2020 Sayı 13

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

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Book Review : Mosaicos romanos en el espacio rural: Investigación y puesta en valor
(Bursa Uludağ Üniversitesi, 2020) Quattrocchi, Luigi
The volume published (fig. 1) by “L’Erma di Bretschneider” orginated from the I+D+i project: “Patrimonio Arqueológico, Nuevas Tecnologías, Turismo, Educación y Rentabilización Social: Un nexo necesario para el yacimiento rural” (PATTERN). HAR2015-68059C2-2 (MINECO / FEDER, EU) directed by coordinator Luz Neira Jiménez and could count on the support of many academics from different institutions of Spain and Europe in general. It is therefore the result of four intense years of study which are enclosed in 18 contributions: the majority of them are about the site of the Roman villa of Fuente Álamo (Puente Genil, Córdoba), others explore other archaeological sites that help defining the general context of rural Roman mosaics
Book review : Corpus of the roman mosaics of the conuentus bracaraugustanus
(Bursa Uludağ Üniversitesi, 2020-07-13) Pessoa, Miguel
The text here published largely follows the presentation I did at the book launch on 26th June 2019, in the Auditorium of the National Library of Portugal. It was with great honour and pleasure that I accepted the task of presenting the Corpus of the Roman Mosaics of the Conuentus Bracaraugustanus, with the coordination and authorship of Fátima Abraços. The book preparation also had the helpful collaboration of António Manuel de Carvalho Lima, Cátia Mourao, Filomena Limao, Licínia Wrench, Marcelo Mendes Pinto, Paulo Dórdio Gomes and Rui Lopes.
A study of three mosaics donated to the archaeological museum D. Diogo de Sousa in Braga (Portugal)
(Bursa Uludağ Üniversitesi, 2020-08-03) Abraços, Fatima; Wrench, Licinia; Mourao, Catia
Three mosaics from a private collection were donated to D. Diogo de Sousa Archaeological Museum in Braga. One of them presents a hunting scene; another shows vine scrolls with leaves and grapes; the third presents a mythological scene where Pelops and Hippodamia are represented. In this study, we describe these mosaics and we follow their path to integrate the MDDS collection in order to provide researchers with their study and to allow their use by all types of public. As we know, the mosaics’ musealization must be made within the context to better understand the past, but we can’t disprove all mosaics surveys, because due to these actions that are promptly condemned today, except when demanded for conservation and heritage preservation purposes, we can study and enjoy the beauty of many of these pieces.
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.
The mosaic with family portraits and mythological figures in the villa armira near ıvailovgrad, Bulgaria
(Bursa Uludağ Üniversitesi, 2020-08-06) Parrish, David
This article draws inspiration from Jean-Pierre Darmon’s belief that the figural mosaics decorating Roman private homes often have an educational function, serving as a form of paideia and representing cherished social and cultural values of the classical tradition. That notion is applied to a mosaic embellishing the Villa Armira located near Ivailovgrad in southeastern Thrace (modern Bulgaria) and dated to the 2nd century AD. The pavement depicts very lifelike portraits of three family members in addition to numerous mythological subjects. The latter helped inform the children represented about important social and moral concepts reflected in the mosaic imagery, thereby preparing them for future adult life. Besides making a detailed description of the pavement in question, the article draws comparisons with mosaics from other imperial Roman provinces. This pavement is an outstanding example of the assimilation of Greco-Roman culture in the region of Thrace during the High Empire.
Nouvelles mosaïques d’osrhoène découvertes in situ en syrie du nord
(Bursa Uludağ Üniversitesi, 2020-08-07) Abdallah, Komait; Desreumaux, Alain; al-Kaid, Mohammad
In 2017, a mosaic was discovered in a plain near Tell Shioukh Tehtani, located 60 km northeast of Aleppo in the Euphrates Valley and is known for remains from the Bronze Age found by an Italian-Syrian archaeological mission. The mosaic was found during a clandestine excavation carried out before 2017. The Directorate of Antiquity in Damascus which was informed by the local society sent a team of restorers who excavated and documented all the floor mosaic before removing it to the service of antiquity at Al-Hassake province. The work of the restorers has shown that this mosaic is the remains of the pavements of a private villa. The drawing plan done by the restorers shows a part of this building composed of several rooms and a corridor. All these parts are paved with mosaics, some of them was in situ, others were looted. The apse main room is paved with a mosaic around a basin in the center; there remains only one carpet figured by the Achilles scene in Skyros; the figures are identified by inscriptions in Syriac. In another room, there is a mosaic around a basin in the center representing a foliage of vine coming out of the vases with four Eros. The mosaic of the corridor is decorated with geometric patterns. The stylistic study shows that these mosaics are very close to those found at Edessa (Urfa) and dated to the 3rd century AD. This mosaic has an exceptional importance because, on the one hand, it attests the diffusion of the Edessa mosaics workshops outside the city and its region, and on the other hand, it gives an idea on the decoration of the mosaics in the public buildings in this region in Roman times.
On the representation of ganymede in the roman mosaic of the loves of zeus from astigi (baetica)
(Bursa Uludağ Üniversitesi, 2020-08-07) Jimenez, Luz Neira
The discovery in 2015 of the great mosaic so called of the Zeus’ Loves in Écija (Sevilla) comes to highlight again the quality of the mosaic heritage of the ancient Astigi, capital of the conventus astigitanus in Baetica. It is a large pavement, which contains several pictures, with geometric motifs, Bacchic themes and scenes from the Zeus Loves cycle, among which the legend of the Rape of Europe stands out, as well as one of the Dioscuri, Leda and the Swan, a satyr pursuing a young maiden, identified as Antiope, and by last the legend of Ganymede. The depiction of Ganymede in Roman mosaics is well documented, in particular the precise instant of the abduction with both already in flight. However the Ganymede’s legend in the Astigi pavement of the Zeus’ Loves found in the Plaza de Armas shows a not usual image. This article deals with the literary sources and possible parallels that would have served as a model for the representation from Astigi. Are analyzed several images in Attic red-figure vases, Roman paintings, reliefs and gems and particularly in two mosaic floors, the Antioch pavement of the so called domus of Buffet Supper and the Italica mosaic of the love stories of Zeus, preserved in the Lebrija Palace-Museum in Seville.
The mosaic floors of the Church at Hazor-Ashdod, Israel
(Bursa Uludağ Üniversitesi, 2020-08-07) Habas, Lihi
A basilica has been found in Hazor-Ashdod, with a narthex in the west and a hall attached on the north side. The eastern part has not survived, but a capital of an altar table leg has been found, not in situ. The complex is decorated with mosaic floors, and each part of the building is decorated with a different pattern. The dedicatory inscriptions on the mosaic floors date completion of the mosaic floor in the northern hall to 506/507 CE, and completion of the basilica floor to 512 CE. The nave of the basilica is emphasized by the choice of a vine scroll pattern, populated by inanimate objects, animals, and birds. The carpet is dynamic, rich and crowded with motifs. By contrast, the aisles, the intercolumnars, and the northern hall are decorated with geometric carpets. Special panels mark the entrances to the nave, the northern aisle, and the transition between the first and second carpet in the northern hall. The Hazor-Ashdod panels contain a few crosses, the letters Α, Ω, Ι, Χ, and motifs with deep and symbolic Christian significance. All the motifs in the panels are depicted in one direction – from west to east from the viewpoint of a worshipper entering the church. The mosaic floor is similar in style, composition and iconography to early 6th century CE mosaic floors in the southern coastal plain, western Negev, and Gaza area. The floor belongs to a group of mosaics made to a moderately high technical standard. The style is schematic and quite flat. The style and technique are uniform throughout the church, and differ from those documented in the neighboring mosaic floors – evidence that they were made by an anonymous artist or a local workshop
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.
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.
The mosaic inscriptions of the Cibyran Odeion
(Bursa Uludağ Üniversitesi, 2020-08-09) Güler, Elif Alten; Tarkan, Düzgün
The aim of this article is to introduce three mosaic inscriptions and an inscription fragment of a pedestal, unearthed during the excavations carried out in the stoa in front of the Olmpeion odeion between 2011 and 2014 in Cibyra. As it is understood from the inscriptions, the mosaic floor, approx. 550 m2, in front of the monumental entrance of the odeion in a north-south direction was decorated in mosaic flooring by Aurelius Sopatrus and Claudius Theodorus, sons of Epancrates from one of the leading families of the city. It was carried out chronologically between 249-254 AD (according to the Cibyran era, 226-231). The first inscription includes the philanthropists promise to adorn the floor with mosaic in front of the odeion (249 AD); The second is to start the mosaic flooring in the same year. The last is to fulfill the promise completing the mosaic floor in front of the odeion (254 AD). Through the inscriptions, it is understood that the Cibyran odeion was called “Olympeion”. Other than this, new persons relating to the provincial priesthood of Asia are documented. Finally, a fragment of an honorary inscription is introduced which is thought to have been used for typogenic material dating to 243/252 AD.
The mosaic pavements in philippopolis, thrace, in 6th c. ce. some considerations
(Bursa Uludağ Üniversitesi, 2020-08-14) Topalilov, Ivo
The present paper deals with the mosaic pavements from Philippopolis which are known so far and that might be attributed to 6th c. CE. The topic is of interest because there is almost no information in the literature about the urban development of the metropolis, although it seems that the city gained huge prosperity especially from the first half to the middle of that century. As part of this prosperity, one should also regard the mosaic pavements that still preserve their importance as a medium of new ideas and religious requirements. The mosaic pavements discussed decorate both public and private buildings and reveal that the specifics of mosaic art in Philippopolis are to be attributed to both official Constantinopolitan initiatives, especially in the liturgical aspect, and also the tastes of local elites, as well as the craftsmanship of the local mosaic workshop. Taken together, these factors led to a variety of iconography, intertwined motifs, and colours, which make some of the mosaics unique so far in Late antique Thrace.
The Mosaics of the Castellitto villa in Ramacca (Catania - Sicily): review of published data and new perspectives
(Bursa Uludağ Üniversitesi, 2020-08-15) Di Caro, Dominique Maria
During the last seasons (May-July 2019), the archaeological excavations of the Castellitto villa in the territory of Ramacca, in Catania province, which were carried out by Soprintendenza Archeologica di Catania, under the direction of doctor Maria Teresa Magro, brought a new source of knowledge which reviews and highlights new aspects from the published data. This paper focuses on new information that allow us to reconstruct the history and the structure of the rural villa with attention to the study of mosaics. The study of mosaic flooring has covered both the unpublished mosaics recently discovered and the revision of published data during the 80’s. According to the current state of research, polychrome geometric mosaics have come to light, which consist of large shaped patterns and can be dated between 4th – 5th century AD. Finally, future scheduled excavations will be able to clarify the function and chronology of this late roman residential complex
İsa’nın mabede takdimi sahnesinin görsel anlatım biçimleri üzerine bir değerlendirme
(Bursa Uludağ Üniversitesi, 2020-08-15) İnanan, Filiz; Key, Fatmanur; Sosyal Bilimler Enstitüsü; 0000-0002- 7025-1476; 0000-0001-7573- 9967
Bizans Dönemi tasvirlerinde sıklıkla işlenen on iki yortudan biri olan “İsa’nın Mabede Takdimi” sahnesinin uygulandığı mozaikler ve farklı teknikte işlenen, on iki eserdeki betimlemeler incelendiğinde, Batı üretimi eserlerle Bizans üretimlerinde temel kompozisyonun paylaşıldığı ancak imgelemede belli farklılıkların bulunduğu görülmektedir. Aynı anda gerçekleşen iki önemli olay olan İsa’nın Simeon ile buluşması ve Meryem’in arınmasını içinde barındıran törenlerin, Doğuda ve Batıda, farklı içerik ve tarihlerde kutlandığı izlenmektedir. Doğuda Epifani’den kırk gün sonra “İsa’nın Mabede Takdimi” olarak kutlanan bayram, Batıda “Meryem’in Arınması” onuruna kutlanılmaktadır. Çalışmamız kapsamında, bu sahnenin betimlendiği eserlerden seçilen bazı örnekler incelenerek, ikonografik açıdan ortaklıklarının ve farklılıklarının saptanması amaçlanmıştır
The mosaic that never was. tesserae and raw material for an unlaid mosaic floor in trimithis (Dakhla Oasis, Egypt)
(Bursa Uludağ Üniversitesi, 2020-08-17) Nuovo, Marina M. S.; Prell, Silvia
In 2012, the international team of the archaeological expedition at Amheida, under the primary sponsorship of the Institute for the Study of the Ancient World (ISAW, New York University), found a large amount of pristine mosaic tesserae in the Roman polis of Trimithis, the modern Amheida (Dakhla Oasis, Upper Egypt). The tesserae were recovered in a room that was part of a bath complex that was under renovation when it was suddenly abandoned at the end of the 4th century AD. The tesserae, more than 20,400 in number, were made of limestone, sandstone and, in a very small percentage, of recycled pottery, showing four different colours: white, yellow, dark grey/black and dark red. They must be considered as the first evidence for a mosaic in the Egyptian oases. The aims of this paper are to present the finding context, the tesserae and their manufacturing and, finally, to display parallels with comparable discoveries.
From virtue to power: explorations in female heroism – the mosaics of lilian broca
(Bursa Uludağ Üniversitesi, 2020-08-17) Clarke, Angela
This article examines the mosaics of the contemporary artist Lilian Broca. Broca has completed two monumental mosaic series, with another underway, on the biblical figures of: Esther, Judith, and Mary Magdelene. Through mosaic Broca explores women and their relationship to power in the ancient world. Broca notes that throughout ancient history the worth of women has been evaluated through the lense of beauty and chastity. Broca researched ancient text extensively to uncover examples of women who were atypical of this paradigm: women who spoke truth to power and transgressed the accepted boundaries. Her work illuminates the manner in which these women navigated, and even exploited the loopholes in ancient society, enabling them to exert their influence on the masculine domains of power. Broca utilizes the medium of mosaic, since traditionally, it was a medium patronized by the most wealthy and privileged of ancient society. They were the sector of society who determined which stories would be most broadly disseminated and ultimately survive. Broca’s work is postmodern employing both the concepts of temporality and axiology. For Broca, time and history are fluid. By utilizing the predominately masculine medium of mosaic to tell feminst stories she strives to resolve history’s sins of omissions and the general absence of the female perspective in ancient history. Finally, Broca notes that the media and placement of ancient monumental art has done much to elevate the stories of male heros above women. In this regard, she reflects Paul Veyne’s concept of axiology, a term which enables social historians to evaluate the fluctuating value of social trends and historic objects. Broca suggests that by inserting a female narrative into ancient monumental art forms such as mosaic the stories of ancient women will finally be accorded with the same dignity and respect as their male counter parts.
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.
Tarsus Roma Hamamı Geç Antik Opus Sectile döşemesi
(Bursa Uludağ Üniversitesi, 2020-08-19) Adıbelli, Işık Adak
Tarsus şehir merkezinde bulunan Roma Hamamı kurtarma kazıları sırasında II. bölgede yer alan 2. açmada oldukça iyi korunmuş bir opus sectile zemin kalıntısı ortaya çıkarılmıştır. Makalenin amacı söz konusu opus sectileyi tanıtmak ve değerlendirmektir. Çalışmada öncelikle döşemenin yerinde incelenmesi yapılmıştır. Bir kısmı tahrip edilen, bir kısmı da toprak altında kalan kalıntının, ölçüleri alınmış, fotoğrafları çekilmiş, 3D tarama ile rölövesi çıkarılmış ve restitüsyon çiziminde eksik bölümleri tamamlanmıştır. Tarihlendirilmesi ve yorumlanmasında ise tabakasındaki veriler temel alınmış ayrıca benzerleri ile karşılaştırmalar da yapılmıştır. Geometrik opus sectile tipindeki döşememiz dikdörtgen biçimli 15 panodan oluşmaktadır. Beş farklı tipte bezeme kullanılan panoların araları geniş bantlarla ayrılmıştır. Motiflerde sekizgen, altıgen, kare, dikdörtgen ve üçgen biçimli, küçük ve orta boy plakalar kullanılmıştır. Bu plakalar ise siyah/füme tonlarında mermerler (nero antico/bigio antico), gri/beyaz renklerde damarlı mermerler (marmo bianco) ve sarı tonlarındaki (giallo antico?) miyosen kireç taşları ve travetenlerden oluşur. Opus sectile, hamam büyük ölçüde küçüldükten sonra işlevi değiştirilen ve olasılıkla bir dinlenme salonu veya şapele çevrilen bölümü için taban döşemesi olarak yapılmış ve İS V. yüzyıldan VII. yüzyılın ortalarına kadar (Geç Antik Çağ’da) kullanılmıştır. Döşemenin bu süreçte hasara uğradığı, bazı panolarda motifleri oluşturan örüntüde olması gerekenden farklı renklerde taşlar kullanılarak yapılan, yenileme ve tamirat izlerinden belli olmaktadır

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