Nagidos'un Tarihteki Yeri

The aim of this article is to search the answer of the degree of independancy of Nagidos in the light of the coins found during the excavations and by studying the architectural constructions such as the fortifications and the fundaments of a building. It seems so as Nagidos has been able to protect its indépendance quite well inspite of the "age of the satraps". Signs for this fact are the more Greek and less "Persianized" coin strucks and the ability to fortify their settlement. Things changed with the "age of Alexander the Great" and Nagidos was not able to struck coins any longer ; Nagidos had to give furthermore a part of its territory to new settlers. Conclusion is that "Space" and "Power" relations varied in Nagidos.Durugönül Serra. Nagidos'un Tarihteki Yeri. In: La Cilicie : espaces et pouvoirs locaux (IIe millénaire av. J.-C. – IVe siècle ap. J.-C.). Actes de la Table Ronde d’Istanbul, 2-5 novembre 1999. Istanbul : Institut Français d'Études Anatoliennes-Georges Dumézil, 2001. pp. 429-443. (Varia Anatolica, 13

Nagidos'un Tarihteki Yeri

The aim of this article is to search the answer of the degree of independancy of Nagidos in the light of the coins found during the excavations and by studying the architectural constructions such as the fortifications and the fundaments of a building. It seems so as Nagidos has been able to protect its indépendance quite well inspite of the "age of the satraps". Signs for this fact are the more Greek and less "Persianized" coin strucks and the ability to fortify their settlement. Things changed with the "age of Alexander the Great" and Nagidos was not able to struck coins any longer ; Nagidos had to give furthermore a part of its territory to new settlers. Conclusion is that "Space" and "Power" relations varied in Nagidos.Durugönül Serra. Nagidos'un Tarihteki Yeri. In: La Cilicie : espaces et pouvoirs locaux (IIe millénaire av. J.-C. – IVe siècle ap. J.-C.). Actes de la Table Ronde d’Istanbul, 2-5 novembre 1999. Istanbul : Institut Français d'Études Anatoliennes-Georges Dumézil, 2001. pp. 429-443. (Varia Anatolica, 13

A Hygieia-Hypnos Statue from Anazarbos

Anazarbos (Anavarza) was a city in ›Plain Cilicia‹, located in the modern-day village of Dilekkaya in the District of Kozan at the Province of Adana. Together with the two ›Large Herculaneum Women‹ type statues (A1 and A2), this Hygieia-Hypnos statue recovered during the archaeological excavations at Anazarbos stands out as one of the first large scale statues from this city. More importantly, the Hygieia-Hypnos statue was recovered during the first systematic and scientific archaeological excavations that took place in ›Plain Cilicia‹, which defines them as statues with a definite find spot. The Hygieia-Hypnos statue is covered in this article iconographically as well as stylistically. Based on stylistic characteristics, the statue is dated to the late second century A.D. Locally known also as Salus, Hygieia gained popularity in Rome around this time. The goddess Hygieia became the personification of medicine and gradually acquired a political meaning as she became frequently depicted to represent first the health of the Roman Empire (Salus Publica) and then of the emperor (Salus Augusti). The Anazarbos statue of Hygieia accompanied by Hypnos was found during excavations taking place in front of the Anazarbos monumental gateway which is thought to have been built after Lucius Verus’ victorious campaigns against the Parthians in A.D. 162 and 166. It would not be surprising to find the statue of a Roman emperor who carries significance for Anazarbos like Lucius Verus in one of the arch niches in future excavation work. Therefore, it could be concluded that the Hygieia statue was erected for Salus Augusti – that is the health of the emperor, the empire and Anazarbos itself

Philadelphia ve Thyateira'dan Heykeller Işığında Lydia Bölgesi Heykeltıraşlık Atölyeleri

Makalemizde değerlendirdiğimiz beş eser, "Manisa Müzesi Taş Eserler Kataloğu" çalışmamızın bir kısmını oluşturmaktadır. Burada ele alınan eserler; üretim, özgünlük ve atölye hakkında ip uçları sundukları için ayrıca daha detaylı olarak ele alınmaya değer bulunmuştur. Bu beş eserden dördü Herme olarak çalışılmış olup buluntu yerleri Philadelphia'dır. Beşinci eser ise Thyateira'dan bulunmuş olan bir kabartma baştır. Philadelphia ve Thyateira, Lydia bölgesinde yer alan önemli iki kenttir. Çalışmamızda yer alan hermelerden ilki üç başlı olup, Dionysos, Satyr ve Silen'den oluşmaktadır. Diğer üç herme ise çift taraflı Satyr ve Eros başlarından oluşmaktadır. Bu çalışmada değerlendirilen son eser Thyateira'da bulunmuş olan bir Medusa kabartma parçasıdır. Philadelphia kökenli üçlü ve ikili Hermeler, gösterdikleri tipolojik ve stilistik özellikleri ile aynı atölyede üretilmiş olmalıdır. Yarı işlenmiş Philadelphia Satyr başı, kentteki heykel üretiminin en açık ispatıdır. Thyateira'dan bulunan Medusa kabartması da ikonografik ve stil özellikleriyle Philadelphia eserleri ile benzerlik göstermektedir. Philadelphia heykellerinin Grek kökenli, Hellenistik önmodellerden kopyalanan, Roma döneminin yaygın ikonografi ve tipteki heykellerini yakından takip ettiği anlaşılmaktadır.Five sculptural pieces from the "Catalogue of Sculptural Pieces in the Museum of Manisa", are evaluated here in this paper in detail, as they offer clues to the production, originality and workshop of the finds from Philadelphia and Thyateira which are exhibited in the Museum of Manisa. Four of these five pieces are carved as Herms and are of Philadelphian provenance. The fifth is a relief head from Thyateira by Akhisar. Philadelphia and Thyateira are both important cities of the Lydian region.One of the Herms discussed in this paper is a triple Herm and carries the heads of Dionysus, Satyr and Silenus.The other three herm carry the double head of Satyr and Eros. The last piece of this paper is a relief of Medusa from Thyateira. The stylistic characteristics of the Philadelphian triple and double Herms clearly show they were produced in the same workshop. The unfinished Philadelphian Satyr is the best proof for sculptural production in the city. The Thyateiran Medusa relief also has the same iconographical and stylistic characteristics with the Philadelphian works. Philadelphian and Thyateiran pieces provide new evidence of sculptural production in this region. Philadelphian statue production followed the trend of statues with widely known Roman iconographies and typologies which reflect Greek originated but revived Hellenistic model