Journal of Mosaic Research

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The ship depicted in a mosaic from migdal, Israel
(Uludağ Üniversitesi, 2008) Freidman, Zaraza
Iconography of ships in mosaics comprises two fields: ancient ships and shipping, along with mosaic art and techniques. This theme is very complex and however it has been paid insufficient attention in the past. Due to this durable art form, the ships depicted in mosaics may be referred as actual images of vessels concurrent to the period when such surfaces were made. The research started with my MA dissertation (1999, unpublished), which encompassed the eastern Mediterranean, Israel and Jordan. Throughout my PhD dissertation (2003, unpublished), this theme dealt with the entire Mediterranean world. It relates to shipbuilding materials, types of ships, sailing environments, as well with the propulsion and steering rig. The following paper describes one of the earliest mosaics with ship depiction that was found in Israel, at Migdal, located on the western shore of the Sea of Galilee (in Hebrew: Yam Kinneret) (fig. 1). Although some reddish-brown tesserae were used for some distinct parts in the objects depicted in the mosaic, it follows the black-and-white technique (rare example in the eastern Mediterranean). The mosaic reflects tight art connections with the early Roman Empire of the 1st centuries BCE – CE. The Migdal mosaic is no longer found at it original location. Today it is mounted into a metal frame and placed among other artifacts in the courtyard of the “Church of the Multiple Loaves and Fish”, at Capernaum (Tabgha).
Der einfluss der mosaiken des vorderen orients auf hispanische mosaiken am ende der antike
(Uludağ Üniversitesi, 2008) Blázquez, José María
Object of this study are the mosaics in Hispania at the end of the Antique that have an influx of oriental mosaics. These mosaics are those of Eros and Psyche in Fraga (Huesca), who have an influx from Antioch and Syria; of Daragoleja (Granada), of Puerta Oscura (Málaga), with an influx from Greece and Syria-Palestine; of Baños de Valdearados (Burgos), with Dionysus; of Dulcitius the hunter, el Ramalete (Navarra). The abundance of mosaics decorated with geometric themes and representations of abstract ideas have an oriental influx. A Syrian mosaist from the later Antoninian period made the cosmogonic mosaic of Augusta Emerita, that is full of abstract personifications and that reminds of one in Gaza and of the mosaic with the birth of Venus in Italica, also of Syrian origin. The Augusta Emerita mosaic with the poets from the 2nd century is the work of Selecus and Anthus. The mosaics with the Seven Wisemen of Greece in Augusta Emerita and with homeric themes in Cabezón del Pisuerga (Valladolid) are owed to Greek artists. Several paleochristian mosaics in the Balearic Islands owe their influx to Palestinian synagogues, probably coming through artists from Orient or copy-books.
Quelques remarques à propos de l’étude des sols in situ
(Uludağ Üniversitesi, 2008) Raynaud, Marie-Patricia
This paper proposes a review of the various contributions of an « in situ analysis » upon the study of mosaics and architecture. They are helpfull to understand the story of the building and to distinguish workshops of mosaicists. They result from the association between mosaic specialists, archaeologists and restorers.
Etude de la dégradation des mosaïques romaines de volubilis (Maroc)
(Uludağ Üniversitesi, 2008) Dekayir, Abdelilah
Roman mosaics in Volubilis are opus tessellatum type. They show different deterioration features represented by the lacunae formation (lack of tesserae) and break down of mosaic pavements by fracturing. The deterioration of the tessellatum and the formation of cracks are related to the swelling of soil supporting these mosaics. Furthermore, the tessellatum is also damaged by chemical dissolution of the fine grained-mortar between (lime and quartz fine grain) and under tesserae, giving an important porosity and making the tessellatum very easy to collapse. A part from limestone tesserae, which show formation of vesicles by chemical dissolution, other ones such as marble and glass tesserae appear to be resistant to the weathering action.
Islamic re-use of antique mosaic tesserae
(Uludağ Üniversitesi, 2008) Greenhalgh, Michael
Such large quantities of antique mosaics survive around the Mediterranean that an obvious question is whether they had any influence on decorative art in the Middle Ages, in style or material. This question has sometimes been studied for the West and Byzantium; but by the Millennium, it was Islam rather than Byzantium or any of the states in the West that occupied the largest number of mosaic-rich sites of the Roman world. What might Islamic re-use of antique mosaic tesserae tell us about the further development of this medium? This paper surveys the evidence for the re-use of antique tesserae, examining some of the ways in which the medium was used, on the outside and inside of buildings, and on both floors and walls. It discusses the various possible sources of the tesserae, the evidence for mosaic trading far and wide, and tesserae collection as war booty. It concludes with an overview of the specifically Islamic speciality of jigsawed cut-stone mosaic portals and façades, which were still being constructed in 16th-century Cairo - a cleverer and more sophisticated form of mosaic than any to be seen in Christendom, and surely using ancient marble offcuts.
The port illustration on the floor mosaic of the Yakto villa
(Uludağ Üniversitesi, 2008) Erol, Ayşe F.
The most important materials that can shed light on the historical atmosphere of Antiocheia on Orontes are mosaic panels. The floor mosaic obtained from the Daphne Yakto villa provides valuable information by showing the topography, the architecture and the daily life of Daphne and Antiocheia on Orontes. While a part of the academic research labelled the U-shaped, colonnaded structure filled with water as a reservoir, certain details of the depiction give us clues to the possibility that this could actually be a port. Records provided by antique writers on the city and comparisons made with architecturally similar material seem to yield data that support the idea that this structure functioned as a commercial port.
Family, death and afterlife according to mosaics of the Abgar royal period in the region of Osroene
(Uludağ Üniversitesi, 2008) Salman, Barış
The region of Osroene is the area including Edessa (Şanlıurfa), Carrhae (Harran), and Birtha (Birecik) located east of the Euphrates (Fırat) River. The Abgar Dynasty, the major power in the region, overthrew Seleukos’s control and regained independence in the region in132 BCE. Family members depicted together and at ease in mosaics of the royal period symbolize the importance of peace within the family and family unity. Of the figures portrayed next to the genearch, the wife is the most striking individual with her dignified pose. Family mosaics indicate that whole family will be together after death as they were in life. A Phoenix and two Orpheus mosaics found in the region also support the pagan notion of a new life after death.
Bookreview: III. ve IV. Uluslararası Türkiye Mozaik Korpusu Sempozyumu Bildirileri – The Proceeding of III. and IV. International Symposium of the Mosaic of Turkey
(Uludağ Üniversitesi, 2008) Witts, Patricia
Mustafa Şahin (editor), III Uluslararasi Türkiye Mozaik Korpusu Sempozyumu Bildirileri – The Proceeding of III International Symposium of the Mosaic of Turkey, Uludağ University, Bursa, 2007, 222 pages including 64 pages of plates in colour and black and white. ISBN 978-975-6149-32-4.
Prusia Ad Olympum mozaikleri
(Uludağ Üniversitesi, 2009) Okçu, Recep; Fen Edebiyat Fakültesi; Arkeoloji Bölümü
Bursa city is one of the rare cities which continues its development since the Hellenistic Period. The origin of the city is ancient Prusia Ad Olympum city. The ancient city, which was surrounded by city walls, has a location that is dominant to the recent modern city. The city also has an archaeological potantial which lead us to find many ruins and finds. Among these ruins, especially in the recent years like various places in Anatolia, mosaic pavements have been outshining. Therefore, this paper deals with mosaic pavements of ancient Prusia Ad Olympum city. One of these mentioned mosaics are the pavement which was found in 1949 in Yerkapı, and the others are the pavement found in Molla Güreni quarter in 2003-2004 and the pavement lying on the floor of Orhangazi Mousoleum.
Milas Ahmet Çavuş Mahallesi’nden çıkan mozaikler
(Uludağ Üniversitesi, 2009) Kızıl, Abuzer; Özcan, H. Özyurt
A rescue excavation was conducted by Milas Museum in Ahmet Çavuş District in Milas after some remains of walls and mosaics in between on the floor has been discovered within a substructure dig in an open field. Excavatons were conducted on a 54 X 38.42 m area. Mosaics were found in north, south and eastern parts of the area. Mosaics continue to under the streets to the east and north. Houses and piles of soil made it difficult to assess the situation to the South of the area. Six rooms were discovered in the area holding opus tessellatum and opus vermiculatum mosaics with floral and geometric motifs. In addition to that, during the excavations ceramics from a wide time period has been discovered at the site; starting from geometric Period till the end of Middle Ages. While the walls and ceramics indicate at least a few different periods for the structure, mosaics on the other hand are all made in same time period considering technique, style and composition. Dark blue is used for all the outlines, red, yellow, pink, light blue and white tesserae for the background is used for the compositions. Seeing no wall in the structure is aid upon the mosaic we can say that the additions to the building were finished before the mosaics were in place. One exception is a stone block we see on the Medusa’s head in location nr. VI. On three of the mosaics floral decorations are used for borders while geometric decorations are used for the compositions. Wave, saw- tooth, swastika, guilloche, peltae, leaves inside intersecting circles, circles, triangles, zigzag, checkers and Solomon’s knot motifs are used for the decorations. We see that these motifs are also used in architectural decoration since earlier periods. These motifs are used on many examples in Early Christian Period churches, baths, houses and graves; they all repeat each other without any regional differences. Some compositions however evolve in Early Christian Period and used in certain regions. The composition in the second panel from location nr. II is an example to this. It is thought to be originated from Cos island and used only in southeastern Karia and Twelve Islands in V. century buildings. This composition consisting of geometric motifs used before is arranged in a different manner that we don’t see in earlier periods. The example in Milas is one of the few we know. Another interesting composition is the medallion with the Medusa’s head in room nr. VI. It seems Medusa’s head similar to earlier examples was used here. Use of such mythological subjects and figures in Early Christian Period shows the influence of Ancient Art to Late Antiquity art. On dating these mosaics, instead of the structural features of the building, mosaics themselves give better clues. Similar compositions of the mosaic in room nr. II can be seen on the mosaics dated to V. century buildings. Scenes, motifs and figures from Antiquity are also used from III. century to VI. century on Christian Art. Compositions of geometric motifs are also used on Early Byzantium mosaics dated to V.-VI. century. In the light of all the data we have so far, six fragments of mosaics found in Milas should be dated to from V. century to the beginning of VI. century
Danae Evi’nin mozaikleri
(Uludağ Üniversitesi, 2009) Önal, Mehmet
Danae House was unearthed by my responsibility, on head of Gaziantep Museum Directorate in 2003-4 excavation. The house was named Danae owing to Danae was figured on the mosaics. Danae-Diktys mosaics were found in shallow pool (impluvium) of inner court. On this mosaics, the chest containing Danae and Perseus washed ashore on the island of Seriphos is described. Danae gets out from the box with her baby Perseus who was embraced by her, over agains pirate Diktys extends his hand to baby Perseus. One of the fisherman holds cover of the chest, the other looks at inside it. Similar scene like DanaeDiktys were find few on the other mosaics. The scene were described on the wall and vase painting. On these grounds, the Danae mosaics of Zeugma is rare. Geometrics desing mosaics are seen on the ground of perystyle, living room, resting room and latrine. The motifs of geometric mosaics are intersecting circles forming quatrefoils, row of tanged outlined with serrated fillets, shaded three-strand guilloche, meander and row of tangent four-pointed stars as saltires, with in crosslets of 5 poised tesserae. These geometric motifs are also seen on the ground mosaics of the other houses of Zeugma. Owing to location of Danae House is higher than Birecik Dam lake, its mosaics are left on-site in original rooms which they were found.
Bodrum-Torba monastery mosaics
(Uludağ Üniversitesi, 2009) Özet, Aykut
Bodrum ilçesine bağlı Torba köyünde 2000 yılında yapılan kazılar sırasında Geç Roma Çağına tarihlenen taşınır ve taşınmaz eserler ortaya çıkarılmıştır. Tapınak-Şapel, Rahipler evi, Büyük Kilise, Hamam ve Sarnıç gibi taşınmaz eserler içinde yapılan kazı çalışmalarında, tahrip edilmiş alanlar dışında kaliteli mozaiklerle döşenmiş tabanlara rastlanmıştır. Mozaikler genel olarak MS. V-VII yüzyıllara tarihlenen motifler içermektedir. Tessera büyüklükleri ve sayıları da bu yüzyılların özelliklerini taşımaktadır. Özel sektör elindeki bu külliye ne yazık ki korunamamakta ve her geçen gün biraz daha tahrip olmaktadır.
The Zodiac in ancient mosaics: Representation of concept of time
(Uludağ Üniversitesi, 2009) Şahin, Derya
Roma döneminde altın çağını yaşayan mozaik sanatı halka açık yapıların yanı sıra refah seviyesi yüksek insanların evlerini de süslemeye başlamıştır. Mozaik döşemelerde yaşanan bu ciddi talep artışı, ustaları model çeşitliliğine zorlamış bunun sonucunda da, çok geniş bir repertuar ortaya çıkmıştır. Zodyak ve zaman kavramının kişileştirilmesi de bu yeni dönemde kullanılan motiflerden birisi olmuştur. Bu çalışmanın amacı, nadir kullanılan kompozisyonlar arasında yer alan bu motife ait örnekleri bir arada incelemek, yer aldığı mekânları göz önünde bulundurarak mimariyle olan ilişkisini ortaya koymak ve böylece neden tercih edilmiş olabileceği sorusuna yanıt aramaktır.
Mozaikler üzerinde güneş saati betimli sahneler: Hatay Müzesinde yer alan iki parça ve diğer örnekler üzerine araştırmalar
(Uludağ Üniversitesi, 2009) Salman, Barış
A cross-section of daily life takes place on two pieces of mosaics in Hatay Museum. On both pieces there is a man figure with beard trying to catch the dinner. The time shown by the sundial on the scene was described by the inscription taking place on one of the pieces. Sundials apart from the ones at Hatay Museum take place on the scenes described by the scientists or philosophers who are engaged in scientific studies. The sundial described on the mosaic in Trier among the samples of Hatay Museum pieces and others differ from the others. The sundial described here must most probably be a model belonging to a time in which sundials just improved in Hellen world. Moreover, this sundial must be a model used not to determine the time but to observe the movements of the sun. Descriptions of sundials other than Trier sample are the samples taking place on the models of Vitruvius and those gained the identity of these complex tools.
Erzincan Altıntepe church with mosaic
(Uludağ Üniversitesi, 2009) Can, Birol
M.S. 6. yüzyıl ortalarına (imparator I. Justinianus dönemine) tarihli Altıntepe kilisesi, iç mekanı 19,60 x 11,30 m ölçülerinde, doğu-batı doğrultusunda uzanan 2 x 3 sütun dizimli, üç nefli ve bazilikal planlıdır. Doğu yönde yaklaşık 60 cm yükseklikte apsis platformu yer alır. Girişi olasılıkla kuzeydendir. Yaklaşık 220 m²lik alan kaplayan kilise iç zemini, güneydoğudaki pastaphorion hücresi dışında tamamen mozaiklerle döşenmiştir. Dikdörtgen panolarda, çeşitli geometrik ve bitkisel unsurun yanı sıra, dönem stilini yansıtan çok sayıda hayvan betimlemeleriyle de karşılaşılmaktadır. Zemin dışında, duvarların ve kemerlerin de mozaik ve duvar resimleriyle kaplı olduğu kalıntılardan anlaşılmaktadır. Zaman zaman onarımlar geçiren yapı MS. 7. yüzyılda Arap akınlarıyla yıkılmış, ancak kaledeki Bizans varlığı sone ermemiştir.
Une mosaïque de galets romaine à Erétrie (Grèce, Eubée)
(Uludağ Üniversitesi, 2011) Dubosson, Benoît
Since 2009 the Swiss School of Archaeology in Greece has started a new campaign of excavations in the centre of the Roman city of Eretria, on the west coast of Euboea (Greece). A monumental public building dated from the 2nd century AD, probably Roman baths, was discovered there in 2010. One of its rooms was decorated with a well-preserved mosaic, made of black and white pebbles set in simple geometric patterns. This pavement is technically close to the other mosaics found in Eretria and lies clearly within the framework of the tradition of the Hellenistic mosaics. It attests the persistence of the pebbles’ art during the Roman period.
Paphlagonia Hadrianoupolis’i Hamam A ve A Kilisesi mozaikleri
(Uludağ Üniversitesi, 2011) Patacı, Sami
Hadrianoupolis is located 3 km west of the modern town of Eskipazar, near Karabük, in Roman southwestern Paphlagonia. Excavation studies of Early Byzantine Church A and Bath Building A were conducted by a team directed by Assoc. Prof. Dr. Ergün Laflı from The Dokuz Eylül University in 2006. Excavation studies of Bath Building A were continued by the same team in 2007. Bath A is a monumental building which is located at the southern part of the city. The building was built at the end of 5th century A.D. and must have been in use until the beginning of 8th century A.D. A floor mosaic with geometric pattern which is dated 5th-6th century A.D. was discovered in a room called “The Room 11.” Early Byzantine Church A is located at 2,5 km east of the fortification walls of Byzantine Hadrianoupolis. The church is a basilical church with three naves in which there are remarkable floor mosaics dated first half of the 6th century. In the middle nave, several different animals were designed in curvilinear squares and frames.
Smyrna Agorası mozaikli yapı mozaikleri
(Uludağ Üniversitesi, 2011) Ersoy, Akın; Alatepeli, Sarp
It is envisaged that the Mosaic Building, which is adjacent to the west side of the Agora, has been designed and built at the same time with the Bouleuterion. The plan of the building, which is of 15 meters length and 25 meters width as of today, consists of five galleries extending in the north-south direction. It is confirmed that the building was damaged after a fire and therefore a second layer of mosaics must be replaced just onto the first mosaic floor. The first mosaic floor, which is dated as the end of the 2nd or the beginning of the 3th century A.D., is composed of panels made up of circles linked to each other by lines. The second layer of mosaics consists of circular or rectangular panels placed in the north-south direction. Different geometric shapes or floral decorations exist in the center of the panels. It is envisaged that the second layer of mosaics was built in the 4th century A.D. There is limited data about the function of the building with a basilical plan. Nonetheless it is thought that the mosaic building shared some of Bouleuterion political and administrative functions.
A new mosaic unearthed by an illicit excavation in Alasehir (Philadelphia)
(Uludağ Üniversitesi, 2011) Tok, Emine
Mosaic floor in Alaşehir (Manisa) was unearthed in an illicit excavation. In the ruins which seem to be of a monumental building, two rooms with floor mosaic and a cellar can partly be followed. The building continues underneath the modern constructions around. Therefore the general limits of the building and its function can be clarified after possible future excavations. Geometric, floral and figurative scenes are seen on the floors of the both rooms which are numbered as 1 and 2. The floor mosaic of the room Nr.1 consists of three panels. In the panels besides geometric and floral designs, there are representations of “Seasons”, “Okeanos and Tethys”. In the room Nr. 2 which is a bit smaller, the traces of repair on the mosaic panel calls our attention. The color, design and style difference points out two different periods. In this study our aim is to present the building with mosaic of which only a small part could be recovered today and also compare it with its contemporary examples.
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.

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