Der Altar des Apollon von Didyma (original) (raw)
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wbg Academic; 388 p.; 155 fig. (13 col.)., 2020
The exploration of Didyma began during the Renaissance, since then many travellers have arrived to visit and examine the ruin of the world’s largest temple dedicated to Apollo. The excavations continue to this very day and have brought to light more buildings within the last number of years; for example the theatre and the temple of Artemis. Ulf Weber collaborated on the research of the sanctuary of Apollo for many years. Now, for the first time he presents all of the most distinguished and important scholars reaching Didyma since the fifteenth century. During the writing process several new discoveries of the history of research were yielded and even some additional material on the sanctuary of Apollo itself. Various unpublished drawings and photos are included. The history of research is presented chronologically in which the buildings, history and religion of Didyma are deeply embedded. In doing so, the author describes the current state of research of the German excavations. Many, partly amusing, episodes of those travellers and scientists involved bring this significant piece of culture and research history to life.
Didyma, Türkei. Antike Bauabläufe am Apollontempel. Die Arbeiten der Jahre 2021 und 2022
e-Forschungsberichte des Deutschen Archäologischen Instituts, 2023-1, 2023
Die Baustelle des hellenistisch-römischen Apollontempels von Didyma bestand mit Unterbrechungen über 4. Jahrhunderte, ohne dass das monumentale Bauwerk vollendet worden wäre. Mit Abbruch aller Arbeiten blieben einzelne Bauabschnitte des Tempels in ganz unterschiedlichen Zuständen der Fertigstellung liegen, weshalb es heute möglich ist, anhand der verschieden fortgeschrittenen Ausarbeitung von Bauteilen auf Werkprozesse der antiken Baustelle rückzuschließen und Bauabläufe zu rekonstruieren. Zusätzlich sind wichtige Inschriften überliefert, die für einzelne Jahre den Bauprozess am Tempel dokumentieren. Das aktuelle Projekt NEUEDITION DER BAUINSCHRIFTEN VON DIDYMA geht daher über die Zusammenarbeit von Epigraphik und Bauforschung offenen Fragestellungen zu den Bauabläufen am hellenistischen Tempelneubau nach. Der anschließende Vorbericht soll erste Erkenntnisse zu den antiken Bauabläufen aus Perspektive der Bauforschung darstellen. The construction site of the ancient Temple of Apollo in Didyma existed for four centuries, with interruptions, without the monumental structure being completed. Therefore, the preserved architectural structure contains blocks from different phases of construction when work was halted, giving us insights into the diverse building processes of an ancient construction site. Furthermore, important inscriptions have survived, which document the construction process of the temple for individual years. The current project NEUEDITION DER BAUINSCHRIFTEN VON DIDYMA, based on cooperation of epigraphists and building researchers, is therefore investigating unresolved questions about the ancient construction site and the construction processes of the Hellenistic temple.
Eine spätbyzantinische Ölpresse im Apollonheiligtum von Didyma
Istanbuler Mitteilungen, 2009
At Didyma in 2004, find-assemblages from the middle and late Byzantine era were uncovered in two test excavations. At the south-west corner of the Temple of Apollo, in Section B North, the stone weight of an oil press and the remains of two walls were exposed, as was a further wall in Section A North. The stone weight from B North belonged to an olive oil production complex dating from the 13th century. Grooves cut into the surface of the stone weight indicate that a wooden screw was originally attached to it. The screw in turn was connected to a lever that was anchored in a wall which no longer survives but stood on the lowest krepis step of the Temple of Apollo. The press bed is still in situ, following a straight line from the stone weight to the krepis. Next to it, the Mahltasse and the grinding stone of an oil mill – necessary for the production of olive oil along with the oil press – were found in earlier excavations. On the basis of the Byzantine glazed ceramics found at the site, the first phase of the complex can be dated to the 2nd half of the 12th century, the second phase to the 13th century.
Ein zweiter hellenistischer Naiskos im Apollonheiligtum von Didyma? (Kurzfassung)
Koldewey-Gesellschaft, Bericht über die 48. TAGUNG FÜR AUS GRABUNGSWISSENSCHAFT UND BAUFORSCHUNG vom 28. Mai bis 1. Juni 2014 in Erfurt, 2015
Fragments of a second small Hellenistic temple discovered in Didyma years ago have been reinvestigated and testify the existence of a replication of the well known Hellenistic Naiskos inside Apollo’s great temple. Construction drawings at the West wall of the Sekos correspond with these fragments and falsify the common opinion the well known Naiskos for Apollon was designed here. Since the West wall was finished not before 250 BC this was a striking fact for the dating of the Naiskos which can be reconsidered now.
e-Forschungsberichte des Deutschen Archäologischen Instituts 2, 2019, 138–146, 2019
Herodotus (6.19) reports that after the conquest of Miletus in 494 B.C. by the Persian king Darius “the temple at Didyma with its shrine and place of divination was plundered and burnt.” This literary source, the temple was »burnt«, in this instance meaning »destroyed«, is questioned by the archaeological evidence. Though, there are some architectural fragments of the archaic Apollo temple (›temple II‹) discoloured by fire or actually burnt, which undoubtedly testify to a fire, just a small portion of, e. g., column drums show these traces amounting to approximately 30 %. Obviously at a later post-Archaic time, the architecture of the just damaged archaic temple was systematically shattered. Since hundreds of well preserved archaic architectural fragments were found shattered and ›buried‹ in the shafts of the foundations of the Hellenistic temple (›temple III‹), this systematic dissambly could not have taken place earlier than in the Late Classical or Early Hellenistic period, when the construction of the successor was started and the archaic temple was step-by-step dismantled. At Didyma can be recognized a differentiated, mainly economically motivated handling with the architectural fragments of the archaic Apollo temple. But the reason for the ›recycling‹ of the fragments of its large altar was not an economic, but more probably a historical-commemorative and sacral one, because the significant altar cyma was reused on the temple terrace wall and exhibited on an altar-like high base at the former site of the archaic altar probably badly damaged by the Persians. This ›monument‹ referred pars pro toto back to the most important sacred building of the archaic sanctuary.
Der Apollon des Kanachos in Didyma und der Beginn des Strengen Stils
Jahrbuch des Deutschen Archäologischen Instituts117, 2002, 81-125
Unter den wenigen namentlich überlieferten Bildhauern und Erzgießern der Spätarchaik und der frühen Klassik ragt Kanachos von Sikyon 1 schon dadurch hervor, daß er in den Schriftquellen mindestens elfmal erwähnt wird 2 . Damit bleibt er zwar hinter Hageladas von Argos 3 zurück, übertrifft aber seinen Bruder Aristokles 4 bei weitem, der ihm doch »nicht viel an Ruhm nachstand« 5 , ja selbst Onatas von Aigina 6 sowie Kritios und Nesiotes von Athen7 . Es zeichnet ihn besonders aus, daß er bereits von Cicero (Brut. 18, 70) in einem Atemzug mit Kalamis, Myron und Polykleitos genannt wird, freilich auf der ersten Stufe einer Entwicklung zum Wahren (veritas) und Schönen (pulchrum). Wegen ihrer Wichtigkeit zitiere ich diese bekannte Stelle in extenso: Quis enim eorum, qui haec minora animadvertunt, non intelligit Canachi signa rigidiora esse, quam ut imitentur veritatem, Calamidis dura illa quidem, sed tarnen molliora quam Canachi,. nondum Myronis satis ad veritatem adducta, iam tarnen, quae non dubites pulcra dicere, pulcriora etiam Polycliti et iam plane perfecta, ut mihi quidem videri solent? »Wer also einmal seine Aufmerksamkeit diesen weniger wichtigen Dingen zuwendet, sähe nicht, daß die Bildwerke des Kanachos zu starr sind als daß sie die (Natur)wahrheit nachahmen könnten? Daß diejenigen des Kalamis zwar hart, aber doch weicher sind als die des Kanachos und daß Myrons Werke noch nicht nahe genug an die (Natur)wahrheit heranreichen, obwohl man nicht zögern wird, sie schön zu nennen. Schöner noch, ja schon ganz vollkommen sind die des Polykleitos. Mir jedenfalls kommen sie so vor.« Vielen Kolleginnen und Kollegen habe ich für Diskussion, Auskünfte oder Abbildungsvorlagen sehr herzlich zu danken: A. . Es ist umstritten, ob man die Quellen zu Hageladas auf zwei homonyme Künstler aufteilen muß wie Vollkommer a. 0. s. v. Hageladas I und Hageladas II (P. Moreno). 4 Overbeck, Schriftquellen Nr. 395. 410 --= 411. 413; Vollkommer a.0. 86f. s.v. Aristokles (G. Bröker). 5 Paus. VI 9, 1 (Übersetzung E. Meyer). 6 Overbeck, Schriftquellen Nr. 421-428. 7 Ebenda Nr. 452. 453. 457-463. 82 VOLKER MICHAEL STROCKA Schon häufig hat man diese von Cicero einer hellenistischen (klassizistischen) Quelle entlehnte >Härteskala< 8 erörtert, aber doch oft die Stellung des Kanachos verkannt 9 . Er vertritt hier keineswegs den archaischen Stil der Daidaliden, sondern den ersten, noch ganz unvollkommenen Schritt in Richtung auf die Naturwahrheit, man könnte mit B. Kytzler auch übersetzen: »die lebendige Wirklichkeit« (veritas) 1°. Diese Auffassung läßt sich belegen durch den Vergleich mit Quintilian, Inst. Orat. XII 10, 7: Similis in statuis differentia. Nam duriora et Tuscanicis proxima Callon atque Hegesias, iam minus rigida Calamis, molliora adhuc supra dictis Myron fecit. Diligentia ac decor in Polyclito supra ceteros, cui quamquam a plerisque tribuitur palma, tamen, ne nihil detrahatur, deesse pondus putant.
Das Apollon Archegetes Heiligtum auf der Asar Insel bei Myndos
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