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172:) and a small winged figure identified as Aminth, who is attributed as the personification of love. The implications of the scene are based on a myth that is no longer recorded, but indicate some disagreement between Eiasun and Fufluns in which Areatha is involved. The myth of Fuflun and Areatha itself follows the traditional Greek myth, in which Areatha is abandoned by
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and Semele. Like that myth, the pregnant Semla is killed by Tinia in the form of a lightning bolt, who then continues to bear
Fufluns by sewing the infant into his thigh and later giving birth to him. However, Semla continues to appear in artwork in association with an adult Fufluns after her death,
90:. For this reason he was also called Fufluns Pachies or Pacha. He was adopted by the Romans but was quickly meshed with Dionysus and his rituals were changed heavily by the influence of Dionysian frenzies.
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Additionally, Fufluns's connection to his mother is sometimes cast as romantic, as seen in artwork that shows them in an embrace used elsewhere in
Etruscan artwork to indicate erotic entanglement.
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Pavel, D. (2020) "The image of the god
Fufluns – Dionysus as reflected on Etruscan mirrors: a Greek or an Etruscan God?". Revista CICSA online, Serie Nouă VI:41-68. p45.
164:. The bronze mirror shows Fufluns and Areatha but also includes additional figures that are not part of the Greek version of the myth, namely Castur (the Etruscan
47:) was a god of plant life, happiness, wine, health, and growth in all things. He is mentioned twice among the gods listed in the inscriptions of the
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Fufluns is usually depicted as a beardless youth, but is sometimes rarely shown as an older, bearded man. Fufluns was shown in art with the
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after helping him escape the labyrinth of Minos. Fufluns then finds
Areatha and falls in love with her, and they later marry.
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Secondo
Congresso Internazionale Etrusco, Firenze, 26 maggio – 2 giugno 1985. Atti III, pp. 1205–1211. Rome: Bretschneider.
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that guided and protected souls. Fufluns was additionally associated with a purely
Etruscan goddess named Catha.
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Another depiction of a lost myth regarding
Fufluns depicts his relationship with Areatha, the Etruscan form of
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394:, edited by Marie-Laurence Haack. Rome, IT: Publications De L’École Française De Rome, 2015. Accessed 22
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Fufluns shares many myths with
Dionysus, including the story of his birth, which parallels the story of
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Pailler, J.-M. (1989) "Fuluns e Catha: significato di un’associazione divina nella tarda età etrusca."
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L’écriture Et L’espace De La Mort. Épigraphie Et Nécropoles à L'époque *Préromaine
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Depicting, from left to right; a satyr, Apulu, Fufluns and his mother Semla.
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gods that rule the
Etruscan astrological houses. He is the 9th of those 16
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Paleothodoros, Dimitris. (2007). Dionysiac imagery in archaic
Etruria.
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indicating either a resurrection or immortalization of his mother.
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Fufluns is associated with several other deities in art, including
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Bonfante, Larissa. (2015). Etruscan mirrors and the grave. In
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Thomson, de Grummond Nancy, Myth and Sacred History, 2006, p.
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Thomson, De Grummond Nancy, Myth and Sacred History, 2006, p.
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Thomson, De Grummond Nancy, Myth, Sacred History, 2006, p.
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Thomson, De Grummond Nancy, and Erika Simon. (2006).
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https://www.ceeol.com/search/article-detail?id=939803
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94:Iconography
459:Categories
378:References
131:psychopomp
71:(Etruscan
69:Populonia
127:chthonic
84:Dionysos
41:Etruscan
37:Puphluns
29:Etruscan
174:Theseus
162:Ariadne
108:maenads
100:thyrsus
77:Pupluna
73:Fufluna
25:Fufluns
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166:Castor
123:Apollo
104:satyrs
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180:Notes
170:Jason
145:Myths
119:Apulu
88:Liber
65:Tinia
61:Semla
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151:Zeus
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19:In
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