Pisidia ve Kilikia Bölgesi Şehir Sikkeleri Üzerinde Mitolojik Bir Sahne: Hades'in Persephone'yi Yeraltına Kaçırışı.Yaşar Coşkun’a Saygı Yazıları, 137 - 152 (original) (raw)
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Sikkeler Işığında Pisidia’da Apollon Propylaios Kültü
LYCUS DERGİSİ, 2024
Apollon müzikle, sanatla, kehanetle ilişkili olduğu kadar hastalık ve sağlıkla da ilişkili çok yönlü bir tanrıdır ki bu yüzden birçok epitethle anılmaktadır. Bu durum Pisidia Bölgesi için de değişmemekte, tanrı burada da birçok farklı epithetle tapınım görmektedir. Bunlardan bir tanesi de “kapılar önündeki” ya da “kapıların önündeki koruyucu” anlamına gelen ve sağlıkla ilişkilendirilebilecek bir epiteth olan “Propylaios”tur. Apollon Propylaios, oklarıyla düşmanları (salgın hastalıkları) şehrin kapılarından uzak tutan bir tanrı olarak anılmaktadır. Tanrının adı ve epitheti, Pisidia Bölgesi kentlerinden Kremna’nın Roma imparatoluk Dönemi şehir sikkelerinde arka yüz lejantı ile doğrulanmaktadır. Tanrı burada gerilmiş yayı ile sağa doğru hareket halinde ve hareketten dolayı uçuşan khlamysi ile betimlenmektedir. Bölgede aynı ikonografiyi sikkeleri üzerinde taşıyan diğer iki kent Apollononia ve Klaudio Seleukeia’dır. Asia Minor’un aslında sayıları çok da olmayan bazı kentlerinde hemen hemen aynı dönemlerde, Kremna sikkelerinden bildiğimiz “Apollon Propylaios” tipinde sikkeler darp edilmiştir. Bu durum, Marcus Aurelius’un Parth Seferi sırasında, MS 165-166 yıllarında ortaya çıkan veba salgınından kurtulmak isteyen insanların Apollon Klaros’a danışmaları sonucu ortaya çıkan kehanetlerle ilişkili görülmektedir.
OLBA XXIX, 2021
Evaluations on Late Roman Coins Recovered from the Hyposcaenium Section of the Theater in Parion The ancient city of Parion is located in the village of Kemer in the Biga district of Çanakkale, north of the Troas region. Parion has been one of the cities that the sovereign powers in the region wanted to posess for ages due to its geographical and strategic location and its important commercial port. Founded as a Greek colony in the 8th century BC, Parion became one of the most important colonial cities of the Roman Empire in Anatolia by placing Roman retired soldiers in the city at the end of the Roman Republic Period and giving the status of a Roman colony. This status of the city provided economic development and prosperity and the ancient city of Parion became one of the most Roman cities in the Northern Troas Region. After having the status of a Roman colony, Parion became a city that had a say in both regional trade and political and military fields. As a natural consequence, the excavations carried out in Parion since 2005 yielded important archaeological findings from the Roman Period. One of these archaeological findings is the collectively found 266 coin group on the ground level of the hyposcaenium to the south of the entrance of the stage building during the 2013 excavations in the theater. The emperor of 227 of the coins with higher condition could be read compared to the Late Roman coin finds found during the excavations in the city. Coins of 23 different emperors and 11 mints were dated between the Gallienus and Arcadius Periods, while the majority of the coins were beaten between 310-324 AD. Archaeological remains and finds indicate that the Roman Theater of Parion lost its function at the end of the 4th century AD. It is important that this idea is supported as the latest date of the coins is between 383-392 AD. The aim of this study was to reach new data about the structure of the hyposcaenium at the Roman Theater of Parion in which the coins where found, as well as to get new information on numismatics. Keywords: Troad, Parion, Theater, Hyposcaenium, Late Roman, Coin.
2021
Parion is one of the important port cities of the ancient Troas region. This ancient city islocated within the borders of the modern-day village of Kemer in Biga District in Canakkale province. This study’s subject is grave M229 and its Context, which were found in 2019 in the southern necropolis of Tavsandere at the entrance of the village of Kemer (i.e., the ancient city of Parion). The gifts for the dead of M229 comprise 18 unguentaria, a jug, a mug, a bowl, a oil lamp, a glass rings, 5 agate stone beads, a bronze spoon, a bronze mirror, metal parts of a wooden crate, a medicine-ointment mixing stone, a pyxis made of bone, and a medicine box. The grave’s Context were evaluated historically, typologically, and iconographically. As a result of these evaluations, the grave appears to date from the end of the first century AD to the beginning of the second century AD. The bone medicine box found in the grave is the only example that was uncovered in Anatolia. The Isis-Fortuna figure ...
Trakya Üniversitesi Edebiyat Fakültesi Dergisi, 2021
This study discusses the iconography of Hades, who appears as an allegorical figure in Byzantine Art, in the light of canonical, apocryphal and literary sources. The god of the underworld -or the land of the dead- known from his ancient “cult” based on depictions and literary sources, Hades and his legendary existence in the Middle Ages has found its place as an allegorical image of the theme of death and hell in Byzantine depictions. The allegorical image of Hades in Byzantine Art appears in many marginal illuminations in the copies of Psalterium -based on the Septuagint- from the 9th century and later. Byzantine marginal illuminations are associated with the psalm verses and also serve as a kind of marker for particular verses to be sung at certain service (orthros, vespers etc.) in Byzantine liturgy. In the manuscripts, Hades is depicted in different scenes sourced from Byzantine literature, such as the stories in Barlaam and Ioasaphat’s Vita, in addition to familiar subjects such as Hades receiving sinners, the raising of Lazarus, and the Anastasis. Sometimes the conceptual meaning in a psalm verse is explained with the help of scenes including Hades and the dead. The figures in these scenes represent sinners, while Hades symbolises Hell, holding the sinners in his arms. In the Byzantine church painting program, Hades appears only in the Anastasis stage. However, Hades as a figure is not always a traditional component in the Anastasis, contrary to Adam, Eve and the king prophets, David and Solomon. Although there is no certain standard type of Hades’s image in the depictions, it is emphasized that the figure is a pagan and he has a sinful, threatening and terrible nature.
Mitolojinin Heykel Plastiğine Yansımalarına Genel Bir Bakış
2014
Mitoloji; ilkel uygarliklarin dogayla olan mucadelesinde bilinmezlige karsi kurgulanan mitsel oykuler butunudur. Bu oykulerde bilinmezligi bilinir kilan, gorunmezligi gorunur kilan, anlamsizligi anlamlandiran anlatilar hakimdir. Bu mitsel anlatilar kusaktan kusaga aktarilarak gunumuze kadar gelmistir. Kimi edebi bir dille siirlerde, kimi resimler vasitasiyla, kimi de heykeller araciligiyla aktarilmistir. Maddesel kaliciligi ve gorsel dili en iyi kullanan heykel sanati, yuzyillar boyunca mitolojiden beslenmistir. Mitler heykel olarak hem gucu, hem olumsuzlugu, hem de egemenligi varliklastirmistir. Bu acidan heykelin en onemli kaynaklarindan biri mitler olmustur ve olmaya devam etmektedir. Ilkel uygarliklarin uretimi olan heykeller, hem gecmisin mitsel anlatilarini gunumuze tasimakta, hem de ozel yorumlara referans olarak heykel diline zenginlik katmaktadir. Gunumuz bicim diliyle yorumlanan bu heykelller gerek anlam, gerekse plastik zenginlik acisindan gecmisle gunumuz arasinda bir ba...