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Floor mosaics from the “Sanctuary of the Nymphs and Aphrodite” at Kasnakovo (Haskovo Region, Bulgaria)
(Bursa Uludağ Üniversitesi, 2025-09-24) Katsarova, Veselka
The archaeological excavations over the last 15 years at the site known as the “Sanctuary of the Nymphs and Aphrodite” at the village of Kasnakovo (Haskovo region), led to the discovery of a new buildings, whose rooms were decorated with floor mosaics. The analysis of the results of the research on the architectural complex from the Roman period points with increasing certainty to a rich private villa of a Romanized Thracian family. The two residential buildings were richly decorated with marble facings, frescoes and floor mosaics. The earlier Building A functioned between the mid 2nd and mid 3rd centuries. It was burned and abandoned during the first major Goth`s invasion in Thrace in AD 251. Two of its rooms were heated with hypocaust. The fragments of small and relatively thin tiles found in them, made of colored marbles, allow us to assume that they originated from a destroyed floor mosaic in the opus sectile that covered their floors. Building B has two construction periods. The first coincides in time with the functioning of Building A. The floor mosaic in Room 8 belongs to this period. It is black and white and made in opus tessellatum. After the destruction in the middle of the 3rd century, Building B was enlarged and decorated with new mosaics. Until its final abandonment around AD 324 it had a semicircular courtyard surrounded by a covered portico with a colonnade, a large central room with mosaics, living rooms, a swimming pool and a bathroom with hypocaust. The floor mosaics in Rooms 2 and 12 date from the second period of Building B. Both mosaics are made in opus tessellatum. The patterns in both rooms are geometric, with similar compositions of diamonds and squares on a white background. The colors of the two mosaics are white, blue and red. Their stylistic features and data from archaeological observations show that the mosaics date from the second half of the 3rd century.
Self-presentation and display of paideia by Roman Imperial villa owners: The case of the cosmological mosaic in Mérida
(Bursa Uludağ Üniversitesi, 2025-11) Honikel, Anna-Laura
In the Roman Imperial period, paideia and, relatedly, language were used as important tools by the social elite to prove and consolidate their status in a society characterised by social mobility. It is therefore not surprising that this phenomenon also manifested itself in decorative home furnishings, as the education acquired could be showcased during receptions and banquets to guests of similar social status. The owners of the villae and domus were able to stage themselves and their specific education in a variety of ways. A special example for this is the cosmological mosaic in Mérida, which is unique in many respects. Some of the 32 preserved personifications depicting the structure of the cosmos are characterized by a tense relationship between iconography and name inscriptions. These cases show that the cultural practice of embellished and riddled speaking, popular from the High Imperial period onwards, was applied to a visual medium. This enabled the patron to display his rhetoric abilities and high level of education to his invited guests.
Composition and iconography in the liturgical area of the churches of the Holy Land
(Bursa Uludağ Üniversitesi, 2025-09-23) Habas, Lihi
A study of the churches of the Holy Land has revealed that the liturgical areas are decorated with an iconographic and compositional variety of mosaics. It became clear that in some churches neutral geometric and vegetal arrays were preferred, while in others, figurative arrays were preferred. Vegetal motifs including trees, and populated vine scrolls. Some mosaics depict sheep, rams and peacocks facing the altar table, placed in front of it or under the altar. These animals represent the believers taking part in the Eucharist and attaining salvation. The same holds for the antithetical pairs of animals flanking an amphora, tree, or cross, or drinking from a spring. Some trees identified as the cross on the Hill of Golgotha. In a few sites, there is a tendency towards a mixture of styles: a neutral geometric and vegetal carpet and a vegetal carpet with figurative motifs, symbolic in character. Less frequently are depictions of an architectural façade, donors, and everyday life episodes, which are common in the carpets of the nave. The repetition of iconographic schemes in contemporary churches in the same area hints at the activity of a specialized regional school of mosaic craftsmen, and/or local preference.
Contribution to the Corpus of Roman mosaics from the Western Algarve I – The Roman Mosaics of the domus of Boca do Rio (Budens, Algarve)
(Bursa Uludağ Üniversitesi, 2025-08-18) Kremer, Maria De Jesus Duran
From a very early stage on, the attention of archaeologists and the general public was focused on the eastern Algarve and the Roman mosaics found there: richly decorated manor houses, pavements of urban public buildings, statuary and other finds; having been the subject of the Corpus of Roman Mosaics of the Eastern Algarve, pushing the westernmost part of the Algarve - the Western Algarve - into the background for a long time. The aim of this work is to start filling this gap and bring together the Roman mosaics found in the westernmost part of the Algarve, which are less well known but no less significant for understanding the Roman settlement in the Algarve and for defining styles and individualising mosaic workshops in this part of the territory. In this first of a series of articles, we will focus on the mosaics of the roman site of Boca do Rio
Harbiye Venüs’ün Doğuşu Mozaiği
(Bursa Uludağ Üniversitesi, 2025-01-09) Çelik, Ömer
Venüs’ün Doğuşu Mozaiği 2012 yılında tespit edilmiş ve kazısı 2015 yılında Hatay Müze Müdürlüğü uzmanları Ömer Çeli̇k ve Faruk Kılınç tarafından yapılmıştır. Hatay İli, Defne İlçesi, Harbiye Mahallesi 151 nolu parselde bulunan ve İS 2. yüzyıla tarihlendirilen mozaik, Hatay Bölgesi’nin mozaik yapım geleneğinin en güzel örneklerindendir. Hatay Bölgesi’nde yapılan Venüs’ün Doğuşu Mozaiği’nde Hesiodos’un Theogonia’daki yaratılış mitini, sanatçı kendisine örnek alarak işlemiştir. Venüs’ün Doğuşu Mozaiği Helenistik etkileri gösterirken, bu etki varlığını görsel sanatlar alanında günümüze kadar sürdürmüştür. Bu sebeple Hatay Mozaikleri; Helenistik, Roma Dönemleri ve günümüz arasında bir bağ görevi görmektedir.