Journal of Mosaic Research最新文献_第7页

Zeugma’daki Poseidon Evi Emblemasından Skyros’taki Akhilleus: Caracalla ve Görüntülerin Gücü

Journal of Mosaic Research Pub Date : 2022-11-30 DOI: 10.26658/jmr.1143736

Laura Caso

{"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}

引用次数: 0

The Ganymede Mosaic of Claudiopolis 克劳迪奥波利斯的木卫三马赛克

Journal of Mosaic Research Pub Date : 2022-11-30 DOI: 10.26658/jmr.1143760

S. Sezer

{"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}

引用次数: 0

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) 在帕提科波利斯的莫扎克的Tesserae Kökeni（4-6）。一百。当地八居室、卧室和意大利（巴西2号莫桑比克Tesseralas的初步报告）

Journal of Mosaic Research Pub Date : 2022-11-30 DOI: 10.26658/jmr.1143757

Svetla Petrova

{"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}

引用次数: 1

Roma Mozaiklerinde Mevsim Hayvanları 罗马时期莫桑比克的古代动物

Journal of Mosaic Research Pub Date : 2022-11-30 DOI: 10.26658/jmr.1143766

Patricia Witts

{"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}

引用次数: 0

Ortigia’daki (Siraküza) Eski Via del Littorio’nun Kayıp Mozaiği Ortigia'daki（Siraküza）Eski Via del Littorio'un Kayıp Mozaiği

Journal of Mosaic Research Pub Date : 2022-11-30 DOI: 10.26658/jmr.1143735

Dominique Maria Dİ CARO

{"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}

引用次数: 0

A Modern Hatay (Antiocheia) Mosaic: “Ortak Varoluş” (Co-Existence) - I 现代哈泰（安条克）马赛克：“Ortak Varoluş”（共存）-I

Journal of Mosaic Research Pub Date : 2022-11-30 DOI: 10.26658/jmr.1143773

H. O. Tibikoğlu, Banu Özdilek

{"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}

引用次数: 0

Entrevista con Luca Hugo Brucculeri 和卢卡·雨果·布鲁塞里一起创业

Journal of Mosaic Research Pub Date : 2022-11-28 DOI: 10.7238/m.n197.2201

Luca Hugo Brucculeri Brucculeri

引用次数: 0

Entrevista amb Manel Vidal. Vull Aprendre

Journal of Mosaic Research Pub Date : 2022-11-24 DOI: 10.7238/m.n197.2204

M. Vidal

引用次数: 0

Entrevista amb María Jesús Salido

Journal of Mosaic Research Pub Date : 2022-11-21 DOI: 10.7238/m.n197.2205

María Jesús Salido