2012 Sayı 5

Permanent URI for this collectionhttps://hdl.handle.net/11452/9825

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Arvalya bazilikası
(Uludağ Üniversitesi, 2012) Keser, Hünkar; Tok, Emine
The church is located at real estate with parcel number 7890, in Arvalya location on Selçuk-Kuşadası highway. In its immediate surroundings, there are Gül Hanım Mound, Arvalya Forest Camp Hellenistic tumulus, tomb building and several vaulted spaces that can be tracked through the surface. The church was discovered in 2010, during earthworks for construction of a football pitch on the field; and its scientific evaluation was then carried out thanks to excavations by Ephesus Museum. In the wake of researches it is found that the church was built in early 5th century, on a monumental Roman structure. The church lies in east-to-west direction. It has a basilical plan scheme with three naves. The middle nave is wider than the lateral ones. On the east, there is an apse with a round plan on both interior and exterior sides. The west frontiers are lost during building excavations. According to present traces, the nave of naos seems to be paved with mosaics, whereas the side naves are fitted with bricks. One section of the bordure of mosaic pavement on middle nave is partially protected, while its middle section exists in parts. The bordure consists of alternately placed geometrical motifs. The figure of middle field, however, cannot be identified. In this paper, our aim is to present this partly survived building, which was not published before together with photos, drawings and also to compare with the contemporary examples.
Mosaic researches at amisos, 1996
(Uludağ Üniversitesi, 2012) Aybek, Serdar; Öz, Ali Kazım
Çalışmaya konu olan taban mozaiği Samsun il merkezinin yaklaşık üç km. kuzeybatısındaki Toraman Tepe sırtlarında bulunan Amisos antik kentindeki yapılardan birine aittir. Büyük bölümü tahrip olan ve kuzey tarafı da asfalt yol altında kalan mekanlardan birinde çalışılabilmiştir. Yaklaşık 6.00 x 15.00 m. boyutlarındaki salon tamamen mozaik döşemeye sahiptir. Mozaikli dikdörtgen salon, Samsun Arkeoloji Müzesi içinde sergilenen ve Amisos Mozaiği olarak ünlenen paneller ile aynı bölgede bulunmuştur. Bu alan Samsun Sahra Sıhhiye Okulu ve Eğitim Merkez Komutanlığı içinde yer alır. Ancak, bu makalede incelenen örnekte figürlü kompozisyon yerine, geometrik bezeme ağırlıklı olarak kullanılmıştır. Mozaiğin bir bölümünde ortaya çıkan portre ise Geç Antik döneme işaret etmektedir. Mozaikte, diş sırası, dalga motifleri, ikili-üçlü giyoşlar ve rozetler ile zenginleştirilen çerçeveler, köşelerde bitkisel motifler ve kuş figürleri ile doldurulmuştur.
Floral and geometrical motives of the pavement mosaics in East and West. The example of the Roman villa of Abicada
(Uludağ Üniversitesi, 2012) Kremer, Maria de Jesus Duran
Even if the figurative mosaics are usually the ones to catch the attention of the archeologists and the public, we cannot deny the meaning of the geometrical and the floral motives for the study of the mosaics landscape in the roman world. The combination of the different motives, the colors chosen for each motive and their combination can help to identify the influences that determined the making of the pavements. East and West of the Roman Empire are no exceptions to this phenomenon.
The mosaics with animals theme in the Southern Adriatic Between 4th and 6th century A.D.: Decorative and ıconographic schemes in comparison
(Uludağ Üniversitesi, 2012) Omari, Elda
The study of the mosaics found on the south-east Adriatic coasts, between Epirus Nova and Epirus Vetus (the current Albania), highlights significant analogies between the animals’ representations depicted on these floors and those represented on the early Christian basilicas or buildings cover floors in Syria, Turkey and in some other important centers of Eastern Mediterranean and Northern Adriatic. The iconographic and the iconological analyses offer new clues to reflect on some well-known models which circulated throughout the Adriatic and the Mediterranean areas between 4th and 6th century A.D., in geometrical and figure patterns (Aquileia, Butrinto, etc.), as well as in daily-life patterns (Dyrrachium, Bylis, Costantinople, etc.). Also, there are interesting parallels between these patterns and those of the Orpheus mosaics (Ulpiana, Sicily, Sparta, Chahba, Istambul, etc.). The comparisons which will be drawn will enable us to reflect on the connections between Eastern and Western Adriatic areas with important centers in the late ancient era, which the sea does not divide, but rather brings together: such a perspective is viewed as extremely important in the study of the history of coastal countries in the Adriatic, the Mediterranean and beyond.
From antiquity to modernity
(Uludağ Üniversitesi, 2012) İkizgül, Hülya Vurnal
It is not possible to mention my art without mentioning important exhibitions which have made possible the transition from antique mosaics to contemporary mosaics in Turkey. This is important in the name of determining where I stand in the historical progression. The important exhibitions opened during these time periods have elevated the art of mosaic from the antique value to contemporary merit. These exhibitions have been an obstacle to the death of this significant art and have formed the backround that made it possible to continue into contemporary works of art while standing firmly on the past. How does something which belongs in the past go on to the future? With the exception of the mosaics and frescoes which reflect the restrained and religious level of the middle ages, the issue of the resolution of the subjects of architecture and art in their entirety was in the beginning, fragmented and in a state of confusion in the western countries and Turkey. In the end, the developmental process was realized with the Bauhaus School. This school, founded in 1919 and aiming to join fine arts and architecture, re-opened the doors to mosaic, which gives pictures an extended life.
Arkeolojik alanda in situ (yerinde) mozaik koruma yöntemleri
(Uludağ Üniversitesi, 2012) Şener, Y. Selçuk
The conservation of mosaics unearthed at excavations is evaluated according to the conditions in which they were buried / found and is generally classified, in terms of low, medium, or high level of deterioration in the mosaics. If the mosaics remain in their location in their complete or almost complete form they are generally considered to be intact; on the other hand, mosaics which are disaggregated, crumbled, or have lost the unity in their design, whether in the tessellatum or in other structural layers, are evaluated as having suffered deterioration/damage at a low, medium, or high level, according to the degree of deterioration. As with all archaeological materials, in order to overcome problems that have arisen or new ones that may arise in the mosaics uncovered in excavations, and with the aim of stabilizing the structure, a series of effective or preventive conservation interventions have to be resorted to. While for mosaics that are intact mosaic conservation can be limited to essential preliminary treatment and taking the necessary measures for conservation, mosaics that have suffered deterioration can necessitate effective conservation that calls for efforts that increase proportionately to the degree of deterioration. At this point it is important that decisions for intervention be taken by competent people, that these decisions be correct and adequate, and that conservation and restoration be implemented by competent individuals using acknowledged methods. In this study preventive and effective conservation methods necessary for mosaics that need to be preserved in situ at archaeological sites are explained using concrete examples of practical implementation selected from our various experiences.
The research and conservation study of the mosaics of the Roman Bath at Metropolis
(Uludağ Üniversitesi, 2012) Öz, Ali Kazım
Metropolis kentindeki en geniş alana sahip mozaikler Han yıkığı Roma Hamamı’nın palaestrası çevresinde bulunmuştur. Araştırmalar sonucu doğu portiko dışında tüm galerilerin mozaik döşemeye sahip olduğu anlaşılmıştır. Bu makalenin konusu olan ve 5.74 x 44.28 m. alanı kaplayan güney portiko mozaikleri, her biri farklı motif ve boyuta sahip 13 panelden oluşmaktadır. Paneller, teğetkare, sekizgen ve çemberlerin yanısıra chevron ve çift balta motifleriyle süslüydü. Ana panellerin arasında eşkenar dörtgen şeklinde ara motifler bulunmakta ve bu lozenge motifleri köşede sekiz kollu bir yıldız oluşturmaktadır. Geometrik motifli mozaiklerin yanı sıra hamamın kuzey tarafındaki Nişli Yapı içinde, duvar veya tavan mozaiği olduğu düşünülen figürlü mozaik parçaları bulunmuştur. Tüm mozaik döşemeler yerinde korunmakta ve bu yüzden çevresel etkilere karşı savunmasız kalmaktadır. Bu nedenle, 2009 yılında mozaikleri incelemek, değerlendirmek, acil koruma önlemleri almak ve geçici koruma çatısı yapmak amacıyla Koruma Projesi hazırlanmış ve 2010 yılında ilk aşaması gerçekleştirilmiştir.
Assos mozaikleri
(Uludağ Üniversitesi, 2012) Arslan, Nurettin; Bakan, Caner
Die hier behandelten Mosaikfußböden wurden mit einer Ausnahme alle in den Jahren 1881-1883 durch die vom American Institute of Archaeology durchgeführten Ausgrabungen freigelegt. Das älteste, aus Marmor hergestellte Mosaik lag in der Cella des Athenatempels auf der Akropolis. Die anderen frühen Beispiele aus dem 4.-3. Jahrhundert v. Chr. schmückten die Fußböden zweier Gebäude südlich des Bouleuterions. Auf diesen aus Kieselsteinen gefertigten Mosaiken sind Nike und Greife dargestellt. Daneben sind noch Mosaikfußböden in Kirchen des 5./6. Jahrhunderts n. Chr. ausgegraben worden. Die Tatsache, dass es in einem so wichtigen Ort wie in Assos vom 6. Jahrhundert v. Chr. bis in das 4. Jahrhundert n. Chr. kaum Mosaiken gibt, kann mit dem Grabungsprogramm zusammenhängen. Bis in das Jahr 2010 fanden die Ausgrabungen fast nur im Athenatempel, dem Theater und der Nekropole statt. Wenn in den Wohnvierteln, Kirchen und den anderen offiziellen Gebäuden in der Stadt gegraben werden würde, wäre zu vermuten, dass die Anzahl der Mosaike in Assos steigt. Die einzigartigen Mosaike des 4. und 3. Jahrhunderts v. Chr. zeigen auf, dass die Tradition der Mosaikfußböden in einer frühen Zeit der Stadtgeschichte beginnt. Zwischen diesen und der Mosaikausstattung der Kirchen des 5./6. Jahrhunderts n. Chr. erstreckt sich ein mehrere Jahrhunderte umfassender Hiatus, der nur durch weitere Ausgrabungen gefüllt werden kann.
Kahramanmaraş Germanicia Mozaikleri
(Uludağ Üniversitesi, 2012) Küçükdağlı, Seyidhan
Hititler, Asurlar, Persler, Makedonyalılar ve Seleukoslar gibi devletlerin hâkimiyet sürdükleri Maraş, M.Ö. 64’te Romalıların eline geçmiştir. Roma İmparatoru Gaius Caesar Augustus Germanicus tarafından şehir yeniden inşa edilerek “Kaiseria Germanicia” adı verilmiştir. Ortaçağ tarihçileri, Romalıların şehre Germanicia dediklerini doğrulamaktadır. Çağın Latince, Grekçe ve Arapça kaynaklarından da anlaşıldığına göre Germanicia Antik Kenti Taban Mozaikleri, Geç Roma/Erken Bizans dönemine aittir (Resim 1-2). Günümüzde ortaya çıkan Germanicia Mozaikleri, bu dönemin siyasi, sosyal, kültürel ve iktisadi durumunu da yansıtmaktadır (Resim 3). Kahramanmaraş Germanicia mozaiklerinin üzerindeki tasvirlerde; ana panonun etrafında floral ve geometrik motifler (Resim 4-5), günlük hayattan seçilmiş betimlemeler (Resim 6) ve dönemin mimari yapısını gösteren kompozisyonlar (Resim 7) yer almakta, özenli işçilikleri, tasvirlerdeki desenleri, konu ve ikonografi çeşitliliği ile hem kalite hem de işçilik olarak kendine özgü bir karakter oluşturmaktadır.
Exemples du decor vegetal en quelques mosaiques romaines: Du Portugal a L’autre extreme de la mediterranee
(Uludağ Üniversitesi, 2012) Wrench, Licínia Nunes Correia
We will present some examples of vegetal decoration (acanthus leaves; hederae leaves, rosettes…) represented in some of the Roman Portuguese mosaics. The aim is to analyze this decoration comparing the representations in the Portuguese mosaics with the mosaics from some of the disseminating centers of North-Africa and the Middle-East. For this analysis it is important to consider the paths these ornaments took reaching the southwest of Hispania through different ways of contacts: the Continental, the Atlantic and the Mediterranean.
Smyrna Agorası mozaikli yapı mozaik döşemi konservasyon çalışmaları
(Uludağ Üniversitesi, 2012) Ersoy, Akın; Yolaçan, Duygu
Mosaics found in the Mosaic Hall which is a 5 gallery building located to the west of the West Stoa and south of Bouleuterion and adjecent to both are composed of geometric and floral motifs. There are two phases of mosaics on top of each other inside the building. Mosaics in the Hall are partly preserved but in most areas decays and absence of tessellatum, nucleus and rudus can be seen. Documentation, cleaning, strengthening and in some parts completing the mosaic with original tesserae is done in phases in order to restore and conserve the mosaic. Archaeological digs in the area are proceeding at the same time with the restoration work on the mosaic thanks to the roof temporarily placed over the Mosaic Hall.
Kommegene ve Suriye Bölgesi mozaiklerinde yerel özellikler ve yabancı etkiler: Karşılaştırmalı bir değerlendirme
(Uludağ Üniversitesi, 2012) Salman, Barış
Mosaics found in Commagene and Syria Region are works of a large period from The Hellenistic Period to Late Roman/Byzantian Period. For example while the mosaics found in Samosata (Samsat), the capital of Commagene mostly dates to Late Hellenistic Period, a mosaic pavement was found belonging to Byzantian Period in the same settlement. 3rd century A.D mosaics of Edessa (Şanlıurfa) the capital city of Osroene region are attractive with their local iconographies as well as includes foreign elements. It is also observed on the samples founded in the Haleplibahçe excavation in the late mosaics of the region. It is possible to make similar predictions according to some samples in other settlements of the region. In this study, local characteristics of the mosaics are going to be identified, be compared with the samples in other settlements and foreign effects and characteristics be evaluated.
A birds mosaic in Qalaat Seman
(Uludağ Üniversitesi, 2012) Raynaud, Marie-Patrici
Pilgrims’ Baths are excavated since 2008 in Qalaat Seman, dating from the same period than the whole site (end of 5th century), they are partially dug. A large mosaic covers a courtyard surrounded by three galleries (circa 200 m2 ). Around 60% of the space is presently visible. The two excavated galleries present the same simple geometric pattern. In the contrary, the court is covered by a large pattern of adjacent octagons and squares. The originality and interest of this mosaic lays in the filling motifs of the octagons: each of them contains alternatively a bird or a vegetal motif. The birds present many different types and orientation, with bright colours and lively attitudes. The vegetal motifs between birds display trees, bushes and flowers. Some of them are replaced by an empty birdcage with open door. Geometric elements fill the peripheral compartments. This aviary presents an original interpretation of the mosaics showing birds, frequent in the surrounding of Antioch or Apamea, but presenting other forms. We will try to study examples of similar theme in order to locate the workshop of Qalaat Seman among the rich Near East mosaic production.
Herakles’in on iki işi betimli mozaik hakkında tespitler
(Uludağ Üniversitesi, 2012) Önal, Mehmet
Three pieces of mosaics depicting the labors of Heracles are exhibited in Istanbul Archeological Museum. These are the scenes of Heracles slaying the Nemean Lion, capturing the Erymanthean Boar and fetching the golden apples of the Hesperides. They are here on one and the same scene, but the actual site of the pieces of the nine other labors of Heracles is unknown. The mosaic mentioned above was captured and the traffickers of antiquities were arrested in Istanbul. In 1879 the German orientalist K.E. Sachau payed a visit to the village of Belkis which is situated about 10 km. north-west of Birecik while he went from Aleppo to Urfa. He witnessed how a floor mosaic. The hunting of the Erymanthean Boar of the labors of Heracles was uncovered during illegal excavations, and he wrote to his diary of seeing the depictions. Depictions of Heracles are also seen on the mosaics of Antioch. But the depiction of the mosaic of Heracles in Zeugma is unknown, except for Sachau´s observation and mentioning of the Zeugma mosaics. The depictions of Heracles are common in sculptures and seal engravings (glyptik) of Zeugma. The dexiosis relief (stele) showing the King of Antiochus I shaking hands with Heracles and the relief of resting Heracles were found at the rescue excavations in Zeugma. In addition, there are many depictions of Heracles on the seal impressions found in Zeugma. Max von Oppenheim pointed out that there had been found in-situ mosaic in Birecik. It was the only one in-situ mosaic ever found in Birecik city. Other mosaics that are on the tresholds and the ground of the windows in the old house of Birecik were bought there from Zeugma according to the information given by the residents. The mosaic in Istanbul Archaeological Museum is similar to the mosaic that was seen by Sachau in Belkis Village. It is also similar in style and period to the Zeugma mosaics. Owing to illegal excavations carried out in Zeugma since 1873, many mosaics were scattered to many museums and private collections. The pieces of mosaics that are depictions the labors of Heracles in Istanbul Archaeological Museum were probably stolen from Zeugma. The mentioned pieces of mosaic are only among a few of the mosaic which are Zeugma has been waiting the return path.
Kahramanmaraş mozaikleri konservasyon çalışmaları
(Uludağ Üniversitesi, 2012) Küçük, Celaleddin; Yar, Mine
As a result of rescue excavations of ancient city of Germenicia the mosaics that are found was removed and transferred to the museum by the Kahramanmaras Museum Directorate. In the first transfer project, for the purpose of transporting the back of the mosaic panels was made a support by cement-based mortar. In our project, the concrete support that was at back of the mosaics is cleaned and mosaics were prepared for the new places for the exhibition project of Kahramanmaras Museum. The missing parts were completed according to the original documentation. After the restoration work was completed of the mosaics were exhibited in the museum. In our presentation the mosaic restoration and documentation process will be explained.
Paphlagonia Hadrianoupolis’i mozaik buluntuları: Ön değerlendirmeler
(Uludağ Üniversitesi, 2012) Patacı, Sami; Öz, Ali Kazım; Laflı, Ergün
Hadrianoupolis is located 3 km west of the modern town of Eskipazar, near Karabük, in southwestern Paphlagonia. Some of the ruins of the structures in the city have remarkable floor mosaics which are dated to the end of the Vth century and the first half of the VIth century A.D. These buildings with mosaic floors are the Baths ‘A’ and ‘B’, the Early Byzantine Churches ‘A’ and ‘B’ and an Early Byzantine Villa. Excavation studies of the buildings were conducted by a team directed by Assoc. Prof. Dr. Ergün Laflı from the Dokuz Eylül University in 2006 and 2007.
The fate of the antioch mosaic pavements: Some reflections
(Uludağ Üniversitesi, 2012) Barsantı, Claudia
The paper offers a short memory of the spectacular investigations carried out from 1930 to 1939 in the area of the ancient Antioch, and also remembers the fate of the more than a hundred mosaic pavements uncovered and unearthed in that site. The most part of the mosaics had to be cut and removed in sections, so when the campaigns ended with the annexation of the northern Syria to Turkey and with the outbreak of World War II in 1939, they were objects of a sharing among the sponsors of that archaeological project. A disputable division that dismembered an extraordinary cultural heritage of Antioch.
Antioch mosaics and their mythological and artistic relations with Spanish mosaics
(Uludağ Üniversitesi, 2012) Blazquez, José Maria; Cabrero, Javier
The twenty-two myths represented in Antioch mosaics repeat themselves in those in Hispania. Six of the most famous are selected: Judgment of Paris, Dionysus and Ariadne, Pegasus and the Nymphs, Aphrodite and Adonis, Meleager and Atalanta and Iphigenia in Aulis.
Unique representation of a mosaics craftsman in a Roman pavement from the Ancient province Syria
(Uludağ Üniversitesi, 2012) Neira, Luz
The subject of this paper is the study of the figured representation of a mosaics-craftsman in a fragmentary pavement, preserved in the National Museum of Denmark in Copenhagen. Of unknown provenance, apparently comes from the territory of ancient Syria in the Eastern Roman Empire. Such representation is a hapax, not only in the Roman mosaics of Syria, but also in the corpus of Roman Empire, since, although several mosaic inscriptions in some pavements, which show the name of the mosaic artisans and / or different names for different functions of the trades related to the development of mosaics, and even the reference to the workshop, who were teachers or members of his team of craftsmen, the figured representation of a mosaicist, in the instant to be doing his work, is truly unique.

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