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}
Claudiopolis (Bolu) was a prominent city in Bithynia during the Ancient Period. The Ganymede mosaic was discovered during a rescue excavation at the city center in 2011. The Ganymede mosaic is a floor mosaic arranged in a rectangle and situated on the ground of a Roman villa in the city. The size of the mosaic base is 3.60 m. x 6.70 m. Ganymede, considered as the most beautiful of mortals, was descended from the Dardanians and belonged to the Trojan royal family. Zeus saw and fell in love with the young Ganymede while he had been tending sheep on the slopes of Mount Ida. Zeus either summoned an eagle or turned into an eagle himself to transport the youth to Mount Olympus where he was appointed as cupbearer of the gods. The story of the abduction of Ganymede became popular in Hellenistic art and literature and continued to be so among Roman mosaic artists. The most preferred depiction with regard to the myth of Ganymede in the repertoire of mosaic artists was the scene of Zeus turning into an eagle to abduct Ganymede and bring him to Olympus. The mosaic of Claudiopolis depicts the following stage of the events in which Ganymede, during his life as a cupbearer in Olympus, offers a drink to the eagle. The depiction of this scene has rarely been found, which also adds to the significance of the Claudiopolis Ganymedes mosaic. The scene arranged in a rectangle shows the eagle on the left side and Ganymede on the right side. The panel with figures is surrounded by a border consisting of a line of simple guilloche, a straight band and two lines of intersecting circles. The scene does not involve any bolder, tree or plant motifs as indicators of a natural environment. Due to its stylistic and iconographic characteristics, the mosaic of Claudiopolis is estimated to date back to the late 3th century or early 4th century AD.
{"title":"The Ganymede Mosaic of Claudiopolis","authors":"S. Sezer","doi":"10.26658/jmr.1143760","DOIUrl":"https://doi.org/10.26658/jmr.1143760","url":null,"abstract":"Claudiopolis (Bolu) was a prominent city in Bithynia during the Ancient Period. The Ganymede mosaic was discovered during a rescue excavation at the city center in 2011. The Ganymede mosaic is a floor mosaic arranged in a rectangle and situated on the ground of a Roman villa in the city. The size of the mosaic base is 3.60 m. x 6.70 m. Ganymede, considered as the most beautiful of mortals, was descended from the Dardanians and belonged to the Trojan royal family. Zeus saw and fell in love with the young Ganymede while he had been tending sheep on the slopes of Mount Ida. Zeus either summoned an eagle or turned into an eagle himself to transport the youth to Mount Olympus where he was appointed as cupbearer of the gods. The story of the abduction of Ganymede became popular in Hellenistic art and literature and continued to be so among Roman mosaic artists. The most preferred depiction with regard to the myth of Ganymede in the repertoire of mosaic artists was the scene of Zeus turning into an eagle to abduct Ganymede and bring him to Olympus. The mosaic of Claudiopolis depicts the following stage of the events in which Ganymede, during his life as a cupbearer in Olympus, offers a drink to the eagle. The depiction of this scene has rarely been found, which also adds to the significance of the Claudiopolis Ganymedes mosaic. The scene arranged in a rectangle shows the eagle on the left side and Ganymede on the right side. The panel with figures is surrounded by a border consisting of a line of simple guilloche, a straight band and two lines of intersecting circles. The scene does not involve any bolder, tree or plant motifs as indicators of a natural environment. Due to its stylistic and iconographic characteristics, the mosaic of Claudiopolis is estimated to date back to the late 3th century or early 4th century AD.","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":"41813891","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 examines several mosaic tesserae from the mosaic panel of the exonarthex of the early Christian basilica No 2 in Parthicopolis (today’s town of Sandanski).The studied mosaic tesserae are made of glass, brick and stone - marble and sandstone. After the analysis: micro- and macroscopic, method applied: EDS; XRD analysis of the mineral phases and others. The composition and possible production of glass for the smalta tesserae has been established, the composition of the brick tesserae; of two types of white marble tesserae, of sandstone tesserae has been determined.In antiquity, and especially in the early Byzantine period, several marble quarries of very good quality were exploited in the Middle Strymon area. It has been established that the stone tesserae were mined from deposits around the ancient and early Byzantine city, quarries Ilindentsi (‘The marble quarries of Trajan’), and the glass is imported. An assumption has been made about the possible production on site in the city of a type of glass tesserae - with a degree of crystallization. The chemical and structural analysis of the tesserae reveals the origin of the material, stone and glass, the latter in the form of a finished product distributed as an import by Thessaloniki merchants and undergoing only the final stage of heating, cutting and polishing in local workshops. Although research on the origin of tesserae from mosaic panels from the early Christian basilica complexes in Parthicopolis is only in the beginning, research proves the origin of tesserae materials, the supply of mosaic workshops mainly with local stone material, and trade in imported glass for enamel mosaic and its final stage of in situ preparation in Particopolis.
{"title":"Parthicopolis’in Mozaik Döşemelerinin Tesserae Kökeni Üzerine (4.- 6. Yüzyıl). Yerel Ocaklar, Yataklar ve İthalat (2 Numaralı Bazilika’dan Bazı Mozaik Tesseralar için Ön Rapor)","authors":"Svetla Petrova","doi":"10.26658/jmr.1143757","DOIUrl":"https://doi.org/10.26658/jmr.1143757","url":null,"abstract":"This article examines several mosaic tesserae from the mosaic panel of the exonarthex of the early Christian basilica No 2 in Parthicopolis (today’s town of Sandanski).The studied mosaic tesserae are made of glass, brick and stone - marble and sandstone. After the analysis: micro- and macroscopic, method applied: EDS; XRD analysis of the mineral phases and others. The composition and possible production of glass for the smalta tesserae has been established, the composition of the brick tesserae; of two types of white marble tesserae, of sandstone tesserae has been determined.In antiquity, and especially in the early Byzantine period, several marble quarries of very good quality were exploited in the Middle Strymon area. It has been established that the stone tesserae were mined from deposits around the ancient and early Byzantine city, quarries Ilindentsi (‘The marble quarries of Trajan’), and the glass is imported. An assumption has been made about the possible production on site in the city of a type of glass tesserae - with a degree of crystallization. The chemical and structural analysis of the tesserae reveals the origin of the material, stone and glass, the latter in the form of a finished product distributed as an import by Thessaloniki merchants and undergoing only the final stage of heating, cutting and polishing in local workshops. Although research on the origin of tesserae from mosaic panels from the early Christian basilica complexes in Parthicopolis is only in the beginning, research proves the origin of tesserae materials, the supply of mosaic workshops mainly with local stone material, and trade in imported glass for enamel mosaic and its final stage of in situ preparation in Particopolis.","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":"44055240","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}
Animals were popular subjects for Roman mosaics, featuring in many contexts. In his influential book, Season Mosaics of Roman North Africa, David Parrish included a short section on animals symbolising the Seasons, appearing either with personifications or representing the Seasons by themselves.This article widens the discussion and looks beyond North Africa. It begins by examining mosaics on which personifications of the Seasons ride animals and continues with those in which the association is progressively less direct, with a view to analysing which animals can be shown to carry seasonal connotations and whether those animals were associated with more than one season.Mosaics in which four animals appear without personifications are also considered in order to assess whether or not they represented the Seasons. The presence of other seasonal imagery supports this idea, while factors such as the context in which the animals appear and the order in which they are shown can suggest an answer one way or the other.The aim of the article is to demonstrate that whenever four animals are depicted in a mosaic it is worth considering whether they might have seasonal associations, while bearing in mind that this will not necessarily be the case in every instance.
动物是罗马马赛克的热门主题，在许多背景下都有其特色。大卫·帕里什（David Parrish）在其颇具影响力的著作《罗马北非的季节马赛克》（Season Mosaics of Roman North Africa）中，包括了一小段关于象征季节的动物的内容，这些动物要么以拟人化的方式出现，要么自己代表季节。这篇文章扩大了讨论范围，并将目光投向了北非以外的地区。它首先研究了季节的拟人化骑在动物身上的马赛克，然后继续研究那些联系越来越不直接的马赛克，以分析哪些动物可以被证明具有季节含义，以及这些动物是否与不止一个季节有关。为了评估四种动物是否代表四季，还考虑了四种动物在没有拟人化的情况下出现的马赛克。其他季节性图像的存在支持了这一观点，而动物出现的背景和展示顺序等因素可以以某种方式提出答案。这篇文章的目的是证明，无论何时在马赛克中描绘四只动物，都值得考虑它们是否具有季节性关联，同时要记住，并非所有情况都是如此。
{"title":"Roma Mozaiklerinde Mevsim Hayvanları","authors":"Patricia Witts","doi":"10.26658/jmr.1143766","DOIUrl":"https://doi.org/10.26658/jmr.1143766","url":null,"abstract":"Animals were popular subjects for Roman mosaics, featuring in many contexts. In his influential book, Season Mosaics of Roman North Africa, David Parrish included a short section on animals symbolising the Seasons, appearing either with personifications or representing the Seasons by themselves.This article widens the discussion and looks beyond North Africa. It begins by examining mosaics on which personifications of the Seasons ride animals and continues with those in which the association is progressively less direct, with a view to analysing which animals can be shown to carry seasonal connotations and whether those animals were associated with more than one season.Mosaics in which four animals appear without personifications are also considered in order to assess whether or not they represented the Seasons. The presence of other seasonal imagery supports this idea, while factors such as the context in which the animals appear and the order in which they are shown can suggest an answer one way or the other.The aim of the article is to demonstrate that whenever four animals are depicted in a mosaic it is worth considering whether they might have seasonal associations, while bearing in mind that this will not necessarily be the case in every instance.","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":"48405241","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}
Siraküza’nın (Syracuse) en eski yerleşim bölgesi, adanın merkezindeki Ortigia’da yer almaktadır ve burada 19. yüzyılda yapılan kazılarda mozaik zeminli ve dikkate değer opus sectileli lüks Roma evleri gün ışığına çıkarılmıştır. 1927-1928 yıllarında, Piazza Archimede’deki yeni Banco di Sicilia binasının inşası sırasında, bugünün Corso Matteotti’si olan Via del Littorio’ya tekabül eden daha kuzeydeki alana uzanan birkaç duvar ortaya çıkmıştır. 1934 ve 1936 yılları arasında, Via del Littorio ve civarındaki eski evlerin yıkılması çalışmaları sırasında, su kemerlerinin çeşitli bölümleri ve Roma evlerinin kalıntıları keşfedildi ve yaklaşık 10 m güneyde, Via Giusto Monaco (eski S. Cristoforo) ile kesişim noktasında, diğer duvar yapıları ve Venüs ve Cupid’i temsil eden bir embleması olan büyük bir polikrom mozaiğin (2 x 2 m) bir kısmı tespit edilerek “çok geç imparatorluk çağı”na tarihlendirilmiştir. Keşif sırasında, yayınlayanın bildirdiği gibi mozaik yerinden sökülmüştür, ancak şu anda tam yeri bilinmemektedir, envanterlerde kayıtlı değildir ve muhtemelen müzenin dış depolarından birinde olmalıdır. Burada, keşfeden kişi (Cultrera 1940) tarafından verilen ayrıntılara ve Soprintendenza BB.CC.AA. tarafından sağlanan grafik ve fotoğrafik materyalin analizine dayalı olarak mozaiğin yeni bir yorumu önerilmektedir.
锡拉库扎是该岛中东最古老的郊区，这里有19个。在几个世纪里，马赛克土地和珍贵的局部豪华作品暴露在日常罗马房屋的光线下。1927-1928年，在阿基米德广场建造新的西西里银行大楼期间，北部地区又修建了几堵墙，今天这里接受了科索·马泰奥蒂的利托里奥大街。1934年至1936年间，当试图拆除Via del Littorio和以前的房屋时，发现了水带的各个部分和其他罗马房屋，位于Via Giusto Monaco（前S.Cristoforo）以南约10米处，另一个墙壁结构是金星和丘比特的象征，已被确认为帝国晚期大型多色马赛克（2 x 2米）的一部分。在发现时，出版商已从马赛克现场获释，但目前她还不为人所知，没有记录在信封中，可能也没有记录在博物馆的一个外部商店中。在这里，马赛克的一个新评论，基于对被发现者提供的图形和摄影材料的分析（Cultrera 1940）。
{"title":"Ortigia’daki (Siraküza) Eski Via del Littorio’nun Kayıp Mozaiği","authors":"Dominique Maria Dİ CARO","doi":"10.26658/jmr.1143735","DOIUrl":"https://doi.org/10.26658/jmr.1143735","url":null,"abstract":"Siraküza’nın (Syracuse) en eski yerleşim bölgesi, adanın merkezindeki Ortigia’da yer almaktadır ve burada 19. yüzyılda yapılan kazılarda mozaik zeminli ve dikkate değer opus sectileli lüks Roma evleri gün ışığına çıkarılmıştır. 1927-1928 yıllarında, Piazza Archimede’deki yeni Banco di Sicilia binasının inşası sırasında, bugünün Corso Matteotti’si olan Via del Littorio’ya tekabül eden daha kuzeydeki alana uzanan birkaç duvar ortaya çıkmıştır. 1934 ve 1936 yılları arasında, Via del Littorio ve civarındaki eski evlerin yıkılması çalışmaları sırasında, su kemerlerinin çeşitli bölümleri ve Roma evlerinin kalıntıları keşfedildi ve yaklaşık 10 m güneyde, Via Giusto Monaco (eski S. Cristoforo) ile kesişim noktasında, diğer duvar yapıları ve Venüs ve Cupid’i temsil eden bir embleması olan büyük bir polikrom mozaiğin (2 x 2 m) bir kısmı tespit edilerek “çok geç imparatorluk çağı”na tarihlendirilmiştir. Keşif sırasında, yayınlayanın bildirdiği gibi mozaik yerinden sökülmüştür, ancak şu anda tam yeri bilinmemektedir, envanterlerde kayıtlı değildir ve muhtemelen müzenin dış depolarından birinde olmalıdır. Burada, keşfeden kişi (Cultrera 1940) tarafından verilen ayrıntılara ve Soprintendenza BB.CC.AA. tarafından sağlanan grafik ve fotoğrafik materyalin analizine dayalı olarak mozaiğin yeni bir yorumu önerilmektedir.","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":"47741041","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}
Hatay Expo 2021, with the subject of “The Garden of Civilizations” on the basis of botany, is a project that is planned and carried out with multi-dimensional outputs in the fields of culture; art; tourism-economy and agriculture-ecology. In the fair area, right behind the “Main Entrance” on west, a 45 m diameter circular square that will welcome the visitors was designed and it was decided to decorate this area with mosaics. In order to make reference to the quality and richness of the mosaic art, which is one of the areas of interest of Hatay people from the past to the present, it was decided to realize this design, which reflects the old and modern basic values of the city, in this large area of 1600 m2. This mosaic design, which we call “co-existence”, combines the old and new styles in this area as an original work that includes ancient symbolism and is largely figure-based. For the first time in its field, the design reflects the geographic and cultural values of the region with a historical depth supported by scientific knowledge. By combining the symbolism of art with the figurative iconographic expression style in ancient mosaic art, it reveals a unique figural design with a holistic story based on scientific reality. In addition to the value created by the visual effect of design alone in terms of urban culture, the story of the city it hosts will be conveyed to the visitors by various means, and the people will gain memory at the level of consciousness.
{"title":"A Modern Hatay (Antiocheia) Mosaic: “Ortak Varoluş” (Co-Existence) - I","authors":"H. O. Tibikoğlu, Banu Özdilek","doi":"10.26658/jmr.1143773","DOIUrl":"https://doi.org/10.26658/jmr.1143773","url":null,"abstract":"Hatay Expo 2021, with the subject of “The Garden of Civilizations” on the basis of botany, is a project that is planned and carried out with multi-dimensional outputs in the fields of culture; art; tourism-economy and agriculture-ecology. In the fair area, right behind the “Main Entrance” on west, a 45 m diameter circular square that will welcome the visitors was designed and it was decided to decorate this area with mosaics. In order to make reference to the quality and richness of the mosaic art, which is one of the areas of interest of Hatay people from the past to the present, it was decided to realize this design, which reflects the old and modern basic values of the city, in this large area of 1600 m2. This mosaic design, which we call “co-existence”, combines the old and new styles in this area as an original work that includes ancient symbolism and is largely figure-based. For the first time in its field, the design reflects the geographic and cultural values of the region with a historical depth supported by scientific knowledge. By combining the symbolism of art with the figurative iconographic expression style in ancient mosaic art, it reveals a unique figural design with a holistic story based on scientific reality. In addition to the value created by the visual effect of design alone in terms of urban culture, the story of the city it hosts will be conveyed to the visitors by various means, and the people will gain memory at the level of consciousness.","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":"44084202","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}
Nací en Sicilia, una isla del sur de Italia, en el medio del Mediterráneo. Allí, en la ciudad griega de Agrigento, estudié primero Arte y después me gradué en Diseño Industrial en la Facultad de Arquitectura de Palermo, otra ciudad con un enorme patrimonio arquitectónico normando, árabe y bizantino. La verdad es que han sido lugares muy privilegiados, donde crecer y formarme, que sin duda han marcado mi forma de crear.
{"title":"Entrevista con Luca Hugo Brucculeri","authors":"Luca Hugo Brucculeri Brucculeri","doi":"10.7238/m.n197.2201","DOIUrl":"https://doi.org/10.7238/m.n197.2201","url":null,"abstract":"Nací en Sicilia, una isla del sur de Italia, en el medio del Mediterráneo. Allí, en la ciudad griega de Agrigento, estudié primero Arte y después me gradué en Diseño Industrial en la Facultad de Arquitectura de Palermo, otra ciudad con un enorme patrimonio arquitectónico normando, árabe y bizantino. La verdad es que han sido lugares muy privilegiados, donde crecer y formarme, que sin duda han marcado mi forma de crear.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78985398","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}
Et defineixes com a pare i mestre interessat en tecnologia, gestió de centre, teatre i jocs de taula. Parla’ns una mica de la teva formació i la teva experiència professional. Només fa un any que em defineixo com a pare. El naixement de l’Íria m’ha fet replantejar molts aspectes de la vida i considero que la paternitat ha de quedar sempre en primer pla i que t’ajuda a observar la vida des d’una perspectiva diferent.
{"title":"Entrevista amb Manel Vidal. Vull Aprendre","authors":"M. Vidal","doi":"10.7238/m.n197.2204","DOIUrl":"https://doi.org/10.7238/m.n197.2204","url":null,"abstract":"Et defineixes com a pare i mestre interessat en tecnologia, gestió de centre, teatre i jocs de taula. Parla’ns una mica de la teva formació i la teva experiència professional. Només fa un any que em defineixo com a pare. El naixement de l’Íria m’ha fet replantejar molts aspectes de la vida i considero que la paternitat ha de quedar sempre en primer pla i que t’ajuda a observar la vida des d’una perspectiva diferent.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83435304","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}
Amb 14 anys, em va fascinar l’emergent tecnologia digital i vaig començar a programar i formar-me. Des que vaig acabar els estudis l’any 1990, vaig estar a nombroses companyies tecnològiques, canviant de projectes i empreses durant vint anys. Per exemple, vaig treballar amb Gedas Iberia, filial de Volkswagen, o vaig ser directora de l’Oficina de Projectes de T-Systems a Madrid. Però, el 2010, vaig fer el pas a l’emprenedoria, vaig crear la consultoria The Project, dedicada a la transformació d’organitzacions i models de negoci en la nova societat digital. Dos anys més tard, vaig cofundar SocialDiabetes, una plataforma tecnològica per gestionar i controlar la malaltia.
{"title":"Entrevista amb María Jesús Salido","authors":"María Jesús Salido","doi":"10.7238/m.n197.2205","DOIUrl":"https://doi.org/10.7238/m.n197.2205","url":null,"abstract":"Amb 14 anys, em va fascinar l’emergent tecnologia digital i vaig començar a programar i formar-me. Des que vaig acabar els estudis l’any 1990, vaig estar a nombroses companyies tecnològiques, canviant de projectes i empreses durant vint anys. Per exemple, vaig treballar amb Gedas Iberia, filial de Volkswagen, o vaig ser directora de l’Oficina de Projectes de T-Systems a Madrid. Però, el 2010, vaig fer el pas a l’emprenedoria, vaig crear la consultoria The Project, dedicada a la transformació d’organitzacions i models de negoci en la nova societat digital. Dos anys més tard, vaig cofundar SocialDiabetes, una plataforma tecnològica per gestionar i controlar la malaltia.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87201562","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}
Me siento a escribir, por fin, este artículo sobre la brecha de género en el ámbito STEAM, y, para organizar un poco las ideas, me rodeo de apuntes, estadísticas y frases que he ido reuniendo durante varios días. Tengo varias ideas claras sobre el tema, pero… ¿por dónde empiezo? Puedo exponer los datos más actuales; o explicar, otra vez, en qué consiste; o, tal vez, ilustrar el tema con alguna anécdota personal… Pero al final, para abrir de alguna forma esta conversación, y romper la «maldición» de la hoja en blanco, comenzaré con una confesión: no me gusta la palabra brecha.
{"title":"La ‘brecha de género’ en el ámbito STEAM, un reto social","authors":"R. Fernández","doi":"10.7238/m.n197.2203","DOIUrl":"https://doi.org/10.7238/m.n197.2203","url":null,"abstract":"Me siento a escribir, por fin, este artículo sobre la brecha de género en el ámbito STEAM, y, para organizar un poco las ideas, me rodeo de apuntes, estadísticas y frases que he ido reuniendo durante varios días. Tengo varias ideas claras sobre el tema, pero… ¿por dónde empiezo? Puedo exponer los datos más actuales; o explicar, otra vez, en qué consiste; o, tal vez, ilustrar el tema con alguna anécdota personal… Pero al final, para abrir de alguna forma esta conversación, y romper la «maldición» de la hoja en blanco, comenzaré con una confesión: no me gusta la palabra brecha.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85083127","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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