and iconography of the Dura Europos synagogue, and the Jewish symbols such as the Menorah, ritual objects, the Ark, the conch and the Torah Scrolls. The book is richly illustrated with more than 325 drawings and photographs, some in colour.
Myth into Art is a comparative study of mythological narrative in Greek poetry and the visual arts. Thirty of the major myths are surveyed, focusing on Homer, lyric poetry and Attic tragedy. On the artistic side, the emphasis is on Athenian and South Italian vases. The book offers undergraduate students an introduction both to mythology and to the use of visual sources in the study of Greek myth.
The recent translation of a Babylonian tablet launches a groundbreaking investigation into one of the most famous stories in the world, challenging the way we look at ancient history. Since the Victorian period, it has been understood that the story of Noah, iconic in the Book of Genesis, and a central motif in Judaism, Christianity and Islam, derives from a much older story that existed centuries before in ancient Babylon. But the relationship between the Babylonian and biblical traditions was shrouded in mystery. Then, in 2009, Irving Finkel, a curator at the British Museum and a world authority on ancient Mesopotamia, found himself playing detective when a member of the public arrived at the museum with an intriguing cuneiform tablet from a family collection. Not only did the tablet reveal a new version of the Babylonian Flood Story; the ancient poet described the size and completely unexpected shape of the ark, and gave detailed boat building specifications. Decoding this ancient message wedge by cuneiform wedge, Dr. Finkel discovered where the Babylonians believed the ark came to rest and developed a new explanation of how the old story ultimately found its way into the Bible. In The Ark Before Noah, Dr. Finkel takes us on an adventurous voyage of discovery, opening the door to an enthralling world of ancient voices and new meanings.