2018 Sayı 11

Permanent URI for this collectionhttps://hdl.handle.net/11452/10125

Browse

Now showing 1 - 20 of 27

Book Review: Corpus of the Mosaics of Albania, Vol. 1, Butrint intramuros, Balkans’ Mosaic
(Bursa Uludağ Üniversitesi, 2018) Parrish, David
Scholars will welcome this new contribution to art and archaeology of the Balkans documenting mosaics at Butrint, a major site on the Albanian coast of the Adriatic near the island of Corfu, in the ancient province of Illyricum. Other volumes are expected to follow in an ambitious project to record all of the mosaics of Albania, an effort directed by a Franco-Albanian team led by Marie-Patricia Raynaud and Agron Islami. The present book’s publication in English makes its contents easily accessible to the scientific community and to others with a more general interest in its subject. The volume has 25 mosaic entries, mostly pavements in addition to a few wall mosaics, all of which are described and analyzed thoroughly and illustrated beautifully with photographs and drawings. The format parallels that used by M.-P. Raynaud in Vol. I, 1 of the Corpus of the Mosaics of Turkey, dealing with mosaics of Xanthos, specifically of the East Basilica there.
Book Review: Los mosaicos de la Plaza de la Encarnación. Roma a Seville, Guadalupe López Monteagudo, 117 pages, 59 figures, bibliography.
(Bursa Uludağ Üniversitesi, 2018) Kramer, Maja
Plaza de la Encarnación in the heart of the historic center of Seville was excavated between 2003 and 2009. Starting as a rescue excavation 1998, in connection with the planning of a parking area, four phases from over five centuries of buildings with mosaics, from the Roman Hispalis and the late antique Ispali, came to light. This book presents the mosaics which have a unique quality and diversity unmatched in its kind in the city, where otherwise only few mosaics have been found, unlike the other Roman cities in the region, Itálica, Ecija and Cordoba. The text, accompanied by magnificent color photos, is divided into four parts, presentation, introduction, main text which carries the book's title, as well as a selection of bibliographic references. Seville's Mayor, J. Espadas, opens with a presentation (pp. 9-10) of the Antiquarium, the archaeological space which was inaugurated on the site in 2010. Today it currently displays findings from the Roman period, together with archaeological remains of Seville's medieval period into the 14th century. In the Introduction (pp. 11-25) F. Amores, who from 2003 to 2010 was responsible archaeologist for a total of four excavation campaigns, presents a synthesizes of the findings and situates the Roman history of the place, from the first to the seventh century AD, in a chronological and regional context.
Common aspects of the mosaics of Sardinia, North Africa and Iberian Peninsula in the light of recent discoveries
(Bursa Uludağ Üniversitesi, 2018) Quattrocchi, Luigi
The article aims at understanding the common aspects of the new mosaics discovered comparing them to mosaics of North Africa and Iberian Peninsula. For the writing of this work, the teachings of the late Prof. Jose Maria Blázquez were handed down through a myriad of publications: A scholar who has always been busily occupied with all the mosaic art of the Mediterranean. The first part is dedicated to the geometric mosaics, two from “Domus dei Mosaici” and “Domus di Orfeo” (Turris Libisonis) and one from Sant’Imbenia, Alghero. The second part is dedicated to the figurative mosaics: Orpheus discovered in Turris Libisonis and a Head of Medusa discovered in Sant’Imbenia, Alghero. The ancient mosaics of Sardinia show the influence of nearby North Africa, not only in the figured mosaics but also and above all in the geometric mosaics. The cities in which we find more evidence of mosaics in Sardinia are: Nora, Porto Torres and Cagliari. But the city that in the last year is returning the greatest testimonies in terms of mosaics is the ancient Turris Libisonis. This article will not take into account all the recent discoveries, only the most significant and comprehensive to better explain the North African and Iberian influences: The mosaics that are not taken into consideration, in any case, are very similar to those examined here. It is hoped that in the future the archaeological excavations will bring to light new mosaics: So we can have more evidence to establish how much the North African influence was present in Sardinia.
Cube designs in Roman Baetica mosaics
(Bursa Uludağ Üniversitesi, 2018-08-06) Vazquez, Sebastián Vargas
The cube and the prism are frequent components of geometrical compositions featured in Roman mosaics. They can be found as free elements belonging to the secondary decoration of many pavements, or as part of friezes or mosaic panels, sometimes mixed with other geometrical figures to shape various compositions and sometimes used as exclusive motifs and single theme, forming unitary and/or modular panels. This paper will focus on the latter. In our catalogue of Geometrical Designs, these modular compositions with three-dimensional cubes or “tumbling blocks” and with elongated cubes or prisms define models E3 and E3A respectively. Even though these are present in a significant number of pavements in the Roman Baetica, we cannot assume their widespread use since they are so far absent from sit es with a well-established mosaic tradition, such as Italica, Hispalis or Carmo. In contrast, Astigi and Corduba are the cities where more pavements with these designs have been found. In this paper we will also analyse the process of development of both models, and how these compositions, dominant and solid by their own characteristics despite the sense of movement they transmit, can produce diverse effects and create different optical perceptions by simply changing the point of view from which they are observed or with a slight colour change. This last aspect is essential to allow the design its main feature, which relates to a three-dimensional effect.
Early Byzantine mosaic floors of the church at Ozem, Israel
(Uludağ Üniversitesi, 2018) Habas, Lihi
In the church at Ozem three phases of mosaics were identified, placed on different levels. The early group (A) includes: 1. Part of the carpet of the nave, decorated by a frame depicting a cross with the Geek letters ΑΩΙΧ, flanked by two lions, an amphora, stylized plants, birds, a donkey and peacocks, and a frame of alternating lotus flowers. The carpet consists of geometric medallions, floral patterns, birds and dedicatory inscriptions. 2. A narrow geometric panel. 3. Two geometric inter-columnar panels of the north colonnade. 4. Part of the mosaic of the northern aisle, decorated with a geometric pattern, and an inscription in a medallion dated to the year 430/1 CE. Mosaic group B (the second stage of the church) has been preserved to the west of mosaic group A. The mosaics were laid at a 13˚ deviation to the north in relation to group A. This group is decorated with geometric designs. Mosaic group C (the third stage of the church) is preserved on the western side of the excavation area. This group is decorated with geometric designs. Mosaic group A includes Christian symbols: a pair of lions, symbolizing the faithful, depicted on either side of a cross with the letters ἄ(λϕα) (καί) ὤ(μέγα) and Ἰ(ησοῦς) Χ(ριτός) – Jesus Christ - between its arms, and a peacock, which symbolizes the resurrection awaiting the believers. Group A is characterized by a flat and schematic style, and imperfect placement of the designs in the composition. Because of the difference in heights, it is clear that group B is later than group A. The work shows greater care and is of a better quality, evidence of a different group of artists. The mosaics in group C are the latest in the building.
From the Roman Mosaic to the Portuguese pavement: Continuity of an artistic expression in time and space
(Uludağ Üniversitesi, 2018) Kremer, Maria de Jesus Duran
The embellishment of pavements has always assumed a crucial role in what can be considered the furnishing of private and public spaces. The best known in antiquity has been, without doubt, the mosaic in all its forms: pebble mosaics, opus signinum, opus tessellatum, opus sectile. The mosaic, of Greco-Roman and Byzantine tradition, is one of the architectural and artistic elements that, for centuries, had been used to decorate the room in which they were placed. The beauty, coupled with the durability and strength of the material, was a determining aspect of the use of the mosaic as a pavement: two closely related aspects when looking at the Roman mosaic, which can still be found today on the Portuguese pavement or Portuguese mosaic, as it is called on the other side of the Atlantic. In this article, we intend to illustrate the continuity of an art, which has kept many classic motifs alive through the centuries taking it far beyond the territories of the Roman Empire.
Iconographie et relecture d’une mosaïque gallo-romaine à décor multiple de Vienne (Narbonnaise)
(Bursa Uludağ Üniversitesi, 2018-07-13) Vassal, Véronique
A large number of isolated panels of mosaics, discovered during the nineteenth century, have been preserved, sometimes forgotten in private collections and have not been studied. In many cases, we do not know their exact provenance. In the present article, we propose to study a panel of mosaic representing a deer, whose provenance is probably Vienne (Gallia Narbonensis) and is now kept in a private collection. This panel, according to comparisons with the other mosaics found at Vienne and in the two suburbs of SainteColombe and Saint-Romain-en-Gal, seems to belong to a multiple decor pavement mentioned by Adrien Blanchet in the Inventaire des mosaïques de la Gaule in 1909. The mosaic of the deer is certainly a panel disappeared after its discovery in 1867. We propose a new interpretation of the decor placing our panel with those from the same pavement still preserved in the archaeological museum, (church Saint-Pierre de Vienne): The four seasons, a lion, a dog, Theseus abandoning Ariadne and Ariadne asleep.
Iconography related to the mineral-medicinal waters in Hispanic mosaics in Castilla, Aragón and Navarra
(Uludağ Üniversitesi, 2018) Penedo, Mercedes Duran
This work is dedicated to the memory of Professor José María Blázquez with whom I had a close friendship and whose wise advice helped me to continue my research into the field of mosaics. I will focus on the Hispanic mosaics of Castilla, Aragón and Navarra. We know that gods invoked in thermal spaces ranged from the nymphs to Apollo, Minerva, Jupiter, Juno, Fortune or, for quite some time, even Bormanicus. The image of Medusa was also regarded as the carrier of healing blood, which was kept in the veins of her right arm, and that would be used by Asclepius in his resurrections. On the other hand, it is not unusual to find mosaics with the image of Medusa associated with the gods of hot springs. Objects such as shells, craterae, jars and jugswere part of its symbolic repertoire,which is, in turn, an inexpensive way to represent otherwise more elaborate motifs. In Hispania the said associations are traces of former pre-Roman cults, which would later syncretise with those beliefs imposed by the Roman civilisation. The fact that the higher concentration of mosaics displaying craterae, shells, etc. are located at specific enclaves where waters can be often found in situor not far from the location led us also to believe that there is a connection between the ornamental motifs of mosaics and the curative waters. It will be through this analysis that we will clarify this approach.
The modernization of mosaic art in Turkey
(Bursa Uludağ Üniversitesi, 2018-10-16) İkizgül, Hülya Vurnal
In Turkey, improvement of the mosaic art started in the Republic period with the help of far-sighted Atatürk who has attached great importance to history and art. The first excavation and restoration works started with foreign archaeologists. During that period, local archaeologists were also trained in order to keep these excavations up and running. Again in this period, Architect-Painter Association was founded after the“Fine Arts law”. The philosophy of the Bauhaus school, which aims to integrate the fine arts with architecture, has influenced our 1960 artists by the mosaics brought to light by our archaeologists. With the introduction of this law, between 1955 and 1970, Turkish artists applied the first original modern mosaic works to architecture. The “applied fine arts” (Today’s Marmara University Faculty of Fine Arts) was established under the influence of Bauhaus Art School. This school has trained artists who produced very successful works in architecture. In the 1960s Bedri Rahmi Eyüboğlu transferred the Plastic Art to architecture through the mosaic, as a pioneer. In 1990s H. Vurnal İkizgül pulled out mosaic art from architecture and carried it to today’s art. Today, mosaic art is re-experiencing and renewing itself with several new techniques and materials. Therefore we must aim to acquire the innovative mosaic education institutions that will pioneer in the world. The emergent artistic production and accumulation by the new generation will raise us on the international platform and underpin of our Contemporary Mosaic Museum.
The mosaics from Abicada and Boca do Rio (Portugal) - A new perspective thirty years later
(Bursa Uludağ Üniversitesi, 2018-07-10) Teichner, Felix; Romero, Irene Manas
In this paper we deal with some mosaics found in two seaside settlements in the Algarve (Portugal), Boca do Rio (Vila do Bispo, Faro) and Abicada (Mexilhoreira Grande, Portimão). Mosaics from Boca do Rio were found in 1870 by Sebastião Philippes Martins Estácio da Veiga, and just one of them is preserved today, though we know some others through two detailed drawings and a plan made by Amélia Claranges Lucotte. The villa of Abicada has been known since 1917 and its sophisticated pars urbana was excavated between 1937–38 by José Formosinho. The mosaics of both archaeological sites were studied in 1987 by Prof. José Maria Blázquez who offered a first stylistical approach to some of the most outstanding floors. The progress of research produced in current years in the fields of archaeological research, Roman architecture and mosaics of the Algarve enable us to address these mosaics again, to study them from a broader perspective. We analyse their stylistic and compositional characteristics, paying special attention to the similarities with mosaics in other rural settlements in the area, like the best-known examples of Milreu and Cerro da Vila. They all share some stylistic and technical characteristics that enable us to place them in a common chronological and productive horizon, next to the mosaic production of other Roman sites of the Algarve. Thus, close parallels of geometrical and ornamental style in neighbour mosaics is useful both for suggesting a date to these non-stratigraphically dated mosaics and for defining the features of the widespread mosaic production in the Algarve.
New documentation technologies: The “Mosaico de Otoño” of the “Casa del Anfiteatro”, Mérida, Spain
(Bursa Uludağ Üniversitesi, 2018) Chivite, M. Paz Perez
The graphic documentation of a mosaic preserved in situ is a laborious job. Nowadays, with the advance of new technologies, it is feasible to elaborate a detailed and accurate documentation. To do this, two technologies must be combined: Orthophotography and a Geographic Information System (GIS). The application of these new tools allows qualitative and quantitative studies based on the knowledge of the geographical space. You can make measurements and identify each tessera in its exact location, with geographic coordinates, and, in addition, you can see all the details of the mosaic and the entire room, with a single digital file. With this objective, we have designed and put into practice this new documentation methodology. We have applied this method in the Archaeological Site of Mérida, in Spain. In particular, we have studied one of the most emblematic mosaics of Augusta Emerita: the “mosaico de Otoño”. This pavement is located in the famous “Casa del Anfiteatro”, which stands out for the quality and quantity of its Roman mosaics. The management and conservation of the archaeological site is carried out by the Consorcio of the Monumental Ciudad of Mérida, institution from which we have carried out this investigation. With this work we have obtained the first study on the reintegration of tesserae, getting a map with the old interventions (from Roman times) and modern ones that had not been documented since the discovery in the 60s. Also, from the drawings on the orthophotography, we also get the first results for the analysis of the iconography, identifying the figures and the geometric motifs in their whole. This digital analysis is, in addition, a fundamental document to certify the current state of conservation and keep track of deterioration over time.
A new insight into the iconography of the Civitas Classis mosaic at Sant’Apollinare Nuovo, Ravenna
(Bursa Uludağ Üniversitesi, 2018-07-05) Ugolini, Federico
Ravenna boasts a high number of mosaics dating from the Late Antique period. Scholars have often considered these artworks in isolation, often within historical and topographic studies, and only from a very limited symbolic and iconographic perspective. This paper provides a new interpretation on the iconography of the Civitas Classis mosaic at SantʼApollinare Nuovo, Ravenna, from the early 6th century AD. The first section of the paper explores the iconography of the mosaic by investigating both topographic and symbolic details represented in the port scene of the Civitas Classis mosaic. The second section examines the aspects of symbolism, identity and metaphors for power expressed by the iconography of the Civitas Classis mosaic. This paper also provides an entry point, written in English, into the study of the mosaics from the Adriatic region in antiquity.
A new mosaic workshop in South Sardinia?
(Uludağ Üniversitesi, 2018) Angiolillo, Simonetta
Up to now, two workshops have been identified in South Sardinia, at Nora, but the recent discovery in the surroundings of Cagliari of two late polychrome mosaics, one at Sarroch, the other at Settimo San Pietro, yielded new data, increasing our knowledge. Both of them present the same patterns - a chevrons rainbow style pattern and an orthogonal pattern of adjacent imbricated scales - and strong similarities in the style, while nothing similar has been found in the whole Sardinia; an unknown, common workshop can therefore be assumed. But the floor at Settimo San Pietro includes a third panel which shows a geometric mosaic “à trame végétalisée”, exactly alike to other two which were found in Carthage and Maiorca, and we can assume a Carthaginian origin of this pattern. So, can we think to only one workshop for the three floors, even for the panel with chevrons and adjacent imbricated scales, and for the mosaic at Sarroch too? And responsible for these mosaics could be African itinerant workers or Sardinian craftsmen, with African models at their disposal? Literary, documentary and archaeological sources witness for the existence of cartoons and pattern books in the ancient world, but we know for sure that itinerant craftsmen too existed. The present study will debate and analize the different working hypotheses, but the answer is not yet possible, and we have to wait for more archaeological data and findings.
New reading of the mosaic in Noheda (Cuenca, Spain)
(Bursa Uludağ Üniversitesi, 2018) Monteagudo, Guadalupe Lopez
In the Roman villa of Noheda (Villar de Domingo García, Cuenca), the most distinguished of the structures excavated, is the so-called tri-apsidal (triconch) room, belonging to the residential part of a 4th and 5th century villa, with its 290.64 m2 dimensions and its extraordinary figured mosaics. Many of the mythological themes represented are connected with loving partners: Pelops and Hippodameia, the story of Paris and Helen, the Triumph of Bacchus in the company of Ariadne. The scenes related are also represented to the mime “the jealous husband”, and Venus is evoked trough mythological characters associated with her which appears next to the fishing scenes. The interpretative analysis of the ensemble mosaics found in Noheda is based on the mythological and allegorical scenes depicting certain characters. For instance the Erotes or the typical dextrarum iunctio gesture by lovers, Dionysus and Ariadne’s hierogamia as the divine couple manifest the allegory of the exaltation of love, of the union of divine and human. Together with decorative elements, such as garlands and gardens, related with Venus, goddess of love, leads to an alone interpretation in allegorical lines as the subliminal messages are revolving around the triumph of love. So far, the mosaic in the triclinium of Noheda can be proclaimed as a great exponent of love; of lawful and unlawful relationships, of happy endings with couples’ weddings or punishment inflicted on adulterous characters. It all of it presided over by the spirit of Venus as inspirer of love.
New representations of the myth of Pelops and Hippodamia in Roman mosaic art
(Bursa Uludağ Üniversitesi, 2018-07-12) Tevar, Miguel Ángel Valero
Although the myth of Pelops and Hippodamia became very popular in the classical mythological tradition, to date, representations of it have been scarce. The few existing examples consisted of the sculptural ensemble of the pediment of the Temple of Zeus at Olympia, some 3rd century sarcophagi, and a number of ceramic vessels. The sole mosaic representation was that held by the Museum of Damascus. However, in recent years, the number of mosaic representations has greatly increased. The discovery of the mosaic at Noheda, featuring, for the first time, the entire narrative sequence of the myth, coupled with the discovery of a possible new specimen, in which Pothos is portrayed as a main character for the first time, not only makes it possible to reconstrue hitherto misinterpreted ancient tapestries, but also furthers understanding of the legend’s iconography in Classical Antiquity.
On the Eirene mosaic from Philippopolis, Thrace
(Bursa Uludağ Üniversitesi, 2018-07-12) Topalilov, Ivo
The present article deals with the mosaic pavements of one of most significant residential complexes in Late Antique Philippopolis – the Domus Eirene. The name of the complex refers to the personification that is the main element in the decoration not only of the reception hall, but the entire building. An analysis of two main aspects is made: one concerning the transformation of the image of the personification into a Christian saint, and another which concerns the transformation of the complex itself into a domus episcopalis and how that is reflected in the mosaic pavements. In the case of Eirene the image may have well been connected with historical events, contemporary or nearly contemporary with the time when the mosaic was produced, and also with political and religious propaganda.
On the interpretation of Pothos in a mosaic from the antiquities market with the representation of Pelops and Hippodameia
(Bursa Uludağ Üniversitesi, 2018) Jiménez, Maria Luz Neira
This paper analyzes a representation of Pothos in a mosaic auctioned in the antiquities market, –from a private collection after being acquired at Asfar Brothers, Beirut, in the late 60's. -, today in J. Bagot ArchaeologyAncient Art in Barcelona. More specifically, we will discuss, its interpretation within a scene related to Pelops and Hippodameia. Even the three characters are represented, with an unusual iconography, their identification is undoubtedly established on the base of inscriptions in Greek. To proceed with this discussion, this study analyzes the ancient literary sources and the images of Pothos depicted in the other mosaics, among others, on a mosaic of Pelops and Hippodameia from London antique market in 1979, that had been part of a private collection of California until the 1990s, being auctioned at Christie's in New York on 2010, and in the mosaic of the Weddings of Dionysus and Ariadne from Philippopolis. In connection with the references of some literary sources, the representations of these two mosaics are very revealing to understand the mosaic scene currently conserved in J. Bagot.
Ontario Kraliyet Müzesi’nde sergilenen Edessa kökenli bir grup mozaik pano
(Bursa Uludağ Üniversitesi, 2018-10-19) Şahin, Derya; Ünsal, Nur Deniz; Fen Edebiyat Fakültesi; Arkeoloji Bölümü; 0000-0003-0021-4271; 0000-0002-6798-6551
Çalışmanın konusunu, Toronto kenti Ontario Kraliyet Müzesi’nde sergilenen ve Edessa (Şanlıurfa) kökenli olduğunu düşündüğümüz mozaik döşemeler oluşturmaktadır. Sözü edilen üç mozaikten ilki “Genç Kız Mozaiği” olarak isimlendirilmektedir. Bu mozaik, Edessa kentine has kaya mezarlarında bulunan ve yerel üretim özellikleri gösteren mozaik döşemelere çok benzemektedir. İkinci mozaik panonun üzerinde yer alan Artemis betimi, Haleplibahçe Mozaikleriyle çağdaş tasarım özellikleri yansıtmaktadır. Makale kapsamında incelenen son panoda ise aslan figürü betimlenmiştir. Aslan figürünün temel özellikleri, Edessa yerel mozaik atölyesi özelliklerini yansıtmaktadır. Yukarıda bahsi geçen opus tessellatum döşemelerden ikisi yani Genç Kız Mozaiği ve Aslan Mozaiği, İS 3. yüzyılın ilk çeyreğine, Artemis Mozaiği ise İS 6. yüzyılın başlarına tarihlenmekte ve stil ile teknik özelliklerinden hareketle Edessa’ya lokalize edilmektedir.
The “Opusmusiuum - Roman Mosaics in Portugal” academic project: from Teachers’ lab to public
(Uludağ Üniversitesi, 2018) Limao, Filomena
This paper will briefly describe an online academic project about Roman mosaics in Portugal created by students and a teacher during the Spring Semester 2011 at the Faculty of Social Sciences and Humanities, NOVA University, Lisbon. The project is titled “Opusmusiuum- Roman Mosaics in Portugal” and just as the muses have inspired the work of mosaics, students were enthusiastically involved in making their idea come to light i.e. preparing quality information about Roman mosaics found in Portugal either in situ or in museums for a website catalogue. The contents would be displayed to students, researchers and lay public through short videos, audio recordings and short texts. Eventually, this website would fulfil a gap in the specialized Portuguese literature on this topic. On June 2011, Professor José Maria Blázquez Martínez attended the V. International Symposium of the Mosaic Corpus of Türkiye in Kahramanmaraş, Turkey, where a group of Portuguese and Spanish researchers met. His enthusiasm for the potentialities of the study of mosaics and the joy for new discoveries have always motivated students and colleagues to continue investigation. In Kahramanmaraş, his inspiring example made me think about academia as an exciting place were ideas are born and shared, a challenging environment I would call, a “teachers’ lab.” The “Opusmusiuum- Roman Mosaics in Portugal” project was the result of a teachers’ lab and now that seven years have passed since it was devised in a classroom I think that its goals, achievements (though incomplete) and values of good scientific practice are worthy of paying tribute to an inspiring Professor. Like Professor Blázquez, we persevere in this task hoping one day the Opusmusiuum will meet its public.
Prusias ad Hypium Akhilleus mozaiği
(Bursa Uludağ Üniversitesi, 2018) Sezer, S. Sezgin
Akhilleus Mozaiği, 1950’li yıllarda Prusias ad Hypium kentinin güney tarafındaki bir tarlada tesadüfen bulunmuştur ve kentteki bir Roma villasının zemininde yer almış olan bir taban mozaiğidir. Çok az bir kısmı korunmuş olan mozaik parçası üzerinde üç adet yazıt bulunmaktadır. Bu yazıtta sol başta Genç Kızlar (παρθένοι), ortada Deidameia (Δηιδαμεία) ve onun sağında Purrhos (Πύρρ̣ο[ς]) yazmaktadır. Yazıtlardan da anlaşıldığı gibi bu mozaikte Skyros Adası’nda Kral Lycomedes’in Sarayı’nda Akhilleus’un, Odysseus tarafından ortaya çıkarılması tasvir edilmiştir. Sahnenin sağ üst köşesinde en üstte yazılmış olan Parthenoi yani Antik Yunanca anlamıyla “Genç Kızlar” hikâyenin geçtiği Lykomedes’in Sarayı’ndaki mozaikte arka planda bulunan Lykomedes’in genç kızlarını ima etse de aslında bu sahnenin bu temayı işleyen ve Parthenoi (Genç Kızlar) olarak adlandırılmış tragedya veya pandomim için yazılmış ve günümüze kadar ulaşmamış bir edebi tiyatro eserinin adı olduğunu bize göstermektedir. Aynı durum Zeugma Akhilleus Mozaiği’nde (Quintus Calpurnius Eutykhes Evi’ndeki) de görülmektedir. Bu sahnenin etrafını dalgalı kurdele bandı çevirmektedir. Bundan sonra mozaiği, günlük hayattan iki sahne olan av ve ziyafet sahnesi çevirmiştir. Mozaik en dışta ise geometrik bir bordür ile sonlandırılmıştır. Prusias ad Hypium Akhilleus mozaiği sahip olduğu stilistik ve ikonografik özellikler itibariyle İS 3. yüzyılın ortalarına ait olmalıdır.

Browse

Browsing by Title