Thiasus

{{Short description|Ecstatic retinue of the Greek deity Dionysus}} {{Other uses|Thiasus (mythology)}} {{Italics title}} [[File:Dionysos thiasos Louvre MNE938.jpg|thumb|250px|Dionysus and members of his ''thiasos'' on an Attic black-figure ''krater''-''psykter'' (525–500 BCE, Louvre Museum)]]

In Greek mythology<ref>Karl Kerenyi, ''Dionysos: Archetypal image of indestructible life'' 1976:123, observes that "the ecstatic band of bacchantes and agitated male nature gods in a state of heightened ''zoë'' ... is not reflected in Minoan art."</ref> and religion, the '''''thiasus'''''{{efn|{{IPAc-en|ˈ|θ|ʌ|ɪ|ə|s|ə|s}}, {{IPAc-en|-|s|ɒ|s}};<ref>{{Cite OED|term=thiasus|id=5465345139|access-date=28 February 2025}}</ref> {{langx|el| θίασος|thíasos}}}} was the ecstatic retinue of Dionysus, often pictured as inebriated revelers. Many of the myths of Dionysus are connected with his arrival in the form of a procession. The grandest such version was his triumphant return from "India", which influenced symbolic conceptions of the Roman triumph and was narrated in rapturous detail in Nonnus's ''Dionysiaca''. In this procession, Dionysus rides a chariot, often drawn by big cats such as tigers, leopards, or lions, or alternatively elephants or centaurs.<ref name=Motto/><ref name=Dion/>

The ''thiasos'' of the sea god Poseidon is depicted as a triumphal wedding procession with Amphitrite, attended by figures such as sea nymphs and hippocamps. In historical Greek society, ''thiasoi'' ({{plural form}}: {{langx|el| θίασοι}}) were religious organizations whose existence was protected by law.<ref>For example the ''thiasos'' in Athens examined by Marcus N. Tod, "A Statute of an Attic Thiasos", ''The Annual of the British School at Athens'' '''13''' (1906/07):328-338).</ref>

==Dionysian ''thiasos''== [[File:Triumph of Bacchus - Sousse.jpg|thumb|250px|left|Triumph of Dionysus on a fragmentary Roman mosaic (3rd century CE, Sousse Archaeological Museum)]]

The most significant members of the ''thiasus'' were the human female devotees, the maenads, who gradually replaced immortal nymphs. In Greek vase-paintings or bas-reliefs, lone female figures can be recognized as belonging to the ''thiasus'' by their brandishing the thyrsos, the distinctive staff or rod of the devotee.

Other regulars of the retinue were various nature spirits, including the sileni (or human dancers costumed as such), phalluses much in evidence, satyrs, and Pan. The ''ithyphallic'' sileni are often shown dancing on vase paintings.<ref>Karl Kerenyi (''Dionysos: Archetypal image of indestructible life'' 1976), selects as an example a 6th-century vase, figs 39/A and B.</ref> The tutor of Dionysus is represented by a single aged Silenus. The retinue is sometimes shown being brought before a seated recipient: the tragic human welcomer of the gift of wine, Ikarios or Semachos, and his daughter, Erigone.<ref>See Kerenyi 1976, ch. iv. "The Myths of Arrival".</ref> In the triumphal form of procession, Ariadne sometimes rides with Dionysus as his consort. Heracles followed the thiasus for a short while following his loss of a drinking contest to Dionysus.

On the 6th-century BC François Vase, Dionysus is accompanied in procession by the three Horae.<ref>Detail illustrated in Kerenyi 1976 fig. 37.</ref> Other notable depictions in art include the silver "Great Dish" from the Mildenhall Treasure, the Lycurgus Cup, and in the Renaissance Titian's ''Bacchus and Ariadne''. The Dionysian retinue was a popular subject for Roman art, especially bas-reliefs and sarcophagus panels.

== Marine ''thiasos'' == [[File:Sea thiasos Amphitrite Poseidon Glyptothek Munich 239 front n3.jpg|thumb|Sea ''thiasos'' depicting the wedding of Poseidon and Amphitrite, from the Altar of Domitius Ahenobarbus in the Field of Mars, bas-relief, Roman Republic, 2nd century BCE]]

A marine ''thiasos'' (or sea ''thiasos'') is a term for a group like the Dionysian thiasos, except with the chief god replaced by Poseidon or some other sea deity.<ref name=lattimore/><ref name=papagiannaki/> Lattimore while insisting that the chief god must be Poseidon in a strict sense, includes examples where Poseidon is completely absent in the composition, which most frequently figure Tritons and Nereids as marine retinues.<ref name=lattimore/>

An original work of Scopas on this theme was taken to Rome and described by Pliny, but is now lost.<ref>{{harvp|Lattimore|1976|pp=13–}}</ref><ref name=papagiannaki/> Still, the theme is well represented in surviving works of Roman art, from tiny decorative reliefs and large sarcophagus panels to extensive mosaics.

Even in the Skopas example, the main theme was the deliverance of the slain Achilles to Elysium, attended by his mother Thetis (though Poseidon is present as well),<ref name=papagiannaki/> and examples of Thetis's retinue have been described as marine ''thiasos''.<ref name=south/>

The marine ''thiasos'' could otherwise be the retinue for Oceanus,<ref name=toynbee/> or to Venus Marina.<ref name=stirling/>

== Notes == {{Noteslist}}

==References== {{reflist|30em|refs= <ref name=Motto>{{cite book|author=Motto Anna Lydia; Clark, John R.; Byrne, Shannon N.; Cueva, Edmund P.|title=Veritatis Amicitiaeque Causa: Essays in Honor of Anna Lydia Motto and John R. Clark|url=|date=January 1999|publisher=Bolchazy-Carducci Publishers|page=249|isbn=9780865164543}}</ref>

<ref name=Dion>{{cite book|last=Kondoleon|first=Christine|author-link=|title=Domestic and Divine: Roman Mosaics in the House of Dionysos|url=|date=1994|publisher=Cornell University Press|page=194|isbn=9780801430589}}</ref>

<ref name=lattimore>{{cite book|last=Lattimore |first=Steven |author-link= |title=The Marine Thiasos in Greek Sculpture |publisher=Institute of Archaeology, University of California, Los Angeles |year=1976 |url=https://books.google.com/books?id=WPo2AQAAIAAJ |page=1 |isbn=9780917956027 |quotation=The term 'marine thiasos' might be defined.. most correctly [as] a marine group.. attending the marine god, Poseidon, however.. may not always be depicted.}}</ref>

<ref name=papagiannaki>{{cite book|last=Papagiannaki|first=Anthousa |author-link= |title=Nereids and Hippocamps: The Marine Thiasos on Late Antique and Medieval Byzantine Ivory and Bone Caskets |work=The Legacy of Antiquity: New Perspectives in the Reception of the Classical World |publisher=Cambridge Scholars Publishing |year=2014 |url=https://books.google.com/books?id=pCJQBwAAQBAJ&pg=PA73 |pages=73–74 |isbn=978-1-443-86774-0}}</ref>

<ref name=south>{{citation|last=South |first=Alison K. |author-link= |title=Excavations at Kalavassos-Ayios Dhimitrios |journal=Annual Report of the Director of the Department of Antiquities |year=1982|publisher=Republic of Cyprus |url=https://books.google.com/books?id=ullQAQAAMAAJ |page=369 }}</ref>

<ref name=stirling>{{cite book|last=Stirling |first=Lea Margaret |author-link=Lea Margaret Stirling |title=Mythological statuary in late antiquity: a case study of villa decoration in southwest Gaul |publisher=University of Michigan |year=1994 |url=https://books.google.com/books?id=SZceAQAAMAAJ |page=109, n11 |isbn=978-1-443-86774-0}}, citing Kaufmann-Heinimann (1984), pp.318–321.</ref>

<ref name=toynbee>{{cite book|last=Toynbee |first=Jocelyn M. C. |author-link= |title=Art in Britain under the Romans |publisher=Clarendon Press |year=1964 |url=https://books.google.com/books?id=VqOfAAAAMAAJ |page=309|isbn=978-0-19-817143-0 }}, also quoted by Hutchinson, Valérie J. (1986), {{URL|1=https://books.google.com/books?id=8XHXAAAAMAAJ|2=Bacchus in Roman Britain: the evidence for his cult}}, p. 286.</ref>

}}

* Category:Mythology of Heracles