2019 Sayı 12

Permanent URI for this collectionhttps://hdl.handle.net/11452/10165

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Book Review: Diseños geométricos en los mosaicos del Conventus Astigitanus, Sebastián Vargas Vázquez.
(Bursa Uludağ Üniversitesi, 2019) Kramer, Maja
Geometric compositions together with decorative elements are by far the most common motifs on Roman mosaics, but nevertheless the least documented and studied. Fortunately, this unbalance is changing and the author’s second publication on the subject is not only an important contribution, but a possible paradigm changer in the feld. The book presents an innovative approach and independent reading, which combined with substantial results takes a signifcant step towards greater understanding of the conceiving and the making of geometric compositions on Roman mosaic foors. At the centre of the study are the remarkable construction drawings of the geometric compositions found on mosaics recovered so far in one of the more prosperous areas of Roman Spain, Conventus Astigitanus, the largest of the four Conventus in Baetica. Written in Spanish, the book comprises, apart from a summary in English, an introduction, eight chapters including fgures and colour plates, and a bibliography. The author´s comprehensive introduction presents the scope, the central themes and the setting of this volume as the second part of an ambitious project encompassing geometric mosaics throughout the region of Baetica. The intention is to gradually expand the investigation, the frst step in the project, covering the geometric mosaics in Colonia Augusta Firm Astigi, capital of Conventus Astigitanus, was published in 2014 (S. Vargas Vázquez, Diseños de los mosaicos geométricos a Ècija
Contribution to the corpus of the Roman Mosaics of Conuentus Bracaraugustanus: Study of the geometric mosaic of the Roman Villa of Sendim, Felgueiras, Porto, Portugal
(Bursa Uludağ Üniversitesi, 2019-10-02) Wrench, Licínia; Pinto, Marcelo Mendes; Abraços, Fátima
The objective of our work is to study for the frst time a Roman mosaic from the Roman Villa of Sendim, within the framework of a project coordinated by Fátima Abraços. This project aims to survey and analyse the Roman mosaics belonging to the Conuentus Bracaraugustanus, whose capital city was Bracara Augusta. The Villa, in the parish of Sendim, Felgueiras, Porto, is part of the mentioned Conuentus. Its excavation began in 1992, with the uncovering of several compartments of a domus and of structures belonging to the balnea. Later, the musealisation of the archaeological site was carried out with the conservation in situ of the mosaic fragments found in a cubiculum. The collected archaeological material established the occupation of the Villa between the 1st and 6th centuries AD. It also ascertained that the domus had a phase of restructuring and expansion between the end of the 3rd century and the end of the 4th century. This would correspond to the completion of the analysed mosaic.
The gold in the mosaics of Ravenna
(Bursa Uludağ Üniversitesi, 2019-07-08) Muscolino, Cetty
Ravenna, early Christian monuments and wall mosaics express the new ideology of Christian art. The tessellatum reveal that a large variety of materials and colours were used for the execution of the mosaics: glass, glass paste tesserae including those with silver and gold leaf, stone, ceramic, marble, and mother-ofpearl. The beautiful materials are combined with skill and surprising chromatic sensitivity. The tesserae are cut in regular and consistent sizes for the base and others shaped ad hoc as if they were brushstrokes of glass. From the frst monuments (Mausoleum of Galla Placidia, Battistero Neoniano) to the second (Battistero Ariano, Sant’Apollinare Nuovo, San Vitale) we can see a change signifcative and interesting, from the nature represented in all her splendor and naturalism, (acanthus plants, foral candelabras, gardens of plants and fowers, viridarium, (herbs garden), we step by step leave the azure and the blue of the sky to pass to mosaics with golden background. Because the tesserae in gold are the best way, in this period, to show the light of the transcendence, and to show the glory of Christ, the power of the church, and in the monuments of Ravenna we have the most important evidence. In many mosaic representations we can see with great clearness the polemical spirit of anti-Arianism, and a clear affrmation of Catholic Orthodoxy in the town where the Aryan Teodorico, had reigned for thirty years. Many monuments of the V-VI century in Orient were destroyed in the ancient time for ideological and political reasons for this reason Ravenna is a privileged place to follow the changes ideological and stylistic.
Iconography of marine vessels depicted in mosaics and ıts ımportance to marine archaeology
(Bursa Uludağ Üniversitesi, 2019-09-30) Grossmann, Eva
This article deals with the iconography of ancient ships, depicted in mosaics of the Eastern Mediterranean coast, from Syria, Lebanon, Jordan, Israel to Egypt. As shipping was one of the most important transports for trade, and not only in the Mediterranean Region, artists frequently used ships as a subject of their artworks. Ships are depicted on frescoes (e.g. a drawing of a sailing boat in the Church of St. Vartan in the Church of the Holy Sepulchre in Jerusalem. Gibson 1994: 34-42), mosaics, coins, even engraved on walls, such as on the wall at the crusader castle in Akko Israel. It is important to mention that in ancient times artists tried to convey a precise image of the objects they represented, thing that helps us to understand the exact appearance of the researched boats; a trend not common in contemporary mosaic art. The mosaics we are referring to here were predominantly made from tesserae cubes measuring 1 sq. centimeter, but often smaller cubes were used to depict faces (Figs. 11, 12). Mosaics depicting ships have been discovered in various places such as churches (Fig. 12), public and private houses (Figs. 8, 11, 12), even under a threshing-foor (Fig. 5). In buildings, they were frequently included in stories (Fig. 8) often from Greek mythology (Thesaurus on a boat with Ariadne, Daszewski 1977: pl. 30) and in churches in medallions (Fig. 13). The earliest mosaic we describe in this article is the reed boat from El-Amarna, Egypt (Fig. 14), from the 1st century BC. Unlike wooden boats, remains from ancient reed boats have not been found, since they decay with time. Nevertheless, their uses are known to us from literature and artworks. Furthermore, from the 2nd century AD and onwards, decorating churches (Fig. 13) and rich houses (Figs. 8, 11, 12) with mosaic foors started to become a common custom in this region.
The marine scene in the Lod mosaics
(Bursa Uludağ Üniversitesi, 2019-10-02) Gorzalczany, Amir; Rosen, Baruch
This article deals with the iconography of ancient ships, depicted in mosaics of the Eastern Mediterranean coast, from Syria, Lebanon, Jordan, Israel to Egypt. As shipping was one of the most important transports for trade, and not only in the Mediterranean Region, artists frequently used ships as a subject of their artworks. Ships are depicted on frescoes (e.g. a drawing of a sailing boat in the Church of St. Vartan in the Church of the Holy Sepulchre in Jerusalem. Gibson 1994: 34-42), mosaics, coins, even engraved on walls, such as on the wall at the crusader castle in Akko Israel. It is important to mention that in ancient times artists tried to convey a precise image of the objects they represented, thing that helps us to understand the exact appearance of the researched boats; a trend not common in contemporary mosaic art. The mosaics we are referring to here were predominantly made from tesserae cubes measuring 1 sq. centimeter, but often smaller cubes were used to depict faces (Figs. 11, 12). Mosaics depicting ships have been discovered in various places such as churches (Fig. 12), public and private houses (Figs. 8, 11, 12), even under a threshing-foor (Fig. 5). In buildings, they were frequently included in stories (Fig. 8) often from Greek mythology (Thesaurus on a boat with Ariadne, Daszewski 1977: pl. 30) and in churches in medallions (Fig. 13). The earliest mosaic we describe in this article is the reed boat from El-Amarna, Egypt (Fig. 14), from the 1st century BC. Unlike wooden boats, remains from ancient reed boats have not been found, since they decay with time. Nevertheless, their uses are known to us from literature and artworks. Furthermore, from the 2nd century AD and onwards, decorating churches (Fig. 13) and rich houses (Figs. 8, 11, 12) with mosaic foors started to become a common custom in this region.
Mosaics from the Bronze Age Necropolis in Gonur Depe, Turkmenistan
(Bursa Uludağ Üniversitesi, 2018-09-30) Dubova, Nadezhda A.; Kovaleva, Natalia A.; Veresotskaya, Galina E.; Yuminov, Anatolij M.
Unique mosaic composition of the end of the third millenium BC from the “Royal Necropolis” of Gonur Depe is describing. Some walls of the underground “hypogea” and so-called “ostensories” as well small originally wooden boxes found in them were decorated by fgurative mosaics. These mosaics combine two techniques – painting and inlays (tesserae), which were made from the specially prepared minerals. They also presented the earliest example of using the technique of cutting the edges of the tesserae. Analogies of the images between Gonur Depe and Mari palace in Syria are underlined.
Roman Villa of Rabaçal, Penela, Portugal a mediterranean production centre and palatial home with mosaic floors from the late antiquity in the territory of the ciuitas of Conimbriga and the lands of Sicó
(Bursa Uludağ Üniversitesi, 2019) Pessoa, Miguel; Mendes, Ana Luísa Ravara; Simoes, Elsa; Vicente, Sónia
Considering that the word Villa at the same time designated an architectural structure and a land structure, at least three architectural types of Farm House or Pars Rustica are known in western Roman Villae (LEVEAU, BUFFAT, 2008, pp. 134- 135). The frst type presents a previously established and highly architectural regular plan, with the buildings dedicated to production contiguous to the house, which was built with a centred plan. This type is traditionally considered as characteristic of the Mediterranean area, as it is the case of the Villa of Torre de Palma, Monforte, in the south of Portugal, dating from the beginning of the fourth century AD. This Villa is organized around three courtyards (one, integrating the pars urbana, another, connecting with the pars rustica, which is implemented around a third larger courtyard). The second type, also considered as a work of architecture and used as a model for in rure constructions in North Gaulle, presents non-contiguous agricultural buildings, although these are arranged in a regular form along a wide rectangular courtyard, with the palatial house of the Villa, normally integrating the baths, erected on one of the smaller sides of the rectangle, in an axial position. Thus, if on one hand the non-contiguous distribution of the constructions that integrate the components of the Villa of Rabaçal (palatial house with mosaic foors, baths, spring nucleus, farm house and workshops of several professions), dated from the middle of the fourth century AD, is similar to the pars rustica model of the second type, on the other hand it seems to be mainly related with what will be mentioned next, since it is a joint plan of constructions that, despite being very organized, is not confned to a geometrized design. In this third type, constructions are divided, in different planes, without regularity, in a space that is not clearly delimited and to which converge alternative paths and different crossings. This provisional classifcation of the type of location and distribution of farm and residential houses originates from the fact that, in many cases, the Villae have been transformed into luxurious houses without agricultural production facilities.
Some considerations on the interplay composition - Surface
(Bursa Uludağ Üniversitesi, 2019-09-13) Kremer, Maria de Jesus Duran
When analysing different foors of Roman mosaic, it must be noted that the choice of the iconographic program for the decoration of one or more spaces in the same building follows, in general, the guidelines given by the commissioner of the work according to his preferences or the objectives of representativeness that he hopes to achieve through that program. However, the adaptation of the chosen composition to the surface to be decorated is surely up to the mosaic artists. According to their expertise and probably also to the budget allocated to the work, they will adapt the composition as a whole and the integrated patterns (present therein) to the measurements of the surface to be decorated. The analysis of these elements is mainly decisive in the study of pavements with compositions based on geometric schemes.
The third dimension of the Magdouh Mosaic in Antioch
(Bursa Uludağ Üniversitesi, 2019-09-30) Hisarlıgil, Hakan; Hisarlıgil, Beyhan Bolak
This study investigates the complex geometry of the pattern of circles in the Magdouh Mosaic, which dates to between the ffth and sixth centuries, found in Antioch-on-the-Orontes (modern Antakya, Turkey). The mosaic has a complex pattern that is composed of tangent, overlapping and intersecting circles suggesting that it was worthwhile analyzing in 3D. Through such an analysis, it was observed that the extension of the pattern of circles into a third dimension looks like spheres packed together that intersect in three directions at right angles. This can also be demonstrated by packing octahemioctahedra, which are a cluster of eight regular packed tetrahedra contained within the spheres. In addition, the packing of octahemioctahedra in this way also suggests the packing of stella octangula contained within hemispheres that intersect each other. Furthermore, tracing the line segments that are emphasized in each circle in the Magdouh Mosaic in such a 3D structure turns them into space-flling rhombohedra that can be dissected into two tetrahedra and an octahedron. Thus, the result of this study shows that the Magdouh Mosaic in Antioch is the top view of a square-based pyramidal cluster of intersecting hemispheres that hold space-flling rhombohedra inside them.

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