Papers by Serra Durugönül
LIBRI Kitap Tanitimi, Elestiri ve Ceviri Dergisi, 2015
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Istanbuler Mitteilungen, 2021
ANAZARBOS’TAN İKİ ‘BÜYÜK HERCULANEUMLU KADIN’ HEYKELİ
Adana İli’nin, Kozan İlçesi’ne bağlı Dilek... more ANAZARBOS’TAN İKİ ‘BÜYÜK HERCULANEUMLU KADIN’ HEYKELİ
Adana İli’nin, Kozan İlçesi’ne bağlı Dilekkaya köyünde bulunan Anazarbos (Anavarza), ‘Ovalık Cilicia’ kentlerindendir. Anazarbos’ta, kazılar sırasında bulunmuş olan ‘Büyük Herculaneumlu Kadın’ tipindeki iki heykel (A1 ve A2), sadece Anazarbos’tan gelen ilk büyük boy heykeller olmaları ile değil, ‘Ovalık Cilicia’da ilk kez sistematik bilimsel bir arkeoloji kazısından kazanılan, dolayısıyla buluntu yeri kesin bilinen heykeller vasfını taşımaktalardır. Bunun da ötesinde, Akdeniz coğrafyasında sıklıkla temsil edilen ‘Büyük Herculaneumlu Kadın’ tipinin, bilinen en doğudaki temsilcileridirler.
Bu tip, herzaman nüfuzlu ve elit aile mensuplarını temsil etmek için kullanılır ve tipolojik-ikonografik özellikleri çok az değişim gösterir. ‘Herculaneumlu Kadın’ tipi, genellikle onurlandırma heykeli olarak kullanılır ve genellikle tiyatro, kutsal alan, forum veya hamam, gymnasium-palaestra gibi kamusal yapılarda yer alır. Anazarbos gibi tüm bu yapıların var olduğu büyük bir kentte de, A1 ve A2 heykellerinin ‘in situ’ durumları için bu yapılarda bir konum önerilmektedir.
Bu çalışmamızda, stilistik karşılaştırmalar sonucunda, Anazarbos 1 (A1) heykeli İS 2. yüzyılın ortalarına, Anazarbos 2 (A2) heykeli de İS 2. yüzyılın üçüncü çeyreğine tarihlenirler.
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Archäologischer Anzeiger, 2020
Fatih Gülşen – Serra Durugönül, A Hygieia – Hypnos Statue form Anazarbos
Abstract
Anazarbos (Ana... more Fatih Gülşen – Serra Durugönül, A Hygieia – Hypnos Statue form Anazarbos
Abstract
Anazarbos (Anavarza) was a city of ‘Plain Cilicia’, located in the modern-day village of Dilekkaya in Kozan District, Adana Province. Together with the two ‘Large Herculaneum’ type statues (A1 and A2), this Hygieia-Hypnos statue recovered during the archaeological excavations at Anazarbos stands out as one of the first large scale statues from this city. More importantly, they were recovered during the first systematic and scientific archaeological excavations that took place in ‘Plain Cilicia’, which defines them as statues with a definite find spot.
The Hygieia-Hypnos statue is covered in this article iconographically as well as stylistically. Based on stylistic characteristics, the statue is dated to the late second century CE. Locally known also as Salus, Hygieia gained popularity in Rome around these dates. The goddess Hygieia became the personification of medicine and gradually acquired a political meaning as she became frequently depicted to represent first the health of the Roman Empire (Salus Publica) and then of the emperor (Salus Augusti). The Anazarbos statue of Hygieia accompanied by Hypnos was found during excavations taking place in front of the Anazarbos monumental gateway which is thought to have been built after Lucius Verus’ victorious campaigns against the Parthians in 162 and 166 CE. It would not be surprising to find the statue of a Roman emperor which carries significance for Anazarbos like Lucius Verus in one of the arch niches in future excavation work. Therefore, it could be concluded that the Hygieia statue was erected for Salus Augusti – that is the health of the emperor, the empire and Anazarbos itself.
Key Words: Anazarbos, Hygieia-Hypnos statue, Roman Period.
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OLBA XXVIII, 2020
ABSTRACT
Apart from the head discussed in this article, there is no other kouros belonging to the... more ABSTRACT
Apart from the head discussed in this article, there is no other kouros belonging to the Archaic Period known from Tarsus. The fact that the closest examples of the Tarsus head are found among the Cypriot finds points out to connections between the two geographies. This is in fact not surprising because similarities can be mentioned also for Archaic figurines or ceramics from Cilicia. Moreover, the heads, to which the head from Tarsus bears the strongest resemblance, are from Idalion (Dhali), Kition, Golgoi and Vouni, from where the limestone votive statues dating between the years of 520 and 480 BC are obtained the most. In comparison to these parallels, the Tarsus head is dated according to the chronology of the Archaic Cypriot Statuary to the end of the ‘Eastern and Western Neo-Cypriot Style’ (560-520 BC) and the beginning of the ‘Archaic Cypro-Greek Style’ (540-480 BC). Even though it is not possible to say from which context the Tarsus Head comes, the fact that there is no necropolis in the vicinity of the findspot makes it possible to associate the head rather to a worship belonging to an open-air temenos. This gives rise to the thought that in Cilicia there may have been an Archaic sanctuary in the hinterland of Tarsus, of which the presence has not been proven to date. The temporal relation of the Archaic head from Tarsus/Keşbükü makes it possible to link it to the Syennesis Dynasty of which we know little. The capital of the Syennesis Dynasty as Tarsus, is mentioned in the ancient texts from 585 BC; so the existence of Tarsus as a capital must not only go back to the in the 5th century BC but also to the 6th century BC. The location of the Archaic head’s findspot between Tarsus and Illubru could be within the territory of the Syennesis reign because Keşbükü resides on the ancient road between Tarsus and Illubru overlooking it. In conclusion, the Archaic Head from Tarsus/Keşbükü is the latest example recovered from the east in terms of Archaic Eastern Mediterranean Statuary. Additionally, the findspot is within the territory of the Syennesis rule. To date, there has been no statuary find belonging to the reign of the Syennessis presented to the scientific world. Therefore, the Archaic Head from Tarsus/Keşbükü is the first sculpture belonging to the ruling period of the local Cilician Syennesis Dynasty.
Keywords: Tarsus/Keşbükü, Archaic, Kouros, Syennessis Dynasty.
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Archaic Cypriote Statuary in the Museum of Adana, 2003
Eight statues (kuroi) were found during the construction of a cement factory in 1983 in Adana (Ça... more Eight statues (kuroi) were found during the construction of a cement factory in 1983 in Adana (Çaldağı). These are preserved in the Museum of Adana and form the subject of this article. These are compared here in this article with twelve statues found during our survey in Northern Cyprus. Purpose, style and dating of both the Adana and Cypriote kuroi as well as their sculptor/workshop matters are discussed.
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Kings Priests and Pirates in Rough Cilicia were the main 'actors' of this region. In this article... more Kings Priests and Pirates in Rough Cilicia were the main 'actors' of this region. In this article a historical and archaeological view is offered form this point of view.
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In the garden of the church of St. Paul, which is part of the Tarsus Archaeological Museum, an ar... more In the garden of the church of St. Paul, which is part of the Tarsus Archaeological Museum, an architectural piece with a figural high relief is to be observed: In front of an aedicula is a console, on which a woman in high relief is seated. Eventhough the head of the woman is not preserved, her iconographical features show obviously that she presents the Tykhe of Antiokheia: The position of her arms and legs, the torsion of her body and the contrary movement of Tykhe and Orontes as well as the fall of the drapery between the left and right arms all point out to a successful replica of Tykhe in Tarsus.
Especially as Tarsus was a minting center, the iconography of Tykhe on Tarsian coins spread rapidly after the 4th century BC in Cilicia and also in other cities. Tykhe is not seated on the mountain in Tarsian mints but on a throne. This is explained with the mountainous topography of Antiokheia in the contrary to plain Tarsus. In this way the piece of stone under Tykhe here, is to be interpreted as a simplified throne.
As the high relief figure of Tykhe handled in this article shows quite local stylistic features, only few comparison material is available; according to those, it seems possible to date Tykhe to the 2nd century AD. This date is supported by the stylistical characteritics of the architectural decoration and the piece is to be dated to the late Hadrianic Period and maybe just thereafter.
The fact that the figure of Tykhe is not positioned within the columns of the aedicula but in front of it and on a console, seems to be so far unique. This must be interpreted as a new local architectural design. The local taste can be traced also in the details of Tykhe as well as in the architectural decoration. Aediculae are applied to the interior and exterior fassades of public buildings so that it can be suggested that this piece with Tykhe can also be part of a public edifice.
Keywords: Tykhe of Antiokheia; Tarsus; Console; Aedicula.
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Sustainable Agriculture in the Rural, the Maintaıned Wealth of the City: The Sicilian Example
To... more Sustainable Agriculture in the Rural, the Maintaıned Wealth of the City: The Sicilian Example
To provide cities by sustainable agricultural goods from the rural, is handled in two aspects in this article: First, the fact of how the constant geographical-topographical circumstances and the natural conditions affect agriculture and rural life and how the rural-city relation in Sicily functioned. Thereafter the matter of how the constant geographical-topographical circumstances and the natural conditions affect ‘sustainable agricultre’ and the rural-city relation will be considered with an ‘ethno-archaeological’ approach.
In order to analyze the rural-city relation it will be necessary to observe in how far the geographical conditions become important in choosing the locality of settlements; furthermore the role of politics on the development of settlements, which means that economy, agriculture, trade and the demography of Sicily will be considered together.
For the rural-city relations Morgantina-Catania will be handled as a model for the Hellenistic Period and Campanaio-Agrigento will be taken into consideration as settlements which especially flourished in the Early Christian Period. Finally the role of geographical/topographical effects on rural-city relations and sustainable agriculture will be researched by studying how the natural conditions, obtained by Etna, shapes the agriculture of today.
It is possible to give many examples for rural Sicilian settlements obtaining agricultural products for bigger settlements. In the Early Christian Period rural settlements grew and became richer depending on the changing historical, political and economical circumstances. Single farmhouses gave way to ‘agro-settlements’. In this model, all inhabitants are integrated to the settlement.
As a result of the reforms of Iustinianus in the 5th and 6th centuries AD in the whole Mediterannean area, and of course also in Sicliy, the rich arisrocrats migrated from the cities to the rural in the search for better climate and safety. This means that the relation of rural-city was balanced in the Hellenistic Period and in the first two or three hundred years of the Roman Empire till thereafter the richness in the rural began to increase so rapidly that the city was favorable to the rural only in terms of using the harbours of the city. So there are many examples for declining settlements in inland not being able to compete with the richness of the settlements on the shores. But there are also some vice versa examples: The example Morgantina – Catania shows that Morgantina developed till the end of the Roman Period to an ‘agro-settlement’, could afford its own needs and could even ‘feed’ Catania, the harbour city. But as the historical development shows that the trade mobility gained importance, Morgantina could not survive in its dimensions and the population must have moved to Catania during the Early Christian Period.
The rural settlement of Campanaio reflects the more frequent model in which it plays an important role on the richness of Agrigento in the Roman Period, itself becoming an agro-settlement and surviving to the Early Christian Period. As a result some rural settlements get lost by the developing harbour cities, whereas some grow up to agro-settlements themselves in the Early Christian Period.
This paper concludes by studying the possible reasons for the continuity of rural-city relations in Sicily, by considering the geographic, topographic and natural conditions. The ‘traditional cultural landscape’ which ‘witnessed’ the history because of its slow conversion is to be traced by the frequency in the use of natural landscape, the variety in crop and its rotation, organic fertilization and farm animal husbandary/livestock. Also archaeological traces of wall boundaries, terraces as well as houses in the rural give many clues on the sustainability. But after the mid of our century this structure seems to vanish. Inspite of this, still some traces of ‘sustainable agriculture’ and terraces with variety of fruits, especially grape, crops, nuts can be observed on the skirts of Etna. Approaching the modern times we can see the most intensive use of land in the skirts and on plain areas.
The pozzulana volcanic stone of Etna is still being used even in houses and gardens quite intensively, not only because it delivers construction material but more because of its fertile character with precious minerals which is optimal for agricultural purposes offering sustainability so that the ‘traditional cultural landscape’ continues.
Keywords: Sicily, Volcan Etna, ethno-archaeology, Catania, sustainable agriculture.
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OLBA, 2018
A statue of Cybele, found during the excavations in 2016 in the fortress of Kurul, within the bor... more A statue of Cybele, found during the excavations in 2016 in the fortress of Kurul, within the borders of Ordu (Kotyora) in the region of eastern Black Sea, has once more proven that the fortress had been used not only for defence purposes but also for cultic reasons. The seated statue of Cybele has been found placed in a rectangular formed niche (naiskos) which takes place in an enclosed space with differing wall technics and phases. The Cybele of Ordu reflects all features attributed to her ever since: Her being placed in the entrance of a fortress, being seated in a niche (naiskos) and close to water sources, the absence of lions as in early versions or the absence of tympanon or phiale as in later depictions. That the Ordu statue is a Cybele, is clear when compared with the ‘hellenized’ Cybele statues; their iconographies are similar. The Ordu Cybele resembles the Classical Period Cybele of Athens, Pireus Moschaton and of Lebadeia as well as the Hellenistic Period Cybele of Pergamon or Palatine. The dating of the statue on stylistic bases leads us in sense of comparison material to the Pergamenean ‘school’ or to other impotant centres of Hellenistic statuary such as Kos or Aigai. The Ordu Cybele still carries ‘Barock’ tendencies not really being ‘Classistic’ yet and bearing a clear plain Hellenistic understanding which leads us to the mid or just to the beginning of the second half of the 2nd century BC. A support for this dating is offered by the form characteristics and decoration of one of the preserved capitals of two pilasters, once situated at both sides of the niche. Comparable examples herefore are dated to the 2nd century BC in Samos and Pergamon. Coins once placed in the niche and historical events are also taken into consideration for the dating and understanding of the politics of Mithradates VI. As a matter of fact coins of this king were placed underneath the statue of Cybele; finds dating earlier then the 2nd century BC and later then the period of Mithradates VI have not been found here or elsewhere on the excavation site. This makes it once again clear that the statue was produced anyway before the death of the king. One possibility is that the statue was produced for the cult place of this site by sculptors who were familiar with the art trends of the 2nd century BC, before being converted to a fortress by Mithradates VI. So this means that the statue was moved from the cult place to the entrance of the fortress by Mithradates VI. The second possibility is that it was brought by him, after announcing himself as a king in Pergamon, from Pergamon or a centre under the influence of Pergamon, all the way to his fortress in Ordu. In this way he must have made his propaganda and at the same time he must have seeked for mercy from the goddess Cybele, as the political events started turning out to be negative for him. As a result, the stylistic characteristics of Cybele do not overlap with the dates 90-64 BC as Mithradates VI must have reorganized the cult place as a fortress with its entrance and niche for the statue. This shows us that the statue was not planed for this place but was produced much earlier, just as the capital of the pilaster. Both have been dated to the 2nd century BC.
Keywords: Ordu Kurul, Cybele statue, Mithradates VI, Statues of Pergamon.
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SCULPTURAL WORKSHOP(S) OF LYDIA IN THE LIGHT OF SCULPTURES FROM PHILADELPHIA AND THYATEIRA
Five s... more SCULPTURAL WORKSHOP(S) OF LYDIA IN THE LIGHT OF SCULPTURES FROM PHILADELPHIA AND THYATEIRA
Five sculptural pieces from the “Catalogue of Sculptural Pieces in the Museum of Manisa”, are evaluated here in this paper in detail, as they offer clues to the production, originality and workshop of the finds from Philadelphia and Thyateira which are exhibited in the Museum of Manisa. Four of these five pieces are carved as Herms and are of Philadelphian provenance. The fifth is a relief head from Thyateira by Akhisar. Philadelphia and Thyateira are both important cities of the Lydian region.
One of the Herms discussed in this paper is a triple Herm and carries the heads of Dionysus, Satyr and Silenus.The other three herm carry the double head of Satyr and Eros. The last piece of this paper is a relief of Medusa from Thyateira. The stylistic characteristics of the Philadelphian triple and double Herms clearly show they were produced in the same workshop.
The unfinished Philadelphian Satyr is the best proof for sculptural production in the city. The Thyateiran Medusa relief also has the same iconographical and stylistic characteristics with the Philadelphian works. Philadelphian and Thyateiran pieces provide new evidence of sculptural production in this region. Philadelphian statue production followed the trend of statues with widely known Roman iconographies and typologies which reflect Greek originated but revived Hellenistic models.
Keywords: Roman Sculpture, Herm, Manisa Museum, Philadelphia, Thyateira.
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Der Fundort dieses Fragments, welches durch das Museum von Mersin erworben wurde, ist unbekannt. ... more Der Fundort dieses Fragments, welches durch das Museum von Mersin erworben wurde, ist unbekannt. Es ist 20 cm hoch und 15 cm breit. Das Material ist Marmor und das bedeutet, dass das Stück entweder im Altertum oder spaeter von einem anderen Gebiet nach Kilikien eingeführt worden ist;in Kilikien befinden sich naemlich keine Marmorbrüche.
Die drei Figuren, die auf dem Fragment noch zu sehen sind, stehen eng beieinander und dies deutet darauf hin, dass noch mehrere Figuren zu erwarten sind. Eine Hand, die eine Lanze haelt, muss einem Mann gehört haben, der vor der knienden Frau gestanden haben muss. Die auf die Kniee gefallene Frau guckt auf den vor ihr stehenden Mann hoch. Sie hat lange Haare und ihr Kleid laesst ihre Schulter frei. Diese Szene erinnert an Achilleus, der auf Skyros entdeckt wurde: Achilleus befindet sich in der Mitte und haelt seine Lanze; seine geliebte Deidmeia kniet vor ihm und fleht ihm an nicht zu gehen. Die Amme des Deidameia steht hinter ihr.
Das Thema befindet sich meistens auf den vorderen Langseiten von Sarkophagen. Die Erzaehlweise folgt von links nach rechts und der tubicen Agyrtes, Odysseus und Diomedes nehmen links an der Szene teil. Die erschrockenen Töchter des Lykomedes laufen nach rechts. Den Mittelpunkt nehmen Achilleus und Deidameia, wobei sie links oder rechts von Achilleus kniet.
Das naehste Parallelbeispiel für das hier behandelte Fragment, befindet sich in der Ny Carlsberg Glyptothek. Das Sarkophag wurde in Rom gefunden und ist ein attisches Sarkophag des 2. Jhr. n. Chr. Zwei andere Vergleichsbeispiele befinden sich in St. Petersburg.
Das mersiner Fragment gehört einem römischen Sarkophag attischen Typus an. Es ist bekannt, dass in Kilikien attische Sarkophage importiert wurden. Eine genaue Datierung ist wegen des schlechten Erhaltungszustandes beziehungsweise Fehlens der dekorativen Elemente wie Eierstab nicht möglich. Dennoch laesst die plastische Wiedergabe und die dichte Nebeneinanderstellung der Figuren das Fragment an das Ende des 2. Jhs. n. Chr. oder an den Anfang des 3. Jhs. n.Chr datieren.
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A 1st century AD sarcophagus from Raough Cilicia. A man is depicted, holding grapes in his hand, ... more A 1st century AD sarcophagus from Raough Cilicia. A man is depicted, holding grapes in his hand, over an altar. This must be a symbol of well-being, expressing the wish of a happy afterlife.
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Tarsus ‘Tarsus Müzesi Taş Eserleri, Heykeltıraşlık ve Mimari Plastik Eserler’ yayını, ‘Silifke Mü... more Tarsus ‘Tarsus Müzesi Taş Eserleri, Heykeltıraşlık ve Mimari Plastik Eserler’ yayını, ‘Silifke Müzesi Taş Eserler Kataloğu’ ve ‘Manisa Müzesi Heykeltıraşlık Eserleri’ çalışmamızdan sonra, müze eserlerini kapsamlı olarak ele alan üçüncü kitabımızdır. Burada, Tarsus Müzesi’ne kayıtlı ve Hellenistik Dönem’den Bizans Dönemi’nin sonuna kadar olan zaman dilimi içerisine giren toplam yüzaltmışbeş (165) eser ele alınmaktadır. Bu eserler kırkbir (41) heykel ve kabartmadan oluşan heykeltıraşlık eserini, yüzonyedi (117) adet mimari elemanı ve yedi (7) lahdi kapsamaktadır.
Bugün heykeltıraşlık eserleri Tarsus Arkeoloji Müzesi’nin salonlarında, mimari elemanlar da yine müze içinde, bahçesinde ve büyük bir kısmı ise Paulus Kuyusu ile Paulus Kilisesi’nde (Anıt Müze) sergilenmektedir.
Bazı eserlerin buluntu yerleri bilinmese de birçok eserin Tarsus ve çevresinden müzeye kazandırılması ile bağlantılı olarak, bu yayında ‘Tarsus Bölgesi’nin Roma Dönemi Sonuna Kadar Tarihi-Coğrafyası ve Yapıları’nın, Mersin Üniversitesi’nden Yrd. Doç. Dr. Erkan Alkaç tarafından, ‘Tarsus Bölgesi’nin Roma Dönemi’nden Erken Hıristiyanlık Dönemi Sonuna Kadar Tarihi-Coğrafyası ve Yapıları’nın ise Muğla, Sıtkı Koçman Üniversitesi’nden Prof. Dr. Ayşe Aydın tarafından ele alınması suretiyle, bölge hakkında genel bir bilgi verilmesi hedeflenmektedir. Ayrıca ‘Tarsus Bölgesi Antik Kaynakları, Gezginleri, Epigrafik ve Arkeolojik Araştırmaları’ Mersin Üniversitesi’nden Gamze Tulumcu (M.A) ve Handegül Canlı (M.A) tarafından aktarılmaktadır.
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Korykos'da yürütülmüş olan yüzey araştırması sonuçlarının, mimari ve kabartmalar açısından ele al... more Korykos'da yürütülmüş olan yüzey araştırması sonuçlarının, mimari ve kabartmalar açısından ele alınmasıdır.
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Çıplaklık: İnsanoğlu’nun belki de varoluş tarhin deki en büyük
tabu… Günümüzde batı ve doğu t... more Çıplaklık: İnsanoğlu’nun belki de varoluş tarhin deki en büyük
tabu… Günümüzde batı ve doğu toplumlarının hemen hemen
tamamında “giyinmek” bir sosyal davranış biçimidir. Peki bu tutum Antik Dünya’da geçerli midir? Antik Dönem sanatında çıplaklık neden bir unsurdur? Bu çalışmada “Çıplaklık” kavramı
üzerine, kronolojik bir çizelgede bilgiler sunulmaktadır.
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Both figures placed on a podium show that they are dead and heroized; the nakedness of the male f... more Both figures placed on a podium show that they are dead and heroized; the nakedness of the male figure contributes to this idea. The script elements in the hand of him point out to the fact that he wanted to be reflected as a person fo higher culture whislt the female figure is shown as a woman who carries the characteristics of a housewife. The male figure holding the breast of the female is familier to us form the 'hieros gamos' scenes of gods/godesses. The inscription on the other side gives the information of this pair as being in a realtionship of sister-brother. Sister-bother marriges are known to us especially from the Persians. In Asia Minor many examples can be added to such a relationship. Although this kind of marrriage was not regarded as positive by the Romans, obviously in such places as Paphlagonia where local habits could be set furtheron, such depictions could still be undertaken. We recommand a dating to the 3rd century AD according to stylistic elements.
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The inscription here which points to an Athena Krisoa Orea appears three times in Rough Cilicia.... more The inscription here which points to an Athena Krisoa Orea appears three times in Rough Cilicia. Therefore this inscription is important to observe that this goddess gained importance in the region. For the inscription with a relief of Athena please see: Serra Durugönül, Die Felsreliefs im Rauhen Kilikien, Oxford 1989 (BAR International Series 511) and Serra Durugönül – Ahmet Mörel, ”Evidence of Judaism In Rough Cilicia And Its Associations With Paganism”, Istanbuler Mitteilungen 62, 2013, 303 - 322.
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Two stelai with departure scenes (Dexiosis) can be thank their inscriptions desiphered. The stele... more Two stelai with departure scenes (Dexiosis) can be thank their inscriptions desiphered. The stele A indicates that Maes has ordered this stele for himself and his wife; whilst stele B indicates four male names. Mannas and his brother Tannas have ordered this stele for the son of Maes, Pharnakes.
The iconographic parallels and the characteristics of the letters both stelai can be dated to the 2nd-1st centuires BC.
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The stele with an anthemion from Sinop shows a young girl looking at her 'jewlery box'. According... more The stele with an anthemion from Sinop shows a young girl looking at her 'jewlery box'. According to the anthemion and stylistic features the stele is being dated to around 450 BC. Attic or ionic sculptures must have carved this beautiful relief.
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Papers by Serra Durugönül
Adana İli’nin, Kozan İlçesi’ne bağlı Dilekkaya köyünde bulunan Anazarbos (Anavarza), ‘Ovalık Cilicia’ kentlerindendir. Anazarbos’ta, kazılar sırasında bulunmuş olan ‘Büyük Herculaneumlu Kadın’ tipindeki iki heykel (A1 ve A2), sadece Anazarbos’tan gelen ilk büyük boy heykeller olmaları ile değil, ‘Ovalık Cilicia’da ilk kez sistematik bilimsel bir arkeoloji kazısından kazanılan, dolayısıyla buluntu yeri kesin bilinen heykeller vasfını taşımaktalardır. Bunun da ötesinde, Akdeniz coğrafyasında sıklıkla temsil edilen ‘Büyük Herculaneumlu Kadın’ tipinin, bilinen en doğudaki temsilcileridirler.
Bu tip, herzaman nüfuzlu ve elit aile mensuplarını temsil etmek için kullanılır ve tipolojik-ikonografik özellikleri çok az değişim gösterir. ‘Herculaneumlu Kadın’ tipi, genellikle onurlandırma heykeli olarak kullanılır ve genellikle tiyatro, kutsal alan, forum veya hamam, gymnasium-palaestra gibi kamusal yapılarda yer alır. Anazarbos gibi tüm bu yapıların var olduğu büyük bir kentte de, A1 ve A2 heykellerinin ‘in situ’ durumları için bu yapılarda bir konum önerilmektedir.
Bu çalışmamızda, stilistik karşılaştırmalar sonucunda, Anazarbos 1 (A1) heykeli İS 2. yüzyılın ortalarına, Anazarbos 2 (A2) heykeli de İS 2. yüzyılın üçüncü çeyreğine tarihlenirler.
Abstract
Anazarbos (Anavarza) was a city of ‘Plain Cilicia’, located in the modern-day village of Dilekkaya in Kozan District, Adana Province. Together with the two ‘Large Herculaneum’ type statues (A1 and A2), this Hygieia-Hypnos statue recovered during the archaeological excavations at Anazarbos stands out as one of the first large scale statues from this city. More importantly, they were recovered during the first systematic and scientific archaeological excavations that took place in ‘Plain Cilicia’, which defines them as statues with a definite find spot.
The Hygieia-Hypnos statue is covered in this article iconographically as well as stylistically. Based on stylistic characteristics, the statue is dated to the late second century CE. Locally known also as Salus, Hygieia gained popularity in Rome around these dates. The goddess Hygieia became the personification of medicine and gradually acquired a political meaning as she became frequently depicted to represent first the health of the Roman Empire (Salus Publica) and then of the emperor (Salus Augusti). The Anazarbos statue of Hygieia accompanied by Hypnos was found during excavations taking place in front of the Anazarbos monumental gateway which is thought to have been built after Lucius Verus’ victorious campaigns against the Parthians in 162 and 166 CE. It would not be surprising to find the statue of a Roman emperor which carries significance for Anazarbos like Lucius Verus in one of the arch niches in future excavation work. Therefore, it could be concluded that the Hygieia statue was erected for Salus Augusti – that is the health of the emperor, the empire and Anazarbos itself.
Key Words: Anazarbos, Hygieia-Hypnos statue, Roman Period.
Apart from the head discussed in this article, there is no other kouros belonging to the Archaic Period known from Tarsus. The fact that the closest examples of the Tarsus head are found among the Cypriot finds points out to connections between the two geographies. This is in fact not surprising because similarities can be mentioned also for Archaic figurines or ceramics from Cilicia. Moreover, the heads, to which the head from Tarsus bears the strongest resemblance, are from Idalion (Dhali), Kition, Golgoi and Vouni, from where the limestone votive statues dating between the years of 520 and 480 BC are obtained the most. In comparison to these parallels, the Tarsus head is dated according to the chronology of the Archaic Cypriot Statuary to the end of the ‘Eastern and Western Neo-Cypriot Style’ (560-520 BC) and the beginning of the ‘Archaic Cypro-Greek Style’ (540-480 BC). Even though it is not possible to say from which context the Tarsus Head comes, the fact that there is no necropolis in the vicinity of the findspot makes it possible to associate the head rather to a worship belonging to an open-air temenos. This gives rise to the thought that in Cilicia there may have been an Archaic sanctuary in the hinterland of Tarsus, of which the presence has not been proven to date. The temporal relation of the Archaic head from Tarsus/Keşbükü makes it possible to link it to the Syennesis Dynasty of which we know little. The capital of the Syennesis Dynasty as Tarsus, is mentioned in the ancient texts from 585 BC; so the existence of Tarsus as a capital must not only go back to the in the 5th century BC but also to the 6th century BC. The location of the Archaic head’s findspot between Tarsus and Illubru could be within the territory of the Syennesis reign because Keşbükü resides on the ancient road between Tarsus and Illubru overlooking it. In conclusion, the Archaic Head from Tarsus/Keşbükü is the latest example recovered from the east in terms of Archaic Eastern Mediterranean Statuary. Additionally, the findspot is within the territory of the Syennesis rule. To date, there has been no statuary find belonging to the reign of the Syennessis presented to the scientific world. Therefore, the Archaic Head from Tarsus/Keşbükü is the first sculpture belonging to the ruling period of the local Cilician Syennesis Dynasty.
Keywords: Tarsus/Keşbükü, Archaic, Kouros, Syennessis Dynasty.
Especially as Tarsus was a minting center, the iconography of Tykhe on Tarsian coins spread rapidly after the 4th century BC in Cilicia and also in other cities. Tykhe is not seated on the mountain in Tarsian mints but on a throne. This is explained with the mountainous topography of Antiokheia in the contrary to plain Tarsus. In this way the piece of stone under Tykhe here, is to be interpreted as a simplified throne.
As the high relief figure of Tykhe handled in this article shows quite local stylistic features, only few comparison material is available; according to those, it seems possible to date Tykhe to the 2nd century AD. This date is supported by the stylistical characteritics of the architectural decoration and the piece is to be dated to the late Hadrianic Period and maybe just thereafter.
The fact that the figure of Tykhe is not positioned within the columns of the aedicula but in front of it and on a console, seems to be so far unique. This must be interpreted as a new local architectural design. The local taste can be traced also in the details of Tykhe as well as in the architectural decoration. Aediculae are applied to the interior and exterior fassades of public buildings so that it can be suggested that this piece with Tykhe can also be part of a public edifice.
Keywords: Tykhe of Antiokheia; Tarsus; Console; Aedicula.
To provide cities by sustainable agricultural goods from the rural, is handled in two aspects in this article: First, the fact of how the constant geographical-topographical circumstances and the natural conditions affect agriculture and rural life and how the rural-city relation in Sicily functioned. Thereafter the matter of how the constant geographical-topographical circumstances and the natural conditions affect ‘sustainable agricultre’ and the rural-city relation will be considered with an ‘ethno-archaeological’ approach.
In order to analyze the rural-city relation it will be necessary to observe in how far the geographical conditions become important in choosing the locality of settlements; furthermore the role of politics on the development of settlements, which means that economy, agriculture, trade and the demography of Sicily will be considered together.
For the rural-city relations Morgantina-Catania will be handled as a model for the Hellenistic Period and Campanaio-Agrigento will be taken into consideration as settlements which especially flourished in the Early Christian Period. Finally the role of geographical/topographical effects on rural-city relations and sustainable agriculture will be researched by studying how the natural conditions, obtained by Etna, shapes the agriculture of today.
It is possible to give many examples for rural Sicilian settlements obtaining agricultural products for bigger settlements. In the Early Christian Period rural settlements grew and became richer depending on the changing historical, political and economical circumstances. Single farmhouses gave way to ‘agro-settlements’. In this model, all inhabitants are integrated to the settlement.
As a result of the reforms of Iustinianus in the 5th and 6th centuries AD in the whole Mediterannean area, and of course also in Sicliy, the rich arisrocrats migrated from the cities to the rural in the search for better climate and safety. This means that the relation of rural-city was balanced in the Hellenistic Period and in the first two or three hundred years of the Roman Empire till thereafter the richness in the rural began to increase so rapidly that the city was favorable to the rural only in terms of using the harbours of the city. So there are many examples for declining settlements in inland not being able to compete with the richness of the settlements on the shores. But there are also some vice versa examples: The example Morgantina – Catania shows that Morgantina developed till the end of the Roman Period to an ‘agro-settlement’, could afford its own needs and could even ‘feed’ Catania, the harbour city. But as the historical development shows that the trade mobility gained importance, Morgantina could not survive in its dimensions and the population must have moved to Catania during the Early Christian Period.
The rural settlement of Campanaio reflects the more frequent model in which it plays an important role on the richness of Agrigento in the Roman Period, itself becoming an agro-settlement and surviving to the Early Christian Period. As a result some rural settlements get lost by the developing harbour cities, whereas some grow up to agro-settlements themselves in the Early Christian Period.
This paper concludes by studying the possible reasons for the continuity of rural-city relations in Sicily, by considering the geographic, topographic and natural conditions. The ‘traditional cultural landscape’ which ‘witnessed’ the history because of its slow conversion is to be traced by the frequency in the use of natural landscape, the variety in crop and its rotation, organic fertilization and farm animal husbandary/livestock. Also archaeological traces of wall boundaries, terraces as well as houses in the rural give many clues on the sustainability. But after the mid of our century this structure seems to vanish. Inspite of this, still some traces of ‘sustainable agriculture’ and terraces with variety of fruits, especially grape, crops, nuts can be observed on the skirts of Etna. Approaching the modern times we can see the most intensive use of land in the skirts and on plain areas.
The pozzulana volcanic stone of Etna is still being used even in houses and gardens quite intensively, not only because it delivers construction material but more because of its fertile character with precious minerals which is optimal for agricultural purposes offering sustainability so that the ‘traditional cultural landscape’ continues.
Keywords: Sicily, Volcan Etna, ethno-archaeology, Catania, sustainable agriculture.
Keywords: Ordu Kurul, Cybele statue, Mithradates VI, Statues of Pergamon.
Five sculptural pieces from the “Catalogue of Sculptural Pieces in the Museum of Manisa”, are evaluated here in this paper in detail, as they offer clues to the production, originality and workshop of the finds from Philadelphia and Thyateira which are exhibited in the Museum of Manisa. Four of these five pieces are carved as Herms and are of Philadelphian provenance. The fifth is a relief head from Thyateira by Akhisar. Philadelphia and Thyateira are both important cities of the Lydian region.
One of the Herms discussed in this paper is a triple Herm and carries the heads of Dionysus, Satyr and Silenus.The other three herm carry the double head of Satyr and Eros. The last piece of this paper is a relief of Medusa from Thyateira. The stylistic characteristics of the Philadelphian triple and double Herms clearly show they were produced in the same workshop.
The unfinished Philadelphian Satyr is the best proof for sculptural production in the city. The Thyateiran Medusa relief also has the same iconographical and stylistic characteristics with the Philadelphian works. Philadelphian and Thyateiran pieces provide new evidence of sculptural production in this region. Philadelphian statue production followed the trend of statues with widely known Roman iconographies and typologies which reflect Greek originated but revived Hellenistic models.
Keywords: Roman Sculpture, Herm, Manisa Museum, Philadelphia, Thyateira.
Die drei Figuren, die auf dem Fragment noch zu sehen sind, stehen eng beieinander und dies deutet darauf hin, dass noch mehrere Figuren zu erwarten sind. Eine Hand, die eine Lanze haelt, muss einem Mann gehört haben, der vor der knienden Frau gestanden haben muss. Die auf die Kniee gefallene Frau guckt auf den vor ihr stehenden Mann hoch. Sie hat lange Haare und ihr Kleid laesst ihre Schulter frei. Diese Szene erinnert an Achilleus, der auf Skyros entdeckt wurde: Achilleus befindet sich in der Mitte und haelt seine Lanze; seine geliebte Deidmeia kniet vor ihm und fleht ihm an nicht zu gehen. Die Amme des Deidameia steht hinter ihr.
Das Thema befindet sich meistens auf den vorderen Langseiten von Sarkophagen. Die Erzaehlweise folgt von links nach rechts und der tubicen Agyrtes, Odysseus und Diomedes nehmen links an der Szene teil. Die erschrockenen Töchter des Lykomedes laufen nach rechts. Den Mittelpunkt nehmen Achilleus und Deidameia, wobei sie links oder rechts von Achilleus kniet.
Das naehste Parallelbeispiel für das hier behandelte Fragment, befindet sich in der Ny Carlsberg Glyptothek. Das Sarkophag wurde in Rom gefunden und ist ein attisches Sarkophag des 2. Jhr. n. Chr. Zwei andere Vergleichsbeispiele befinden sich in St. Petersburg.
Das mersiner Fragment gehört einem römischen Sarkophag attischen Typus an. Es ist bekannt, dass in Kilikien attische Sarkophage importiert wurden. Eine genaue Datierung ist wegen des schlechten Erhaltungszustandes beziehungsweise Fehlens der dekorativen Elemente wie Eierstab nicht möglich. Dennoch laesst die plastische Wiedergabe und die dichte Nebeneinanderstellung der Figuren das Fragment an das Ende des 2. Jhs. n. Chr. oder an den Anfang des 3. Jhs. n.Chr datieren.
Bugün heykeltıraşlık eserleri Tarsus Arkeoloji Müzesi’nin salonlarında, mimari elemanlar da yine müze içinde, bahçesinde ve büyük bir kısmı ise Paulus Kuyusu ile Paulus Kilisesi’nde (Anıt Müze) sergilenmektedir.
Bazı eserlerin buluntu yerleri bilinmese de birçok eserin Tarsus ve çevresinden müzeye kazandırılması ile bağlantılı olarak, bu yayında ‘Tarsus Bölgesi’nin Roma Dönemi Sonuna Kadar Tarihi-Coğrafyası ve Yapıları’nın, Mersin Üniversitesi’nden Yrd. Doç. Dr. Erkan Alkaç tarafından, ‘Tarsus Bölgesi’nin Roma Dönemi’nden Erken Hıristiyanlık Dönemi Sonuna Kadar Tarihi-Coğrafyası ve Yapıları’nın ise Muğla, Sıtkı Koçman Üniversitesi’nden Prof. Dr. Ayşe Aydın tarafından ele alınması suretiyle, bölge hakkında genel bir bilgi verilmesi hedeflenmektedir. Ayrıca ‘Tarsus Bölgesi Antik Kaynakları, Gezginleri, Epigrafik ve Arkeolojik Araştırmaları’ Mersin Üniversitesi’nden Gamze Tulumcu (M.A) ve Handegül Canlı (M.A) tarafından aktarılmaktadır.
tabu… Günümüzde batı ve doğu toplumlarının hemen hemen
tamamında “giyinmek” bir sosyal davranış biçimidir. Peki bu tutum Antik Dünya’da geçerli midir? Antik Dönem sanatında çıplaklık neden bir unsurdur? Bu çalışmada “Çıplaklık” kavramı
üzerine, kronolojik bir çizelgede bilgiler sunulmaktadır.
The iconographic parallels and the characteristics of the letters both stelai can be dated to the 2nd-1st centuires BC.
Adana İli’nin, Kozan İlçesi’ne bağlı Dilekkaya köyünde bulunan Anazarbos (Anavarza), ‘Ovalık Cilicia’ kentlerindendir. Anazarbos’ta, kazılar sırasında bulunmuş olan ‘Büyük Herculaneumlu Kadın’ tipindeki iki heykel (A1 ve A2), sadece Anazarbos’tan gelen ilk büyük boy heykeller olmaları ile değil, ‘Ovalık Cilicia’da ilk kez sistematik bilimsel bir arkeoloji kazısından kazanılan, dolayısıyla buluntu yeri kesin bilinen heykeller vasfını taşımaktalardır. Bunun da ötesinde, Akdeniz coğrafyasında sıklıkla temsil edilen ‘Büyük Herculaneumlu Kadın’ tipinin, bilinen en doğudaki temsilcileridirler.
Bu tip, herzaman nüfuzlu ve elit aile mensuplarını temsil etmek için kullanılır ve tipolojik-ikonografik özellikleri çok az değişim gösterir. ‘Herculaneumlu Kadın’ tipi, genellikle onurlandırma heykeli olarak kullanılır ve genellikle tiyatro, kutsal alan, forum veya hamam, gymnasium-palaestra gibi kamusal yapılarda yer alır. Anazarbos gibi tüm bu yapıların var olduğu büyük bir kentte de, A1 ve A2 heykellerinin ‘in situ’ durumları için bu yapılarda bir konum önerilmektedir.
Bu çalışmamızda, stilistik karşılaştırmalar sonucunda, Anazarbos 1 (A1) heykeli İS 2. yüzyılın ortalarına, Anazarbos 2 (A2) heykeli de İS 2. yüzyılın üçüncü çeyreğine tarihlenirler.
Abstract
Anazarbos (Anavarza) was a city of ‘Plain Cilicia’, located in the modern-day village of Dilekkaya in Kozan District, Adana Province. Together with the two ‘Large Herculaneum’ type statues (A1 and A2), this Hygieia-Hypnos statue recovered during the archaeological excavations at Anazarbos stands out as one of the first large scale statues from this city. More importantly, they were recovered during the first systematic and scientific archaeological excavations that took place in ‘Plain Cilicia’, which defines them as statues with a definite find spot.
The Hygieia-Hypnos statue is covered in this article iconographically as well as stylistically. Based on stylistic characteristics, the statue is dated to the late second century CE. Locally known also as Salus, Hygieia gained popularity in Rome around these dates. The goddess Hygieia became the personification of medicine and gradually acquired a political meaning as she became frequently depicted to represent first the health of the Roman Empire (Salus Publica) and then of the emperor (Salus Augusti). The Anazarbos statue of Hygieia accompanied by Hypnos was found during excavations taking place in front of the Anazarbos monumental gateway which is thought to have been built after Lucius Verus’ victorious campaigns against the Parthians in 162 and 166 CE. It would not be surprising to find the statue of a Roman emperor which carries significance for Anazarbos like Lucius Verus in one of the arch niches in future excavation work. Therefore, it could be concluded that the Hygieia statue was erected for Salus Augusti – that is the health of the emperor, the empire and Anazarbos itself.
Key Words: Anazarbos, Hygieia-Hypnos statue, Roman Period.
Apart from the head discussed in this article, there is no other kouros belonging to the Archaic Period known from Tarsus. The fact that the closest examples of the Tarsus head are found among the Cypriot finds points out to connections between the two geographies. This is in fact not surprising because similarities can be mentioned also for Archaic figurines or ceramics from Cilicia. Moreover, the heads, to which the head from Tarsus bears the strongest resemblance, are from Idalion (Dhali), Kition, Golgoi and Vouni, from where the limestone votive statues dating between the years of 520 and 480 BC are obtained the most. In comparison to these parallels, the Tarsus head is dated according to the chronology of the Archaic Cypriot Statuary to the end of the ‘Eastern and Western Neo-Cypriot Style’ (560-520 BC) and the beginning of the ‘Archaic Cypro-Greek Style’ (540-480 BC). Even though it is not possible to say from which context the Tarsus Head comes, the fact that there is no necropolis in the vicinity of the findspot makes it possible to associate the head rather to a worship belonging to an open-air temenos. This gives rise to the thought that in Cilicia there may have been an Archaic sanctuary in the hinterland of Tarsus, of which the presence has not been proven to date. The temporal relation of the Archaic head from Tarsus/Keşbükü makes it possible to link it to the Syennesis Dynasty of which we know little. The capital of the Syennesis Dynasty as Tarsus, is mentioned in the ancient texts from 585 BC; so the existence of Tarsus as a capital must not only go back to the in the 5th century BC but also to the 6th century BC. The location of the Archaic head’s findspot between Tarsus and Illubru could be within the territory of the Syennesis reign because Keşbükü resides on the ancient road between Tarsus and Illubru overlooking it. In conclusion, the Archaic Head from Tarsus/Keşbükü is the latest example recovered from the east in terms of Archaic Eastern Mediterranean Statuary. Additionally, the findspot is within the territory of the Syennesis rule. To date, there has been no statuary find belonging to the reign of the Syennessis presented to the scientific world. Therefore, the Archaic Head from Tarsus/Keşbükü is the first sculpture belonging to the ruling period of the local Cilician Syennesis Dynasty.
Keywords: Tarsus/Keşbükü, Archaic, Kouros, Syennessis Dynasty.
Especially as Tarsus was a minting center, the iconography of Tykhe on Tarsian coins spread rapidly after the 4th century BC in Cilicia and also in other cities. Tykhe is not seated on the mountain in Tarsian mints but on a throne. This is explained with the mountainous topography of Antiokheia in the contrary to plain Tarsus. In this way the piece of stone under Tykhe here, is to be interpreted as a simplified throne.
As the high relief figure of Tykhe handled in this article shows quite local stylistic features, only few comparison material is available; according to those, it seems possible to date Tykhe to the 2nd century AD. This date is supported by the stylistical characteritics of the architectural decoration and the piece is to be dated to the late Hadrianic Period and maybe just thereafter.
The fact that the figure of Tykhe is not positioned within the columns of the aedicula but in front of it and on a console, seems to be so far unique. This must be interpreted as a new local architectural design. The local taste can be traced also in the details of Tykhe as well as in the architectural decoration. Aediculae are applied to the interior and exterior fassades of public buildings so that it can be suggested that this piece with Tykhe can also be part of a public edifice.
Keywords: Tykhe of Antiokheia; Tarsus; Console; Aedicula.
To provide cities by sustainable agricultural goods from the rural, is handled in two aspects in this article: First, the fact of how the constant geographical-topographical circumstances and the natural conditions affect agriculture and rural life and how the rural-city relation in Sicily functioned. Thereafter the matter of how the constant geographical-topographical circumstances and the natural conditions affect ‘sustainable agricultre’ and the rural-city relation will be considered with an ‘ethno-archaeological’ approach.
In order to analyze the rural-city relation it will be necessary to observe in how far the geographical conditions become important in choosing the locality of settlements; furthermore the role of politics on the development of settlements, which means that economy, agriculture, trade and the demography of Sicily will be considered together.
For the rural-city relations Morgantina-Catania will be handled as a model for the Hellenistic Period and Campanaio-Agrigento will be taken into consideration as settlements which especially flourished in the Early Christian Period. Finally the role of geographical/topographical effects on rural-city relations and sustainable agriculture will be researched by studying how the natural conditions, obtained by Etna, shapes the agriculture of today.
It is possible to give many examples for rural Sicilian settlements obtaining agricultural products for bigger settlements. In the Early Christian Period rural settlements grew and became richer depending on the changing historical, political and economical circumstances. Single farmhouses gave way to ‘agro-settlements’. In this model, all inhabitants are integrated to the settlement.
As a result of the reforms of Iustinianus in the 5th and 6th centuries AD in the whole Mediterannean area, and of course also in Sicliy, the rich arisrocrats migrated from the cities to the rural in the search for better climate and safety. This means that the relation of rural-city was balanced in the Hellenistic Period and in the first two or three hundred years of the Roman Empire till thereafter the richness in the rural began to increase so rapidly that the city was favorable to the rural only in terms of using the harbours of the city. So there are many examples for declining settlements in inland not being able to compete with the richness of the settlements on the shores. But there are also some vice versa examples: The example Morgantina – Catania shows that Morgantina developed till the end of the Roman Period to an ‘agro-settlement’, could afford its own needs and could even ‘feed’ Catania, the harbour city. But as the historical development shows that the trade mobility gained importance, Morgantina could not survive in its dimensions and the population must have moved to Catania during the Early Christian Period.
The rural settlement of Campanaio reflects the more frequent model in which it plays an important role on the richness of Agrigento in the Roman Period, itself becoming an agro-settlement and surviving to the Early Christian Period. As a result some rural settlements get lost by the developing harbour cities, whereas some grow up to agro-settlements themselves in the Early Christian Period.
This paper concludes by studying the possible reasons for the continuity of rural-city relations in Sicily, by considering the geographic, topographic and natural conditions. The ‘traditional cultural landscape’ which ‘witnessed’ the history because of its slow conversion is to be traced by the frequency in the use of natural landscape, the variety in crop and its rotation, organic fertilization and farm animal husbandary/livestock. Also archaeological traces of wall boundaries, terraces as well as houses in the rural give many clues on the sustainability. But after the mid of our century this structure seems to vanish. Inspite of this, still some traces of ‘sustainable agriculture’ and terraces with variety of fruits, especially grape, crops, nuts can be observed on the skirts of Etna. Approaching the modern times we can see the most intensive use of land in the skirts and on plain areas.
The pozzulana volcanic stone of Etna is still being used even in houses and gardens quite intensively, not only because it delivers construction material but more because of its fertile character with precious minerals which is optimal for agricultural purposes offering sustainability so that the ‘traditional cultural landscape’ continues.
Keywords: Sicily, Volcan Etna, ethno-archaeology, Catania, sustainable agriculture.
Keywords: Ordu Kurul, Cybele statue, Mithradates VI, Statues of Pergamon.
Five sculptural pieces from the “Catalogue of Sculptural Pieces in the Museum of Manisa”, are evaluated here in this paper in detail, as they offer clues to the production, originality and workshop of the finds from Philadelphia and Thyateira which are exhibited in the Museum of Manisa. Four of these five pieces are carved as Herms and are of Philadelphian provenance. The fifth is a relief head from Thyateira by Akhisar. Philadelphia and Thyateira are both important cities of the Lydian region.
One of the Herms discussed in this paper is a triple Herm and carries the heads of Dionysus, Satyr and Silenus.The other three herm carry the double head of Satyr and Eros. The last piece of this paper is a relief of Medusa from Thyateira. The stylistic characteristics of the Philadelphian triple and double Herms clearly show they were produced in the same workshop.
The unfinished Philadelphian Satyr is the best proof for sculptural production in the city. The Thyateiran Medusa relief also has the same iconographical and stylistic characteristics with the Philadelphian works. Philadelphian and Thyateiran pieces provide new evidence of sculptural production in this region. Philadelphian statue production followed the trend of statues with widely known Roman iconographies and typologies which reflect Greek originated but revived Hellenistic models.
Keywords: Roman Sculpture, Herm, Manisa Museum, Philadelphia, Thyateira.
Die drei Figuren, die auf dem Fragment noch zu sehen sind, stehen eng beieinander und dies deutet darauf hin, dass noch mehrere Figuren zu erwarten sind. Eine Hand, die eine Lanze haelt, muss einem Mann gehört haben, der vor der knienden Frau gestanden haben muss. Die auf die Kniee gefallene Frau guckt auf den vor ihr stehenden Mann hoch. Sie hat lange Haare und ihr Kleid laesst ihre Schulter frei. Diese Szene erinnert an Achilleus, der auf Skyros entdeckt wurde: Achilleus befindet sich in der Mitte und haelt seine Lanze; seine geliebte Deidmeia kniet vor ihm und fleht ihm an nicht zu gehen. Die Amme des Deidameia steht hinter ihr.
Das Thema befindet sich meistens auf den vorderen Langseiten von Sarkophagen. Die Erzaehlweise folgt von links nach rechts und der tubicen Agyrtes, Odysseus und Diomedes nehmen links an der Szene teil. Die erschrockenen Töchter des Lykomedes laufen nach rechts. Den Mittelpunkt nehmen Achilleus und Deidameia, wobei sie links oder rechts von Achilleus kniet.
Das naehste Parallelbeispiel für das hier behandelte Fragment, befindet sich in der Ny Carlsberg Glyptothek. Das Sarkophag wurde in Rom gefunden und ist ein attisches Sarkophag des 2. Jhr. n. Chr. Zwei andere Vergleichsbeispiele befinden sich in St. Petersburg.
Das mersiner Fragment gehört einem römischen Sarkophag attischen Typus an. Es ist bekannt, dass in Kilikien attische Sarkophage importiert wurden. Eine genaue Datierung ist wegen des schlechten Erhaltungszustandes beziehungsweise Fehlens der dekorativen Elemente wie Eierstab nicht möglich. Dennoch laesst die plastische Wiedergabe und die dichte Nebeneinanderstellung der Figuren das Fragment an das Ende des 2. Jhs. n. Chr. oder an den Anfang des 3. Jhs. n.Chr datieren.
Bugün heykeltıraşlık eserleri Tarsus Arkeoloji Müzesi’nin salonlarında, mimari elemanlar da yine müze içinde, bahçesinde ve büyük bir kısmı ise Paulus Kuyusu ile Paulus Kilisesi’nde (Anıt Müze) sergilenmektedir.
Bazı eserlerin buluntu yerleri bilinmese de birçok eserin Tarsus ve çevresinden müzeye kazandırılması ile bağlantılı olarak, bu yayında ‘Tarsus Bölgesi’nin Roma Dönemi Sonuna Kadar Tarihi-Coğrafyası ve Yapıları’nın, Mersin Üniversitesi’nden Yrd. Doç. Dr. Erkan Alkaç tarafından, ‘Tarsus Bölgesi’nin Roma Dönemi’nden Erken Hıristiyanlık Dönemi Sonuna Kadar Tarihi-Coğrafyası ve Yapıları’nın ise Muğla, Sıtkı Koçman Üniversitesi’nden Prof. Dr. Ayşe Aydın tarafından ele alınması suretiyle, bölge hakkında genel bir bilgi verilmesi hedeflenmektedir. Ayrıca ‘Tarsus Bölgesi Antik Kaynakları, Gezginleri, Epigrafik ve Arkeolojik Araştırmaları’ Mersin Üniversitesi’nden Gamze Tulumcu (M.A) ve Handegül Canlı (M.A) tarafından aktarılmaktadır.
tabu… Günümüzde batı ve doğu toplumlarının hemen hemen
tamamında “giyinmek” bir sosyal davranış biçimidir. Peki bu tutum Antik Dünya’da geçerli midir? Antik Dönem sanatında çıplaklık neden bir unsurdur? Bu çalışmada “Çıplaklık” kavramı
üzerine, kronolojik bir çizelgede bilgiler sunulmaktadır.
The iconographic parallels and the characteristics of the letters both stelai can be dated to the 2nd-1st centuires BC.
Vth International Cilician Archaeology Symposium Abstracts