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Greek city of Dionysopolis in Moesia Inferior
Bronze 15mm (3.76 grams) Struck circa 220-150 B.C.
Reference: SNG BM -, SNG Stancomb 107-108 var.
Head of Dionysus right, wreathed with ivy.
Bunch of grapes, ΔIONYΣO to right.
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 Dionysus is the god of the grape harvest, winemaking and wine, of ritual madness, fertility, theatre and religious ecstasy in Greek mythology. Alcohol, especially wine, played an important role in Greek culture with Dionysus being an important reason for this life style. His name, thought to be a theonym in Linear B tablets as di-wo-nu-so (KH Gq 5 inscription), shows that he may have been worshipped as early as c. 1500-1100 BC by Mycenean Greeks; other traces of the Dionysian-type cult have been found in ancient Minoan Crete. His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. In some cults, he arrives from the east, as an Asiatic foreigner; in others, from Ethiopia in the South. He is a god of epiphany, “the god that comes”, and his “foreignness” as an arriving outsider-god may be inherent and essential to his cults. He is a major, popular figure of Greek mythology and religion, and is included in some lists of the twelve Olympians. Dionysus was the last god to be accepted into Mt. Olympus. He was the youngest and the only one to have a mortal mother. His festivals were the driving force behind the development of Greek theatre. Modern scholarship categorises him as a dying-and-rising god.
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”. In its fully developed form, his central cult imagery shows his triumphant, disorderly arrival or return, as if from some place beyond the borders of the known and civilized. His procession (thiasus) is made up of wild female followers (maenads) and bearded satyrs with erect penises. Some are armed with the thyrsus, some dance or play music. The god himself is drawn in a chariot, usually by exotic beasts such as lions or tigers, and is sometimes attended by a bearded, drunken Silenus. This procession is presumed to be the cult model for the human followers of his Dionysian Mysteries. In his Thracian mysteries, he wears the bassaris or fox-skin, symbolizing a new life. Dionysus is represented by city religions as the protector of those who do not belong to conventional society and thus symbolizes everything which is chaotic, dangerous and unexpected, everything which escapes human reason and which can only be attributed to the unforeseeable action of the gods.
Also known as Bacchus, the name adopted by the Romans and the frenzy he induces, bakkheia. His thyrsus is sometimes wound with ivy and dripping with honey. It is a beneficent wand but also a weapon, and can be used to destroy those who oppose his cult and the freedoms he represents. He is also called Eleutherios (“the liberator”), whose wine, music and ecstatic dance frees his followers from self-conscious fear and care, and subverts the oppressive restraints of the powerful. Those who partake of his mysteries are possessed and empowered by the god himself. His cult is also a “cult of the souls”; his maenads feed the dead through blood-offerings, and he acts as a divine communicant between the living and the dead.
In Greek mythology, he is presented as a son of Zeus and the mortal Semele, thus semi-divine or heroic: and as son of Zeus and Persephone or Demeter, thus both fully divine, part-chthonic and possibly identical with Iacchus of the Eleusinian Mysteries. Some scholars believe that Dionysus is a syncretism of a local Greek nature deity and a more powerful god from Thrace or Phrygia such as Sabazios or Zalmoxis.
Balchik (Bulgarian: Балчик) is a Black Sea coastal town and seaside resort in the Southern Dobruja area of northeastern Bulgaria. It is located in Dobrich Oblast and is 42 km northeast of Varna. The town sprawls scenically along hilly terraces descending from the Dobruja plateau to the sea.
The Ionian ancient Greek colony of Krounoi in Moesia (renamed as Dionysopolis, after the discovery of a statue of Dionysus in the sea ), later a Greek-Byzantine fortress, stood on the site of an older Thracian settlement. Under the Ottoman Empire, the town came to be known with its present name, which perhaps derived from a Gagauz word meaning “small town”. Another opinion is that its actual name derived from Balik’s name.
After the liberation of Bulgaria, Balchik developed as centre of a rich agricultural region, wheat-exporting port, and district (okoliya) town, and later, as a major tourist destination with the beachfront resort of Albena to its south. The ethnic composition gradually changed from mostly Gagauz and Tatar/Turkish to predominantly Bulgarian. According to an estimate by Bulgarian historian Rayna Gavrilova the Bulgarian population before 1878 was only around 10%. Currently the municipality (the town plus 22 villages) is 69.2% Bulgarian, 16.2% Turkish minority and 12.3% Romani. An Ottoman mosque remains to serve the Muslim minority.
After the Second Balkan War, in 1913, Balchick became part of The Kingdom of Romania. The town was regained by Bulgaria during World War I (1916-1919), but Romania restored its authority when the hostilities in region ceased. In 1940, just before outbreak of World War II in the region, Balchik was ceded by Romania to Bulgaria by the terms of the Craiova Treaty.
During Romania’s administration, the Balchik Palace was the favourite summer residence of Queen Marie of Romania and her immediate family. The town is the site of Marie’s Oriental villa, the place where her heart was kept, in accordance with her last wishes, until 1940 (when the Treaty of Craiova awarded the region back to Bulgaria). It was then moved to Bran Castle, in central Romania. Today, the Balchik Palace and the adjacent Balchik Botanical Garden are the town’s most popular landmarks. Currently, three 18-hole golf courses are being developed around town, two designed by Gary Player and one by Ian Woosnam.
During the inter-war period, Balchik was also a favourite destination for Romanian avant-garde painters, lending his name to an informal school of post-impressionist painters – the Balchik School of Painting – which is central in the development of Romanian 20th century painting. Many works of the artists composing the group depict the town’s houses and the exotic Tatar inhabitants, as well as the sea.
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