Publication: Rhodiapolis piskoposluk kilisesi mozaikleri
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Date
2023-08-26
Authors
Yeşil, Şehrigül
Journal Title
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Volume Title
Publisher
Bursa Uludağ Üniversitesi
Abstract
Rhodiapolis antik kentinin (Kumluca, Antalya) akropolisinde yer alan üç nefli kilise, batısında narteks,
doğusunda apsis ve yan mekânlarıyla erken dönemin klasik bazilika plan tipine sahiptir. 2007 yılında başlayan
kazılarda kilisenin narteks, orta ve yan nefleri ile prothesis bölümlerinde opus tessellatum tekniğindeki
geometrik desenlerden oluşan mozaikler ortaya çıkarılmıştır.
Mozaiklerin tümü mermer, kireç taşı ve pişmiş toprak malzemeden düzgün kesilmiş küp biçimli polykrom
tesserae ile yapılmıştır. Pano desenlerinin ortak özelliği, beyaz zemin üzerine sarı, kırmızı, pembe, bordo, mavi
renkler kullanılarak oluşturulmuş geometrik desenlerin, üç boyutlu bir etki yaratacak şekilde gölgelendirilerek
işlenmiş olması ve bunların siyah veya siyaha yakın gri renkli tesserae ile sınırlanmış olmasıdır. Farklı
geometrik düzenlemelere sahip on panodan oluşan kuzey nefte ve kesintisiz devam eden tek bir panodan
oluşan güney nefte bordür kullanılmamıştır. Prothesis ve orta nefte panolar bordür kullanılarak kapalı bir
formda düzenlenmiştir. Nartekste ise, mekân üç ana panoya bölünmüş ve sadece kuzeydeki iki panoda bordür
kullanılmıştır. Ayrıca ana desenlerin işçiliklerindeki kalite mekânlara göre farklılık gösterir. Bu farklılıklar
kilise mekânlarına ait taban mozaiklerindeki farklı atölyelere işaret eder. Rhodiapolis Kilisesi mozaiklerinde
kullanılan Geç Antik Dönem repertuarından seçilmiş desenlerin yakın benzerleri, genellikle 5. yüzyıl ve 6.
yüzyıl başına tarihlenen mozaiklerde görülür. Ancak yakın yerleşmeler dikkate alındığında, bu mozaiklerin 5.
yüzyıla ait oldukları söylenebili
The three aisled church located in the acropolis of Rhodiapolis Ancient City (Kumluca, Antalya) represents the early classical basilica design type with the narthex in the west, the apse in the east and the adjoining rooms. Mosaics consisting of geometric patterns of opus tessellatum technique were unearthed in the narthex, nave, and side aisles, as well as prothesis sections of the church, in the excavations that started in 2007. All the mosaics are made of marble, limestone, and terracotta material with clearly cut cub-shaped polychrome tesserae. The common feature of the panel pattern is that the geometric patterns created using yellow, red, pink, burgundy, and blue colors on a white background are treated by shading to create a three-dimensional effect, and they are limited to black or nearly black-gray tesserae. Borders were not used in the northern aisle consisting of ten panels with different geometric patterns, and in the southern aisle consisting of a single continuous panel. Panels in prothesis and nave are arranged in a closed form using borders. As for narthex, the place was divided into three main panels, and the border was used only on the north panel. Moreover, the quality of the craftsmanship on the main patterns varies according to the places. These differences refer to the different workshops in the pavement mosaics of the church spaces. Close analogues of patterns selected from the repertoire of Late Antiquity used in the mosaics of the Rhodiapolis Church are usually seen in the mosaics dated to the 5th and early 6th centuries. However, it can be deduced that, considering the nearby settlements these mosaics belong to the 5th century.
The three aisled church located in the acropolis of Rhodiapolis Ancient City (Kumluca, Antalya) represents the early classical basilica design type with the narthex in the west, the apse in the east and the adjoining rooms. Mosaics consisting of geometric patterns of opus tessellatum technique were unearthed in the narthex, nave, and side aisles, as well as prothesis sections of the church, in the excavations that started in 2007. All the mosaics are made of marble, limestone, and terracotta material with clearly cut cub-shaped polychrome tesserae. The common feature of the panel pattern is that the geometric patterns created using yellow, red, pink, burgundy, and blue colors on a white background are treated by shading to create a three-dimensional effect, and they are limited to black or nearly black-gray tesserae. Borders were not used in the northern aisle consisting of ten panels with different geometric patterns, and in the southern aisle consisting of a single continuous panel. Panels in prothesis and nave are arranged in a closed form using borders. As for narthex, the place was divided into three main panels, and the border was used only on the north panel. Moreover, the quality of the craftsmanship on the main patterns varies according to the places. These differences refer to the different workshops in the pavement mosaics of the church spaces. Close analogues of patterns selected from the repertoire of Late Antiquity used in the mosaics of the Rhodiapolis Church are usually seen in the mosaics dated to the 5th and early 6th centuries. However, it can be deduced that, considering the nearby settlements these mosaics belong to the 5th century.
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Citation
Yeşil, Ş. (2023). Rhodiapolis piskoposluk kilisesi mozaikleri. Journal of Mosaic Research, 16, 409-420.