Papers by HAVA KESKİN
Nevşehir Hacı Bektaş Veli üniversitesi sbe dergisi, Oct 2, 2022
Nysa ad Maeandrum kenti antik dönemde Karia Bölgesi’nin önemli kentlerinden birini oluşturmaktayd... more Nysa ad Maeandrum kenti antik dönemde Karia Bölgesi’nin önemli kentlerinden birini oluşturmaktaydı. Kent, ünlü coğrafyacı Strabon’un eğitim aldığı kentlerden biri olarak bilinmekte, kütüphane ve gymnasion gibi yapıları da barındırmasıyla da bir eğitim ve kültür kenti olarak ön plana çıkmaktadır. Kuruluşunu Hellenistik Dönem ile birlikte bildiğimiz kentin özellikle Roma İmparatorluk Dönemi’nde mimari açıdan geliştiği anlaşılmaktadır. Kentin belirli bir aristokrat sınıfına sahip olduğu kütüphane ve gerontikon gibi yapıların yapım ve onarımına verilen destekleri belgeleyen yazıtlardan da bilinmektedir. Devam eden kazılar çok sayıda mimari ve heykeltıraşlık buluntusu sunmaktadır. Bunların arasında ele geçen “Uyuyan Eros” kabartmalı bir eser çalışmanın konusunu oluşturmaktadır. Kökeni Hellenistik Dönem’e dayanan motif Nysa örneğinde aslan postu üzerine uzanmaktadır. Heykeltıraşlık geleneği açısından Roma İmparatorluk Dönemi’nin sevilen bir tipini yansıtan eser bunun yanı sıra kentteki kremasyon defin ve urne mezar geleneğini ilk kez belgelemektedir. Çalışmada eserin tanıtılması ve tarihlendirilmesinin yanı sıra işlevi irdelenerek kent tarihi açısından önemine değinilmektedir.
Anadolu, Dec 22, 2022
Mimari açıdan etkileyici kalıntılara sahip Nysa ad Maeandrum / Menderes Nysası'nda yürütülen arke... more Mimari açıdan etkileyici kalıntılara sahip Nysa ad Maeandrum / Menderes Nysası'nda yürütülen arkeolojik kazılar, kent tarihine materyal kültür açısından birçok bulgu sunmaktadır. Kentte güçlü bir şekilde yaşanan Geç Antikçağ'ın kalıntılarında, çoğunlukla ikincil kontekstlerde ele geçen bulgular aynı zamanda kentin zengin Roma Dönemi'ne de işaret etmektedir. Nysa, görkemli Roma Dönemi anıtsal yapılarının yanı sıra vadi üzerine inşa edilmiş üç köprüsü, tüneli, stadion'u ile orthogonal planlı cadde-sokak sistemiyle Roma mimarisi ve mühendisliğinin topografyaya uyumlu kent planlamasının güzel bir örneğini oluşturmaktadır. Kentteki caddesokak sistemi araştırmalarının ve kent planının doğu-batı doğrultusundaki ana aksını oluşturan Cadde 1plateia çalışmaları yoğun mimari elemanların yanı sıra çeşitli heykeltıraşlık bulgularını da sunmaktadır. Bu kapsamda bugüne kadar farklı boyutlarda ve materyal, kronolojik, ikonografik çeşitlilikte eserler belgelenebilmiştir. Bunların arasında yer alan biri kadın diğeri ise bir erkeği betimleyen iki ideal heykel nitelikli işçilikleri ile dikkat çekmektedir. Baş ve ayak kısımları eksik heykellerin yaklaşık 120 cm yüksekliğe sahip oldukları anlaşılabilmektedir. Kadın heykeli, gövdesine yapışık uzun khiton'unun sol omzundan sıyrılarak sol göğsünü açık bırakmasıyla Aphrodite'nin Louvre-Napoli tipinin normal insan ölçülerinden küçük bir temsilini oluşturmaktadır. Arketip esere benzerliği duruş ve motif bakımından son derece yakın olup ondan yalnızca her iki omzuna dökülen uzun birer saç tutamıyla ayrılmaktadır. Benzerlerine, Pamphylia'dan Side'de bulunmuş Aphrodite heykelciklerinde rastlanmaktadır. Mantosu, vücudunun alt kısmını ve de sol kolunu tamamen kapatan yarı giyimli erkek heykelinin kimliğini belirlemek ise daha zordur. Normalden küçük ölçülerde yapıldığından bu tür ikonografiyle betimlenebilen imparator veya bir kamu görevlisi olması mümkün görünmemektedir. Zira, küçük ölçülerde yapılması bu tür kişilerin heykellerinin onurlandırma ve yüceltilme amacına ters düşmektedir. Buna karşın tanrısal ve mitolojik karakterlerin betimlemeleri tapınımdan dekorasyona birçok işleve sahip olup farklı ölçülerde yapılabilmişlerdir. Sağ kolunu yüksekçe havaya kaldıran ve olasılıkla bir mızrak veya uzun bir asa tutan figür, duruş ve giysisi bakımından Zeus, Hades, Poseidon ve Askleipos gibi ideal figürlerde karşılaştırma örneklerini bulur. Hiçbir atribut'u olmadığından ancak mızrak tutuyor olduğu düşünüldüğünden, Nysa'da kültü yalnızca epigrafik olarak belgelenmiş tanrı Zeus'un betimlemesi olduğu önerilebilir. Stilistik ve teknik işçilikleri nedeniyle heykeller için önerilen tarih MS 2.yüzyılın ilk yarısıdır. Hemen hemen aynı yükseklikte olan iki heykelin de arkaları daha yüzeysel şekillendirilmiştir. Bu bağlamda cephesel bir sergilemenin amaçlandığı açıktır. Eserler, Geç Antikçağ' da devşirme yapı malzemesi olarak kullanılmış olduklarından henüz herhangi bir yapıyla kesin olarak ilişkilendirilemezler. Bununla birlikte, yaklaşık 120 cm yükseklikleri ve ön cepheden izlenmelerinin amaçlandığı anlaşıldığından, nişli bir yapıda belki süslü cephe mimarisiyle bir nymphaeum, kütüphane veya bir villada yer aldıklarını önermek mümkündür.
Advances in hospitality and tourism research(AHTR), Dec 6, 2022
This paper presents the results of a multidisciplinary research project carried on during the Cov... more This paper presents the results of a multidisciplinary research project carried on during the Covid-19 Pandemic and supported by TÜBİTAK (The Scientific and Technological Research Council of Turkey). The results are gathered from six months of field and office work, as the project was limited with this period. The archaeological site of Letoon in Muğla/Turkey has been chosen as the test area, specifically the triple temples of Leto, Apollo, and Artemis. Photogrammetric reconstruction of the current situation, as well as archaeologically accurate 3D models, have been created and converted into interactive immersive VR content to measure consumer behaviour and experience. These two different types of 3D content are integrated into the VR environment both separately and as a single content with switching from one to the other. After the creation process, the content was experienced by the visitors with different demographic characteristics and a survey was conducted to measure this experience.
CEDRUS, Jun 25, 2013
The subject matter of this paper consists of the iconographic roots of the human-headed, birdbodi... more The subject matter of this paper consists of the iconographic roots of the human-headed, birdbodied figures that appear on some of the Lycian grave reliefs in the Classical Period. In total there are five human-headed bird-bodied figures on two monuments standing in the acropolis of Xanthos. One is "Building F", the other is the pillar tomb termed the "Harpy" Monument. Researchers have connected these human-headed bird-bodied figures with the descriptions of Sirens that are recorded in Greek Mythology. According to the accepted understanding today, the figure depicting the Siren was transported from eastern art to the shores of the western Aegean, a consequence of the increasing maritime-trade relationship of Mediterranean and Aegean peoples. However, neither the root nor the religious affiliations of this image that is found in Lycian tomb depictions have been examined in detail in studies concerning Sirens. This paper examines the origin of the "Lycian Sirens" and their status within the Lycian and Anatolian spiritual belief system, regarding both literary and archaeological evidence; with the aim of elucidating the presently obscure belief in the otherworld of the Lycian people. Özet: Çalışmamızın konusunu Likya Klasik Dönem mezar kabartmaları üzerinde karşımıza çıkan insan başlı-kuş gövdeli figürlerin ikonografik kökeni oluşturmaktadır. Ksanthos kenti akropolünde yer alan iki anıt üzerinde toplam beş adet insan başlı-kuş gövdeli figür bulunmaktadır. Bunlardan birisi F Anıtı, diğeri ise Harpy Anıtı olarak adlandırılan dikme mezardır. Araştırmacılar bu insan başlı-kuş gövdeli figürleri Hellen mitoslarındaki Siren adlandırmalarıyla özdeşleştirilmişlerdir. Tekil olarak sirenleri irdeleyen çalışmaların kabul edilen görüşlerince, Siren figürü Ege ve Akdeniz halklarının, denizcilik vasıtasıyla artan ticari ilişkilerinden dolayı doğu sanatından Ege'nin batı kıyısına taşınmıştır. Ancak Likya mezar kabartmalarında da karşımıza çıkan bu motifin inanç sistemindeki yeri ve kökeni ayrıntılıca irdelenmemiştir. Bu bağlamda bu çalışmayla figürün kökeni, Likya ve Anadolu inanç sistemindeki yeri, antik kaynak ve arkeolojik veriler ışığında irdelenecek, aynı zamanda bilinmezlerle dolu Likya'nın öte dünya inancına da ışık tutulmaya çalışılacaktır.
OLBA XXXI, 2023
In 2020, a half-dressed Aphrodite statuette was added by purchasing to the sculpture collection o... more In 2020, a half-dressed Aphrodite statuette was added by purchasing to the sculpture collection of the Antalya Archeological Museum. The context of the statuette, which can be classified among representations of the goddess as a variation of her Ourania type, is unknown but recorded as a finding from Aksu. She is stepping on an astragalos with one foot; however, no similar depiction is known. Astragaloi are known mainly among the game tools of the ancient society. Besides, they have votive, grave gift, and religious purposes and are used for dice prophecy. In the divination inscriptions, dice throws are mentioned with specific names. After combinations of numbers and sums, names of the gods or personalized mythological characters are included in the genitive form. In these inscriptions, Aphrodite appears in two different ways and one of them is the Aphrodite Ourania. Remarkable is that the goddess is referred to in connection with success in business or travel after chance and coincidental divinations are obtained through dice. Epigraphic data shows that the task of erecting divination inscriptions was undertaken by agoranomoi. Besides, it is documented archaeologically and epigraphically that Aphrodite was honoured by agoranomoi as the protector of officials in many cities. In this context, it appears that the goddess, generally known as a representation of love, beauty, pleasure and fertility, has importance in different aspects. Epigraphical sources and archaeological material indicate that divination practice required a god representation, a table to throw astragaloi and a divination inscription. Consequently, the Antalya statuette should be interpreted in the context of the “divination iconography” of Aphrodite, especially in regard of the coincidental astragaloi divinations concerning trades and travels that required good fortune.
Anadolu/Anatolia, 2022
Ongoing excavations and research in Nysa ad Maeandrum, a settlement obtaining impressive architec... more Ongoing excavations and research in Nysa ad Maeandrum, a settlement obtaining impressive architectural remains, put forward many findings on the city's history in terms of the material culture. Finds, evaluated predominantly in secondary contexts, among the ruins of the Late Antique Period, substantial in the city, also indicate the existence of a prosperous Roman Period. Nysa, with its three bridges, tunnels, stadiums and orthogonally planned street system built on the valley, constitutes a good example of Roman architecture and engineering of city planning in harmony with topography, in addition to its magnificent Ro-man monumental structures. Studies conducted in Street 1 - plateia, the central axis of the east-west directed city plan and the focus of the research on the city's street system, uncovered various sculptural artefacts as well as numerous architectural elements. In this context up to the present, many artefacts had documented varying in scale, material, chronology and iconography. Among the finds, two ideal statues representing female and male are remarkable in their eligible craftmanship. The heads and feet of statues are lost, yet their height can determine as approximately 120 cm. The female figure, with its long, transparent wet
chiton off the shoulder and leaving the left breast exposed, constitutes a reduced-size representation of the Louvre-Napolitype of the goddess Aphrodite. Similar to the archetype statue in posture and dress, it differentiates only with two strands of hair flowing on its shoulders. Close parallels to our example are statuettes of Aphrodite from the Pamphylian city Side. Determining the identity of the half-dressed male statue is more difficult. According to its reduced size, it can't be an official, usually represented in this iconography. Its reduced size falls against the main aim of honouring and glorifying officials by setting up statues. However, the representations of divine and mythological characters have many functions, from worship to decoration, and their production varies in size. In Nysa's example, the figure lifts its right arm high and probably holds a spear or a sceptre. According to this posture, the figure has an iconographic analogy with representations of gods such as Zeus, Hades, Poseidon and Asclepius. Although its attribute lacks but probably holds a spear or sceptre, we can consider the statue as a depiction of the god Zeus, whose cult in Nysa is documented on epigraphic grounds. Based on stylistic and technical features, we might suggest the two statues have been made in the first half of the 2nd century AD. According to their superficial backside, they probably have been intended to be displayed frontally. They are detected as Late Antique Period spolia, out of the original context and can't be associated with a building yet. Due to their height and intention to display frontally, we might suggest that they belong to a building with an elaborate facade, such as a nymphaeum, a library or a villa
Advances in Hospitality and Tourism Research (AHTR)
This paper presents the results of a multidisciplinary research project carried on during the Cov... more This paper presents the results of a multidisciplinary research project carried on during the Covid-19 Pandemic and supported by TÜBİTAK (The Scientific and Technological Research Council of Turkey). The results are gathered from six months of field and office work, as the project was limited with this period. The archaeological site of Letoon in Muğla/Turkey has been chosen as the test area, specifically the triple temples of Leto, Apollo, and Artemis. Photogrammetric reconstruction of the current situation, as well as archaeologically accurate 3D models, have been created and converted into interactive immersive VR content to measure consumer behaviour and experience. These two different types of 3D content are integrated into the VR environment both separately and as a single content with switching from one to the other. After the creation process, the content was experienced by the visitors with different demographic characteristics and a survey was conducted to measure this exp...
Advances in Hospitality and Tourism Research (AHTR), 2022
This paper presents the results of a multidisciplinary research project carried on during the Cov... more This paper presents the results of a multidisciplinary research project carried on during the Covid-19 Pandemic and supported by TÜBİTAK (The Scientific and Technological Research Council of Turkey). The results are gathered from six months of field and office work, as the project was limited with this period. The archaeological site of Letoon in Muğla/Turkey has been chosen as the test area, specifically the triple temples of Leto, Apollo, and Artemis. Photogrammetric reconstruction of the current situation, as well as archaeologically accurate 3D models, have been created and converted into interactive immersive VR content to measure consumer behaviour and experience. These two different types of 3D content are integrated into the VR environment both separately and as a single content with switching from one to the other. After the creation process, the content was experienced by the visitors with different demographic characteristics and a survey was conducted to measure this experience.
Nevşehir Hacı Bektaş Veli Üniversitesi Sosyal Bilimler Dergisi, 2022
Nysa ad Maeandrum was one of the important
cities of Caria Region in ancient times. The city is ... more Nysa ad Maeandrum was one of the important
cities of Caria Region in ancient times. The city is
known as one of the cities where the famous
geographer Strabo was educated, and it stands out
as an education and culture city with buildings such
as a library and gymnasium. It is understood that
the city, of which foundation is known together
with the Hellenistic Period, developed
architecturally, especially during the Roman
Imperial Period. It is also known by the
inscriptions about the beneficence for the building
and repairment of structures such as the “Library”
and the “Gerontikon” that the city had a particular
aristocratic class. Ongoing excavations yield
numerous architectural and sculptural finds.
Among these, a piece with "Sleeping Eros" relief is
the subject of the study. The motif, which has its
origins in the Hellenistic Period, extends on the
lion skin in the Nysa example. The piece reflecting
a popular type of the Roman Imperial Period in
terms of sculpture tradition, also documents the
cremation burial and urn burial tradition in the city
for the first time. In the study, besides the
introduction and dating of the piece, its function is
examined and its importance in terms of city
history is mentioned.
LIBRI, 2022
There has been very little study of Yalova and its surroundings since the excavations carried on ... more There has been very little study of Yalova and its surroundings since the excavations carried on in the 1930's. Besides the small rescue excavations carried out by Museums, there are archaeological materials gathered through construction activities and even from the earthquake and "grave stelae" are among them. "Grave Stelae with Altar" form a unique local and distinctive group among these stelae. There is a typical iconographical pattern to be noticed among these examples, as the entire group decorated with the popular theme of "the funeral feast". There are inscriptions on seven of these stelae. Epigraphically, there is also a common language. The finds suggest the use of these stelae, eleven represented in this paper, was limited to within the region of Yalova. Although, unfortunately, the lack of studies prevents the localization of production, for now, it is possible to suggest from literary sources that these stelae should have been produced in Pylai.
Arkeoloji ve Sanat :163, 2020
Abstract: A “bust” brought from the ancient city Xanthos is on display as a part of “ production... more Abstract: A “bust” brought from the ancient city Xanthos is on display as a part of “ production of sculpture” at the permanent exhibiton of Antalya Archaeological Museum. The fragment was brought to the museum in 1972, however the place it was found is still unknown. The lower part of this “bust”is broken and lost, its head is unfinished. The subject of this paper is to examine what kind of object it belongs to, its function and date. By workmanship, it seems to be one of the figures which lays on a kline lid of a sarcophagus. The use of this kind of sarcophagi, produced between 2th-3th century AD, at the ancient city is documented well by archaeological evidences.
Öz: Antalya Arkeoloji Müzesi’nin “heykel yapımı” sergi alanında, Ksanthos antik kentinden getirilmiş bir “büst” bulunmaktadır. Müzeye 1972 yılında getirilmiş olup buluntu yeri belirsizdir. Alt kısmı kırık ve kayıp olan, baş kısmı tamamlanmadan bırakılmış, yarım işçilikli bu “büst”ün nasıl bir esere ait olduğu, işlevi ve tarihlendirmesi bu çalışmanın konusunu oluşturur. İşçilik bakımından klineli bir lahit kapağının üzerindeki figürlerden olduğu anlaşılmaktadır. MS 2.-3. yüzyıllar arasında üretilen bu tip lahitlerin Ksanthos kentindeki kullanımı, arkeolojik bulgularla belgelenmiştir.
The subject matter of this paper consists of the iconographic roots of the human-headed, birdbodi... more The subject matter of this paper consists of the iconographic roots of the human-headed, birdbodied figures that appear on
Thesis Chapters by HAVA KESKİN
The sculptures of Xanthos which have been transported to the United Kingdom by Ch. Fellows at the... more The sculptures of Xanthos which have been transported to the United Kingdom by Ch. Fellows at the beginning of the 19th century and whose main parts are exhibited at the British Museum, have been representing Lycian Early Classic Period sculpturing until a short time ago. Except the artifacts in the British Museum, there are some sculptures in Istanbul Archeological Museums and Antalya Archeological Museum, and a few sculptures kept in Xanthos which have been found in excavations. The iconographic examinations on the sculptures show that there are two dominant iconographies that of Greek and Persian origin and a few motives from Phoenician iconography. These iconographies depict subjects peculiar to Lycia. However, these decomposable motives generally depict East Mediterranean iconography and provide an idea about the cultural structure of Xanthos at that time. The richness of the quality of arts is an indication for the high prosperity in the city and gives clues regarding the economical relations. East Mediterranean iconography is considerably visible in the Harpy Tomb. Dating later the pediments which are depicting Sphinx and the Siren, both bearing winged hybrid creatures, can be regarded as an iconographic continuation of the Harpy Tomb.
On the prossesion reliefs, it is obvious that the iconographic design continues especially with the Greek style of the clothes of human beings and the Persian style of the beard, with the tufted manes and tails at horse figures. Again, the subjects have to be chosen locally. In the hunting frieze consisting of wild animals and satyroi, the great number of lions and their different directions strengthen the idea that this scene represents a hunt by the lions. Besides the three peplophoroi and a head fragment to be thought part of them found by Ch. Fellows within the city walls, a new fragment of statue wearing peplophoros indicate that the number of these sculpture can raise to four.
In terms of style there are three styles observable in sculptures of Xanthos during this period. The first one is the style of the Harpy Tomb. The dominant style of the reliefs indicate that the work could have been performed by local artists and that they could have been more under the influence of workshops of Samos or Paros, which have been centers for sculpture production in the middle of the Vth century B.C. rather than Miletos-Ephesus. The second style is represented by the Sphinx Pediment, relief depicting nikai and maenad relief which also are dated after the Harpy Tomb. The third style is observed in the Siren Pediment, prosession frieses and reliefs depicting prothesis and young men wearing chiton.
Due to the fact that the city of Xanthos was a dynasty center there has to be an elite class. Besides, the fact that there are numerous sculptures hints for the existence of such a class. Works such as pillar monuments, barrel-vaulted sarcophagus, monumental tombs, and rock tombs are obviously laying down craftsmanship of the Lycians with utilizing and processing local limestone. In this context the Antique Period conditions enabling sculpturing, characterizing as local besides iconography also stylistic aspects, the continuation of the qualitative existence of sculpturing starting from the Archaic Period until the middle of the IVth century B.C. and the use of mainly limestone can be listed as the proof for local production.
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chiton off the shoulder and leaving the left breast exposed, constitutes a reduced-size representation of the Louvre-Napolitype of the goddess Aphrodite. Similar to the archetype statue in posture and dress, it differentiates only with two strands of hair flowing on its shoulders. Close parallels to our example are statuettes of Aphrodite from the Pamphylian city Side. Determining the identity of the half-dressed male statue is more difficult. According to its reduced size, it can't be an official, usually represented in this iconography. Its reduced size falls against the main aim of honouring and glorifying officials by setting up statues. However, the representations of divine and mythological characters have many functions, from worship to decoration, and their production varies in size. In Nysa's example, the figure lifts its right arm high and probably holds a spear or a sceptre. According to this posture, the figure has an iconographic analogy with representations of gods such as Zeus, Hades, Poseidon and Asclepius. Although its attribute lacks but probably holds a spear or sceptre, we can consider the statue as a depiction of the god Zeus, whose cult in Nysa is documented on epigraphic grounds. Based on stylistic and technical features, we might suggest the two statues have been made in the first half of the 2nd century AD. According to their superficial backside, they probably have been intended to be displayed frontally. They are detected as Late Antique Period spolia, out of the original context and can't be associated with a building yet. Due to their height and intention to display frontally, we might suggest that they belong to a building with an elaborate facade, such as a nymphaeum, a library or a villa
cities of Caria Region in ancient times. The city is
known as one of the cities where the famous
geographer Strabo was educated, and it stands out
as an education and culture city with buildings such
as a library and gymnasium. It is understood that
the city, of which foundation is known together
with the Hellenistic Period, developed
architecturally, especially during the Roman
Imperial Period. It is also known by the
inscriptions about the beneficence for the building
and repairment of structures such as the “Library”
and the “Gerontikon” that the city had a particular
aristocratic class. Ongoing excavations yield
numerous architectural and sculptural finds.
Among these, a piece with "Sleeping Eros" relief is
the subject of the study. The motif, which has its
origins in the Hellenistic Period, extends on the
lion skin in the Nysa example. The piece reflecting
a popular type of the Roman Imperial Period in
terms of sculpture tradition, also documents the
cremation burial and urn burial tradition in the city
for the first time. In the study, besides the
introduction and dating of the piece, its function is
examined and its importance in terms of city
history is mentioned.
Öz: Antalya Arkeoloji Müzesi’nin “heykel yapımı” sergi alanında, Ksanthos antik kentinden getirilmiş bir “büst” bulunmaktadır. Müzeye 1972 yılında getirilmiş olup buluntu yeri belirsizdir. Alt kısmı kırık ve kayıp olan, baş kısmı tamamlanmadan bırakılmış, yarım işçilikli bu “büst”ün nasıl bir esere ait olduğu, işlevi ve tarihlendirmesi bu çalışmanın konusunu oluşturur. İşçilik bakımından klineli bir lahit kapağının üzerindeki figürlerden olduğu anlaşılmaktadır. MS 2.-3. yüzyıllar arasında üretilen bu tip lahitlerin Ksanthos kentindeki kullanımı, arkeolojik bulgularla belgelenmiştir.
Thesis Chapters by HAVA KESKİN
On the prossesion reliefs, it is obvious that the iconographic design continues especially with the Greek style of the clothes of human beings and the Persian style of the beard, with the tufted manes and tails at horse figures. Again, the subjects have to be chosen locally. In the hunting frieze consisting of wild animals and satyroi, the great number of lions and their different directions strengthen the idea that this scene represents a hunt by the lions. Besides the three peplophoroi and a head fragment to be thought part of them found by Ch. Fellows within the city walls, a new fragment of statue wearing peplophoros indicate that the number of these sculpture can raise to four.
In terms of style there are three styles observable in sculptures of Xanthos during this period. The first one is the style of the Harpy Tomb. The dominant style of the reliefs indicate that the work could have been performed by local artists and that they could have been more under the influence of workshops of Samos or Paros, which have been centers for sculpture production in the middle of the Vth century B.C. rather than Miletos-Ephesus. The second style is represented by the Sphinx Pediment, relief depicting nikai and maenad relief which also are dated after the Harpy Tomb. The third style is observed in the Siren Pediment, prosession frieses and reliefs depicting prothesis and young men wearing chiton.
Due to the fact that the city of Xanthos was a dynasty center there has to be an elite class. Besides, the fact that there are numerous sculptures hints for the existence of such a class. Works such as pillar monuments, barrel-vaulted sarcophagus, monumental tombs, and rock tombs are obviously laying down craftsmanship of the Lycians with utilizing and processing local limestone. In this context the Antique Period conditions enabling sculpturing, characterizing as local besides iconography also stylistic aspects, the continuation of the qualitative existence of sculpturing starting from the Archaic Period until the middle of the IVth century B.C. and the use of mainly limestone can be listed as the proof for local production.
Conference Presentations by HAVA KESKİN
chiton off the shoulder and leaving the left breast exposed, constitutes a reduced-size representation of the Louvre-Napolitype of the goddess Aphrodite. Similar to the archetype statue in posture and dress, it differentiates only with two strands of hair flowing on its shoulders. Close parallels to our example are statuettes of Aphrodite from the Pamphylian city Side. Determining the identity of the half-dressed male statue is more difficult. According to its reduced size, it can't be an official, usually represented in this iconography. Its reduced size falls against the main aim of honouring and glorifying officials by setting up statues. However, the representations of divine and mythological characters have many functions, from worship to decoration, and their production varies in size. In Nysa's example, the figure lifts its right arm high and probably holds a spear or a sceptre. According to this posture, the figure has an iconographic analogy with representations of gods such as Zeus, Hades, Poseidon and Asclepius. Although its attribute lacks but probably holds a spear or sceptre, we can consider the statue as a depiction of the god Zeus, whose cult in Nysa is documented on epigraphic grounds. Based on stylistic and technical features, we might suggest the two statues have been made in the first half of the 2nd century AD. According to their superficial backside, they probably have been intended to be displayed frontally. They are detected as Late Antique Period spolia, out of the original context and can't be associated with a building yet. Due to their height and intention to display frontally, we might suggest that they belong to a building with an elaborate facade, such as a nymphaeum, a library or a villa
cities of Caria Region in ancient times. The city is
known as one of the cities where the famous
geographer Strabo was educated, and it stands out
as an education and culture city with buildings such
as a library and gymnasium. It is understood that
the city, of which foundation is known together
with the Hellenistic Period, developed
architecturally, especially during the Roman
Imperial Period. It is also known by the
inscriptions about the beneficence for the building
and repairment of structures such as the “Library”
and the “Gerontikon” that the city had a particular
aristocratic class. Ongoing excavations yield
numerous architectural and sculptural finds.
Among these, a piece with "Sleeping Eros" relief is
the subject of the study. The motif, which has its
origins in the Hellenistic Period, extends on the
lion skin in the Nysa example. The piece reflecting
a popular type of the Roman Imperial Period in
terms of sculpture tradition, also documents the
cremation burial and urn burial tradition in the city
for the first time. In the study, besides the
introduction and dating of the piece, its function is
examined and its importance in terms of city
history is mentioned.
Öz: Antalya Arkeoloji Müzesi’nin “heykel yapımı” sergi alanında, Ksanthos antik kentinden getirilmiş bir “büst” bulunmaktadır. Müzeye 1972 yılında getirilmiş olup buluntu yeri belirsizdir. Alt kısmı kırık ve kayıp olan, baş kısmı tamamlanmadan bırakılmış, yarım işçilikli bu “büst”ün nasıl bir esere ait olduğu, işlevi ve tarihlendirmesi bu çalışmanın konusunu oluşturur. İşçilik bakımından klineli bir lahit kapağının üzerindeki figürlerden olduğu anlaşılmaktadır. MS 2.-3. yüzyıllar arasında üretilen bu tip lahitlerin Ksanthos kentindeki kullanımı, arkeolojik bulgularla belgelenmiştir.
On the prossesion reliefs, it is obvious that the iconographic design continues especially with the Greek style of the clothes of human beings and the Persian style of the beard, with the tufted manes and tails at horse figures. Again, the subjects have to be chosen locally. In the hunting frieze consisting of wild animals and satyroi, the great number of lions and their different directions strengthen the idea that this scene represents a hunt by the lions. Besides the three peplophoroi and a head fragment to be thought part of them found by Ch. Fellows within the city walls, a new fragment of statue wearing peplophoros indicate that the number of these sculpture can raise to four.
In terms of style there are three styles observable in sculptures of Xanthos during this period. The first one is the style of the Harpy Tomb. The dominant style of the reliefs indicate that the work could have been performed by local artists and that they could have been more under the influence of workshops of Samos or Paros, which have been centers for sculpture production in the middle of the Vth century B.C. rather than Miletos-Ephesus. The second style is represented by the Sphinx Pediment, relief depicting nikai and maenad relief which also are dated after the Harpy Tomb. The third style is observed in the Siren Pediment, prosession frieses and reliefs depicting prothesis and young men wearing chiton.
Due to the fact that the city of Xanthos was a dynasty center there has to be an elite class. Besides, the fact that there are numerous sculptures hints for the existence of such a class. Works such as pillar monuments, barrel-vaulted sarcophagus, monumental tombs, and rock tombs are obviously laying down craftsmanship of the Lycians with utilizing and processing local limestone. In this context the Antique Period conditions enabling sculpturing, characterizing as local besides iconography also stylistic aspects, the continuation of the qualitative existence of sculpturing starting from the Archaic Period until the middle of the IVth century B.C. and the use of mainly limestone can be listed as the proof for local production.