This article aims to review the representations of the exceptional mosaic found in the vicinity of the Kornmarkt in Trier, which, since its discovery, has been subject to different interpretations.Undoubtedly, the unique character and the inexplicable, at least in appearance, conjugation of the two main scenes, with various inscriptions, in the two large concave octagons that stand out in the geometric scheme of the field, that is, a scene perhaps of sleight of hand and another of mythological inspiration with the birth of Helena, have given rise to theories, among others, as opposite as the representation of a mystery cult and, in the completely opposite sense, another that identifies it as an expression of the mockery of traditional cults from the most critical Christian sectors of Augusta Treverorum.In this paper, however, the analysis of the figures contained in the geometric compartments in the shape of a circle and a spindle, with servants and saltatrices, who are also identified by epigraphs with their own names, sheds light on the interpretation of the mosaic. In this regard, the consideration of some parallels for the figures of servants and saltatrices, as well as information from literary sources and the context of the ancient Augusta Treverorum in which the mosaic was commissioned are equally revealing when drawing our conclusions. on the identification of a banquet, including the entertainments of the comissatio.
{"title":"Kornmarkt, Trier’de (Augusta Treverorum) Bulunan Leda Mozaiğini Yeniden Ziyaret Etmek","authors":"Luz Nei̇ra","doi":"10.26658/jmr.1143749","DOIUrl":"https://doi.org/10.26658/jmr.1143749","url":null,"abstract":"This article aims to review the representations of the exceptional mosaic found in the vicinity of the Kornmarkt in Trier, which, since its discovery, has been subject to different interpretations.Undoubtedly, the unique character and the inexplicable, at least in appearance, conjugation of the two main scenes, with various inscriptions, in the two large concave octagons that stand out in the geometric scheme of the field, that is, a scene perhaps of sleight of hand and another of mythological inspiration with the birth of Helena, have given rise to theories, among others, as opposite as the representation of a mystery cult and, in the completely opposite sense, another that identifies it as an expression of the mockery of traditional cults from the most critical Christian sectors of Augusta Treverorum.In this paper, however, the analysis of the figures contained in the geometric compartments in the shape of a circle and a spindle, with servants and saltatrices, who are also identified by epigraphs with their own names, sheds light on the interpretation of the mosaic. In this regard, the consideration of some parallels for the figures of servants and saltatrices, as well as information from literary sources and the context of the ancient Augusta Treverorum in which the mosaic was commissioned are equally revealing when drawing our conclusions. on the identification of a banquet, including the entertainments of the comissatio.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43502201","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}
Makale, çoğunlukla Orta ve Doğu Balkanlar bölgesinde yer alan günümüz Bulgar topraklarının antik vilayetlerden Geç Antik dönem mozaik döşemeleri üzerine farklı ikonografilerde ve farklı sayılarda Erken Hristiyanlık Kristogramları/Staurogramları ve haçların yerleştirilmesini incelemektedir. Geç Antik Çağ’da haçın tarihçesi ve kriterleri, Erken Hristiyanlık ayininde, dekorasyon ve sanatta, resmi ve zımni düzenlemelerde, bu yöndeki kanun ve yasaklarda, istisnalar ve bunlara neden olan sebeplerde izlenebilmektedir.
{"title":"Bulgaristan’dan Geç Antik Mozaik Döşemelerinde Krismonlar ve Haçlar","authors":"Vania Popova","doi":"10.26658/jmr.1143758","DOIUrl":"https://doi.org/10.26658/jmr.1143758","url":null,"abstract":"Makale, çoğunlukla Orta ve Doğu Balkanlar bölgesinde yer alan günümüz Bulgar topraklarının antik vilayetlerden Geç Antik dönem mozaik döşemeleri üzerine farklı ikonografilerde ve farklı sayılarda Erken Hristiyanlık Kristogramları/Staurogramları ve haçların yerleştirilmesini incelemektedir. Geç Antik Çağ’da haçın tarihçesi ve kriterleri, Erken Hristiyanlık ayininde, dekorasyon ve sanatta, resmi ve zımni düzenlemelerde, bu yöndeki kanun ve yasaklarda, istisnalar ve bunlara neden olan sebeplerde izlenebilmektedir.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43100910","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 mid-2021, the Museum and Visitor Centre in the city of Lod, Israel, was inaugurated, housing the remains of the magnificent mosaics discovered in the city, to be finally exhibited to the public. This event, almost 25 years after the beginning of the sporadic excavations of the site by the IAA (Israel Antiquities Authority), seems an appropriate moment to briefly recapitulate on the findings, the history of the research and its scientific and, why not, communal significance. This spectacular site consists of a large Roman domus which includes a lavish colorful mosaic paving a large triclinium, that was exposed in the most prestigious museums in the world. Also includes a peristyle courtyard, and various rooms, all paved with luxurious mosaics. The project (excavated in 1996, 2009, 2014 and 2018) attracted the public attention and enjoyed from its beginning incessant media covering. The mosaics, which depict accurately figures from the animal kingdom, were built in the best style of the time, and boast influences from different parts of the empire.The long process has by no means been simple and the difficulties have been numerous, starting with the chronic lack of funds to finance such a project, the initial resistance and distrust of the inhabitants of the neighborhood and the countless logistical, archaeological, and political impediments.The article summarizes the archaeological findings at the mosaic, and also focuses on the process that went through the modest neighborhood that houses it, from the initial opposition and disbelief of the inhabitants towards the authorities to the recognition of the value of the antiquities. The article also reviews the approach to conservation, the philosophy behind the planning of the museum and the hope for integration into the community framework, to create a sense of belonging and local pride. Beyond its outstanding archaeological, artistic, and scientific value, the Lod mosaic, which began its life in the fourth century CE as part of an elitist and wealthy mansion, can today fulfil an important function as a catalyst for social change and improvement.
{"title":"Lod Mozaikleri: Lüks Roma Konağından Kentsel ve Sosyal Değişimin Katalizörüne","authors":"Amir Gorzalczany, Ram Shoeff","doi":"10.26658/jmr.1143741","DOIUrl":"https://doi.org/10.26658/jmr.1143741","url":null,"abstract":"In mid-2021, the Museum and Visitor Centre in the city of Lod, Israel, was inaugurated, housing the remains of the magnificent mosaics discovered in the city, to be finally exhibited to the public. This event, almost 25 years after the beginning of the sporadic excavations of the site by the IAA (Israel Antiquities Authority), seems an appropriate moment to briefly recapitulate on the findings, the history of the research and its scientific and, why not, communal significance. This spectacular site consists of a large Roman domus which includes a lavish colorful mosaic paving a large triclinium, that was exposed in the most prestigious museums in the world. Also includes a peristyle courtyard, and various rooms, all paved with luxurious mosaics. The project (excavated in 1996, 2009, 2014 and 2018) attracted the public attention and enjoyed from its beginning incessant media covering. The mosaics, which depict accurately figures from the animal kingdom, were built in the best style of the time, and boast influences from different parts of the empire.The long process has by no means been simple and the difficulties have been numerous, starting with the chronic lack of funds to finance such a project, the initial resistance and distrust of the inhabitants of the neighborhood and the countless logistical, archaeological, and political impediments.The article summarizes the archaeological findings at the mosaic, and also focuses on the process that went through the modest neighborhood that houses it, from the initial opposition and disbelief of the inhabitants towards the authorities to the recognition of the value of the antiquities. The article also reviews the approach to conservation, the philosophy behind the planning of the museum and the hope for integration into the community framework, to create a sense of belonging and local pride. Beyond its outstanding archaeological, artistic, and scientific value, the Lod mosaic, which began its life in the fourth century CE as part of an elitist and wealthy mansion, can today fulfil an important function as a catalyst for social change and improvement.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45748834","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
Ecija’nın Kraliyet Sarayı (Sevilla, İspanya) Plaza de Armas’taki Domus I, 2001’den beri arkeolojik kazılar ile restorasyon müdahalelerinin nesnesi olmuştur ve bu lüks kentsel konutun Severan döneminde tamamen yenilendiği, bazı odalar ve merkezde yer alan avlunun farklı temalardaki mozaiklerle dekore edildiği tespit edilmiştir. Ortaya çıkarılan ilk mozaik, Dionysos’un bu iki yoldaşının tek bir görsel oyun sayesinde tek bir kafada çifte temsil edildiği, ünlü Satyr / Silenus mozaiğidir. 2015 yılında, domusun triclinium’unu süsleyen Zeus’un Aşkları mozaiği, bu mitolojik döngüden birkaç sahne, Bacchic temaları ve karakterleri ile mevsimlerin temsili keşfedilmiştir. Daha yakın zamanlarda, 2019-2020’de, konutun anıtsal merkezi peristilinin kazılmasıyla, perimetral koridordaki mozaik döşemeler ortaya çıkarılmıştır. Bu -yeni keşfedilen mozaikte işlenen tema, çeşitli gezegenler, meteorolojik fenomenler veya tanrı Dionisus’un kendisi ile birlikte bir avın devamının işlendiği bir sahneyi içeren bir panel –ne yazık ki bu kısım büyük oranda kayıptır, fakat yine de tespit edilebilir durumdadır- dahil olmak üzere çok çeşitlidir ve hepsi tekil bir geometrik örüntü ile çerçeve içine alınmıştır. Bu makalede, henüz keşfedilen dikkate değer peristil mozaiğinin ilk yayını sunulmaktadır.
{"title":"Roma Kolonisi Augusta Firma’daki Kraliyet Sarayı Plaza de Armas’ın Domus I Mozaikleri – Astigi (Écija, Sevilla, İspanya) - I","authors":"Sergio GARCÍA-DILS DE LA VEGA, Salvador ORDÓÑEZ AGULLA","doi":"10.26658/jmr.1143737","DOIUrl":"https://doi.org/10.26658/jmr.1143737","url":null,"abstract":"Ecija’nın Kraliyet Sarayı (Sevilla, İspanya) Plaza de Armas’taki Domus I, 2001’den beri arkeolojik kazılar ile restorasyon müdahalelerinin nesnesi olmuştur ve bu lüks kentsel konutun Severan döneminde tamamen yenilendiği, bazı odalar ve merkezde yer alan avlunun farklı temalardaki mozaiklerle dekore edildiği tespit edilmiştir. Ortaya çıkarılan ilk mozaik, Dionysos’un bu iki yoldaşının tek bir görsel oyun sayesinde tek bir kafada çifte temsil edildiği, ünlü Satyr / Silenus mozaiğidir. 2015 yılında, domusun triclinium’unu süsleyen Zeus’un Aşkları mozaiği, bu mitolojik döngüden birkaç sahne, Bacchic temaları ve karakterleri ile mevsimlerin temsili keşfedilmiştir. Daha yakın zamanlarda, 2019-2020’de, konutun anıtsal merkezi peristilinin kazılmasıyla, perimetral koridordaki mozaik döşemeler ortaya çıkarılmıştır. Bu -yeni keşfedilen mozaikte işlenen tema, çeşitli gezegenler, meteorolojik fenomenler veya tanrı Dionisus’un kendisi ile birlikte bir avın devamının işlendiği bir sahneyi içeren bir panel –ne yazık ki bu kısım büyük oranda kayıptır, fakat yine de tespit edilebilir durumdadır- dahil olmak üzere çok çeşitlidir ve hepsi tekil bir geometrik örüntü ile çerçeve içine alınmıştır. Bu makalede, henüz keşfedilen dikkate değer peristil mozaiğinin ilk yayını sunulmaktadır.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43071120","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}
This article is about a mosaic uncovered during the excavations in chamber II on the westportico of the Harbor Street of Patara that connects the city center to the harbor. The mosaicin question was located on the second floor of the relevant space. The mosaic, which isheavily damaged and consists of many small fragments, is the third example uncovered afterthose founds in the Women's Chapel and Harbor Bath at Patara. After restoration work wascompleted in 2013, it was discovered that the mosaic was made up of a panel surrounded bythree borders. Utilizing seven various tessera kinds, this geometric patterned mosaic wascreated using the opus tessellatum process. With the colors ordered from dark to bright in thepattern processing, the motifs have been given a sense of depth. Filling motifs are utilized inthe gaps of the circular main design to produce more intricate ornamentation. The Pataranmosaic's design repertory and building technique, as well as the excavation results, place it inthe 5th century AD. This mosaic, the topic of the first comprehensive study of Pataranmosaics, is a unique example of floor mosaics found in Lycia and Western Anatolia,particularly in Patara. Furthermore, this study opens questions about the mosaic repertoireof the region, construction techniques, and the identification of possible new workshops.
{"title":"A BUILDING WITH MOSAIC IN THE PATARA HARBOR STREET","authors":"Şevket Aktaş","doi":"10.26658/jmr.1143768","DOIUrl":"https://doi.org/10.26658/jmr.1143768","url":null,"abstract":"This article is about a mosaic uncovered during the excavations in chamber II on the westportico of the Harbor Street of Patara that connects the city center to the harbor. The mosaicin question was located on the second floor of the relevant space. The mosaic, which isheavily damaged and consists of many small fragments, is the third example uncovered afterthose founds in the Women's Chapel and Harbor Bath at Patara. After restoration work wascompleted in 2013, it was discovered that the mosaic was made up of a panel surrounded bythree borders. Utilizing seven various tessera kinds, this geometric patterned mosaic wascreated using the opus tessellatum process. With the colors ordered from dark to bright in thepattern processing, the motifs have been given a sense of depth. Filling motifs are utilized inthe gaps of the circular main design to produce more intricate ornamentation. The Pataranmosaic's design repertory and building technique, as well as the excavation results, place it inthe 5th century AD. This mosaic, the topic of the first comprehensive study of Pataranmosaics, is a unique example of floor mosaics found in Lycia and Western Anatolia,particularly in Patara. Furthermore, this study opens questions about the mosaic repertoireof the region, construction techniques, and the identification of possible new workshops.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43701107","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 Seasons Mosaic exhibited in Hatay Archaeology Museum consists of nine panels and the seasons are depicted in its four corners. The colors of the glass and stone tesserae on the Seasons Mosaic were determined by the digital Focus brand Capsure Portable Color Matching device based on the Munsell Color Catalogue. The petrographic analyzes of the stone tesserae were characterized archeometrically by thin-section optical microscopy analysis and the chemical analysis of the glass tesserae using the Polarized Energy Distributed X-ray Fluorescence Spectrometer. In the light of the results obtained, the rock type, texture, hardness level, rocks and minerals forming the aggregate of the stone tesserae were defined. The chemical composition of the elements found within the framework of the results of the glass tessera analysis was determined and predictions were made about the color properties. By petrographic analysis of stone tesserae, rock types were determined as biosparitic, biomicritic and micritic limestone. As a result of the PED-XRF analysis of the glass tesserae, it was determined that it was soda lime glass, that plant ash was not used, and that it had low deterioration and resistance. It has been understood that the element that gives the green color to the glass tesserae is copper. By looking at the strontium (Sr) and zirconium (Zr) contents, it was concluded that terrestrial raw materials were used in the structure of glass tesserae.
{"title":"Archaeometric Investigation of the Seasonal Mosaic of Antiochia","authors":"Ali Argunhan, Mahmut Aydın","doi":"10.26658/jmr.1143777","DOIUrl":"https://doi.org/10.26658/jmr.1143777","url":null,"abstract":"The Seasons Mosaic exhibited in Hatay Archaeology Museum consists of nine panels and the seasons are depicted in its four corners. The colors of the glass and stone tesserae on the Seasons Mosaic were determined by the digital Focus brand Capsure Portable Color Matching device based on the Munsell Color Catalogue. The petrographic analyzes of the stone tesserae were characterized archeometrically by thin-section optical microscopy analysis and the chemical analysis of the glass tesserae using the Polarized Energy Distributed X-ray Fluorescence Spectrometer. In the light of the results obtained, the rock type, texture, hardness level, rocks and minerals forming the aggregate of the stone tesserae were defined. The chemical composition of the elements found within the framework of the results of the glass tessera analysis was determined and predictions were made about the color properties. By petrographic analysis of stone tesserae, rock types were determined as biosparitic, biomicritic and micritic limestone. As a result of the PED-XRF analysis of the glass tesserae, it was determined that it was soda lime glass, that plant ash was not used, and that it had low deterioration and resistance. It has been understood that the element that gives the green color to the glass tesserae is copper. By looking at the strontium (Sr) and zirconium (Zr) contents, it was concluded that terrestrial raw materials were used in the structure of glass tesserae.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46693860","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}
What is the meaning of the images in the apses on the Great Hunt Corridor? Are the personifications in the center of the two mosaics alluding to geographical entities, as has been the case put forward so far? If so, this begs the question “which ones?”. The analysis of each pavement is followed up by a short round-up and discussion of current hypotheses. By taking support from a set of iconographical and textual parallels, we have sought to achieve a better understanding of these images. Lastly, we provide some insights to show how these mosaics fit into the decorative program of the Great Hunt corridor to which they pertain.
{"title":"Piazza Armerina. The So-Called Personifications of Mauretania and India at Each End of the Great Hunt Portico","authors":"B. Steger","doi":"10.26658/jmr.1143761","DOIUrl":"https://doi.org/10.26658/jmr.1143761","url":null,"abstract":"What is the meaning of the images in the apses on the Great Hunt Corridor? Are the personifications in the center of the two mosaics alluding to geographical entities, as has been the case put forward so far? If so, this begs the question “which ones?”. The analysis of each pavement is followed up by a short round-up and discussion of current hypotheses. By taking support from a set of iconographical and textual parallels, we have sought to achieve a better understanding of these images. Lastly, we provide some insights to show how these mosaics fit into the decorative program of the Great Hunt corridor to which they pertain.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46404509","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 this work we intend to extend the comparative study of the mosaics of Conuentus Bracaraugustanus published in the Corpus to the mosaics from Gallaecia and from other regions of Hispania, particularly from the region between the Ebro and Douro rivers, considering different mosaic workshops operating in these areas.We also register punctual relationships between some compositional schemes, themes and motifs that occur in the mosaics of the Conuentus Bracaraugustanus and some of the north African production.We will complement our study with information that resulted from the continuation of our research and that was provided to us after the publication of the Corpus, in 2019.
{"title":"The decorative repertoire of the mosaics from the Conuentus Bracaraugustanus and their relationships with other mosaics of Hispania","authors":"M. Abraços, Licínia Wrench","doi":"10.26658/jmr.1143691","DOIUrl":"https://doi.org/10.26658/jmr.1143691","url":null,"abstract":"In this work we intend to extend the comparative study of the mosaics of Conuentus Bracaraugustanus published in the Corpus to the mosaics from Gallaecia and from other regions of Hispania, particularly from the region between the Ebro and Douro rivers, considering different mosaic workshops operating in these areas.We also register punctual relationships between some compositional schemes, themes and motifs that occur in the mosaics of the Conuentus Bracaraugustanus and some of the north African production.We will complement our study with information that resulted from the continuation of our research and that was provided to us after the publication of the Corpus, in 2019.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46545758","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}
Conventus Pacensis’te, Roma Dönemi Pax Julia’nın (bugünkü: Beja) yaklaşık 7 km güneybatısında yer alan bu görkemli Roma villası, günümüz Portekizinin güneyindeki Roma yerleşimlerinin incelenmesinde bir referans noktasıdır. Pisões’teki bu yapı grubu içinde yalnızca pars urbana büyük ölçüde ortaya çıkarılmıştır: bir baraj duvarının, bir su kemerinin ve bazı çevre yapılarının varlığı yıllar içinde tespit edilmiştir.Roma mozaiklerinin incelenmesi için figüratif, bitkisel ve geometrik motiflere sahip en uygun mozaik gruplarından biri burada bulunmaktadır ve günümüzdeki Portekiz sınırları içinde olası mozaik atölyelerinin tanımlanmasına olanak tanımaktadır. 1972’de Fernando Nunes Ribeiro’nun çok kısa bir açıklaması dışında, bu mozaikler henüz derinlemesine çalışılmamıştır.Bu çalışma kapsamında, bu villanın bugüne kadar ortaya çıkarılan - çoğu yayınlanmamış - mozaiklerinin envanteri, metodolojik bir kaydı, çalışma ve yayın yaklaşımı kullanılarak, mozaik döşemeler ve mekânsal planlama arasındaki karşılıklı ilişki irdelenmektedir.
{"title":"Pisões Roma Villasından Mozaikler (Beja, Portekiz). Dekoratif Program ve Villanın Mekânsal Organizasyonundaki Önemi","authors":"Maria De Jesus DURAN KREMER, Miguel Serra","doi":"10.26658/jmr.1143747","DOIUrl":"https://doi.org/10.26658/jmr.1143747","url":null,"abstract":"Conventus Pacensis’te, Roma Dönemi Pax Julia’nın (bugünkü: Beja) yaklaşık 7 km güneybatısında yer alan bu görkemli Roma villası, günümüz Portekizinin güneyindeki Roma yerleşimlerinin incelenmesinde bir referans noktasıdır. Pisões’teki bu yapı grubu içinde yalnızca pars urbana büyük ölçüde ortaya çıkarılmıştır: bir baraj duvarının, bir su kemerinin ve bazı çevre yapılarının varlığı yıllar içinde tespit edilmiştir.Roma mozaiklerinin incelenmesi için figüratif, bitkisel ve geometrik motiflere sahip en uygun mozaik gruplarından biri burada bulunmaktadır ve günümüzdeki Portekiz sınırları içinde olası mozaik atölyelerinin tanımlanmasına olanak tanımaktadır. 1972’de Fernando Nunes Ribeiro’nun çok kısa bir açıklaması dışında, bu mozaikler henüz derinlemesine çalışılmamıştır.Bu çalışma kapsamında, bu villanın bugüne kadar ortaya çıkarılan - çoğu yayınlanmamış - mozaiklerinin envanteri, metodolojik bir kaydı, çalışma ve yayın yaklaşımı kullanılarak, mozaik döşemeler ve mekânsal planlama arasındaki karşılıklı ilişki irdelenmektedir.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44390776","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 ikonografik ve ikonolojik analiz, Poseidon Evi’nin emblemasında yer alan Skyros’taki Akhilleus betimi ile ilgili uzun bir geleneğin Zeugma’daki varlığını göstermektedir. Bu gelenek İS 1. yüzyıla kadar uzanır ve Roma mozaiği ve resmi ile ilgilidir. Skyros’taki Akhilleus betimi Batı’dan Doğu’ya, özellikle İtalya’dan (Roma ve Pompeii) Roma İmparatorluğu’nun doğu kısmına doğru yayılmıştır. Bu model, İS 3. yüzyılın başında Caracalla (211-217) döneminde Fırat üzerindeki Zeugma’ya ulaşmıştır. Poseidon Villası’nın zengin sahibi (dominus) ve müşterisi, Legio IV Scythica veya Parthica’ya bağlı Caracalla’nın yüksek bir memuru olacaktı. Aslında Zeugma, her şeyden önce Septimius Severus’un (193-211) ve onun halefi Caracalla’nın saltanatı sırasında, bu Roma lejyonunun yerleşim yeri ve Partlara karşı ileri bir karakol olmuştur. Poseidon Villası’nın sahibi, Büyük İskender’in durumunda olduğu gibi, Caracalla’nın ideolojik düzeyde çok sevdiği Skyros’taki Akhilleus temasını seçerek imparatorluk propagandasını kendine mal etmiştir (Örn. Cassius Dio, Herodian, Scriptores Historiae Augustae). Skyros’taki Akhilleus miti çok eskiye dayanmaktadır (Örn. Cypria, Pindar, Sophocles, Euripides) ve hem Roma (Domus Aurea) hem de Pompeii resim ve mozaiğinde, Caracalla gibi hem Akhilleus hem de Büyük İskender’in coşkulu bir hayranı olan imparator Nero’ya kadar uzanır.
Bu ikonografik ve ikonojik analiz，Poseidon Evi'nin embrationasında yer alan Skyros'taki Akhilleus betimi ile ilgili uzun bir geleneğin Zeugma'daki varlığnıgöstermektedir。这个传统就是IS1。这是关于几个世纪和罗马人的马赛克和图形。Skyros的Akhilleus牌匾向东传播，尤其是从罗马帝国东部的意大利（罗马和庞贝）。这个型号是IS3。本世纪初，在卡拉卡拉（211-217），他乘风暴抵达泽格马。波塞冬别墅（dominus）的富有主人和客户Legio IV Scythica或Parthica将成为卡拉卡拉的高级官员。事实上，在所有事情发生之前，泽格马是塞普蒂米乌斯·塞维鲁（193-211）和他的另一半卡拉卡拉（Caracalla）、罗马狮子和Parts面前的一个警察局。由于波塞冬别墅的主人处于亚历山大大帝的状态，卡拉卡拉选择了他在意识形态层面上喜欢的Skyros中的Akhilleus主题，并为帝国的宣传付出了代价（例如卡西乌斯·迪奥、希律王、Scriptores Historiae Augustae）。斯凯罗斯的阿克希勒乌斯神话非常古老（例如赛普里亚、平达尔、索福克勒斯、欧里庇得斯），罗马（奥雷阿）和庞贝的绘画和马赛克，都像卡拉卡拉和阿克希勒乌斯以及伟大的亚历山大崇拜者尼禄。
{"title":"Zeugma’daki Poseidon Evi Emblemasından Skyros’taki Akhilleus: Caracalla ve Görüntülerin Gücü","authors":"Laura Caso","doi":"10.26658/jmr.1143736","DOIUrl":"https://doi.org/10.26658/jmr.1143736","url":null,"abstract":"Bu ikonografik ve ikonolojik analiz, Poseidon Evi’nin emblemasında yer alan Skyros’taki Akhilleus betimi ile ilgili uzun bir geleneğin Zeugma’daki varlığını göstermektedir. Bu gelenek İS 1. yüzyıla kadar uzanır ve Roma mozaiği ve resmi ile ilgilidir. Skyros’taki Akhilleus betimi Batı’dan Doğu’ya, özellikle İtalya’dan (Roma ve Pompeii) Roma İmparatorluğu’nun doğu kısmına doğru yayılmıştır. Bu model, İS 3. yüzyılın başında Caracalla (211-217) döneminde Fırat üzerindeki Zeugma’ya ulaşmıştır. Poseidon Villası’nın zengin sahibi (dominus) ve müşterisi, Legio IV Scythica veya Parthica’ya bağlı Caracalla’nın yüksek bir memuru olacaktı. Aslında Zeugma, her şeyden önce Septimius Severus’un (193-211) ve onun halefi Caracalla’nın saltanatı sırasında, bu Roma lejyonunun yerleşim yeri ve Partlara karşı ileri bir karakol olmuştur. Poseidon Villası’nın sahibi, Büyük İskender’in durumunda olduğu gibi, Caracalla’nın ideolojik düzeyde çok sevdiği Skyros’taki Akhilleus temasını seçerek imparatorluk propagandasını kendine mal etmiştir (Örn. Cassius Dio, Herodian, Scriptores Historiae Augustae). Skyros’taki Akhilleus miti çok eskiye dayanmaktadır (Örn. Cypria, Pindar, Sophocles, Euripides) ve hem Roma (Domus Aurea) hem de Pompeii resim ve mozaiğinde, Caracalla gibi hem Akhilleus hem de Büyük İskender’in coşkulu bir hayranı olan imparator Nero’ya kadar uzanır.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44286970","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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