2008 Sayı 1-2

Permanent URI for this collectionhttps://hdl.handle.net/11452/9660

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Bookreview: III. ve IV. Uluslararası Türkiye Mozaik Korpusu Sempozyumu Bildirileri – The Proceeding of III. and IV. International Symposium of the Mosaic of Turkey
(Uludağ Üniversitesi, 2008) Witts, Patricia
Mustafa Şahin (editor), III Uluslararasi Türkiye Mozaik Korpusu Sempozyumu Bildirileri – The Proceeding of III International Symposium of the Mosaic of Turkey, Uludağ University, Bursa, 2007, 222 pages including 64 pages of plates in colour and black and white. ISBN 978-975-6149-32-4.
Family, death and afterlife according to mosaics of the Abgar royal period in the region of Osroene
(Uludağ Üniversitesi, 2008) Salman, Barış
The region of Osroene is the area including Edessa (Şanlıurfa), Carrhae (Harran), and Birtha (Birecik) located east of the Euphrates (Fırat) River. The Abgar Dynasty, the major power in the region, overthrew Seleukos’s control and regained independence in the region in132 BCE. Family members depicted together and at ease in mosaics of the royal period symbolize the importance of peace within the family and family unity. Of the figures portrayed next to the genearch, the wife is the most striking individual with her dignified pose. Family mosaics indicate that whole family will be together after death as they were in life. A Phoenix and two Orpheus mosaics found in the region also support the pagan notion of a new life after death.
Quelques remarques à propos de l’étude des sols in situ
(Uludağ Üniversitesi, 2008) Raynaud, Marie-Patricia
This paper proposes a review of the various contributions of an « in situ analysis » upon the study of mosaics and architecture. They are helpfull to understand the story of the building and to distinguish workshops of mosaicists. They result from the association between mosaic specialists, archaeologists and restorers.
Islamic re-use of antique mosaic tesserae
(Uludağ Üniversitesi, 2008) Greenhalgh, Michael
Such large quantities of antique mosaics survive around the Mediterranean that an obvious question is whether they had any influence on decorative art in the Middle Ages, in style or material. This question has sometimes been studied for the West and Byzantium; but by the Millennium, it was Islam rather than Byzantium or any of the states in the West that occupied the largest number of mosaic-rich sites of the Roman world. What might Islamic re-use of antique mosaic tesserae tell us about the further development of this medium? This paper surveys the evidence for the re-use of antique tesserae, examining some of the ways in which the medium was used, on the outside and inside of buildings, and on both floors and walls. It discusses the various possible sources of the tesserae, the evidence for mosaic trading far and wide, and tesserae collection as war booty. It concludes with an overview of the specifically Islamic speciality of jigsawed cut-stone mosaic portals and façades, which were still being constructed in 16th-century Cairo - a cleverer and more sophisticated form of mosaic than any to be seen in Christendom, and surely using ancient marble offcuts.
The ship depicted in a mosaic from migdal, Israel
(Uludağ Üniversitesi, 2008) Freidman, Zaraza
Iconography of ships in mosaics comprises two fields: ancient ships and shipping, along with mosaic art and techniques. This theme is very complex and however it has been paid insufficient attention in the past. Due to this durable art form, the ships depicted in mosaics may be referred as actual images of vessels concurrent to the period when such surfaces were made. The research started with my MA dissertation (1999, unpublished), which encompassed the eastern Mediterranean, Israel and Jordan. Throughout my PhD dissertation (2003, unpublished), this theme dealt with the entire Mediterranean world. It relates to shipbuilding materials, types of ships, sailing environments, as well with the propulsion and steering rig. The following paper describes one of the earliest mosaics with ship depiction that was found in Israel, at Migdal, located on the western shore of the Sea of Galilee (in Hebrew: Yam Kinneret) (fig. 1). Although some reddish-brown tesserae were used for some distinct parts in the objects depicted in the mosaic, it follows the black-and-white technique (rare example in the eastern Mediterranean). The mosaic reflects tight art connections with the early Roman Empire of the 1st centuries BCE – CE. The Migdal mosaic is no longer found at it original location. Today it is mounted into a metal frame and placed among other artifacts in the courtyard of the “Church of the Multiple Loaves and Fish”, at Capernaum (Tabgha).
The port illustration on the floor mosaic of the Yakto villa
(Uludağ Üniversitesi, 2008) Erol, Ayşe F.
The most important materials that can shed light on the historical atmosphere of Antiocheia on Orontes are mosaic panels. The floor mosaic obtained from the Daphne Yakto villa provides valuable information by showing the topography, the architecture and the daily life of Daphne and Antiocheia on Orontes. While a part of the academic research labelled the U-shaped, colonnaded structure filled with water as a reservoir, certain details of the depiction give us clues to the possibility that this could actually be a port. Records provided by antique writers on the city and comparisons made with architecturally similar material seem to yield data that support the idea that this structure functioned as a commercial port.
Etude de la dégradation des mosaïques romaines de volubilis (Maroc)
(Uludağ Üniversitesi, 2008) Dekayir, Abdelilah
Roman mosaics in Volubilis are opus tessellatum type. They show different deterioration features represented by the lacunae formation (lack of tesserae) and break down of mosaic pavements by fracturing. The deterioration of the tessellatum and the formation of cracks are related to the swelling of soil supporting these mosaics. Furthermore, the tessellatum is also damaged by chemical dissolution of the fine grained-mortar between (lime and quartz fine grain) and under tesserae, giving an important porosity and making the tessellatum very easy to collapse. A part from limestone tesserae, which show formation of vesicles by chemical dissolution, other ones such as marble and glass tesserae appear to be resistant to the weathering action.
Der einfluss der mosaiken des vorderen orients auf hispanische mosaiken am ende der antike
(Uludağ Üniversitesi, 2008) Blázquez, José María
Object of this study are the mosaics in Hispania at the end of the Antique that have an influx of oriental mosaics. These mosaics are those of Eros and Psyche in Fraga (Huesca), who have an influx from Antioch and Syria; of Daragoleja (Granada), of Puerta Oscura (Málaga), with an influx from Greece and Syria-Palestine; of Baños de Valdearados (Burgos), with Dionysus; of Dulcitius the hunter, el Ramalete (Navarra). The abundance of mosaics decorated with geometric themes and representations of abstract ideas have an oriental influx. A Syrian mosaist from the later Antoninian period made the cosmogonic mosaic of Augusta Emerita, that is full of abstract personifications and that reminds of one in Gaza and of the mosaic with the birth of Venus in Italica, also of Syrian origin. The Augusta Emerita mosaic with the poets from the 2nd century is the work of Selecus and Anthus. The mosaics with the Seven Wisemen of Greece in Augusta Emerita and with homeric themes in Cabezón del Pisuerga (Valladolid) are owed to Greek artists. Several paleochristian mosaics in the Balearic Islands owe their influx to Palestinian synagogues, probably coming through artists from Orient or copy-books.

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