2020 Sayı 13

Permanent URI for this collectionhttps://hdl.handle.net/11452/14580

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Et dionysos sortit des flots… Dionysos et la mer sur les mosaïques des salles de réception
(Bursa Uludağ Üniversitesi, 2020-08-08) Guimier Sorbets, Anne Marie
Dionysos had to jump into the sea in order to escape from Lycurgos; in another episode, the god was attacked by Tyrrhenian pirates who were transformed into dolphins. These two little known episodes of the myth of the god are depicted, directly or indirectly, on the pavements of reception halls. We will first study this iconography on the mosaics of the Hellenistic period, and then on those of the Imperial period, and pay particular attention to the scenes of the marine triumph of Dionysos (Dion, Corinth) and on the depiction of black swimmers (Pompeii, North Italy, the Narbonnaise). In line with the works of Jean-Pierre Darmon, we will inquire into the transmission of iconographic schemes through the ages, first in the Greek koine and then in the Roman Empire; and, finally, into their meaning according to architectural contexts in which they are found.
La psyché aux ailes d’ange d’une mosaïque d’Antioche
(Bursa Uludağ Üniversitesi, 2020-08-17) Lauritzen, Delphine
The aim of this article is to propose a new interpretation of a fragmentary mosaic pavement from Antioch depicting Psyche (Antakya, Mus. Hatay 892). Using the “Tale of Cupid and Psyche” in Apuleius’ Metamorphoses (IV, 28-VI, 24), we argue that Psyche is represented at the key moment of the story. For the light of the lamp she is holding has just revealed to her the identity of her mysterious husband as being Cupid himself. Two main iconographical features differentiate this mosaic from other, standard representations of Psyche: she is neither naked nor wrapped in loose veils, but she appears entirely covered in light colour clothing, and she does not bear butterfly-wings but ones made of feathers. The mosaic has been dated of Trajan’s reign on the base of archaeological evidence. If this date is correct, then it cannot relate to Apuleius himself, as his novel was written in AD 160s. The mosaic would therefore be an early example of the iconographical fortune of the original tale, known in the Greek of Aristides of Miletus or in a Latin translation. One can otherwise hypothesize a later date for the mosaic, which would then make Apuleius stand as a possible terminus post quem.
La représentation d’ulysse et de polyphème dans la mosaïque romaine. analyses et comparaisons
(Bursa Uludağ Üniversitesi, 2020-08-08) Vassal, Veronique
In Homer’s Odyssey, whilst Ulysses is staying at the court of the Pheacians, he narrates his past adventures, in particular his encounter with the Cyclops, Polyphemus. The obvious physical imbalance between the two protagonists provides moral justification for recourse to guile, to metis, rather than engaging in a regular combat. In this paper, we have chosen to further exploit mosaics representing Ulysses inebriating Polyphemus for the sole purpose of revisiting the documentation by focusing on comparable works - sculptures, paintings and minor arts - in order to put forward a few hypotheses. We will take a look in turn at the role played by the sculptures of the Hellenistic period, the influence of Aristotle’s unity of action and unity of time, ending with the different depictions of Polyphemus’ organs of sight – at times « monocular » or « triocular » – in attempt to elicit their iconographical meaning.
Le talent discret des mosaïstes antiques. Une étude de cas relative aux méandres de svastikas
(Bursa Uludağ Üniversitesi, 2020-08-05) Parzysz, Bernard
The talent of the ancient mosaicists who carried out pavements with geometrical patterns is often unsung, and to some extent underestimated, with regard to the skills of those who created scenes with figures, or even vegetal décors. The issue of this article, based on the example of a pavement with a relatively commonplace and widespread pattern (swastika-meander), is to make explicit how some of the pictores challenged themselves (here, by carrying out swastika-meanders on a grid of bands with swastikas at the crossings) and be able to succeed (here, imagining a repetitive modular pattern to be replicated throughout the pavement). This was indeed a kind of gratuitous tour de force which, although remaining unseen for centuries, shows that such mosaicists also deserve our esteem, provided that their work is given enough attention.

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