2015 Sayı 8

Permanent URI for this collectionhttps://hdl.handle.net/11452/9998

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The Basilica mosaic on Asar Island at Myndos
(Uludağ Üniversitesi, 2015) Şener, Y. Selçuk; Şahin, Derya
The first time that a church’s ruins have been discovered with three naves under the base of an architectural ruin of a watchtower is happened in 2009 in Myndos’ Asar Island, when the archeological excavations had started at the top of the island.The ground of the church had been made by using the technique of opus tesselatum, and covered by an geometrical patterned mosaic. However that mosaic had been only protected one piece at the North nave and mostly in the middle nave. Most of the floor pavement of North nave had been ruined because of multiple reasons and had been found at the lower terrace with pieces by the reason of fall down. At the South nave none of mosaic ruins had been found. The mosaic floor dated late 5th - early 6th A.D. by the style and the ruins that have been found with it. In that article information’s will be given about that mosaic’s floor and consolidation.
Before the Corpus: Byzantine mosaics in Istanbul in nineteenth-century French guide-books
(Uludağ Üniversitesi, 2015) Morlier, Helene
The study of a series of nineteenth-century French guide-books shows the evolution of the art of travel: guidebooks were first based on the experience of travellers and the documentation summarized by writers. Little by little, guide-books became more detailed and gave more accurate descriptions of the ornamentation of buildings: art history replaced general impressions. Guide-books also witnessed the changes of mentalities on both sides: foreign visitors and local citizens.
Crosses in the mosaic floors of churches in Provincia Arabia and nearby territories, against the background of the edict of Theodosius II
(Uludağ Üniversitesi, 2015) Habas, Lihi
Between the 4th and 8th centuries A.D., many churches were founded in Provincia Arabia and neighbouring territories (today’s Transjordan). Most of the churches were paved with mosaics. The mosaics floors are decorated with geometric, vegetal and figurative carpets with a rich repertoire of scenes of daily life, sometimes accompanied by personifications. The floors were also decorated with symbolic heraldic arrangements and symbolic motifs, among them crosses. This research focus on a description of the different types of cross found in Byzantine churches in Transjordan, their position on the mosaic floors and in the church space, and the use of parallel motifs with equivalent significance as concealed crosses. The repertoire of crosses is rich, and crosses have been found of the equal-armed Greek cross type, the Latin cross, the Maltese cross, or a geometric interlace in the form of a Greek cross. There are also crosses of the crux clipeata, crux gemmata and crux decussate type. In some places the letters ΑΩ are shown between the arms of the cross, or suspended from the vertical arm. In other places the cross is shown on a graduated mound symbolizing the hill of Golgotha. The crosses in mosaic floors decorate the vestibules of church complexes, churches, chapels attached to churches, crypts, martyrium chapels, funerary chapels, and baptisteries. They are not hidden, and are not limited to a specific part of the church or chapel building; on the contrary, the crosses are open to view and appear in the apse, the bema, the sacristy, halls, panels between columns, the narthex, vestibules and passageways or entrances between spaces. The appearance of crosses on mosaic floors in churches is seemingly surprising, because it contravenes the edict issued in A.D. 427 by the Emperor Theodosius II. But this edict had scant influence on the mosaics of our region, and the archaeological finds testify to the existence of crosses carved in stone or incorporated in the mosaic floors of the churches in Transjordan and in the adjacent territories, despite the risk of desecration, due to the position of crosses along the path of entry into the church and the traffic route inside the church, where people might walk and step on them. The archaeological evidence testifies to the gap between the spirit of the edict and reality on the ground, and contributes to an understanding of the phenomenon.
Looking at two patterns ınspired in coffered ceilings: Some examples in the Portuguese Roman mosaics
(Uludağ Üniversitesi, 2015) Wrench, Licínia Nunes Correia
For the present study, we selected a set of Portuguese Roman mosaics in which the orthogonal grid compositions and adjacent octagons forming squares are present, supposedly inspired by the coffered ceilings. Therefore, in this study we try to ascertain: 1. Their degree of proximity to the pattern of the ceilings that have originated them; 2. Their relationship with other patterns and decorative motifs, occurring in the same mosaic pavement; 3. Their relationship with the functionality of the architectural space in which they are integrated. In the interweaving of this data and given the timelines of the different mosaics, we will try to elaborate conclusions on the application of these patterns to certain architectural spaces; the frequency of their use, either alone or in conjunction with other patterns in the same mosaic; the possible link of the mosaics in which these patterns occur with local or regional workshops, or even schools.
The Myth of Aphrodite and Adonis in Roman mosaics of Jordan, Arabia, Antioch, Mauretania Tingitana and Hispania
(Uludağ Üniversitesi, 2015) Blazquez, José Maria
The myth of the love between Aphrodite and Adonis has a Syrian origin. It was known in Greece since 700 B.C. The early Greek vases, Athenian black figure vases and Athenian red figure vases do not represent it. It appears in Corinthian mirrors from the mid-4th century B.C. A huge celebration took place in the Ptolemaic court in Alexandria in honour of Adonis. During the Roman Empire it was represented in several Roman mosaics in Antioch. The myth is not known in mosaics of Orient, Greece and Northern Africa. It was represented in Madaba during the mid-4th century A.D. In Western Roman mosaics it was represented in Lixus, Mauretania Tingitana, and in several mosaics of Hispania. A celebration in honour of Adonis took place in Hispalis in 287 A.D.
The Orpheus mosaic of Prusias ad Hypium
(Uludağ Üniversitesi, 2015) Sezer, S. Sezgin
The mosaic of Orpheus was discovered coincidentally in a field in the southern region of the city in the 1950s. It is a floor mosaic arranged in rectangular form situated on the ground of a Roman villa in the city. The base of the mosaic measures 8.10 x 5.30 m. Orpheus is the son of Oeagrus, the king of Thrace and Calliope the Muse. When Orpheus started playing his lyre, as the melody he uttered was combined with the extraordinarily harmonious music of the lyre, even the wildest animals were tamed, the birds flying in the sky halted to listen to him, and the trees and the rocks caught in the harmony of the music accompanied him by swaying and saluting. The mosaic of Prusias ad Hypium is arranged in a conventional style with Orpheus sitting on a rock as a central figure being surrounded by the animals of paradeisos. The personifications of four separate seasons are placed at the four corners of the round panel in the center of which Orpheus sat. A guilloche in a single row is used in the frame decoration of the panel where Orpheus, the animals and the four seasons are present. The border in the shape of a rectangle comprising intersecting circles consists of two rows at the upper short edge, three rows at the lower short edge and one row at each of the long edges. The border consisting of consecutive dark brown triangles is the outermost pattern encircling the mosaic. Rock, tree or plant motifs that are the indicators of natural environment are not used. The Orpheus mosaic of Prusias ad Hypium should belong to late 3rd-early 4th century A.D. owing to its stylistic and iconographic features.
The ship depicted on the north colonnade of the great mosque at damascus: A Nilotic Theme or the representation of paradise?
(Uludağ Üniversitesi, 2015) Friedman, Zaraza
This paper will bring for the first time an in-depth study of the ship depicted in the mosaic on the east pier of the north colonnade of the courtyard in the Great Mosque at Damascus. The vessel inhabited by two men, one sited on the prow and the second is the helmsman working the port steering-oar, synthesizes several topics: 1. The ship and the adjacent architecture in the Damascus mosaic evidence the continuity of Roman tradition of maritime or Nilotic scenes depicted in Umayyad mosaics; 2. Suggestion for the symbolic representation of the Paradise referred in the Koran; 3. The depiction of human figures in early Islamic arts suggests the tolerance of the Umayyad regime compared to the more restricted iconoclastic law in the Abbasid period and supported by the Hadith; 4. Preserved shipbuilding tradition of the Pharaonic Egyptian papyriform vessels and their diffusion as late as the 8th century CE in the eastern Mediterranean. We may suggest that the ship illustrated in the mosaic in the Great Mosque at Damascus belongs to the original building period of the Mosque by al-Walid I (705-715 CE). The boats depicted within the Nilotic frame surrounding the main mosaic carpet in the Church of St. Stephen at Umm al-Rasas in Jordan (718-756 CE) are the latest examples of Nilotic theme decoration within a Christian Church built and functioning during the Umayyad – Abbasid periods. The Damascus and al-Rasas mosaics both are related in subject decoration, and their architectural content, within different religious edifices (church and mosque), and their illustrated messages may suggest the same symbolism.
Written and visual culture about the mosaic of castulo: The influence of Lucian’s works
(Uludağ Üniversitesi, 2015) Jiménez, Maria Luz Neira
This paper aims to investigate the new combination of two mythological legends with no apparent connection, the Judgement of Paris and Love of Selene and Endymion, listed as main scenes in a Hispanic mosaic found at Castulo in 2012. With this objective the peculiarities iconographic of both scenes, with an unpublished parallel Selene and Endymion, and their possible relation to different literary versions offered by ancient authors are analyzed, identifying the link between the protagonists of the two scenes on the Castulo mosaic in the works of Lucian, reflecting undoubtedly the semantic transformation of mythology and the influence of Written Culture in Visual Culture, in response to the extent of culture and the line of who commissioned the mosaic with critical ideas of Syrian author.

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