2021 Sayı 14

Permanent URI for this collectionhttps://hdl.handle.net/11452/27475

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About the 16th Colloquium of the International Association for the Study of the Ancient Mosaic AIEMA in Conímbriga, Rabaçal, São Simão and Santiago da Guarda, with excursion to Alter do Chão, Mértola, Milreu and Faro, 11th to 15th July 2025
(Bursa Uludağ Üniversitesi, 2021-11-30) Pessoa, Miguel; Rodrigo, Lino; Sales, Pedro
The announcement of the 16th International Colloquium of the International Association for the Study of the Ancient Mosaic AIEMA in Conímbriga (Condeixa-a-Nova), Rabaçal, São Simão (Penela) and Santiago da Guarda (Ansião), with excursion to Alter do Chão, Mértola, Milreu and Faro, (11 to 15 July 2025), led the event’s proponents, members of the Portuguese Association for the Study and Conservation of the Ancient Mosaic - APECMA, the Portuguese section of the International Association for the Study of Ancient Mosaic - AIEMA (based in Paris), to consider the availability of each one of the archaeological site teams involved to prepare this International Meeting in a timely and efficient way, and propose the Directorate-General for Cultural Heritage (DGPC) to take the opportunity provided by this event to present the new Conímbriga Mosaic Restoration Centre - which would strengthen the Movement for the Promotion of the Nomination of Conímbriga to the UNESCO World Heritage List.
Concordantia Veteris et Novi testamenti in the mosaic of the funerary basilica of Via Dottor Consoli in Catania
(Bursa Uludağ Üniversitesi, 2021-08-23) Di Caro, Dominique Maria
In 1930, it was discovered in the area of Via Dottor Consoli, in the northwestern sector of current urban centre of Catania, a cemetery complex used from the Hellenistic to the Byzantine era, by the Superintendence of Antiquities of Syracuse, under the direction of then Inspector G. Libertini. In that occasion, portions of the perimeter strip of a floor mosaic inside the basilica were brought to light, which during later excavation campaigns was completely excavated and detached in 1957 to be exhibited in the “salone di San Giorgio” of the Castello Ursino. Currently, it is kept in the storerooms of the ex-Manifattura Tabacchi (site of the future Regional Interdisciplinary Museum of Catania). The mosaic of the basilica nave, dated to the middle of the sixth century AD, represents common secular themes on three registers: running felids, animals in combat and the marine scene with two men on a boat in front of a dragon with red coat dotted with white eyelets. In a panel there is a snake twisted around the trunk of a tree, in my opinion, to be identified with the Tree of knowledge mentioned by the sacred texts. In the Apocalypse, “the old serpent, which is called the Devil and Satan, the deceiver of the whole world” (Revelation 12, 9) becomes a great red dragon, who appears in the marine scene. An interpretative reading of the mosaic is proposed in the light of the rhetorical procedure of “significant inclusion” to enhance the unity and narrative continuity between the Old and New Testament.
Determination of the type and origin of stone tesseras used in Antiochian mosaics, Museum Hotel example
(Bursa Uludağ Üniversitesi, 2021-09-08) Aydın, Mahmut; Kavşut, Fatima
This study was carried out to determine the type and resources of stone tessera taken from parcel no 4642 (Museum Hotel) mosaics in Hatay province. Archaeometric analysis was performed on 60 tessera samples belonging to 6 different mosaics. In the scope of the study, color analysis, P-XRF and petrographic thin section optical microscopy analysis were performed on tessera samples. As a result of the analyzes, the color components of the tesserae were documented. According to the results of P-XRF analysis; main, artifact, transition and presence of rare earth elements were determined. At the same time, because the majority of tessera is composed of limestone, it is determined that there are high Ca elements in their structures and these results support the results obtained by petrography analysis. According to petrography analysis; the majority of the tessera are limestone, siltstone, clay stone and radiolarite rock species and just one rock type is not determined. It is concluded that these rock types are found in Antakya and surrounding of the region. When the tissue characteristics of tesserae samples were evaluated, it was seen that the tesserae belonging to the limestone species had micritic and sparitic texture and the other rock types had crystalline and clastic texture. When the hardness levels of tesserae samples were examined, it was found that the hardest tesserae was tesserae of the radiolith rock type (4,5- 5 mohs) and the others were generally (2- 3 mohs).
Dionysian Eros or erotic Dionysus? Sources and meanings of hybridization in the Bacchus mosaic at the Naples museum
(Bursa Uludağ Üniversitesi, 2021-09-14) Sevilla-Sadeh, Nava
The splendid mosaic exhibited at the Archeological Museum in Naples presents two enigmatic hybrid images: a feline composed of a tiger and a lion, and a figure that combines the characteristics of both Dionysus and Eros. This study seeks to decipher the hybridization of these two mighty gods of the Roman world, Dionysus and Eros, as presented in the Naples museum mosaic. The main assumption is that two features link these two gods: madness, and the illusion of merging with the Divine. The hybridization of the two gods would seem to strengthen the significance of both and of their role as gods of transcendence, as revealed through an examination of Classical literary and philosophical sources.
The eagle symbol in the mosaic of the great palace in Constantinople
(Bursa Uludağ Üniversitesi, 2021-08-02) Caso, Laura
This iconographic and iconological research has shown the political value of the eagle symbol in the Palace Mosaic in Constantinople. Thus this subject has both ornamental and political significance, but political meaning is predominant. The chronology (532 as terminus post quem) and the historical-archaeological context have disclosed relations between the eagle symbol and the Emperor Justinian I. The eagle strangling a snake, in this perspective, becomes the symbol of supreme power of Justinian, while the snake is the symbol of all enemies of the empire. We can see these enemies in two masked heads in the frame. The first one evokes a subject very well characterized on the ethnic and physiognomic level, that is a Persian soldier, as Darius III, King of the Persians, and his soldiers in the Alexander Mosaic from the House of the Faun in Pompeii. This masked head recalls to mind the defeat of the Persians and the peace treaty between Justinian and Chosroes I in 532. The second masked head symbolizes Oceanus, the god of the mysterious west, i. e. it invokes the recovery of the Western Empire by Justinian (535-553). Therefore Justinian the Great was a new Augustus and, as the first emperor, politically exploited the language of images, especially the eagle symbol.
The impact of Constantinopolitan liturgy on the mosaic pavements in the christian basilicas in Thrace during the second half of 5th C
(Bursa Uludağ Üniversitesi, 2021-08-29) Topalilov, Ivo
The present article deals with changes that occurred in the arrangement of the mosaic floor decorations of two important basilicas located in the capitals of two provinces in Thrace – the Episcopal basilica at Philippopolis and the basilica at Herakleia, which are both dated to the second half of the 5th c. The study reveals that in these cases the changes were not a purely decorative issue with the introduction of a new trend in mosaic decoration. Instead, these were innovations that reflected the new importance of the areas marked by mosaic decoration, such as the ‘entrance’ in the atrium or narthex and the side aisles and their middle portions. It seems they were part of the introduction of the Constantinopolitan liturgy that emerged after the reassignment of Thrace to the jurisdiction of the Constantinopolitan church pursuant to canon 28 of the Fourth Ecumenical council at Chalcedon in 451. In order to avoid any misunderstandings, the new sites were marked by specific and clear Christians images. Dating to the second half of the 5th c., the Thracian examples are among the earliest so far attested and reveal the evolution of the Constantinopolitan liturgy before its completion, which is eventually attested in the monuments of the 6th c. in the capital and elsewhere.
The late Roman mosaics from the Villa of Pont del Treball Digne, Barcelona
(Bursa Uludağ Üniversitesi, 2021-09-14) Alcubierre, Daniel; Ardiaca, Jordi; Artigues, Pere Lluís; Llobet, Silvia; Mañas, Irene; Rigo, Antoni
The construction of the new La Sagrera high-speed rail line station in Barcelona revealed a new archaeological site whose remains were identified as a roman villa. The studies undertaken have allowed the foundation of the settlement to be dated to the first half of the 1st century BC and to identify different building and refurbishment phases. The most important transformation of the pars urbana was undertaken in the late 4th century AD. We attest the creation of new living spaces dedicated mainly to the social functions of the villa and the representation of the dominus. A new decorative programme was also implemented at this time. It included two mosaic and opus sectile floors and marble wall linings. This process of enriching the domestic space took place in parallel with similar refurbishment programmes documented in the roman town of Barcino. The aim of this study is to conduct the compositional analysis of these late pavements. Moreover, some chronological appreciations about the pavements construction can be made, due to ceramic studies.
The mosaic decoration of Peristylia in Roman villae and Domus of western Lusitania (Portugal). The interrelationship between Domestic space planning and the chosen Peristyle flooring
(Bursa Uludağ Üniversitesi, 2021-08-05) Kremer, Maria de Jesus Duran
Within the RoGeMoPorTur project, a specific approach was adopted to analyse the importance of the peristyle not only as a central element of communication and link between the different architectural components of the villa, but also as an expression of a vision very specific to its owner as a member of a Roman or Romanised elite: The peristyle, as the entrance to the villa from outside, was at the same time the first recipient of its cultural message and socio-economic power. This study aims at a typologisation of the spatial dialogue chosen by the landowner for the introduction to that message through the pavement decoration of the peristyle.
The mosaic floors of the house of Kyrios Leontis in Nysa Scythopolis (Beth Shean)
(Bursa Uludağ Üniversitesi, 2021-08-11) Habas, Lihi
The House of Kyrios Leontis in Nysa Scythopolis (Beth-Shean) was partially excavated by two expeditions and at different times, and the mosaic floors have been published only in preliminary publications. Two halls were discovered in the complex. The first hall is decorated with a mosaic pavement of three panels: the Homeric story of Odysseus and the Sirens; beribboned parrots surrounding a dedication inscription; the Nile god, Nilometer, the city of Alexandria, and a Nilotic landscape. The second hall served as a prayer room or a small synagogue. A pair of animals decorated the two entrances, and the hall itself is decorated with populated vine scrolls with animals. Jewish ritual objects appear in the central medallion: the seven-branched candlestick, citron, censer, and ram’s horn. The mosaic floors are inlaid with dedication inscriptions in Hebrew, Aramaic and Greek, with the names of the donors and prayers for the holy congregation. The iconography, incorporating mythological subjects, the god of the Nile and Nilotic landscape, Jewish ritual objects, common animal chase scenes, and the use of the three languages that were customary in Byzantine Palestine, expresses the character of the city of Nysa Scythopolis as a cultural city inhabited by a mixed, well- educated population.
The peopled scroll of the great palace mosaic in Constantinople. New perspectives
(Bursa Uludağ Üniversitesi, 2021-09-10) Derwael, Stéphanie
Many studies have been devoted to the mosaic of the Great Palace peristyle in Constantinople / İstanbul. To its style, influences and models, as well as to its dating or to the function of the room it decorated. But there is one element that has so far not aroused much interest: the peopled scroll that circumscribes the central panel. The iconographic, chromatic, and technical richness of this border make it much more than a simple ornamental frame. It is even a key element of the pavement. This type of border developed towards the end of the 2nd century AD in workshops on the Levantine coast on the basis of a Hellenistic pattern. The presence of foliate heads at regular intervals in the border contributed to the revival of this pattern inherited from the Greek world. Four heads of this type are partially preserved in the Great Palace Mosaic. But what is it really about? The analysis of the corpus of the Roman foliate heads and the contextualising of this pavement allow to specify the origin and meaning of these heads, but also to confirm the dating of the 6th century AD, and to shed new light on the interpretation of the decorative program.
Reburial of mosaics: Field experiment comparing six different systems based on the results of monitoring station in Perge
(Bursa Uludağ Üniversitesi, 2021-09-12) Yeşil, Şehrigül
The effectiveness of six different reburial systems was investigated by means of a monitoring station installed on a part of approximately 110 square meters of mosaic, defined as basilica thermarum in the Southern Baths of the ancient city of Perge. The scope of the study covers the monitoring of six different reburial systems consisting of only soil filling on the tessellatum layer; only sand filling on the tessellatum layer; sand filling on geotextile laid on the tessellatum surface; sand and gravel, respectively on geotextile laid on the tessellatum surface; geotextile and pozzolana on the tessellatum surface, and finally, approximately 5 cm sand, geotextile, and 15 cm sand on the tessellatum surface. Key parameters, which lead to deterioration such as moisture content in these systems, system response to the precipitation, temperature change, acidity, salt content, and plant formation were evaluated comparatively. In these systems, Decagon 10HS soil moisture sensor for moisture measurements and Apogee ST100 soil temperature sensor for temperature measurements were employed. Atmospheric humidity, atmospheric temperature and precipitation data were collected with a Davis® Vantage Vue™ Wireless Weather Station set. Data of salt content, acidity and elemental composition were obtained through conductivity analysis, pH tests, X-ray fluorescence (PED-XRF) analysis. Having reached under the reburial system, species analysis of plants that cause mosaic deterioration was realized, and the coverage degree of those plants was determined according to the Braun-Blanquet cover-abundance scale. This research, in which data for the years 2017- 2018 were evaluated, showed that each monitored reburial system had certain advantages and disadvantages according to the above-mentioned parameters.
Reflections on music performance and dancing in a Roman mosaic found on the Aventine
(Bursa Uludağ Üniversitesi, 2021-08-12) Neira, Luz; Rodriguez, Isabel
This paper focuses on a figurative scene with musicians and dancers in one of the mosaics found in the grounds of Santa Sabina garden on the Aventine, currently preserved in the Vatican Museums. This representation has been the object of different interpretations and chronological analysis within the context of mime or, more recently, that of a banquet. This contribution delves into whether, judging by the analysis of the iconography and literary sources, these are images that respond to a stereotyped repertoire or they reflect customary practices of that time. Finally, we will also reflect upon to what extent the representation of the protagonists of the event is reliable. To address these questions, it has been necessary to date the mosaic to the beginning of the third century AD, establishing this chronology by comparing the geometric pattern of the mosaic with another found nearby, while also considering the revealing testimonies of contemporary authors, such as Clement of Alexandria.
The revival of interest in representing plays of Menander in the late 2nd and early 3rd centuries AD: A historical and art-historical phenomenon
(Bursa Uludağ Üniversitesi, 2021-09-19) Parrish, David
An important revival in representing plays of Menander in private homes, in the form of both mosaics and frescoes, occurred primarily in the eastern part of the Roman empire in the late 2nd and early 3rd centuries AD, with a limited echo felt in the west. The present article tries to explain why and how this artistic phenomenon took place, and a review of the relevant works of art and their chronology is presented in this interpretation. The discussion also refers to the frequent depiction of theater masks in well-to-do households, and the related custom of presenting theatrical entertainment at the banquet or “dinner theater.” Also significant for our purpose are the continued vitality of theater festivals throughout the Greek-speaking provinces during the first half of the 3rd century, and the retrospective attitude of the Second Sophistic, with its high esteem for classical drama of the past. This outlook was focused on Athens, and it had great admiration for the plays of Menander and Euripides. One additional feature influencing the artistic renewal in question is the high value placed on Menander’s plays as models of literary expression in the curriculum of schools, especially for training students in rhetoric and declamation. Collectively, all of the factors mentioned above contributed to the Menander revival in the visual arts during the period specified.
Roman mosaics of Antequera. An overview
(Bursa Uludağ Üniversitesi, 2021-08-26) Vargas-Vázquez, Sebastián; Pérez, Manuel Romero
The present-day city of Antequera, in the province of Malaga, Spain, dominates an extensive territory encompassing numerous archaeological sites from different eras. The urban centres of Singilia Barba, Anticaria and Aratispi, belong to the Roman period, now only offering us two mosaics, and a good number of rural properties, from which most of the set of Antequera mosaics come. Within the Antequeran mosaic repertoire, the geometric mosaic occupies a special place, with specimens of great beauty and excellent design, for example those in the majestic Roman villa of La Estación. From a figurative point of view, Antequera has beautiful specimens, such as the Oceanus mosaic of the baths of Santa María and that of the Erotes and Priapus figures of the Roman villae of La Estación and Bobadilla, respectively. Particularly, the Roman villa of Caserío Silverio has a heritage consisting of a large number of figurative representations, highlighting the imposing, although poorly preserved, pavement of the triclinium. This mosaic must have contained a scene related to the mythology of water, of which singular fragments are preserved, such as the representation of the Tiber River and some epigraphic verses extracted from book IV of Vergil’s Georgics.
Theodore Metochites mosaic at Chora and the relics of the True Cross
(Bursa Uludağ Üniversitesi, 2021-08-09) Ciric, Jasmina S.
This article aims to analyze the ktetorial composition depicted above the west portal of the Chora Church (Kariye Camii). Although many researchers provided a description of this composition, the representation of the church in the hands of Logothetes tou Genikou, Theodore Metochites, has not been specifically examined. No matter that the church is depicted with the majority of the architectural elements which correspond to the reality, it is interesting to notice that two large crosses are depicted laterally of the west portal. These crosses do not correspond to the elements of the brickwork of the west facade. Nevertheless, careful analysis of the marble portal between naos and narthex area contains quite particular detail: in the lower third of two jambs of the portal were inserted pectoral crosses (encolpia) which testified to the keeping of small particles of the True Cross relic, hope for salvation and inscribing of the ktetor in the circle of the protected by True Faith.
Unraveling the interplay between inscriptions and images: The cosmological mosaic of Mérida
(Bursa Uludağ Üniversitesi, 2021-08-22) Honikel, Anna-Laura
The cosmological mosaic in Mérida is a complex and unique pictorial creation. Due to the remarkable quality and the intricate depicted cosmological scene, the mosaic has often been the focus of research. In this paper, attention is drawn to the fact that the factors iconography and inscriptions are not always as congruous as they usually are. As a result, different associations are triggered in the recipient, which make the respective figures more multifaceted. Consequently, however, the identification and interpretation of the figures becomes more demanding. Different modes of combining iconography and writing can be observed on the cosmological mosaic. This shall be demonstrated exemplarily with the aid of the figures Saeculum, Caelum, Chaos and Polum. Those personifications serve as a case study, since they show four different strategies of combining images and writing. It can be illustrated how variable the relationship of the iconography and inscriptions was staged and how specific intended statements were conveyed by this.

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