Dağlık Kilikya Bölgesi’nin en görkemli kentleri arasında yer alan Syedra Antik Kenti, Alanya İlçesi, Seki Köyü sınırları içerisindedir. İsmini Sedre Çayı’ndan aldığı düşünülen kent, oldukça yüksek bir tepe üzerine konumlandırılmıştır. Kentte 2019 yılında başlatılan ilk sistemli kazılar, sütunlu caddenin hemen güneyinde bulunan Büyük Hamam kompleksinin frigidaryum bölümünde gerçekleştirilmiştir. Bu alanda yürütülen çalışmalar sırasında opus tessellatum tekniğinde yapılmış, 7.9 m genişliğe ve 21.91 m uzunluğa sahip, eşine nadir rastlanabilecek bir taban mozaiği ile karşılaşılmıştır. Siyah zemin üzerine çok renkli tesseraların kullanılmasıyla oluşturulmuş geometrik desenli bir bordürle çevrelenen taban mozaiğinde, Herakles’in on iki işinin betimlendiği görülmüştür. Kilikya ve diğer çevre bölgelerde bir benzerine henüz rastlanmayan söz konusu mozaiğe yönelik bu çalışma, ilk değerlendirmeleri içermektedir. Mozaiğin üslup özelliklerini belirleyen geometrik ve figüratif bezemeler ışığında yakın bölgedeki benzer örneklerle karşılaştırılarak yapım tarihinin tespiti ve çevre kentlerdeki diğer atölyelerle etkileşimin var olup olmadığının belirlenmesi amaçlamaktadır. Bu doğrulta yapılan incelemeler Syedra’daki Herakles mozaiğinin üslup özellikleri açısından özellikle Zeugma ve Antioch/Antakya mozaikleri ile benzerlik taşıdığını ve İS 3. yüzyıl başlarına tarihlendirilmesinin yerinde olabileceğini düşündürtmektedir.
塞德拉古城（Syedra Ancient City）是西里西亚山区最宏伟的城市之一，位于阿兰亚地区塞基村（Seki Village）境内。这座被认为是以塞德雷溪流命名的城市位于一座非常高的山丘上。2019 年开始的首次系统性发掘是在柱廊街以南的大浴场建筑群的冷藏室部分进行的。在这一区域的发掘过程中，我们发现了一个罕见的以 opus tessellatum 技术制作的地板马赛克，宽 7.9 米，长 21.91 米。地面马赛克的四周是由黑底多色魔方组成的几何图案边框，描绘了赫拉克勒斯的十二件作品。本研究首次对这种马赛克进行了评估，在西利西亚和其他邻近地区尚未发现这种马赛克。几何和形象装饰决定了马赛克的风格特征，本研究旨在通过将其与附近地区的类似作品进行比较来确定其建造年代，并确定其是否与周边城市的其他作坊有相互影响。在这个方向上进行的分析表明，赛德拉的赫拉克勒斯马赛克在风格特征上与宙格玛和安提阿/安塔基亚的马赛克相似，将其年代定为公元 3 世纪早期可能是合适的。
{"title":"First Evaluations on the Mosaic Depicting of the Twelve Works of Herakles in the Great Bath Complex of Syedra","authors":"Hatice ERGÜRER","doi":"10.26658/jmr.1376778","DOIUrl":"https://doi.org/10.26658/jmr.1376778","url":null,"abstract":"Dağlık Kilikya Bölgesi’nin en görkemli kentleri arasında yer alan Syedra Antik Kenti, Alanya İlçesi, Seki Köyü sınırları içerisindedir. İsmini Sedre Çayı’ndan aldığı düşünülen kent, oldukça yüksek bir tepe üzerine konumlandırılmıştır. Kentte 2019 yılında başlatılan ilk sistemli kazılar, sütunlu caddenin hemen güneyinde bulunan Büyük Hamam kompleksinin frigidaryum bölümünde gerçekleştirilmiştir. Bu alanda yürütülen çalışmalar sırasında opus tessellatum tekniğinde yapılmış, 7.9 m genişliğe ve 21.91 m uzunluğa sahip, eşine nadir rastlanabilecek bir taban mozaiği ile karşılaşılmıştır. Siyah zemin üzerine çok renkli tesseraların kullanılmasıyla oluşturulmuş geometrik desenli bir bordürle çevrelenen taban mozaiğinde, Herakles’in on iki işinin betimlendiği görülmüştür. Kilikya ve diğer çevre bölgelerde bir benzerine henüz rastlanmayan söz konusu mozaiğe yönelik bu çalışma, ilk değerlendirmeleri içermektedir. Mozaiğin üslup özelliklerini belirleyen geometrik ve figüratif bezemeler ışığında yakın bölgedeki benzer örneklerle karşılaştırılarak yapım tarihinin tespiti ve çevre kentlerdeki diğer atölyelerle etkileşimin var olup olmadığının belirlenmesi amaçlamaktadır. Bu doğrulta yapılan incelemeler Syedra’daki Herakles mozaiğinin üslup özellikleri açısından özellikle Zeugma ve Antioch/Antakya mozaikleri ile benzerlik taşıdığını ve İS 3. yüzyıl başlarına tarihlendirilmesinin yerinde olabileceğini düşündürtmektedir.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rhodiapolis antik kentinin (Kumluca, Antalya) akropolisinde yer alan üç nefli kilise, batısında narteks, doğusunda apsis ve yan mekânlarıyla erken dönemin klasik bazilika plan tipine sahiptir. 2007 yılında başlayan kazılarda kilisenin narteks, orta ve yan nefleri ile prothesis bölümlerinde opus tessellatum tekniğindeki geometrik desenlerden oluşan mozaikler ortaya çıkarılmıştır.
Mozaiklerin tümü mermer, kireç taşı ve pişmiş toprak malzemeden düzgün kesilmiş küp biçimli polykrom tesserae ile yapılmıştır. Pano desenlerinin ortak özelliği, beyaz zemin üzerine sarı, kırmızı, pembe, bordo, mavi renkler kullanılarak oluşturulmuş geometrik desenlerin, üç boyutlu bir etki yaratacak şekilde gölgelendirilerek işlenmiş olması ve bunların siyah veya siyaha yakın gri renkli tesserae ile sınırlanmış olmasıdır. Farklı geometrik düzenlemelere sahip on panodan oluşan kuzey nefte ve kesintisiz devam eden tek bir panodan oluşan güney nefte bordür kullanılmamıştır. Prothesis ve orta nefte panolar bordür kullanılarak kapalı bir formda düzenlenmiştir. Nartekste ise, mekân üç ana panoya bölünmüş ve sadece kuzeydeki iki panoda bordür kullanılmıştır. Ayrıca ana desenlerin işçiliklerindeki kalite mekânlara göre farklılık gösterir. Bu farklılıklar kilise mekânlarına ait taban mozaiklerindeki farklı atölyelere işaret eder. Rhodiapolis Kilisesi mozaiklerinde kullanılan Geç Antik Dönem repertuarından seçilmiş desenlerin yakın benzerleri, genellikle 5. yüzyıl ve 6. yüzyıl başına tarihlenen mozaiklerde görülür. Ancak yakın yerleşmeler dikkate alındığında, bu mozaiklerin 5. yüzyıla ait oldukları söylenebilir.
{"title":"Rhodiapolis Piskoposluk Kilisesi Mozaikleri","authors":"Şehrigül YEŞİL","doi":"10.26658/jmr.1376871","DOIUrl":"https://doi.org/10.26658/jmr.1376871","url":null,"abstract":"Rhodiapolis antik kentinin (Kumluca, Antalya) akropolisinde yer alan üç nefli kilise, batısında narteks, doğusunda apsis ve yan mekânlarıyla erken dönemin klasik bazilika plan tipine sahiptir. 2007 yılında başlayan kazılarda kilisenin narteks, orta ve yan nefleri ile prothesis bölümlerinde opus tessellatum tekniğindeki geometrik desenlerden oluşan mozaikler ortaya çıkarılmıştır.
 Mozaiklerin tümü mermer, kireç taşı ve pişmiş toprak malzemeden düzgün kesilmiş küp biçimli polykrom tesserae ile yapılmıştır. Pano desenlerinin ortak özelliği, beyaz zemin üzerine sarı, kırmızı, pembe, bordo, mavi renkler kullanılarak oluşturulmuş geometrik desenlerin, üç boyutlu bir etki yaratacak şekilde gölgelendirilerek işlenmiş olması ve bunların siyah veya siyaha yakın gri renkli tesserae ile sınırlanmış olmasıdır. Farklı geometrik düzenlemelere sahip on panodan oluşan kuzey nefte ve kesintisiz devam eden tek bir panodan oluşan güney nefte bordür kullanılmamıştır. Prothesis ve orta nefte panolar bordür kullanılarak kapalı bir formda düzenlenmiştir. Nartekste ise, mekân üç ana panoya bölünmüş ve sadece kuzeydeki iki panoda bordür kullanılmıştır. Ayrıca ana desenlerin işçiliklerindeki kalite mekânlara göre farklılık gösterir. Bu farklılıklar kilise mekânlarına ait taban mozaiklerindeki farklı atölyelere işaret eder. Rhodiapolis Kilisesi mozaiklerinde kullanılan Geç Antik Dönem repertuarından seçilmiş desenlerin yakın benzerleri, genellikle 5. yüzyıl ve 6. yüzyıl başına tarihlenen mozaiklerde görülür. Ancak yakın yerleşmeler dikkate alındığında, bu mozaiklerin 5. yüzyıla ait oldukları söylenebilir.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Bu çalışmanın konusunu Sinop Balatlar Kilisesi Kazısında açığa çıkarılan adak mozaiklerinde görülen kuş figürleri ve ikonografileri oluşturmaktadır. 2016-2021 yılları arasında yürütülen kazı çalışmaları sonucunda açığa çıkarılan 10 farklı panodan oluşan Balatlar mozaikleri Yunanca yazıtlarından da anlaşıldığı üzere belli kişilerin adakları için yapılmıştır. Bulunduğu mekan ve yapılış gayesi bu mozaiklerin ikonografilerinin şekillenmesinde en önemli kilit noktasını oluşturmaktadır. Paganizm etkilerinden sıyrılarak Hristiyan bir kimlik kazanmayı hedefleyen erken Bizans mozaik sanatının tümünde olduğu gibi Balatlar Kilisesi mozaiklerinde de sadeleşme ve geometrik formlar içerisinde sınırlandırılmış alanlarda figürlerin tasvir edildiği görülmektedir. Kuş figürü dışında herhangi bir figüratif süsleme ile karşılaşılmayan Balatlar mozaik örneklerinde 10 farklı cinsten 42 kuş figürünün tasvir edildiği görülür. Kartal, güvercin, keklik, horoz/tavuk, kumru, papağan, leylek, ördek ve çeşitli ötücü kuşların yer aldığı mozaiklerde bu figürlerin tek başlarına ya da birlikte tasvir edildikleri kompozisyona göre çeşitli ikonografik anlamlara geldikleri görülmektedir.
Bilindiği üzere dünya sanat tarihi içerisinde pek çok farklı anlam ile özdeşleştirilen kuş figürleri her dönemde olduğu gibi Hristiyan sanatında da farklı kimi özellikleri doğrultusunda çeşitli anlamlar kazanmış sembolik figürlerdir. Bu bağlamda çalışmanın amacı Balatlar Kilisesi Mozaiklerinde karşımıza çıkan kuş figürlerinin cinslerini tayin ederek ikonografilerini tarihsel gelişimle birleştirerek Tevrat ve İncil temelli ikonografik yorumlarını tespit etmektir.
{"title":"Sinop Balatlar Kilisesi Örnekleri Işığında Erken Bizans Dönemi Mozaiklerindeki Kuş Figürlerinin İkonografisi","authors":"Ozan HETTO","doi":"10.26658/jmr.1376816","DOIUrl":"https://doi.org/10.26658/jmr.1376816","url":null,"abstract":"Bu çalışmanın konusunu Sinop Balatlar Kilisesi Kazısında açığa çıkarılan adak mozaiklerinde görülen kuş figürleri ve ikonografileri oluşturmaktadır. 2016-2021 yılları arasında yürütülen kazı çalışmaları sonucunda açığa çıkarılan 10 farklı panodan oluşan Balatlar mozaikleri Yunanca yazıtlarından da anlaşıldığı üzere belli kişilerin adakları için yapılmıştır. Bulunduğu mekan ve yapılış gayesi bu mozaiklerin ikonografilerinin şekillenmesinde en önemli kilit noktasını oluşturmaktadır. Paganizm etkilerinden sıyrılarak Hristiyan bir kimlik kazanmayı hedefleyen erken Bizans mozaik sanatının tümünde olduğu gibi Balatlar Kilisesi mozaiklerinde de sadeleşme ve geometrik formlar içerisinde sınırlandırılmış alanlarda figürlerin tasvir edildiği görülmektedir. Kuş figürü dışında herhangi bir figüratif süsleme ile karşılaşılmayan Balatlar mozaik örneklerinde 10 farklı cinsten 42 kuş figürünün tasvir edildiği görülür. Kartal, güvercin, keklik, horoz/tavuk, kumru, papağan, leylek, ördek ve çeşitli ötücü kuşların yer aldığı mozaiklerde bu figürlerin tek başlarına ya da birlikte tasvir edildikleri kompozisyona göre çeşitli ikonografik anlamlara geldikleri görülmektedir.
 Bilindiği üzere dünya sanat tarihi içerisinde pek çok farklı anlam ile özdeşleştirilen kuş figürleri her dönemde olduğu gibi Hristiyan sanatında da farklı kimi özellikleri doğrultusunda çeşitli anlamlar kazanmış sembolik figürlerdir. Bu bağlamda çalışmanın amacı Balatlar Kilisesi Mozaiklerinde karşımıza çıkan kuş figürlerinin cinslerini tayin ederek ikonografilerini tarihsel gelişimle birleştirerek Tevrat ve İncil temelli ikonografik yorumlarını tespit etmektir.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2017, the remains of the two mosaics were accidentally found in the city of Manbij, 60 km northeast of Aleppo in northern Syria. These mosaics seem to be part of the same architectural context that has completely disappeared. The best preserved mosaic has a very interesting theme. It is the Dionysus scene with his thiasos including Satyr and Bacchant and leopard. There is also an other scene of landscape with river god and animals. The last one, so damaged, conserve just a mask and the rest of two personages and an amphora, beside it, there is an inscription mentioning Eros. The scene of Dionysus evokes the well-known figures in Zeugma and Antioch, Turkey, dated to the end of the 2nd century AD and the beginning of 3nd centuries. Perhaps, it represents the epiphany of the god. The others scenes are probably linked with Dionysus iconography. The mosaic could be dated, according to the stylistic criteria, to the end of 2nd century AD and the beginning of 3nd century AD. It attests the diffusion of the Dionysus cult in the city of Manbij (Hierapolis) in the roman period.
{"title":"Kuzey Suriye’deki Hierapolis’te (Münbiç) Keşfedilen Dionysos Mozaiği","authors":"Komait ABDALLAH, Mouhamad AL-KAIED","doi":"10.26658/jmr.1376681","DOIUrl":"https://doi.org/10.26658/jmr.1376681","url":null,"abstract":"In 2017, the remains of the two mosaics were accidentally found in the city of Manbij, 60 km northeast of Aleppo in northern Syria. These mosaics seem to be part of the same architectural context that has completely disappeared. The best preserved mosaic has a very interesting theme. It is the Dionysus scene with his thiasos including Satyr and Bacchant and leopard. There is also an other scene of landscape with river god and animals. The last one, so damaged, conserve just a mask and the rest of two personages and an amphora, beside it, there is an inscription mentioning Eros. The scene of Dionysus evokes the well-known figures in Zeugma and Antioch, Turkey, dated to the end of the 2nd century AD and the beginning of 3nd centuries. Perhaps, it represents the epiphany of the god. The others scenes are probably linked with Dionysus iconography. The mosaic could be dated, according to the stylistic criteria, to the end of 2nd century AD and the beginning of 3nd century AD. It attests the diffusion of the Dionysus cult in the city of Manbij (Hierapolis) in the roman period.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sergio GARCÍA-DILS DE LA VEGA, Salvador ORDÓÑEZ AGULLA
The Domus I of the Plaza de Armas of the Royal Alcazar of Ecija (Seville, Spain) has been object of archaeological excavations and restoration interventions since 2001, which have revealed that this luxurious urban residence was completely reformed in the Severan period, when several rooms and the central courtyard were decorated with mosaic pavements of different thematic. In 2015 was discovered the so-called mosaic of the Loves of Zeus, which decorate the triclinium of the domus, with several scenes from this mythological cycle, along with Bacchic themes and characters, and the representation of the seasons. In this paper is offered an update on the progress of research relative to this outstanding mosaic.
{"title":"Roma Kolonisi Augusta Firma’daki Kraliyet Sarayı Plaza de Armas’ın Domus I Mozaikleri - Astigi (Écija, Sevilla, İspanya) - II","authors":"Sergio GARCÍA-DILS DE LA VEGA, Salvador ORDÓÑEZ AGULLA","doi":"10.26658/jmr.1376800","DOIUrl":"https://doi.org/10.26658/jmr.1376800","url":null,"abstract":"The Domus I of the Plaza de Armas of the Royal Alcazar of Ecija (Seville, Spain) has been object of archaeological excavations and restoration interventions since 2001, which have revealed that this luxurious urban residence was completely reformed in the Severan period, when several rooms and the central courtyard were decorated with mosaic pavements of different thematic. In 2015 was discovered the so-called mosaic of the Loves of Zeus, which decorate the triclinium of the domus, with several scenes from this mythological cycle, along with Bacchic themes and characters, and the representation of the seasons. In this paper is offered an update on the progress of research relative to this outstanding mosaic.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When we look at the mosaic pavements that have come down to us over the centuries, it is easy to see that many of the patterns chosen were part of a decorative grammar that reflected a world view adapted to the geographical area, the social class and the time when the mosaic was built.
The dawn of Christianity in the Roman Empire was no exception: traditional patterns were “adopted” by the new religion, in a discourse adapted to the moment in time and to the local social and political evolution. An adoption which at a certain moment allowed a veiled identification as a follower of the new religion.
In the present intervention, the author proposes to present an analysis of the evolution of some of these patterns in the light of the Christianisation in the westernmost part of Lusitania.
{"title":"Looking Beyond the Obvious: Rereading the Message of the Mosaics","authors":"Maria DE JESUS DURAN KREMER","doi":"10.26658/jmr.1376760","DOIUrl":"https://doi.org/10.26658/jmr.1376760","url":null,"abstract":"When we look at the mosaic pavements that have come down to us over the centuries, it is easy to see that many of the patterns chosen were part of a decorative grammar that reflected a world view adapted to the geographical area, the social class and the time when the mosaic was built.
 The dawn of Christianity in the Roman Empire was no exception: traditional patterns were “adopted” by the new religion, in a discourse adapted to the moment in time and to the local social and political evolution. An adoption which at a certain moment allowed a veiled identification as a follower of the new religion.
 In the present intervention, the author proposes to present an analysis of the evolution of some of these patterns in the light of the Christianisation in the westernmost part of Lusitania.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We trace the culture on the mosaics of seven medieval civilizations by taking the symmetry of the ornaments found on the mosaics as characteristic evidence for the cultural group in which the artwork is created. We classify the ornaments into 17 wallpaper groups according to their symmetry. Applying the cosine law to the frequency of each symmetry group we calculate the pairwise correlation of the cultural interactions. Finally, a hierarchical cluster analysis is performed on the correlations to find cultural groups that are closely related to each other. The results show the formation of two clusters: The Islamic cluster includes the Arabs and the Seljuk dynasties. The Hellenistic group inspired other Anatolian civilizations and even influenced the Umayyads in Andalusia. These results are consistent with the calculations based on multidimensional scaling. Our work demonstrates the possibility of applying symmetry analysis and statistical methods to the visual arts to reveal valuable details such as the hidden influences in art practice.
{"title":"Bezemelerin Simetrilerinde Saklı Olan Ortaçağ Kültür İlişkileri","authors":"Mehmet ERBUDAK","doi":"10.26658/jmr.1376768","DOIUrl":"https://doi.org/10.26658/jmr.1376768","url":null,"abstract":"We trace the culture on the mosaics of seven medieval civilizations by taking the symmetry of the ornaments found on the mosaics as characteristic evidence for the cultural group in which the artwork is created. We classify the ornaments into 17 wallpaper groups according to their symmetry. Applying the cosine law to the frequency of each symmetry group we calculate the pairwise correlation of the cultural interactions. Finally, a hierarchical cluster analysis is performed on the correlations to find cultural groups that are closely related to each other. The results show the formation of two clusters: The Islamic cluster includes the Arabs and the Seljuk dynasties. The Hellenistic group inspired other Anatolian civilizations and even influenced the Umayyads in Andalusia. These results are consistent with the calculations based on multidimensional scaling. Our work demonstrates the possibility of applying symmetry analysis and statistical methods to the visual arts to reveal valuable details such as the hidden influences in art practice.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Antonio LICORDARI, Francesca LICORDARI, Angelo PELLEGRINO
While mythology is one of the most widespread themes in the mosaics of Ostia Antica (both floor and non-floor), some compositions have a marked importance from a religious and cultic point of view. We intend to examine the mosaic representations of aspects of the Ostian cults, among which that of Mithras stands out in a particular way for its diffusion and for the amplitude of its testimonies. The mosaic undoubtedly had the purpose of immediate visual communication of its contents, also because the religion of Mithras was accepted above all by low-level believers for whom communication through images was more suitable. However, in Ostia, among the followers of the cult, there is evidence of high-ranking personages, perhaps even belonging to the imperial family. Next to that of Mithras we want to highlight the cult of Sabazio, of other oriental divinities in the past traces have been found, sometimes rightly and sometimes wrongly, in the House of the Dioscures, in the House of the Fishes, in the Neptune’s baths and in the opus sectile building of the Marine Gate (4th century AD).
{"title":"Some Aspects of Religiosity in Ostia Antica Through Mosaics","authors":"Antonio LICORDARI, Francesca LICORDARI, Angelo PELLEGRINO","doi":"10.26658/jmr.1376824","DOIUrl":"https://doi.org/10.26658/jmr.1376824","url":null,"abstract":"While mythology is one of the most widespread themes in the mosaics of Ostia Antica (both floor and non-floor), some compositions have a marked importance from a religious and cultic point of view. We intend to examine the mosaic representations of aspects of the Ostian cults, among which that of Mithras stands out in a particular way for its diffusion and for the amplitude of its testimonies. The mosaic undoubtedly had the purpose of immediate visual communication of its contents, also because the religion of Mithras was accepted above all by low-level believers for whom communication through images was more suitable. However, in Ostia, among the followers of the cult, there is evidence of high-ranking personages, perhaps even belonging to the imperial family. Next to that of Mithras we want to highlight the cult of Sabazio, of other oriental divinities in the past traces have been found, sometimes rightly and sometimes wrongly, in the House of the Dioscures, in the House of the Fishes, in the Neptune’s baths and in the opus sectile building of the Marine Gate (4th century AD).","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Gallo-roman villa of Séviac, located in the Municipality of Montréal du Gers in France, was accidentally discovered at the end of the 19th century. The archaeological investigations identified the end of the 4th and the beginning of the 5th century as the period of its greatest splendour. It was a large rural residence that certainly belonged to a high-ranking aristocrat, covering a total area of about 25,000 sqm. In ancient times, it is believed to have mosaic floors with a total area of approximately 1,500 sqm. Currently, the site boasts about 400 sqm of beautiful polychrome mosaics of undoubted technical and stylistic quality. Recently, thanks to the interest of the local authorities, it was decided to invest in the territory through a series of programs aimed at protecting and enhancing the historical, artistic and archaeological heritage of the territory. Through a public competition, a team headed by the Portuguese architect João Luís Carrilho da Graça was selected, as it possessed the specific skills in the required fields. A new fully functional and innovative system of coverage of the entire site was designed and built. After a very complex preliminary diagnostic work, the team, in cooperation with the restoration laboratory of RavennAntica Foundation, designed and then directed the restoration of the entirety of the mosaic floors.
ssamviac的高卢罗马别墅位于法国的montrsamal du Gers市，在19世纪末被偶然发现。考古调查发现，公元4世纪末和5世纪初是它最辉煌的时期。这是一个很大的乡村住宅，肯定属于一个高级贵族，总面积约25000平方米。在古代，它被认为有马赛克地板，总面积约为1500平方米。目前，该网站拥有约400平方米美丽的彩色马赛克，毫无疑问的技术和风格质量。最近，由于当地政府的兴趣，决定通过一系列旨在保护和加强该地区历史、艺术和考古遗产的项目对该地区进行投资。通过公开竞赛，由葡萄牙建筑师jo o Luís Carrilho da grarada领导的团队被选中，因为它拥有所需领域的特定技能。设计和建造了一个覆盖整个场地的功能齐全的创新系统。经过非常复杂的初步诊断工作，该团队与RavennAntica基金会修复实验室合作，设计并指导了整个马赛克地板的修复工作。
{"title":"Villa Gallo Romaine de Séviac - France Approches innovatives visant à la valorisation, à la conservation et à la restauration de pavements de mosaïque antiques exposés en plein air","authors":"Paola PERPIGNANI, Paolo RACAGNI","doi":"10.26658/jmr.1377336","DOIUrl":"https://doi.org/10.26658/jmr.1377336","url":null,"abstract":"The Gallo-roman villa of Séviac, located in the Municipality of Montréal du Gers in France, was accidentally discovered at the end of the 19th century. The archaeological investigations identified the end of the 4th and the beginning of the 5th century as the period of its greatest splendour. It was a large rural residence that certainly belonged to a high-ranking aristocrat, covering a total area of about 25,000 sqm. In ancient times, it is believed to have mosaic floors with a total area of approximately 1,500 sqm. Currently, the site boasts about 400 sqm of beautiful polychrome mosaics of undoubted technical and stylistic quality. Recently, thanks to the interest of the local authorities, it was decided to invest in the territory through a series of programs aimed at protecting and enhancing the historical, artistic and archaeological heritage of the territory. Through a public competition, a team headed by the Portuguese architect João Luís Carrilho da Graça was selected, as it possessed the specific skills in the required fields. A new fully functional and innovative system of coverage of the entire site was designed and built. After a very complex preliminary diagnostic work, the team, in cooperation with the restoration laboratory of RavennAntica Foundation, designed and then directed the restoration of the entirety of the mosaic floors.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Based on a few examples from different regions of the Roman Empire, we study the representation of the Nile from the end of the Hellenistic period to Late Antiquity. Depending on the case, the river is represented for itself, as a major element of the Egyptian landscape, a pleasant setting that brings benefits and abundance; this landscape, characterized by its flora and fauna, can also be depicted in “Nilotic scenes” with caricatured characters. In other representations, on the other hand, the god Nile is personified and the celebrations offered to him are shown to greet - and guarantee - the abundance of his flood, source of wealth and pleasure. It also happens that the personification of the Nile only serves as an allegory of the river, without wanting to highlight the god. These different iconographic schemes were to be found and intermingled in all regions of the Roman Empire until Late Antiquity. We show how the same iconography can take on, depending on the context, a religious character - when these images are associated with the cults of Egyptian deities, particularly Serapis - or a profane character, essentially in a domestic context. In the early Christian period, the Nile was considered one of the rivers of Paradise, and images of it took on a new meaning for both the commissioners and the faithful. We show how the same iconographic elements were used in different contexts, and how they were adopted, sometimes adapted, to serve different purposes and ideologies.
{"title":"The Representation of the Nile on Mosaics: Various Contexts, Various Meanings","authors":"Anne-marie GUIMIER-SORBETS","doi":"10.26658/jmr.1376810","DOIUrl":"https://doi.org/10.26658/jmr.1376810","url":null,"abstract":"Based on a few examples from different regions of the Roman Empire, we study the representation of the Nile from the end of the Hellenistic period to Late Antiquity. Depending on the case, the river is represented for itself, as a major element of the Egyptian landscape, a pleasant setting that brings benefits and abundance; this landscape, characterized by its flora and fauna, can also be depicted in “Nilotic scenes” with caricatured characters. In other representations, on the other hand, the god Nile is personified and the celebrations offered to him are shown to greet - and guarantee - the abundance of his flood, source of wealth and pleasure. It also happens that the personification of the Nile only serves as an allegory of the river, without wanting to highlight the god. These different iconographic schemes were to be found and intermingled in all regions of the Roman Empire until Late Antiquity. We show how the same iconography can take on, depending on the context, a religious character - when these images are associated with the cults of Egyptian deities, particularly Serapis - or a profane character, essentially in a domestic context. In the early Christian period, the Nile was considered one of the rivers of Paradise, and images of it took on a new meaning for both the commissioners and the faithful. We show how the same iconographic elements were used in different contexts, and how they were adopted, sometimes adapted, to serve different purposes and ideologies.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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