A Late Archaic Kouros from Euromos

KARIA ARKHAIA La Carie, des origines à la période pré-hékatomnide Olivier HENRY / Koray KONUK (éds.) R ENCONTRES 2013 4èmes RENCONTRES D’ARCHÉOLOGIE DE L’IFÉA Institut Français d’Études Anatoliennes Georges Dumézil - CNRS USR 3131 4èmes RENCONTRES D’ARCHÉOLOGIE DE L’IFÉA KARIA ARKHAIA 4èmes RENCONTRES D’ARCHÉOLOGIE DE L’IFÉA KARIA ARKHAIA Olivier HENRY / Koray KONUK (éds.) La Carie, des origines à la période pré-hékatomnide Istanbul 14-16 novembre 2013 Institut Français d’Études Anatoliennes Georges Dumézil - CNRS USR 3131 KARIA ARKHAIA La Carie, des origines à la période pré-hékatomnide Olivier HENRY / Koray KONUK (éds.) ISBN 978-2-36245-072-3 Illustration de couverture : Cratère de Iasos, fin du 6e s. aC (photo M. Molinari) Ce volume a été composé par Zero Prod. Ltd. Abdullah sok. 17, 34433 Taksim, Beyoğlu-Istanbul/Turquie. La publication a pu en être réalisée grâce au concours financier du Ministère des Affaires étrangères, du CNRS, de l’Institut de recherche ANAMED de l’Université Koç d’Istanbul, de Muharrem Kayhan. Ce projet a également bénéficié d’une aide dans le cadre du programme LaScArBX ANR-10-LABX-52. © 2019, Institut Français d’Études Anatoliennes Georges Dumézil Nuru Ziya sok. 10, 34433 Beyoğlu-Istanbul/Turquie. Secrétaire aux publications : Aksel Tibet (†) Production et distribution Zero Prod. Ltd. Abdullah sok. 17 Taksim 34433 Istanbul/Turquie. Tel : +90 (212) 244 75 21 Fax : +90 (212) 244 32 09 info@zerobooksonline.com www.zerobooksonline.com Imprimé par Matsis Matbaa Hizmetleri San. ve Tic. Ltd. Şti. Tevfikbey Mah. Dr. Ali Demir Cad. No: 51 Sefaköy/Istanbul. Tel : +90 (212) 624 21 11 (pbx) Fax : +90 (212) 624 21 17 Numéro de certificat : 40421 SOMMAIRE PRÉFACE IX Olivier Henry / Koray Konuk LANGAGE 1 ZUR VOR- UND FRÜHGESCHICHTE DES KARISCHEN Diether Schürr 23 43 ‘ARCHAIC’ CARIAN Ignasi-Xavier Adiego MULTILINGUALISM IN KARIA AND THE SOCIAL DYNAMICS OF LINGUISTIC ASSIMILATION Naomi Carless Unwin RELIGION – SANCTUAIRES 61 EARLY LABRAUNDA; Excavations on the Temple Terrace 1949-1953 Pontus Hellström 89 101 121 KYBELE AT LABRAUNDA Lars Karlsson MYLASA ET LA CRÈTE ; Une histoire longue et complexe Damien Aubriet DAS HEILIGTUM AUF DEM ASARTEPE; Ein neu entdecktes Heiligtum auf der Karischen Chersones Winfried Held HABITAT, GÉOGRAPHIE ET RÉSEAU 139 GEOGRAPHY OF THE WESTERN FRINGES; Gar(a)giša/Gargiya and the Lands of the Late Bronze Age Caria. Rostislav Oreshko 191 201 MİLAS EUROMOS ARASINDA; Yeni bir savunma sistemi Ali Sinan Özbey / Selim Yiğit 2012-13 KAUNOS AKROPOL KAZILARI Soner Özen / Britta Özen-Kleine 215 227 247 SETTLEMENT PATTERN OF PALAIA KNIDOS (BURGAZ) THROUGH 6TH-4TH CENTURIES BC Nadire Atıcı / Numan Tuna PIDASA, MILETOS, AND THE KARIAN REVOLT Alain Bresson MILETUS, A GREAT CITY AND THE SOCIAL TENSIONS OF THE ARCHAIC PERIOD Julien Zurbach CULTURE MATÉRIELLE – MONNAIES, ARCHITECTURE, SCULPTURE ET TECHNIQUES 257 289 309 327 357 367 THE KETOS COINS OF KARIA Richard Ashton / Koray Konuk SOME ARCHAEOLOGICAL EVIDENCE BEFORE THE HECATOMNID PERIOD IN MILAS Abuzer Kızıl ÜBERLEGUNGEN ZUR MATERIELLEN KULTUR MYLASAS IN ARCHAISCHER ZEIT Frank Rumscheid ARCHAIC TERRACOTTA SIMAS FROM HACIBAYRAMLAR AND KORANZA IN CARIA Sedat Akkurnaz A LATE ARCHAIC KOUROS FROM EUROMOS Suat Ateşlier / Murat Çekilmez LES CARIENS CONSTRUCTEURS DE NAVIRES ; À propos d’un poème de Critias d’Athènes Raymond Descat CULTURE MATÉRIELLE – CÉRAMIQUE, NÉCROPOLES 375 BEÇİN KALESİ; Güneybatı Anadolu’da Kalkolitik döneme ait yeni bir Merkez Mehmet Yıldız 387 LATE BRONZE III IASOS: MYCENAEAN AND LOCAL POTTERY; Deposits beneath the Roman Agora and the Basilica by the East Gate Mario Benzi 453 467 487 507 547 579 NOUVELLES DONNÉES POUR LA CARACTÉRISATION DE IASOS ENTRE ÉPOQUE GÉOMÉTRIQUE ET PÉRIODE ARCHAÏQUE Fede Berti THE GEOMETRIC POTTERY FROM MILAS – TKİ EXCAVATIONS Mehmet Nezih Aytaçlar GEOMETRIC PERIOD GRAVE TYPES AND ARCHITECTURE AT MILAS – TKİ EXCAVATIONS Aytekin Erdoğan EARLY IRON AGE TERMERA (ASARLIK); Some Notes on the Lelegian Settlements and their Impacts on Karian Identity Adnan Diler ORIENTALIZING STYLE POTTERY FROM PEDASA: IONIAN IMPORTS Bekir Özer SERAMİK BULUNTULARI IŞIĞINDA HEKATOMNİD ÖNCESİ MYNDOS Mustafa Şahin / Derya Şahin A LATE ARCHAIC KOUROS FROM EUROMOS Suat Ateşlier* / Murat Çekilmez** Adnan Menderes University * ateslier@gmail.com ** mcekilmez@gmail.com Abstract This study examines a kouros torso found in Euromos, which is today kept in the Bodrum Museum of Underwater Archaeology. The ruins of Euromos in Caria are located 2 km south of Selimiye, in the district of Milas, province of Muğla. Excavations and research studies were carried out in the ancient city by Prof. Dr. Ümit Serdaroğlu from 1969 to 1975. The excavations mostly focused in the center of the city and in the temple of Zeus Lepsynos. An Archaic period architectural terracotta group, consisting of 742 pieces, was unearthed in a bothros during the excavations of the terrace in the northwest side of the temple. These are architectural terracottas belonging to the upper part of more than one construction from the Archaic period and are today kept in the Bodrum Museum of Underwater Archaeology. The marble kouros torso examined in this study was found in 1973 in trench number IX on the terrace of the temple at level -123. Recorded in the inventory of the museum under number 57, this torso is 49 cm tall and 47 cm wide. Made of fine crystalline white marble, the sculpture was preserved in one piece from neck to waist, with the left arm as far as the wrist. Fifteen horizontal and five vertical strands of bead-hair falling onto the back can be observed. The head, neck, the right part of the body, and the part below the waist of the standing kouros, which is wearing a long chiton and himation, are missing. Comparisons carried out with similar examples show that the sculpture must be from the third quarter of the 6th century BC. 2013 357 Suat Ateşlier / Murat Çekilmez The ancient city of Euromos, located about 20 km south-east of Lake Bafa and about 12 km north-west of ancient Mylasa, was established on flat ground and encircled by a fortification wall of Classical to Hellenistic period. Between 1969 and 1975, Prof. Dr. Ümit Serdaroğlu carried out a series of works on the Corinthian temple at Euromos. In 1971, while preparing the anastylosis of the sixth column near the north-west corner, he found a bothros with almost 800 pieces of architectural terracottas from some Archaic buildings1. The terracottas came to light at Euromos chiefly during the excavations carried out in 1971 and 1972. According to Serdaroğlu, it is not possible to connect the area, which was filled with terracottas transported from another place, with a definite building2. In our opinion, these architectural terracottas belong to an earlier sanctuary probably constructed in the same area. The first classification of the architectural terracottas shows that there were three or four buildings in the Archaic sanctuary3, the earliest building being the largest one. Euromos’ architectural terracottas comprise a procession of gods in a chariot pulled by winged horses; two pieces of high relief showing a banquet scene with two men on a mattress, probably belonging to a pediment. There are also marvelous fragments of an acroterion with a Gorgon head; pentagonal antefixes with Gorgoneia, lion heads and lotus flowers; eaves tiles with a painted guilloche in relief; a frieze with a centauromachy, a frieze of spiral ornaments, and many pieces of a raking sima decorated with partridges as well as pieces of lateral simas ornamented with lotus flowers, showing excellent and different workmanship, and forming an interesting group. The frieze plaques were probably used to sheathe and decorate horizontal wooden beams in a half-timbered building. The frieze plaques have holes to nail them onto wooden beams. The holes were pushed through the moist clay before firing. They slope up slightly toward the rear, so that moisture could not collect and rust the iron nails. The most interesting frieze plaques feature a procession of gods in a chariot pulled by winged horses (fig. 1). Scenes of chariots pulled by winged 1 Serdaroğlu 1971, 47-48; id. 1972, 77-84; id. 1973, 36-37; id. 1982, 351; Mellink 1972, 182; id. 1973, 184; Mitchell/McNicoll 1978-79, 81; Ateşlier 2006, 59-78; id. 2009; id. 2010; id. 2011, 123ff.; id. 2016. 2 Serdaroğlu 1973, 36-37. 3 Ateşlier 2006, 59-72. A Late Archaic Kouros from Euromos 358 2013 horses are rare on architectural terracottas4. The chariot scenes on the Euromos plaques consist of two winged horses5, a man who is the charioteer and a woman sharing the chariot. A closer look at the plaques reveals the following row of figures from left to right: the chariot which has six-spoked wheels, drawn by two winged horses with a charioteer at the reins, a branch of laurel or myrtle in the hand, and a veiled standing woman figure behind him in the chariot. Alongside the horses, there are children, some of them are naked and some of them wearing shorts6. They hold an object (amulet purse, key purse, aryballos, censer, bell or lamp)7 and a branch of laurel, and they lead the chariot groups. There is no other example that show children participating in and leading the procession of gods, and for that reason it must have been an important task for the children in the procession, or in the cult. According to D.R. West, it seems probable that Hekate was regarded as a goddess of childbirth and child-rearing8. Additionally, he points out that we have some evidence of connections for the goddess related to childbirth, child-rearing and child-nursing9. For example, on Samos, an unnamed Kourotrophos received chthonic offerings at a crossroads, she must be Hekate10. A note written by the excavation team onto an old chest containing some of the materials attracted our attention during the examination of the architectural terracottas in the Bodrum Museum of Underwater Archaeology. It stated that “the body piece of the kouros was kept out of the chest”. It was realized that a kouros body piece, made of fine crystalline white marble, found with the architectural terracottas, had been placed somewhere apart from the material. Upon further examination of the Museum’s stores, a marble kouros torso belonging to the Archaic period was found, which will provide important evidence for dating the architectural terracottas. The marble kouros torso was found in 1973 by the team led by Prof. Dr. Ümit Serdaroğlu on the terrace of the temple in trench number IX and 4 Brown 1973-1974, fig. 1, 3; Beyer 2003, figs. 8-11, 13, 28. 5 Ateşlier 2006, 75, fig. 10-11. 6 Ateşlier 2006, 75, fig. 13. 7 Alexander 1940, fig. 2; Higgins 1954, 204-208, figs. 761-769, 775779. 8 West 1995, 197. 9 West 1995, 190. 10 Rudloff 1999, 108. Suat Ateşlier / Murat Çekilmez at -123 level. It was accessioned by the Bodrum Museum of Underwater Archaeology under inventory number 5711. The kouros torso is 49 cm tall and 47 cm wide and is made of fine crystalline white marble. Only a part of it preserved, from neck to waist, the left arm as far as the wrist. Fifteen horizontal and five vertical lines of bead-hair sets falling onto the back can be observed. The head, neck, the right part of the body and the part below the waist of the standing kouros wearing a long chiton and himation, are missing. Additionally, small breaks and wear have occurred in various places (fig. 2-7). 1. Typological Evaluation When we examined the torso in the light of similar examples, it was established that the kouros was standing and dressed (see fig. 6). Although the chiton marks were not maintained at the bottom, similar west Anatolian examples show that the youths in this style wore a round collar chiton12. The himation, worn over a chiton, falls from the left shoulder to the front and rear. The curves, which stretch from the right-hand side of the body to the left leg and are concentrated over the left leg, have a plastic structure. Although the head and neck of the kouros are missing, fifteen horizontal and five vertical lines of bead-hair sets falling onto the back can be observed. Similar examples show hair falling on the shoulders and widening sideways. On this basis, it is understood that the shoulders were broad, upright, and strong. Reminiscent of sportsmen, the body is athletic and well-built. The arms, which are partly in place, are adjacent to the body. The left part of the body appears to be more animated, possibly in relation to the position of the left leg. While the left leg is being presented to the front and animated, the right leg is carrying the weight of the body to the rear. For this reason the curves center on the left leg and have a plastic structure. It was realized that the chiton curves, especially those between the legs, ran vertically 11 Yıldız 2002, 18, fig. 5-8; Museum inventory number: 7245; excavation inventory number: 57. We thank Yaşar Yıldız, former director of the Bodrum Museum of Underwater Archaeology, archaeologist Erhan Özcan, and experts for their support in the examination of the work. 12 Blümel 1963, 64, no. 69, 217-219, Lippold 1950, 54; Richter 1960, 155; Weber 1974, 769; Langlotz 1975, 111; Özgan 1978, 100ff., fig. 18-19; Ramage 1978, 52, no. 8, fig. 55-57; Akurgal 1986, 4; Barletta 1987, 245; Brinkmann 2003, no. 189, fig. 189; Kyrieleis 1996, 111ff. up to the feet. On the back, horizontal curves stretching from the left shoulder to the right part of the waist can be seen. The hip of the kouros, which gained depth in relation to the position of the left leg, was sculpted protruding and the himation was made wider in this area. All in all, the torso features characteristics of the late Archaic period with its wide shoulders, flat chest, the position of the left leg, the curves on the left leg, and its general posture. Similar west Anatolian examples testify that these kind of figures were considerably popular in marble sculptures and terracotta figures. Similar examples came from Apollonia (Burgaz)13, Didyma14, Euromos15, Halikarnassos16, Keramos17, Pitane18, Miletos19 and Samos20, and terracotta figurines have been found in many west Anatolian cities, especially in Amyzon, Miletos, Klaros and Rhodes21. The Euromos kouros may be dated in the light of similar examples and through its style. Our first example for comparison is another kouros kept in the Bodrum Museum of Underwater Archaeology. It was purchased by the museum, and was probably discovered in or near Euromos22. The muscles of this kouros can be defined as plastic and it can be seen that the body and anatomical details gave some sense of depth. The shaping of the shoulder shows a near-natural form. The positioning of the inner part of the elbow toward the body of the kouros, and the biceps along with the pectoral muscles which have a lifelike quality show that the work belongs to the late Archaic group. Another kouros23, found in Keramos, and also kept in the Bodrum Museum of Underwater 13 Richter 1960, fig. 620-623; Özgan 1978, 216, no. 20. 14 Çakmakçı 2006, cat. 17, pl. 19, fig. 1-2. 15 Yıldız 2002, 26, fig. 29-32. 16 Özgan 1978, 234, no. 38; Çakmakçı 2006, cat. 3, pl. 5, fig. 1-4. 17 Çakmakçı 2006, cat. 7, pl. 9, fig. 1-2. 18 Richter 1960, 92; Akurgal 1961, 229, fig. 195-197; Pedley 1976, 50. 19 Richter 1960, fig. 616-619. 20 Freyer-Schauenburg 1974, pl. 4, 51-55, 59-61. 21 Robert 1953, 403-415; Robert/Robert 1983, 14-64, fig. 35; Çekilmez 2016, 537-540; similar to other marble examples, young man figurines dressed in himation over a chiton occur sometimes as plastic work and sometimes in aryballos form. Plastic curves occur stretching to below the waist from the left of the shoulder due to the position of left leg of the figurines engraved on a base and standing. While the hands reach down on both sides of the waist, the left leg is given animation and the right leg steadily carries the weight of the body, see also Mollard-Besques 1954, pl. XXV, B 200-B201; Rubensohn 1962, 139, pl. 25, no. T 32, 166, pl. 32, no. 91b; Higgins 1967, 36, pl. 14D; Rohde 1968, fig. 5a, 6b; Vafopoulou-Richardson 1991, 17-18. 22 Yıldız 2002, 26, fig. 29-32. 23 Çakmakçı 2006, cat. 7, pl. 9, res. 1-2. A Late Archaic Kouros from Euromos 2013 359 Suat Ateşlier / Murat Çekilmez Archaeology under inventory number 6533, resembles the Euromos find in terms of its shoulder width and ringlets falling onto the shoulders. In both examples, it can be observed that the ringlets become wider towards the shoulders and that the hair beads thicken. The Euromos example must be contemporary with the Keramos one, which is dated to about 550-540 BC. A further kouros24 found in Halikarnassos, also kept in the Bodrum Museum of Underwater Archaeology under inventory number 6771, is typologically similar to the torso of Euromos. This sculpture of a young man made of marble is missing its head from the upper part of the neck, its right arm from the elbow, and its legs from the patellas downward. Some parts of the ringlets of the young man, whose arms are adjacent to its body, fall onto its shoulders. Its dress falls from the left shoulder and concentrates on the left leg. While the animated left leg is placed to the front, the right leg carries the weight of the body at the rear. The hip is protruding due to the position of the left leg. Some parts of the hair, which covers the nape of the neck and falls onto the shoulders, have survived. The curves extending from the left shoulder to the right part of the waist at the rear are similar to the Euromos example. The Halikarnassos sculpture, which has been dated to approximately 530 BC, must be contemporary with the Euromos torso due to similarities in posture, dress structure, and the horizontal curves stretching from the right part of the waist to the left shoulder. Another example for comparison is the kouros discovered in Myus, which is kept in the Berlin Staatliche Museum with the inventory number Sk. 166425. This kouros, found by T. Wiegand in 1908 in the lower terrace of the temple, is similar in terms of its posture, position, and dress structure. Stretching from the neck to the feet, the long chiton that the statue is dressed in is known as an ependytes. The long chiton of the Myus example features a meander motif of red colour. When we compar it to the Euromos kouros, we see that both examples represent young men wearing a himation over a long chiton, the himation falling from the left shoulder. The left leg is placed to the front and is animated, the right leg is at the rear and is stable; and horizontal curves from the right 24 Çakmakçı 2006, cat. 3, pl. 5, res. 1-4. 25 s. above n. 12. A Late Archaic Kouros from Euromos 360 2013 leg curving towards the left shoulder occur due to the positioning of the left leg. The Myus find can be dated to the third quarter of the 6th century BC when compared with similar examples26. The so-called Genelaos Group discovered in Samos27 offers also potential to establish further comparisons28. One item in the in Genelaos Group is a statue of a young man lying on a cushion wearing a similar type of coat. The sculpture of a standing and clothed young man from the same collection, is of a similar type in terms of its posture and animated structure of the left leg. The chiton, worn over a himation, falls from the left shoulder to the front and rear. The curves, which center especially on the leg, stretch from the right part of the body to the left leg and show a plastic structure. The torsos of two young men found in Samos29, partly preserved28, are of similar types to the Euromos example. The arms were adjacent to the body and the left legs were animated in the Samos finds. The curves of the coats centered on the front leg due to the position of the left leg. The findings of Samos must be contemporary with the sculpture of Euromos due to their postures, positions, and structures of their curves. In another sculpture found in Samos, preserved nearly unbroken29, thick neck and bead-hair sets combed backwards are featured. The hair falls onto the shoulders expanding sideways, in a similar manner to the Euromos torso. The body is athletic and well-built, reminiscent of sportsmen. The arms, partly preserved, are adjacent to the body. The left side of the body must have been more animated because the left leg is to the front and animated while the right leg is to the rear, still and is carrying the weight of the body. For this reason, the curves center on the left leg and take on a plastic structure. The curves of the chiton, which are especially concentrated between the legs, lengthen vertically until the feet. Depth is given to the sculpture through the animation. The Samos kouros, which Richter included in the Melos group, displays characteristics of the late Archaic period. Another similar example is a statue that was probably found in Miletos, and is now in the Louvre 26 Blümel 1963, 64, no. 69, 217-219. 27 Freyer-Schauenburg 1974, pl. 59- 61. 28 Freyer-Schauenburg 1974, pl. 61, 73-74. 29 Richter 1960, fig. 624-627; Freyer-Schauenburg 1974, pl. 59-60; Pedley 1976, pl. 28, a-c. Suat Ateşlier / Murat Çekilmez Museum30. This kouros, included by Richter in the Melos group, is similar to the Euromos torso, and is dressed alike in a himation over a chiton. It can be observed that the left leg of the figure, maintained until the upper part of the feet, is to the front and animated and the right leg is to the rear and still. The curves concentrate on the leg due to the animation of the left leg. Similarly, an apparent “S” profile was formed by the creation of a protruding hip. The ends of the underlying dress stretching to the elbows show that the young man wore a round collar chiton. The arms adjacent to the body are in harmony with the animation. Unlike the Euromos sculpture, the hair falls onto the shoulders over the ears and extends until the upper part of the waist. The Euromos sculpture is similar to the Miletos example in terms of the position of its left leg, curves concentrated on the left leg, and the profile of the hip. In the young man’s sculpture that Richter included in the Melos group and which was found in Apollonia31, the head from the upper part of the neck, the arms from the elbows and the feet are broken. In a similar way to the Euromos example, the maintained ringlets of the young man, whose arms are adjacent to the body, fall onto the shoulders. The dress falls from the left shoulder and concentrates over the left leg. The right leg carries the weight of the body at the rear while the animated left leg was sculptured to the front. The hip was created protruding due to the position of the left leg. At the rear, the curves extending from the left shoulder to the right part of the waist are similar to the Euromos example. The kouros found in Pitane and kept in the Bergama Museum of Archaeology with the inventory number 19 is another of our comparison examples32. Dated to 540-530 BC, the kouros is dressed in a himation over a chiton, in a similar fashion to the Euromos example. It can be seen that the figure, which has been preserved unbroken except for small areas of wear, has the left leg to the front and is animated while the right leg is to the rear and still. The curves concentrate on the left leg due to the position of the left leg. Similarly, an apparent “S” profile was formed on the creation of a protruding hip. The arms are adjacent to the body harmonized with the animation. The Euromos 30 Richter 1960, fig. 616-623. 31 Richter 1960, fig. 620-623. 32 Richter 1960, 92; Akurgal 1961, 229, fig. 195-197; Pedley 1976, 50. torso is similar to the Pitane sculpture in terms of its posture, the position of the left leg, the curves concentrating on its left leg and the protrudation of its hip. The Euromos kouros must be from the third quarter of the 6th century BC (550-525 BC) in the light of the typological comparisons and stylistic evaluations carried out with similar examples. Similar to the marble examples from the same period in western Anatolia, the terracotta young man figurines dressed in himation over a chiton sometimes appear to us as plastic, sometimes as aryballos forms. With the animation of the left leg of the figurines sculptured standing on quadrangular base, there are plastic curves running to the lower part of the waist from the left part of the shoulder. While the hands are reaching down on the two sides of the waist, the left leg is sculptured animated and the right leg carries the weight of the body33. 2. Iconographic Evaluation In order to examine the reasons for the creation of young girl and young man sculptures in the Archaic period and styles, one should first determine their iconographic characteristics. In this context, the Euromos sculpture was examined iconographically in comparison with similar examples. Young men sculptures similar to the Euromos statue and dated to Archaic period were identified with Apollon in early studies. Later on, in addition to Deonna’s opinion, new opinions based on heroization were formed. Data collected in those studies and inscriptions found on the sculptures showed that these types of sculptures represented young men34. Stewart saw the kouros sculptures as the incarnated beauty of physical and spiritual ideas along with aristocratic feelings35. Tanner thought that kouros statues were consecrated to gods/goddesses by the youth in order to increase religious feelings and to establish a bond between gods/goddesses and human beings36. Other finds presenting important information about votive statues in the Archaic period are the 33 Mollard-Besques 1954, pl. XXV, B 200-B201; Rubensohn 1962, 139, pl. 25, no. T 32, 166, pl. 32, no. 91b; Higgins 1967, 36, pl. 14D; Rohde 1968, figs. 5a, 6b; Vafopoulou-Richardson 1991, 17-18. 34 Eaverly 1995, 1ff. Deonna asserted in his study of 1909 that these statues represented Apollon. 35 Holtzmann 1993, 22ff. 36 Tenner 2006, 85ff. A Late Archaic Kouros from Euromos 2013 361 Suat Ateşlier / Murat Çekilmez bases belonging to a votive group. Kosmopoulos, in her study evaluating Archaic sculpture bases and iconographies, obtained some iconographical data about the presentation of votive statues. According to Kosmopoulos, votive sculptures establish bonds between immortals and mortals, and votive sculptures offered by the mortals because of the religious reasons, support the good relationships between the gods/goddesses and human37. A kouros found at Miletos supports this opinion. “Dionysermos, son of Antenor” is written on the body of the Miletos kouros which is kept in the Louvre Museum in Paris38. Typological and iconographical comparisons carried out with similar examples indicate that the Euromos sculpture represented a young man who was dressed and standing. It is thought that this statue was probably placed in a temple/naiskos in Euromos in the Archaic period by a young man as a votive offering for a religious purpose. There exists a large number of votive statues, especially of young men consecrated to Hermes or Apollon, and of young girls consecrated to Artemis after their juvenescence or death39. Similarly, votive statues were consecrated to Hermes or Apollon for young men when they died, or finished childhood, or began adolescence or ephebic age40. The discovery of dressed young men’s statues in settlements such as Miletos and Samos in west Anatolia whose temples were dedicated to goddesses brought forward the idea that the Archaic period temple in Euromos might also have been dedicated to a goddess. The iconography of the well-maintained god/ goddess frieze shows that the cult was probably connected with Artemis/Hekate41. Beneath the winged horses, the leashed black dogs walk in the same rhythm as the chariots. It seems that the dogs and the chariots pulled by winged horses go towards the same destination42. 37 Six pedestals belonging to the Archaic period were examined in the study. The earliest is dated to the middle and late 7th century BC. Another was dated to the first half of the 6th century BC, three others are similar. Olympia and Delos are important discovery centers in terms of showing the characteristics of the period. Pedestals with figures were also seen in Athens in the 6th century BC, see also Kosmopoulou 2002, 36. 38 Richter 1960, fig. 616-623. 39 Osborne 2004, 53ff. 40 Elderkin 1930, 454ff. 41 Ateşlier 2011, 281-288. 42 Ateşlier 2011, 281, 283. Fig. 4. A Late Archaic Kouros from Euromos 362 2013 The kouros and a large number of archaic architectural terracottas were found in the same bothros, indicating a possible contemporaneity, as does the typological characteristics of the god figures on the chariots depicted in the frieze and those of the kouros. Bibliography Akurgal 1961 Akurgal, E., Die Kunst Anatoliens, Berlin, 1961. Akurgal 1986 Akurgal, E., “Neue archaische Skulpturen aus Anatolien”, in H. Kyrieleis (ed.), Archaische und klassische griechische Plastik: Akten des Internationalen Kolloquiums, vom 22.-25. April 1985 in Athen, Mainz, 1986, 1-14. Alexander 1940 Alexander, C., “Two Greek Terracottas”, MMAB 35, 1940, 107-108. Ateşlier 2006 Ateşlier, S., “Euromos Arkaik Mimarî Terracottaları Üzerine İlk Gözlemler [First Preliminary Report on the Archaic Architectural Terracottas from Euromos]”, Arkeoloji Dergisi 8, 2006, 59-78. Ateşlier 2009 Ateşlier, S., “Euromos Arkaik Mimarî Terrakottaları”, Araştırma Sonuçları Toplantısı 26, 2009, 151-158. Ateşlier 2010 Ateşlier, S., “The Archaic Architectural Terrracottas from Euromos and Some Cult Signs”, in L. Karlsson / S. Carlsson (eds.), Labraunda and Karia. Proceedings of the International Symposium Commemorating Sixty Years of Swedish Archaeological Work in Labraunda [Boreas 32], 2010, 279-290. Ateşlier 2011 Ateşlier, S., “Euromos Arkaik Mimarî Terracottaları (Arkaik Tapınak Üzerine Düşünceler)”, Araştırma Sonuçları Toplantısı 28, 2011, 123-137. Ateşlier 2016 Ateşlier, S., “Archaic Architectural Terracottas from Euromos (Caria)”, in A. Muller / E. Laflı (eds.), Figurines de terre cuite en Méditerranée grecque et romaine, vol. 1: Production, diffusion, étude [BCH Suppl. 54], 2016, 371-380. Barletta 1987 Barletta, B.A., “The Draped Kouros Type and the Workshop of the Syracuse Youth”, AJA 91, 1987, 233-246. Beyer 2003 Beyer, J.M., The Iconographic Program of the Architectural Suat Ateşlier / Murat Çekilmez Terracotta Relief Plaques from Zone F at Acquarossa, M.A. thesis, University of Cincinnati, 2003. Kouros”, in A. Kokkou (ed.), The Getty Kouros Colloquium, 25-27 May 1992 in Athens, Athens, 1993, 21-24. Brinkmann 2003 Brinkmann, V., Die Polychromie der archaischen und frühklassischen Skulptur, Munich, 2003. Kokkorou-Alevras 1997 Kokkorou-Alevras, G., “Ionian Sculpture of the Archaic period on Dorian Rhodes”, in I. Jenkins / G. Waywell (eds.), Sculptors and Sculpture of Caria and the Dodecanese, London, 1997, 150-156. Blümel 1963 Blümel, C. von, Die archaisch griechischen Skulpturen der Staatlichen Museen zu Berlin, Berlin, 1963. Boardman 1985 Boardman, J., Greek Sculpture. The Archaic Period, London, 1985. Kosmopoulou 2002 Kosmopoulou, A., The Iconography of Sculptured Statue Bases in the Archaic and Classical Periods, University of Wisconsin Press, Wisconsin, 2002. Brown 1973-74 Brown, A.C., “Etrusco-Italic Architectural Terra-Cottas in the Ashmolean Museum”, AR 22, 1973-74, 60-65. Kyrieleis 1996 Kyrieleis, H., “Der Tänzer vom Kap Phoneas”, MDAI(I) 46, 1996, 111-122. Çakmakçı 2006 Çakmakçı, C., Karia ve Ionia Bölgesi Arkaik Devir Pers Çağı Heykeltraşlık Eserleri [yayınlanmamış Yüksek Lisans tezi, Selçuk Üniversitesi], Konya, 2006. Langlotz 1975 Langlotz, E., Studien zur nordostgriechischen Kunst, Mainz, 1975. Çekilmez 2016 Çekilmez, M., “Archaic Terracottas from the Louis Robert Excavations at Amyzon”, in A. Muller / E. Laflı (eds.), Figurines de terre cuite en Méditerranée grecque et romaine, vol. 1: Iconographie et contextes [BCH Suppl. 54], 2016, 537-540. Deonna 1909 Deonna, W., Les Apollons Archaïques, Geneva, 1909. Eaverly 1995 Eaverly, M.A., Archaic Greek Equestrian Sculpture, Ann Arbor, 1995. Elderkin 1930 Elderkin, K.M., “Jointed Dolls in Antiquity”, AJA 34, 1930, 455-479. Freyer-Schauenburg 1974 Freyer-Schauenburg, B., Bildwerke der Archaischen Zeit und des strenges Stils [Samos Band XI], Bonn, 1974. Higgins 1954 Higgins, R.A., Catalogue of the Terracottas in the Department of Greek and Roman Antiquities, British Museum I, London, 1954. Higgins 1967 Higgins, R.A., Greek Terracottas, London, 1967. Himmelmann-Wildschütz 1965 Himmelmann-Wildschütz, N., “Beiträge zur Chronologie der archaischen ostionischen Plastik”, MDAI(I) 15, 1965, 24-42. Holtzmann 1993 Holtzmann, E.B., “Remarks on the Style of the Getty Lippold 1950 Lippold, G., Die Griechische Plastik, Munich, 1950. Mellink 1972 Mellink, M.J., “Archaeology in Asia Minor”, AJA 76, 1972, 165-188. Mellink 1973 Mellink, M.J., “Archaeology in Asia Minor”, AJA 77, 1973, 169-193. Mitchell/McNicholl 1978-79 Mitchell, S. / McNicholl, A.W., “Archaeology in Western and Southern Asia Minor 1971-78”, AR 25, 1978-79, 59-90. Mollard-Besques 1954 Mollard-Besques, S., Musée National du Louvre. Catalogue raisonné des figurines et reliefs de terre cuite grecs, étrusques et romains I, Époques préhellénique, géométrique, archaïque, et classique, Paris, 1954. Osborne 2004 Osborne, R., Studies in Ancient Greek and Roman Society, Cambridge, 2004. Özgan 1978 Özgan, R., Untersuchungen zur archaischen Plastik Ioniens, Bonn, 1978. Pedley 1976 Pedley, J.G., Greek Sculpture of the Archaic Period, The Island Workshops, Mainz, 1976. Ramage 1978 Ramage, A., Lydian Houses and Architectural Terracottas [Sardis Monographs 5], Cambridge, MA, 1978. Richter 1960 Richter, G.M.A., Kouroi: Archaic Greek Youths: A Study of A Late Archaic Kouros from Euromos 2013 363 Suat Ateşlier / Murat Çekilmez the Development of the Kouros Type in Greek Sculpture, New York / London, 1960. Robert 1953 Robert, L., “Le Sanctuaire d’Artémis à Amyzon”, CRAI 97, 1953, 403-415. Robert/Robert 1983 Robert, J. / Robert, L., Fouilles d’Amyzon en Carie, I, Exploration, monnaies et inscriptions, Paris, 1983. Rohde 1968 Rohde, E., Griechische und römische Kunst in den Staatlichen Museen zu Berlin, Berlin, 1968. Rubensohn 1962 Rubensohn, O., Das Delion von Paros, Wiesbaden, 1962. Rudloff 1999 Rudloff, R. von, Hekate in Ancient Greek Religion, Victoria, 1999. Serdaroğlu 1971 Serdaroğlu, Ü., “Euromos, 1969, 1970”, AS 21, 1969, 47-48. Serdaroğlu 1972 Serdaroğlu, Ü., “Hacıbayramlar Kazısı”, Anadolu 16, 1972, 77-84. Serdaroğlu 1973 Serdaroğlu, Ü., “Euromos, 1971, 1972”, AS 23, 1973, 36-37. Serdaroğlu 1982 Serdaroğlu, Ü., “Bautätigkeit in Anatolien unter der persischen Herrschaft”, in D. Papenfuss / V.M. Strocka (eds.), Palast und Hütte: Beiträge zum Bauen und Wohnen im Altertum von Archäologen, Vor- und Frühgeschichtlern: Tagungsbeiträge, eines Symposiums der Alexander von Humboldt-Stiftung, Bonn-Bad Godesberg, Berlin, 1982, 347-356. Serdaroğlu 2004 Serdaroğlu, Ü., Lykia-Karia’da Roma Dönemi Tapınak Mimarîsi, Istanbul, 2004. Stewart 1990 Stewart, A., Greek Sculpture, New Haven/London, 1990. Tenner 2006 Tenner, J., The Invention of Art History in Ancient Greece: Religion, Society and Artistic Rationalisation, Cambridge, 2006. Vafopoulou-Richardson 1991 Vafopoulou-Richardson, C.E., Ancient Greek Terracottas, Ashmolean Museum, Oxford, 1991. Weber 1974 Weber, H., “Zu einer Jünglingsstatue in Samos”, in E. Akurgal / U.B. Alkım (eds.), Mansel’e Armağan, Mélanges Mansel II., Ankara, 1974, 757-765. A Late Archaic Kouros from Euromos 364 2013 West 1995 West, D.R., Some Cults of Greek Goddesses and Female Daemons of Oriental Origin, Vluyn, 1995. Yıldız 2002 Yıldız, M., Bodrum Müzesinde Yer Alan Bir Grup Arkaik Torso [yayımlanmamış Lisans tezi, Adnan Menderes Üniversitesi], Aydın, 2002. Suat Ateşlier / Murat Çekilmez Fig. 1 : Terracotta frieze fragment (S. Ateşlier) Fig. 2 : Kouros torso, frontal view (S. Ateşlier) Fig. 3 : Kouros torso, back view (S. Ateşlier) Fig. 4 : Kouros torso, left profile (S. Ateşlier) A Late Archaic Kouros from Euromos 2013 365 Suat Ateşlier / Murat Çekilmez Fig. 5 : Kouros torso, detail of the back (S. Ateşlier) Fig. 6 : Tentative reconstruction drawing (M. Çekilmez) Fig. 7 : Kouros torso, top view (S. Ateşlier) A Late Archaic Kouros from Euromos 366 2013 Ce volume réunit 27 communications présentées lors des ‘Rencontres d’Archéologie de l’IFEA’ consacrées aux périodes ‘hautes’ d’une région de l’Asie Mineure du sud-ouest : la Carie. Plusieurs études récentes ont sensiblement fait avancer les études cariennes, mais celles-ci se sont limitées à des champs chronologiques allant des Hékatomnides à la fin de l’empire romain. Il nous a donc semblé utile de proposer, autour d’un colloque et de sa publication, un état des connaissances pour les périodes antérieures aux Hékatomnides en offrant à la fois aux archéologues de présenter un matériel archéologique encore inédit, issu des fouilles récentes (souvent de sauvetage), et aux historiens d’exposer leurs dernières réflexions basées sur un matériel déjà connu mais dont les dernières découvertes permettaient d’en réinterpréter la signification. This volume brings together 27 papers presented at the ‘Rencontres d’Archéologie de l’IFEA’ devoted to the ‘early’ periods of a region of southwest Asia Minor: Caria. Several recent studies have significantly advanced Carian studies, but these have been limited to chronological fields from the Hekatomnids to the end of the Roman Empire. It has therefore seemed useful to propose around a symposium and its publication a state of knowledge for periods prior to the Hekatomnids by offering both archaeologists to present unpublished archaeological material, resulting from recent (often rescue) excavations, and historians to expose their latest reflections based on material already known but reassessed in the light of new discoveries.