Ancient Greek funerary practices are attested widely in literature, the archaeological record, and in ancient Greek art. Finds associated with burials are an important source for ancient Greek culture, though Greek funerals are not as well documented as those of the ancient Romans. [1]
The Mycenaeans practiced a burial of the dead, and did so consistently. [2] The body of the deceased was prepared to lie in state, followed by a procession to the resting place, a single grave or a family tomb. These processions were usually done by family or friends of the deceased. Processions and ritual laments are depicted on burial chests (larnakes) from Tanagra. Grave goods such as jewelry, weapons, and vessels were arranged around the body on the floor of the tomb. Graveside rituals included libations and a meal, since food and broken cups are also found at tombs. A tomb at Marathon contained the remains of horses that may have been sacrificed at the site after drawing the funeral cart there. The Mycenaeans seem to have practiced secondary burial, when the deceased and associated grave goods were rearranged in the tomb to make room for new burials. Until about 1100 BC, group burials in chamber tombs predominated among Bronze Age Greeks. [3]
Mycenaean cemeteries were located near population centers, with single graves for people of modest means and chamber tombs for elite families. The tholos is characteristic of Mycenaean elite tomb construction. The royal burials uncovered by Heinrich Schliemann in 1874 remain the most famous of the Mycenaean tombs. With grave goods indicating they were in use from about 1550 to 1500 BC, these were enclosed by walls almost two and a half centuries later—an indication that these ancestral dead continued to be honored. An exemplary stele depicting a man driving a chariot suggests the esteem in which physical prowess was held in this culture.
Later Greeks thought of the Mycenaean period as an age of heroes, as represented in the Homeric epics. Greek hero cult centered on tombs.
After 1100 BC, Greeks began to bury their dead in individual graves rather than group tombs. Athens, however, was a major exception; the Athenians normally cremated their dead and placed their ashes in an urn. [4] During the early Archaic period, Greek cemeteries became larger, but grave goods decreased. This greater simplicity in burial coincided with the rise of democracy and the egalitarian military of the hoplite phalanx, and became pronounced during the early Classical period (5th century BC). [4] During the 4th century, the decline of democracy and the return of aristocratic dominance was accompanied by more magnificent tombs that announced the occupants' status—most notably, the vaulted tombs of the Macedonians, with painted walls and rich grave goods, the best example of which is the tomb at Vergina thought to belong to Philip II of Macedon. [4]
A dying person might prepare by arranging future care for the children, praying, sending all valuables to close family, and assembling family members for a farewell. [5] Many funerary steles show the deceased, usually sitting or sometimes standing, clasping the hand of a standing survivor, often the spouse. When a third onlooker is present, the figure may be their adult child.
Women played a major role in funeral rites. They were in charge of preparing the body, which was washed, anointed and adorned with a wreath. The mouth was sometimes sealed with a token or talisman, referred to as "Charon's obol" if a coin was used, and explained as payment for the ferryman of the dead to convey the soul from the world of the living to the world of the dead. [6] Initiates into mystery religions might be furnished with a gold tablet, sometimes placed on the lips or otherwise positioned with the body, that offered instructions for navigating the afterlife and addressing the rulers of the underworld, Hades and Persephone; the German term Totenpass , "passport for the dead," is sometimes used in modern scholarship for these.
Priest or priestess were not allowed to enter the house of the deceased or to take part in the funerary rites, as death was seen as a cause of spiritual impurity or pollution. [7] This is in line with the Greek idea that even the gods could be polluted by death, and hence anything related to the sacred had to be kept away from death and dead bodies. Hence, many inscriptions in Greek temples banned those who had recent contact with dead bodies. [8]
After the body was prepared, it was laid out for viewing on the second day. Kinswomen, wrapped in dark robes, stood round the bier, the chief mourner, either mother or wife, was at the head, and others behind. [9] This part of the funeral rites was called the prothesis. Women led the mourning by chanting dirges, tearing at their hair and clothing, and striking their torso, particularly their breasts. [6] The Prothesis may have previously been an outdoor ceremony, but a law later passed by Solon decreed that the ceremony take place indoors. [10] Before dawn on the third day, the funeral procession (ekphora) formed to carry the body to its resting place. [11] Depending on the wealth of the family of the deceased, they would often hire people to mourn the dead during these processions.
At the time of the funeral, offerings were made to the deceased by only a relative and lover. The choai, or libation, and the haimacouria, or blood propitiation were two types of offerings. The choai dates back to Minoan times. [8] Since there is a complete absence of any references of animal sacrifices on Attic lêkythoi, this provides the grounds for inferring that the practice as conducted on behalf of ordinary dead was at least very rare. [8] The mourner first dedicated a lock of hair, along with choai, which were libations of honey, milk, water, wine, perfumes, and oils mixed in varying amounts. Choai were usually poured at the grave, either on to the steps supporting the stêlê, or possibly over the shaft. [8] A prayer then followed these libations. Then came the enagismata, which were offerings to the dead that included milk, honey, water, wine, celery, pelanon (a mixture of meal, honey, and oil), and kollyba (the first fruits of the crops and dried fresh fruits). [9] Once the burial was complete, the house and household objects were thoroughly cleansed with seawater and hyssop, and the women most closely related to the dead took part in the ritual washing in clean water. Afterwards, there was a funeral feast called the peridinin. The dead man was the host, and this feast was a sign of gratitude towards those who took part in burying him. The family would then be tasked with visiting the grave at set intervals up to a year to continue libations and rituals. Mainly the women in the family were expected to visit the grave. After the first year, annual visits would be expected. During this year, families would have a laurel or other plant-based indicator that their family was unclean. Only after the first year would the family be fully re-accepted into society and considered free of pollution.
Although the Greeks developed an elaborate mythology of the underworld, its topography and inhabitants, they and the Romans were unusual in lacking myths that explained how death and rituals for the dead came to exist. The ruler of the underworld was Hades, not the embodiment of death/personification of death, Thanatos, who was a relatively minor figure. Hades was not viewed the same way as the devil is in modern times, as he was a god of the underworld. [12]
Performing the correct rituals for the dead was essential, however, for assuring their successful passage into the afterlife, and unhappy revenants could be provoked by failures of the living to attend properly to either the rite of passage or continued maintenance through graveside libations and offerings, including hair clippings from the closest survivors. The dead were commemorated at certain times of the year, such as Genesia. [13] Exceptional individuals might continue to receive cult maintenance in perpetuity as heroes, but most individuals faded after a few generations into the collective dead, in some areas of Greece referred to as "thrice-ancestors" (Tritopatores), who also had annual festivals devoted to them. [13]
Anubis, also known as Inpu, Inpw, Jnpw, or Anpu in Ancient Egyptian, is the god of funerary rites, protector of graves, and guide to the underworld, in ancient Egyptian religion, usually depicted as a canine or a man with a canine head.
A funeral is a ceremony connected with the final disposition of a corpse, such as a burial or cremation, with the attendant observances. Funerary customs comprise the complex of beliefs and practices used by a culture to remember and respect the dead, from interment, to various monuments, prayers, and rituals undertaken in their honour. Customs vary between cultures and religious groups. Funerals have both normative and legal components. Common secular motivations for funerals include mourning the deceased, celebrating their life, and offering support and sympathy to the bereaved; additionally, funerals may have religious aspects that are intended to help the soul of the deceased reach the afterlife, resurrection or reincarnation.
The ancient Egyptians had an elaborate set of funerary practices that they believed were necessary to ensure their immortality after death. These rituals included mummifying the body, casting magic spells, and burials with specific grave goods thought to be needed in the afterlife.
Roman funerary practices include the Ancient Romans' religious rituals concerning funerals, cremations, and burials. They were part of time-hallowed tradition, the unwritten code from which Romans derived their social norms. Elite funeral rites, especially processions and public eulogies, gave the family opportunity to publicly celebrate the life and deeds of the deceased, their ancestors, and the family's standing in the community. Sometimes the political elite gave costly public feasts, games and popular entertainments after family funerals, to honour the departed and to maintain their own public profile and reputation for generosity. The Roman gladiator games began as funeral gifts for the deceased in high status families.
A lekythos is a type of ancient Greek vessel used for storing oil, especially olive oil. It has a narrow body and one handle attached to the neck of the vessel, and is thus a narrow type of jug, with no pouring lip; the oinochoe is more like a modern jug. In the "shoulder" and "cylindrical" types which became the most common, especially the latter, the sides of the body are usually vertical by the shoulder, and there is then a sharp change of direction as the neck curves in; the base and lip are normally prominent and flared. However, there are a number of varieties, and the word seems to have been used even more widely in ancient times than by modern archeologists. They are normally in pottery, but there are also carved stone examples.
The Punic religion, Carthaginian religion, or Western Phoenician religion in the western Mediterranean was a direct continuation of the Phoenician variety of the polytheistic ancient Canaanite religion. However, significant local differences developed over the centuries following the foundation of Carthage and other Punic communities elsewhere in North Africa, southern Spain, Sardinia, western Sicily, and Malta from the ninth century BC onward. After the conquest of these regions by the Roman Republic in the third and second centuries BC, Punic religious practices continued, surviving until the fourth century AD in some cases. As with most cultures of the ancient Mediterranean, Punic religion suffused their society and there was no stark distinction between religious and secular spheres. Sources on Punic religion are poor. There are no surviving literary sources and Punic religion is primarily reconstructed from inscriptions and archaeological evidence. An important sacred space in Punic religion appears to have been the large open air sanctuaries known as tophets in modern scholarship, in which urns containing the cremated bones of infants and animals were buried. There is a long-running scholarly debate about whether child sacrifice occurred at these locations, as suggested by Greco-Roman and biblical sources.
A Mycenaean chamber tomb is the type of chamber tomb that was built in Mycenaean Greece. Mycenaean chamber tombs originated in Messenia at the end of the Middle Helladic period, and were built and used throughout the Late Bronze Age across the Aegean area.
Geometric art is a phase of Greek art, characterized largely by geometric motifs in vase painting, that flourished towards the end of the Greek Dark Ages, c. 900–700 BC. Its center was in Athens, and from there the style spread among the trading cities of the Aegean. The Greek Dark Ages lasted from c. 1100 to 750 BC and include two periods, the Protogeometric period and the Geometric period, in reference to the characteristic pottery style. The vases had various uses or purposes within Greek society, including, but not limited to, funerary vases and symposium vases.
Funerary art is any work of art forming, or placed in, a repository for the remains of the dead. The term encompasses a wide variety of forms, including cenotaphs, tomb-like monuments which do not contain human remains, and communal memorials to the dead, such as war memorials, which may or may not contain remains, and a range of prehistoric megalithic constructs. Funerary art may serve many cultural functions. It can play a role in burial rites, serve as an article for use by the dead in the afterlife, and celebrate the life and accomplishments of the dead, whether as part of kinship-centred practices of ancestor veneration or as a publicly directed dynastic display. It can also function as a reminder of the mortality of humankind, as an expression of cultural values and roles, and help to propitiate the spirits of the dead, maintaining their benevolence and preventing their unwelcome intrusion into the lives of the living.
Totenpass is a German term sometimes used for inscribed tablets or metal leaves found in burials primarily of those presumed to be initiates into Orphic, Dionysiac, and some ancient Egyptian and Semitic religions. The term may be understood in English as a "passport for the dead". The so-called Orphic gold tablets are perhaps the best-known example.
A funerary cult is a body of religious teaching and practice centered on the veneration of the dead, in which the living are thought to be able to confer benefits on the dead in the afterlife or to appease their otherwise wrathful ghosts. Rituals were carried on for the benefit of the dead, either by their relatives or by a class of priests appointed and paid to perform the rites. These rituals took place at the tombs of the dead themselves or at mortuary temples appointed to this purpose. Funerary cults are found in a wide variety of cultures.
A mortuary cult is a ceremonial and religious form of a cult fostered over a certain duration of time, often lasting for generations or even dynasties. It concerns deceased peoples kept in the memories of their bereaved members, mostly family members or loyal servants.
Chinese funeral rituals comprise a set of traditions broadly associated with Chinese folk religion, with different rites depending on the age of the deceased, the cause of death, and the deceased's marital and social statuses. Different rituals are carried out in different parts of China, and many contemporary Chinese people carry out funerals according to various religious faiths such as Buddhism or Christianity. However, in general, the funeral ceremony itself is carried out over seven days, and mourners wear funerary dress according to their relationship to the deceased. Traditionally, white clothing is symbolic of the dead, while red is not usually worn, as it is traditionally the symbolic colour of happiness worn at Chinese weddings. The number three is significant, with many customary gestures being carried out three times.
The theme of death within ancient Greek art has continued from the Early Bronze Age all the way through to the Hellenistic period. The Greeks used architecture, pottery, and funerary objects as different mediums through which to portray death. These depictions include mythical deaths, deaths of historical figures, and commemorations of those who died in war. This page includes various examples of the different types of mediums in which death is presented in Greek art.
Dipylon Kraters are Geometric period Greek terracotta funerary vases found at the Dipylon cemetery; near the Dipylon Gate, in Kerameikos. Kerameikos is known as the ancient potters quarter on the northwest side of the ancient city of Athens and translates to "the city of clay." A krater is a large Ancient Greek painted vase used to mix wine and water, but the large kraters at the Dipylon cemetery served as grave markers.
Ancient Greek funerary vases are decorative grave markers made in ancient Greece that were designed to resemble liquid-holding vessels. These decorated vases were placed on grave sites as a mark of elite status. There are many types of funerary vases, such as amphorae, kraters, oinochoe, and kylix cups, among others. One famous example is the Dipylon amphora. Every-day vases were often not painted, but wealthy Greeks could afford luxuriously painted ones. Funerary vases on male graves might have themes of military prowess, or athletics. However, allusions to death in Greek tragedies was a popular motif. Famous centers of vase styles include Corinth, Lakonia, Ionia, South Italy, and Athens.
The Dipylon Amphora is a large Ancient Greek painted vase, made around 760–750 BC, and is now held by the National Archaeological Museum, Athens. Discovered at the Dipylon cemetery, this stylistic vessel belonging to the Geometric period is credited to an unknown artist: the Dipylon Master. The amphora is covered entirely in ornamental and geometric patterns, as well as human figures and animal-filled motifs. It is also structurally precise, being that it is as tall as it is wide. These decorations use up every inch of space, and are painted on using the black-figure technique to create the silhouetted shapes. Inspiration for the Greek vase derived not only from its intended purpose as a funerary vessel, but also from artistic remnants of Mycenaean civilization prior to its collapse around 1100 BC. The Dipylon Amphora signifies the passing of an aristocratic woman, who is illustrated along with the procession of her funeral consisting of mourning family and friends situated along the belly of the vase. The woman's nobility and status is further emphasized by the plethora of detail and characterized animals, all which remain in bands circling the neck and belly of the amphora.
There are some Macedonian tombs and the necropolises of Pydna around ancient Pydna and beside the ancient road from Methone in the north to Dion in the south. The oldest tombs are from the Bronze Age; the youngest are from the early Christian period. Smaller tumuli have eroded over time and are no longer visible. Most excavations have had to be carried out to save the sites. The finds in both areas show a shrinking population during the second Greek colonization.
Ceremonies of Ancient Greece encompasses those practices of a formal religious nature celebrating particular moments in the life of the community or individual in Greece from the period of the Greek dark ages to the middle ages. Ancient Greek religion was not standardised and had no formalised canon of religious texts, nor single priestly hierarchy, and practices varied greatly. However, ceremonial life in pre-Christian Greece generally involved offerings of a variety of forms towards gods and heroes, as well as a plethora of public celebrations such as weddings, burial rites, and festivals.
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