Uranus - God of the Heavens Uranus, also known as Ouranos, was the embodiment of the sky or heavens, and known as the god of the sky. He was the first son of Gaia (the earth) and he also became her husband. 蓋婭讓Uranus做眾神之王,時間長了,性情逐漸粗暴乖張。小兒子古希臘泰坦巨神中的時間之神克洛諾斯(Cronos/Kronos),是12泰坦王的領導者。手持鐮殺了父親而獲得了天界的控制權,並且肢解了Uranus,尤拉諾斯的頭臨了憤怒地睜開眼睛,詛咒道:「你會為你所做的付出代價。不久,你也將像我一樣被自己的兒子推翻。」。
In art Saturn is usually shown bearded, carrying a sickle, Father Time, or an ear of corn [seeding]. Dragon - Snake= coiling or spiraling DNA. Omega=Endings. Wings= return to higher levels of consciousness above clouds
Prometheus brings fire to mankind1817 by Heinrich fueger Aeschylus structured the Prometheus legend as a tragic trilogy. As the son of a Titan and a powerful goddess, Prometheus held an intermediary status between god and humankind. According to myth, he created human beings, and was thus the archetypal visual artist. Against the will of the gods, Prometheus secretly lit his torch on the sun chariot and endowed his creatures with the spark of life. Füger presents Prometheus as a victor over the arrogant tyranny of the gods. He holds the flame to the heavens in triumph. Only the finger at his lips indicates the secretive nature of his deed. At his feet rests a creature devoid of life’s warmth. A cold green indicates the lifeless material. Füger’s Prometheus marks the end of the 18th century. The clear formal language of Classicism has replaced the excesses of the Baroque and the sweetness of Rococo art. Füger brings sculptural qualities to his mastery of this monumental format. The powerful figure of Prometheus is reminiscent of the colossal statues of the Monte Cavallo horse tamers in Rome.
Prometheus Being Chained by Vulcan by Dirck van Baburen (1623) Oil on canvas, 202 x 184 cm. Rijksmuseum, Amsterdam 宙斯對他這種肆無忌憚的違抗行為大發雷霆,他差人將普羅米修斯將他牢牢地釘在到高加索山(MountCaucasus)的岩峭上,讓他永遠不能入睡,疲憊的雙膝也不能彎曲,在他起伏的胸脯上還釘著一顆金剛石的釘子。他忍受著飢餓、風吹和日曬。
Jupiter replaces the eternal spring by the four seasons. (Giovanni Battista d\'Angelo) Ovid, Met. I, 116-117
For the first time ever mankind had to build shelters and to till fields during the silver age (Johann Wilhelm Baur, Edition 1659, Detailfoto: H.-J. Gther 2007) Ovid, Met. I, 113-124
Prometheus is an ambivalent figure. He contains two conflicting aspects of the divine helper: fire was his gift to mankind, in some tales even life itself; but the price of technological advance was the grief and destruction typical of the Iron Age. Two steps forward and one step back: compared with the Golden Age, perhaps three steps backwards. Yet Prometheus remains an appealing symbol, the personification of the unconquerable will opposing greater power, forever chained and suffering but confident of the ultimate triumph of his cause.