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Evan
Evan is an Etruscan mythological figure known from representations on Etruscan mirrors. This figure is sometimes depicted as male sometimes as female, which has lead to it being thought of as a bisexual being. Evan is sometimes portrayed winged, sometimes not. In all depictions, this mythological figure is shown as young and lithe. One of the roles this figure plays is as an attendant of Atunis, the Greek counterpart to Adonis, and Turan, the Greek counterpart to Aphrodite. This puts Evan possibly within the “Circle of Turan” along with figures like Mean, Munthuch and Zipna. A common misconception is that Evan is the Etrsucan counterpart to the Greek goddess of dawn, Eos. In actuality they have very little in common, other than sometimes being mistaken for one another. The name Evan comes from the Greek root "evi," meaning duration or eternity, which further implies his or her intended role. There is not a great deal of information nor research to be found on Evan, which hinders discovering its role in Etruscan mythology and art.

Appearances in Bronze Mirrors
Evan appears on four known mirrors dating from the second half of the 4th century BCE to the 2nd century BCE. On one mirror (Fig. 1), Evan is shown as a female in an embrace with Itinthni. On another mirror (Fig. 2), a female Evan attends Atunis holding a wreath. On yet another mirror (Fig. 3) a winged, male Evan appears in a scene with Atunis and Turan. These mirrors provide the little amount of existing material collected on Evan.

One theory that persists on Evan, is the figure’s role as an attendant to Turan and Atunis. A mirror from the second half of the 4th century BCE (Fig. 1) depicts a female Evan embracing Itinthni, the Greek counterpart to Tithonus. Itinthni (Tithonus) is known for being the lover to Eos in Greek mythology. Also incised within this mirror is a nude male to the right of Evan and Itinthni, identified as Tvami. From the left of the mirror, a mostly nude Thesis looks upon the couple as she sits. One interpretation for this mirror is that Evan is supposed to be in association with Eos, so that this scene depicts the union between Eos and Tithonus. The inscriptions leave no room for doubt that these are the mythological figures meant to be identified, since they’re so clearly written. Scrutiny appears when questioning why such an image was ever created.

The second bronze mirror depicting Evan dates to the same period as the above mentioned. In this portrayal (Fig. 2), a female Evan appears sitting to the left of the central figure, Atunis. Evan is accompanied by Mean, shown seated on the right of the illustration, who is also attending on Atunis. The scene depicts the attendants offering Atunis articles of clothing to adorn himself with: Evan holds a wreath, intended for Atunis, within her left hand while Mean applies perfume to Atunis’ chest from the alabastron and dipper she is grasping. Both female figures are fully clothed in chitons and wear lavish jewelry. Evan shown with smooth short hair, that seems to possibly be blowing in the wind, is adorned with earrings, bracelets and a necklace. Above Evan a bird clutches a necklace with three bullae within its claws, presumably intended to also be worn by Atunis. Atunis himself is depicted standing and holding a branch within his left hand, as he looks toward Mean. The beams that surround his head could be referencing the importance Atunis receives within this depiction, as he is the center of attention.

Another mirror that Evan is found within dates to the early 3rd century BCE. In this bronze mirror (Fig. 3), Evan is pushed out of the central focus and into the outer decorative rim. The center of the mirror contains a depiction of a extravagently adorned Turan embracing Atunis. To their left is a large bird, possibly a swan or goose, while to their right sits a winged Zipna, holding a bottle of perfume and the rod that is used to apply it. Circulating the inner illustration is where Evan and the other Turan attendants, like Achvizur, Munthuch and Mean, are found. Evan can be found to the immediate right of Zipna. In this interpretation, a male Evan is winged and holding a ribbon or length of cloth while looking affectionately upon Turan. He is nude apart from his shoes and boasts a modestly built frame. There are no insciptions on this mirror that identify Evan.

Analysis
Although not much evidence can be found to help fully identify the importance of Evan in Etruscan culture, these mirrors are instrumental in discovering as much as possible. Although there is a theory which proposes Evan being the counterpart to the Greek Eos, that seems far reaching. More likely is the connection between Evan and being a member of the “Circle of Turan.” Both male and female versions of this mythological figure can be found affectionately attending to both Turan and Atunis, making a distinct connection between Evan and love. Representations of Evan also blend within other known attendants like Achvizur, Alpan and Mean. Andrew Walker of UNC- Chapel Hill states that he and a colleague, by the name of Bugge, believe that Evan might have begun as the personification of eternity and immortality.