Rönesans ve Barok Dönemlerinin Değerli Taşları: Avrupa Resim Sanatında İnci ve Mercan (original) (raw)
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This study comprises seven statuettes which are today preserved in the depot of the Museum of Ödemiş and which, within the framework of the museum's renovation works, are planned to be displayed among the museum exhibits in the near future. As part of a study entitled The Stone Artifacts of the Ödemiş Museum, supported by the University of Dokuz Eylül Research Fund and now in the preparatory stages, they are here presented for the first time to the scholarly world. These statuettes consist of one god and goddesses: two Venuses, one Hecate, one Diana, one Aesculapius, one Cybele and a Ceres or Priestess. This study aims to present and date the statuettes by comparing their stylistic, plastic and chronological characteristics with similar examples. Although the head and arm section of Diana, the left hand of the second Venus and the right hand of Cybele and, of Aesculapius, the right hand of and the portion below his ankles are lost, the fact that the statuettes are otherwise intact or completed makes them important from the standpoint of condition 1 . It is thought that the statuettes were very probably used either in a domestic cult or as votive offerings. They are dated to within the first half of the 2 nd or beginning of the 3 rd centuries A.D. on the basis of their general workmanship characteristics.
PhD Dissertation: Gems and the Media of Italian Art, ca. 1450–ca. 1550
2020
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Sacred Beads of Pearl Necklaces of Sasanian Kings Based on their Coins
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This paper focuses on a popular object in Venetian Jewellery of the Early Modern Period: the ship-shaped pendant. This analysis is part of my doctoral research on Renaissance Venetian Jewellery. My project takes an analytical approach to this object, and departs from the prevalent, catalogue-based research, which is mainly focused on stylistic aspects and written from a chronological and aesthetic point of view. Through examples of ship-shaped pendants, I intend to offer insight into Early Modern Venetian Jewellery. In the world of geographical discoveries, the sea has been a fundamental subject of art - not only in jewellery and applied arts - and has been adopted in the whole Europe in painting, sculpture, literature and music. But there is an obvious and more specific symbolism to the ship-pendant in Venice, produced in a city-state whose power and economy were based on marine trades and naval conquests. Since the Early Middle Ages, Venice was a highly important artistic center, in particular for the applied arts; these arts were shaped in the context of Venezia being a melting pot of different nations, a city that bridged between the Western and Eastern World. During the Medioevo, the economical and political extension of its influence and its huge financial power contributed to an artistic development almost unrivaled compared to the rest of Europe. In this paper I will try to analyze how the Serenissima was producing not only real ships in wood, but also ships in jewellery as a symbol of its power. In addition, I will examine the sources, the stylistic features, the formal influences on the production techniques, and the relations with European jewellery. Thanks to the presented examples, we will also be able to define the characteristics of the Venetian Jewel. La Serenissima was a multicultural state, where different nations were living and producing objects. The Venetian identity was not based on the idea of nationality but on the idea of the Maritime Republic. A Republic that after the glorious Middle Ages, was striving to keep its status as a marine and an economical power. In Europe during the Early Modern period jewels were usually representing flowers or beautiful geometrical forms. Here we have a jewel that is representing a real object and, on the other hand, is a symbol of a State.