Journal of Mosaic Research最新文献

{"title":"Mozaik Araştırmalarında Kullanılan Arkeometrik Yöntemler ve Örnekleri","authors":"Mahmut AYDIN","doi":"10.26658/jmr.1377311","DOIUrl":"https://doi.org/10.26658/jmr.1377311","url":null,"abstract":"Günümüzde mozaiklerden elde edilecek bilgi sadece motiflerin görsel olarak incelemelerinden ibaret değildir. Tahribatsız ve tahribatlı arkeometrik yöntemler kullanılarak mozaiklerden elde edilecek bilimsel bilgi en üst seviyeye çıkarılabilmektedir. Mozaiklerde kullanılabilecek en yaygın arkeometrik yöntemler tahribatsız olanlardır; mozaiklerde kullanılan renk sayısı ve tonları taşınabilir (Munsell katalog kodunu veren) dijital renk ölçer ile tespit edilebilmektedir. Bunun yanı sıra taşınabilir X Işını Floresans Spektrometresi (P-EDXRF) ile tahribatsız bir şekilde taşları oluşturan elementler tespit edilerek tesseraların türleri belirlenebilmektedir. Cam tesseraların da kimyasal kompozisyonu ve renk vericiler belirlenebilmektedir.
 Tahribatlı arkeometrik yöntemlerin kullanılması izinler ve etik açısından her zaman mümkün olmasa da bu yöntemlerden elde edilecek bilimsel bilgiler tahribatsız yöntemlere göre daha fazladır ve güvenilirdir. Mozaiklerde kullanılan harç, taş, cam ve pişmiş toprak tesseraların türlerinin ve içeriklerinin belirlenmesinde yaygın kullanılabilecek arkeometrik yöntemler de şunlardır; petrografik analizler, dalga dağılımlı X Işını Floresans Spektrometresi (WDXRF), Kütle Spektrometresi ve X Ray Detektörlü Taramalı Elektron Mikroskobu (SEM-EDX)’dur. Bu yöntemler kullanılarak cam tesseraların kimyasal kompozisyonu, renk verici kimyasallar, üretim hataları, bozulma nedenleri ve ikincil kullanım ürünü olup olmadığı (geri dönüşüm) gibi bilgiler elde edilebilmektedir. Taş tesseralarda ise tahribatlı arkeometrik yöntemler kullanılarak taş türü ve kökeninin belirlenmesi yapılabilmektedir. Bu çalışmada yazarın mozaikler üzerinde bizzat yürüttüğü arkeometrik yöntemler ve elde ettiği sonuçlar paylaşılacaktır.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774894","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}

{"title":"Bulgaristan’daki Geç Antik Çağ Mozaiklerinde Kozmolojik Temsiller","authors":"Vania POPOVA","doi":"10.26658/jmr.1376838","DOIUrl":"https://doi.org/10.26658/jmr.1376838","url":null,"abstract":"The article traces the cosmologic structure and its separate components, reflected on the Late Antique mosaic pavements from the ancient provinces of present-day Bulgaria. Distinguished are three basic historical periods of development. The observations reveal that these lands were receiving ready cosmogonic structure’s schemes after the act of cosmogony from the big artistic centers of Italy, Greece, Asia Minor and North Africa. For several reasons, the cosmologic structure and the components of the Late Antique mosaic pavements from Bulgaria are not full, but limited and adapted, with many missing figural representations in the mosaic pavements and the tomb wall paintings, differently to the Western and the Eastern Mediterranean. This is considered a kind of proto-iconoclasm, due to the influence of heresies and the concrete historical, religious and artistic development. The joyful picture of the Christian Universe changes and disintegrates after the Justinianic period, and the previous Order and Harmony, including the place of each sphere and cosmologic element, is already not fixed, but in free mixture with other figural and symbolic images. The old cosmologic picture comes to its logical end and is replaced by a new one after the beginning of 7th century.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775014","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}

{"title":"Ancient Repairs on the Alexander Mosaic from Pompeii","authors":"Demet BEŞİKÇİ","doi":"10.26658/jmr.1376708","DOIUrl":"https://doi.org/10.26658/jmr.1376708","url":null,"abstract":"Every so often throughout antiquity, cities, structures and objects were damaged to varying degrees as a result of wars, earthquakes, floods and fires, and became unusable. However, similar to the present day, in some cases it was possible to maintain their function by carrying out repairs. Traces of such repairs are visible on mosaic flooring, one of the structural elements most affected by these destructions.
 Since mosaics are composed of lots of small pieces, they can quickly disintegrate in any destructive situation and fall apart easily. Through the ages, the loss of components occurred as a result of not only great destruction and devastation, but also of wear due to overuse. In such cases, in order to reduce the growth of the damaged area, various repair techniques were used, and the use of the structures/spaces continued. The craftsmen doing these repairs sometimes tried to restore the floor and its decoration elements to its original appearance, and other times utilised different materials in order to re-open the space as quickly as possible. The location and dimension of the damage as well as the repair methods on the mosaic provide us with information on the techniques of the craftsmen and the practices of the period.
 Found at the Casa del Fauno (VI 12, 2) in Pompeii on October 24, 1831 and dated to the end of the 2nd century BC (120 BC) (Pappalardo - Ciardiello 2010: 153) the Alexander Mosaic is one of the most well-known mosaics today, as well as being famous enough in the period it was made to be mentioned in historical and literary sources. The original is preserved in the Naples National Archaeological Museum (MANN, inventory number 10020). It depicts the battle of Issus (333 BC) or Gaugamela (331 BC) between Alexander the Great and Darius III (Pappalardo - Ciardiello 2010: 154; Giulierini et al. 2020: 105). Despite having undergone repairs following the extensive damage it sustained in the earthquake of 62 AD, the mosaic never regained its former appearance. It is a rare example, as it was in some parts repaired with tesserae and some other parts repaired using mortar. Studies of the Alexander Mosaic suggest that these two different mending techniques belong to separate attempts from different periods. This article, as a result of detailed examinations, discusses the possibility that repairs made with both tesserae and mortar may have been applied simultaneously after the same destruction.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775025","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}

{"title":"Determination of the Mathematical Theorems on Ancient Mosaics","authors":"Erhan AYDOĞDU, Ali Kazım ÖZ","doi":"10.26658/jmr.1376705","DOIUrl":"https://doi.org/10.26658/jmr.1376705","url":null,"abstract":"The aim of this research is to examine and evaluate the reflection of mathematical knowledge on examples of ancient mosaic art. As a result of the comparison between history of mathematics and art of mosaics, a connection has been made between the well-known theorems and patterns through the nature of the forms. For this purpose, patterns like swastika, meander, spiral and cube forms, as well as the forms that can be produced from the graph related to the lunar area calculation of Hippocrates of Chios have been analyzed. In addition, analyzes, discussions and evaluations on the identification of the forms similar to the semi-regular solids of Archimedes and the hexagons of Pappus of Alexandria have been presented. It is thought that the methods used and the information obtained in this study will contribute to the research of mosaic art and history of mathematics, the documentation and evaluation of archaeological artifacts, the museology practices and conservation studies.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774900","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}

{"title":"İznik Hisardere Bazilikası Mozaikleri","authors":"Ali Kazım ÖZ, Aygün Ekin MERİÇ, Ahmet TÜRKMENOĞLU, Nihal KARDORUK","doi":"10.26658/jmr.1376832","DOIUrl":"https://doi.org/10.26658/jmr.1376832","url":null,"abstract":"Bursa ili, İznik ilçe merkezinin beş km kuzeyinde yer alan Hisardere Nekropolü’nde, 2015 yılından itibaren çok sayıda lahit, sanduka ve oda mezar ortaya çıkarılmıştır. Kazılarda ortaya çıkarılan duvarlar ve mozaiklerin takibi sonucunda, 2021 yılında Hisardere Nekropolü’nün merkezinde bazilikal planlı bir kilise yapısına ait kalıntılara rastlanmıştır. Ayrıca jeofizik yöntemlerle yapılan incelemeler sonucunda, yapının batıya doğru devam ettiği ve muhtemel boyutlarının yaklaşık 30x35 m ve atriumla birlikte 30x70 m olduğu tespit edilmiştir. Böylece, Anadolu’daki en büyük bazilikalardan biri olarak literatürde yer alması gereken önemli bir yapıyla karşılaşılmıştır.
 Erken Hıristiyan Dönemi kültürünün en önemli temsilcilerinden biri olan İznik kentinde, bu denli görkemli bir yapının kent surlarının uzağındaki bir nekropol alanının içinde ve Roma Dönemi lahitlerinin üzerinde bulunması ender rastlanan bir durumdur. Kazılar sonucunda, bazilikanın orta nefinde geometrik motiflerle süslü mozaiklerin, yan neflerinde ise tuğla döşemelerin varlığı görülmektedir. Bazilika mozaiklerinin eşit boyutta dört farklı kompozisyona sahip panellerden oluştuğu belirlenmiştir. Fakat mozaiklerin yüzeye yakın olması ve bölgenin uzun yıllar tarımsal üretim amacıyla kullanılması gibi nedenlerle sadece üç panelin kompozisyonuyla ilgili bilgiler edinilebilmiştir. Bazilikanın mimari özellikleri, mozaiğin içeriğinin benzer örneklerle karşılaştırılması ve arkeolojik buluntular yardımıyla yapının İS 5.-6. yüzyıllara ait olduğu anlaşılmaktadır.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775012","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}

{"title":"Priene Doğu Nekropol Şapeli Döşeme Mozaikleri ve Duvar Resimlerinin Ön Değerlendirmesi","authors":"Ferdi ALATAŞ","doi":"10.26658/jmr.1376688","DOIUrl":"https://doi.org/10.26658/jmr.1376688","url":null,"abstract":"Priene Doğu Nekropolü’nde 2010 yılı kazı sezonunda tespit edilen şapelde 2019 ve 2021 yıllarında ilk kazı çalışmaları gerçekleştirilmiştir. Doğu Nekropol Şapeli olarak adlandırılan yapı, doğu – batı doğrultulu, dıştan 22,80 x 7,20 m ölçülerinde, tek nefli ve dikdörtgen planlı bir şekilde inşa edilmiştir.
 Erken Bizans Dönemi’nden itibaren kullanıldığı tespit edilen Şapelin iç mekân duvar cephelerinin tamamen fresk kaplı olduğu anlaşılmıştır. Şapelin naos kısmında yapılan kazılarda batı duvarı ve kuzey duvarında bulunan fresklerin bir kısmı açığa çıkarılmıştır. Batı duvarında üç, kuzey duvarında ise dört kat fresk tespit edilmiştir.
 Şapelde yürütülen kazılar esnasında birçok noktadan mozaik parçalarına ve tesseralara ulaşılmıştır. Özellikle apsisin güney yarısında gerçekleştirilen kazılarda, zemin mozaiği ile kaplı olduğu sonucuna ulaşılmıştır. Naos kısmında ise zemin mozaiğinin çok küçük bir kısmı açığa çıkarılmıştır.
 Bu çalışmada, Doğu Nekropol Şapeli’nin taban mozaikleri ve duvar resimlerinin ilk tanıtımı yapılarak, evreleri ve tarihlendirme sorunları ele alınacaktır. Ayrıca duvar resimlerinin ikonografik özellikleri de değerlendirilecektir.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775023","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}

{"title":"Zeytinburnu Mozaikleri","authors":"Sırrı ÇÖLMEKÇİ, Emrah KAHRAMAN, Emir SON","doi":"10.26658/jmr.1376713","DOIUrl":"https://doi.org/10.26658/jmr.1376713","url":null,"abstract":"İstanbul’un Zeytinburnu İlçesi’ndeki Kazlıçeşme Sanat Galerisi’nin restorasyonu sırasında keşfedilen daha sonra 2017-2021 yıllarında İstanbul Arkeoloji Müzeleri Müdürlüğü’nün gerçekleştirdiği kazılarla açığa çıkarılan mozaiğin İS 4. yüzyıl ortası - İS 4. yüzyıl sonuna ait olduğu düşünülmektedir. Mozaik, Theodosius surları dışında, Porta Auera’nın (Altın Kapı) 1350 m kadar güneybatısında, Marmara Denizi kıyısından içeride 17 m yüksekliğindeki bir alanda yer almaktadır. Çok renkli mozaikte yoğun olarak tercih edilmiş geometrik motiflerle, bu motiflerin bazı kısımlarında kullanılan bitkisel bezeme unsurlarıyla meydana getirilmiş beş farklı bezeme kompozisyonuna rastlanmaktadır Bunlar; dalga ve örgü motifli iki daire içine yerleştirilmiş, merkezinde rozet bulunan sekizgen yıldız, bu merkez kompozisyonu çevreleyen birbirine geçen düğüm motifleri, iç içe geçmiş üçgenlerden oluşan dört uçlu yıldız kompozisyonu, paralelkenar dörtgenlerden oluşan sekiz uçlu yıldız motifleriyle birbirine teğet geçen dairelerin iç kısmına yerleştirilmiş karelerden oluşan geometrik kompozisyonlardır. Genel olarak motif ve kompozisyon çeşitliliği göz önüne alındığında Zeytinburnu mozaiklerinin İstanbul’da şimdiye değin var olan kısıtlı mozaik repertuarına önemli ölçüde katkı sağladığı düşünülmektedir.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775024","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}

{"title":"Symbols of Faith in the Mosaic Floors of the Newly Discovered Ecclesiastical Complex at Ashdod Maritima, Israel","authors":"Lihi HABAS","doi":"10.26658/jmr.1376813","DOIUrl":"https://doi.org/10.26658/jmr.1376813","url":null,"abstract":"An ecclesiastical complex has recently been discovered in Ashdod Maritima – ancient Azotus. The site was excavated in 2019 and 2021. The complex includes a basilica, several rooms, and a chapel on the north side, all decorated with mosaic pavements.
 A mixed trend comes to light in the mosaics: on the one hand, there is a continuation of the geometric and vegetal compositions and motifs that originated in the Roman world and continued into the Byzantine period. On the other hand, the complex is unique in the many symbols of faith that appear, scattered throughout its parts. All types of crosses are depicted; a medallion with a Greek cross accompanied by the Greek letters iota-chi, and alpha and omega; a medallion with a Latin cross standing on Golgotha Hill with the Greek letters iota-chi and alpha and omega; a large Latin cross standing on Golgotha Hill with two large Greek crosses between its arms; and a medallion with a quote from Psalms.
 The complex is exceptional in the large number of crosses, the names of the bishops, priest, deacon, and deaconesses who were involved in the construction and decoration or were buried in the complex, and the large number of dated inscriptions.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135774896","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}

{"title":"The Marine Mosaics in Late Antique Thrace","authors":"Ivo TOPALILOV","doi":"10.26658/jmr.1376863","DOIUrl":"https://doi.org/10.26658/jmr.1376863","url":null,"abstract":"It is assumed that marine mosaics were among the most popular mosaic pavements across the Roman Empire, particularly in thermal baths and triclinia. It has therefore been thought unsurprising that marine mosaics widely appear in Early Christian art. Late antique Thrace does not appear to be an exception to this trend, although few examples of such mosaics have been discovered so far. This article addresses all three examples from a villa suburbana in Serdica region as well as other examples from houses in Philippopolis and Augusta Traiana. All dated to the 4th century, these mosaic pavements hold different iconography that suggest that in the marine theme was not among the most popular themes that spread in Late Antique mosaics in the cities of inner Thrace. Instead, their use is attributable to specific historical circumstances such as Julian’s advance into Thrace in 361-362 or the explicit desire and needs of a house owner to present himself as a wealthy merchant to guests. The Philippopolitan mosaic with ‘classical’ iconography may have had a Christian meaning as well. Although this study lacks the necessary support of additional examples, perhaps awaiting discovery at Thrace’s coastal cities, it is a preliminary step toward more accurately gauging the distribution of marine mosaics in Thrace and their role in the development of mosaic art in the region in Late Antiquity.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775016","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}

{"title":"Altın Sarısı ve Mavi Geҫişi - Tarihi Bir Yerde Çağdaş Bir Gerçekleşme","authors":"Brigitta Maria KÜRTÖSİ","doi":"10.26658/jmr.1377343","DOIUrl":"https://doi.org/10.26658/jmr.1377343","url":null,"abstract":"The paper aims to demonstrate the creative process of the realization of a fountain in the courtyard of the Archbishop’s Castle in Kalocsa, Hungary. Lead architect of the diocese, Márta Vörös designed a complex artwork symbolizing the Trinity. The rounded shape concrete body of the fountain is seven metres in diameter and positioned in the middle of the inner garden space. In the centre of the composition, an orb and a dove figure are encompassed by a thin layer of water in a calyx-form. The surface of the fountain will be covered with Murano glass mosaic executed by the author. The dark colours from deep tones through the transition of blueish and greenish tints turn to golden shades reflecting to the Earth and Sky. The mosaic is made by direct technique in studio following a division system composed by 36 slices with 11 sections of each. The prepared sections are edited to fit to the curved design of the fountain, and the setting style desires to delicately amplify the symbolic content. From above the work will look like the eye of God as a universal protective symbol. This contemporary artwork exemplifies the fusion of traditional visual and theoretical values.","PeriodicalId":40714,"journal":{"name":"Journal of Mosaic Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135775021","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}