Restore edilen iki adet Edessa Mozaiği 2011
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Date
2013
Authors
Önal, Mehmet
Ercan, Müslüm
Desreumaux, Alain
Dervişoğlu, Nedim
Journal Title
Journal ISSN
Volume Title
Publisher
Uludağ Üniversitesi
Abstract
Bu makalenin konusunu Şanlıurfa Arkeoloji Müzesi’nde 2011 yılında restore edilen iki mozaik döşeme oluşturmaktadır. Bu mozaiklerden biri Aftuha ve ailesinin mozaiği (Cenaze şöleni mozaiği D), diğeri geometrik desenli bir mozaiktir. Mozaik üzerinde beş figür yer almaktadır. Bunlar Aftuha, karısı Salum ve üç çocuğudur. Mozaiğin restorasyonundan sonra mozaik üzerindeki Edessa - Aramice yazıt okunabilmiştir. Yazıt sayesinde bu kaya mezarı hakkında bilgi alabilmekteyiz. Aftuha bu mezarı kendisi ve ailesi için bir “sonsuzluk evi” olarak yaptırmıştır. Aftuha Edessa’da sık rastlanan bir isimdir. Aile reisi Aftuha, Edessa mozaik geleneğine uygun olarak bir divan üzerinde uzanmış, karısı onun yanında oturmuş ve üç çocuğu soldan sağa doğru ayakta durmaktadır. Figürler yerel kıyafetler içerisinde görülmektedir. M.S. 224 yılına tarihlenen diğer mozaik geometrik motifler taşımaktadır. Dikdörtgen panel 4 kollu yıldız motifi ile süslenmiştir. Panelin büyük bölümü tahrip olmuştur. Mozaik üzerindeki Edessa - Aramice yazıt önceden çözülmüştür “Qašya’nın oğlu I Bar‘amta bu mezarı inşa etti” (published by Drijvers-Healey 1999: Am9). Edessa nekropol mozaikleri üzerindeki figürler genellikle yerel stil özellikleri göstermekle birlikte, paneller ve bordürler üzerindeki giyoş dizileri, testere dişli üçgen dizileri, lozange motifleri ve dizileri oluşturan testere dişi dizileri Roma İmparatorluk stilini yansıtan özelliklerdir.
In this article, the two mosaic pavements of Edessa that are introduced were restored in Şanlıurfa Archaeological Museum in 2011. One of them is an Aftuha and family mosaic (funeral mosaic D), the other is a geometric patterned mosaic. There are five figures on the mosaic. These are Aftuha, his wife Šalum and their three children. After the restoration of the mosaic the Edessene Aramaic inscription has been read. Thanks to the inscription, we get information about the rock tomb. Aftuha get this tomb made for himself (and his family) as the “house of eternity”. Aftuha was a common name in Edessa. The householder Aftuha is lying down on the couch according to the tradition of Edessene mosaics, his wife is siting beside him and their three children are standing from left to right. The figures are seen in the local garments. The other mosaic which is dated to 224 AD., has geometric patterns. The rectangular panel are decorated with the four-spoke star patterns. More part of the panel was destroyed. The Edessene Aramaic inscription was previously solved “I Bar‘amta Son of Qašya, made this tomb” (published by Drijvers-Healey 1999: Am9). Although the figures which are on the necropolis mosaics of Edessa are generally seen local style, on the panels and bordure, guilloch line, sequence of triangle with sawtooth, sawtooth lines creates lozenge patterns and lines are cultural of the Roman imperial style.
In this article, the two mosaic pavements of Edessa that are introduced were restored in Şanlıurfa Archaeological Museum in 2011. One of them is an Aftuha and family mosaic (funeral mosaic D), the other is a geometric patterned mosaic. There are five figures on the mosaic. These are Aftuha, his wife Šalum and their three children. After the restoration of the mosaic the Edessene Aramaic inscription has been read. Thanks to the inscription, we get information about the rock tomb. Aftuha get this tomb made for himself (and his family) as the “house of eternity”. Aftuha was a common name in Edessa. The householder Aftuha is lying down on the couch according to the tradition of Edessene mosaics, his wife is siting beside him and their three children are standing from left to right. The figures are seen in the local garments. The other mosaic which is dated to 224 AD., has geometric patterns. The rectangular panel are decorated with the four-spoke star patterns. More part of the panel was destroyed. The Edessene Aramaic inscription was previously solved “I Bar‘amta Son of Qašya, made this tomb” (published by Drijvers-Healey 1999: Am9). Although the figures which are on the necropolis mosaics of Edessa are generally seen local style, on the panels and bordure, guilloch line, sequence of triangle with sawtooth, sawtooth lines creates lozenge patterns and lines are cultural of the Roman imperial style.
Description
Keywords
Edessa, Edessene, Şanlıurfa, Mosaic, Suryanice, Aftuha, Salum, Syriac
Citation
Önal, M. vd. (2013). "Restore edilen iki adet Edessa Mozaiği 2011". Journal of Mosaic Research, 6, 9-21.