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Merkez Çallıca Köyü (Cormasa) Buluntusu Bir Kadın Portre Büstü

Year 2023, Volume: 6 Issue: 2, 213 - 225, 27.12.2023
https://doi.org/10.38000/juhis.1349332

Abstract

Burdur Müzesi’nin bahçesinde iyi durumda korunan portre büst, 1987 yılında müzeye kazandırılmıştır. Sivil bir yurttaştan satın alınan eser, Burdur ilinin merkez Çallıca köyünde ele geçirilmiştir. Köyün yakınlarındaki Cormasa antik kenti buluntusu olarak düşünülen kadın portre büstü, kireç taşından yontulmuştur. Günümüze kadar yayımlanmayan kadın büstüne boynundaki kolye ve ikonografisiyle birlikte bir kimlik ve başındaki saç modası ve diğer üslup özellikleriyle de bir dönem önerisi getirilmiştir. Kadının boynundaki çoklu küreciklerden tasarlanan kolyenin ucundaki hilal motifi, eserin kimliği açısından önemlidir. Başındaki şal ve boynundaki kolyesiyle kadın portresi, Men rahibesini simgeler. Bu durum, Pisidia’daki merkezi Antiocheia olan Men kültünün, Burdur’da da varlığını göstermektedir. Kadın başındaki alın merkezinden her iki yana ayrılan ve geçişlerinde oldukça sıkı işlendiği dalgalı saç bukleleriyle tasarlanan “Ceres” tipi saç modasıyla kadın başı, Hadrianus (MS 117-138) döneminde, imparatorun eşi Vibia Sabina portrelerinden esinlenerek yontulmuştur. Saç modasıyla Hadrianus dönemi önerisi getirilen kadın portresindeki diğer üslup özellikleri de eserin, Erken Hadrianus dönemine tarihlendirilmesini mümkün kılmıştır. İmparator Hadrianus döneminde güçlü bir Neoklasizm söz konusuydu. Bu yüzdendir ki döneminin portrelerinde, yontulan kişilerin karakteristik özellikleri idealize (güzelleştirilerek) edilerek aktarılmaktaydı. Portresi yapılan kadının karakteristik özellikleri ise gerçekçi bir şekilde aktarılmıştır. Son olarak Geç Hadrianus (MS 130 sonrası) döneminde göz bebeği ve iris, ilk kez tek matkap darbesiyle işlenmiştir. Kaleme alınan kadın başında ise karakteristik özelliklerin gerçekçi aktarılmasıyla birlikte gözbebeği ve iris işlenmemiştir. Bu önemli üslup özellikleriyle Men rahibesini, MS 130 öncesine vermek mümkündür.

Thanks

Kadın portre büstünün çalışılmasına izin veren Burdur Müze Müdürlüğü’ne ve taş eserler sorumlusu Sayın Evren ŞAHİN’e teşekkür ederim.

References

  • [1] Anderson, John G. Clark (1913), “Festivals of Men Askaenos in Roma Colonia at Antioch of Pisidia”, Journal of Roman Studies, No. 3/2. (267-300)
  • [2] Arlı, Yaşar (2020), “Kayseri Müzesi’nden Yayımlanmamış Bir Portre Baş”, Asia Minor Studies, No. 8/2, July. (513-517)
  • [3] Arlı, Yaşar (2022a), “Ödemiş Müzesi’nde Korunan Kadın Başı Betimli Mobilya Ayağı”, Amisos, No. 7/13, December. (315-323)
  • [4] Arlı, Yaşar (2022b), “Burdur Müzesi’nden Erkek Portresi”, IBAD Journal of Social Sciences, No. 13, Winter. (599-607)
  • [5] Aurenhammer, Maria (1988), “Römische Porträts aus Ephesos”. Ritratto Ufficiale e Ritratto Privato: Atti Della II. Conferenza Internazionale sul Ritratto Romano, Roma.
  • [6] Boatwright, Mary T. (1991), “The Imperial Women of The Early Second Century A.C”, The American Journal of Philology, No. 112/4, Winter. (513-540)
  • [7] Boschung, Dietrich (2002), Gens Augusta: Untersuchungen zu Aufstellung, Wirkung und Bedeutung der Statuengruppen des Julius-Cladiuschen Kaiserhauses, Verlag Philipp von Zabern and Mainz am Rhein, Germany.
  • [8] Can, Alper (2023), Güney Bithynia’da Bir Kent: Prusa ad Olympum, Bursa Uludağ Univesity, Bursa. (Unpublished PhD Thesis).
  • [9] Durugönül, Serra (2021), Roma Devlet Kabartmalarında Propaganda ve ‘Sanat’, Bilgin Kültür Sanat Yayınları, Ankara.
  • [10] Erkoç, Serap (2012), Anadolu’da Iulius-Claudiuslar Dönemi Portre Sanatı, Akdeniz University, Antalya. (Unpublished PhD Thesis).
  • [11] Erkoç, Serap (2016), “Küçük Asya’daki Livia Portreleri”, Cedrus, No. 4, June. (209-217)
  • [12] Fejfer, Jane (2008), Roman Portraits in Context, Walter de Gruyter, Berlin and New York.
  • [13] Fittschen, Klaus and Zanker, Paul (1983), Katalog der Römischen Porträts in den Capitolinischen Museen und den Anderen Kommunalen Sammlungen der Stadt Rom III-Text, Philipp von Zabern and Mainz am Rhein, West Germany.
  • [14] Fittschen, Klaus and Zanker, Paul (1983), Katalog der Römischen Porträts in den Capitolinischen Museen und den Anderen Kommunalen Sammlungen der Stadt Rom III-Tafeln, Philipp von Zabern and Mainz am Rhein, West Germany.
  • [15] French, David H. (2014), Roman Roads & Milestones of Asia Minor, Vol. 3 Milestones Fasc. 3.5 Asia, Electronic Monograph 5, British Institute at Ankara.
  • [16] Freyer/Schauenberg, Brigitte (1982), “Die Kieler Livia”, Bonner Jahrbücher Band 182. (209-224)
  • [17] Hürmüzlü/Kortholt, Bilge and Tanrıver, Öznur (2016), “Antik Kaynaklar, Epigrafik ve Arkeolojik Veriler Işığında Kuzeybatı Pisidia Bölgesi’nin Kültürel Kimliği”, SDU Faculty of Art and Sciences Journal of Social Sciences, No. 37, April. (27-49)
  • [18] Inan, Jale and Rosenbaum, Elisabeth Alföldi (1966), Roman and Early Byzantine Portrait Sculpture in Asia Minor, The Oxford University Press, London.
  • [19] Inan, Jale and Rosenbaum, Elisabeth Alföldi (1979), Römische und Frühbyzantinische Porträtplastik aus der Türkei-Text, Philipp von Zabern and Mainz am Rhein, West Germany.
  • [20] Inan, Jale and Rosenbaum, Elisabeth Alföldi (1979), Römische und Frühbyzantinische Porträtplastik aus der Türkei-Tafeln, Philipp von Zabern and Mainz am Rhein, West Germany.
  • [21] Kleiner, Diana E. E. (1992), Roman Sculpture, Yale University Press, New Haven.
  • [22] Lane, Eugene N. (1971), Corpus Monumentorum Religionis dei Menis (CMRDM) I: The Monuments and Inscriptions, Brill, Leiden.
  • [23] Lane, Eugene N. (1976), Corpus Monumentorum Religionis dei Menis (CMRDM) III: Interpretations and Testimonia, Brill, Leiden.
  • [24] Lane, Eugene N. (1978), Corpus Monumentorum Religionis dei Menis (CMRDM) IV: Supplementary Men-Inscriptions From Pisidia, Brill, Leiden.
  • [25] Lane, Eugene N. (1990), “Men: A Neglected Cult of Roman Asia Minor”, ANRW 2, No. 18/3. (2161-2174)
  • [26] Leake, William Martin (1824), Journal of a Tour in Asia Minor, With Comparative Remarks on the Ancient and Modern Geography of that Country, John Murray, London.
  • [27] Livius, Titus (1912), The History of Rome, Rev.: Canon Roberts, E.P. Dutton and Co., New York.
  • [28] Miller, Konrad (1916), Itineraria Romana: Römische Reisewege an der Hand der Tabula Peutingeriana, Verlegt von Strecker and Schröder, Stuttgart.
  • [29] Ozgan, Ramazan (2013a), Roma Portre Sanatı I, Ege Yayınları, Istanbul.
  • [30] Ozgan, Ramazan (2013b), Roma Portre Sanatı II, Ege Yayınları, Istanbul.
  • [31] Ozsait, Mehmet and Özsait, Nesrin (2010), “2009 Yılı Isparta ve Burdur Yüzey Araştırmaları”, Araştırma Sonuçları Toplantısı, No. 28/2, May. (41-56)
  • [32] Polybius (1889), The Histories of Polybius, Rev.: Evelyn S. Shuckburgh, Macmillan, London and New York.
  • [33] Poulsen, Vagn (1962), Les Portaits Romains I: République et Dynastie Julienne, Ny Carlsberg, Copenhague.
  • [34] Ptolemaios, Claudius (2000), Ptolemy’s “Geography”: Annototated Translation of the Theoretical Chapters, Rev.: J. Lennart Bergren and Alexander Jones, Princeton University Press, Princeton and Oxford.
  • [35] Robert, Louis (1950), “Inscriptions d’Antalya et de Byzance”, Hellenica, No. 9. (39-66)
  • [36] Rumpf, Andreas (1941), Abhandlungen der Preußischen Akademie er Wissenschaften: Antonia Augusta, Verlag der Akademie der Wissenschaften, Berlin.
  • [37] Sadurska, Anna (1972), Corpus Signorum Imperii Romani Pologne Volume I: Les Portraits Romains Dans Les Collections Polonaises, PWN-éditions Scientifiques de Pologne, Warszawa.
  • [38] Stirling, Lea M. (2012), “A New Portrait of Livia From Thysdrus (El Jem, Tunisina)”, American Journal of Archaeology, No. 116/4, October. (625-647)
  • [39] Strabon (1969), Coğrafya, Rev.: Adnan Pekman, Istanbul University Faculty of Letters Publications, Istanbul.
  • [40] Tepebaş, Ulus (2018), Roma Portre Metodolojisi Işığında Manisa Müzesi Portreleri ve Başları, Mersin University, Mersin. (Unpublished PhD Thesis).
  • [41] Varner, Eric R. (1995), “Domitia Longina and The Politics of Portraiture”, American Journal of Archaeology, No. 99/2, April. (187-206)
  • [42] Wegner, Max (1956), Das Römische Herrscherbild: Hadrian (Plotina. Marciana. Matidia. Sabina), Verlag Gebr. Mann, Berlin.
  • [43] Wegner, Max (1966), Das Römische Herrscherbild: Die Flavier (Vespasian. Titus. Domitian. Nerva. Iulia Titi. Domitilla. Domitia), Verlag Gebr. Mann, Berlin.

A Woman Portrait Bust from Central Çallıca Village (Cormasa)

Year 2023, Volume: 6 Issue: 2, 213 - 225, 27.12.2023
https://doi.org/10.38000/juhis.1349332

Abstract

The portrait bust, which is well-preserved in garden of the Burdur Museum, was acquired by the museum in 1987. The artefact, which was purchased from a citizen, was found in the central village of Çallıca in Burdur. The portrait bust, thought to be a find from Cormasa near the village, was sculpted from limestone. The bust of the woman, which has not been published until the present day, has been identified by the necklace around her neck and her iconography, and a period has been suggested by the hairstyle on her head and other stylistic features. The crescent motif at the end of the necklace designed with multiple spheres around the woman's neck is important for the identity of the artefact. The woman portrait with the shawl on her head and the necklace around her neck symbolizes the priestess of Men. This shows that the cult of Men, of whom centre in Pisidia is Antioch, was also present in Burdur. The woman head with the “Ceres” type hairstyle, which was designed with wavy hair tresses separated from the centre of the forehead on both sides and tightly processed at the transitions, was sculpted by being inspired by the portraits of the emperor's wife Vibia Sabina during the period of Hadrian (117-138 AD). The other stylistic features in the woman portrait, of which hairstyle fashion suggests the Hadrian period, also make it possible to date the artefact to the Early Hadrian period. There was a strong Neoclassicism during the period of emperor Hadrian. Therefore, in the portraits of the period, the characteristic features of the sculpted people were idealized (beautified). The characteristics of the portrayed woman, on the other hand, are realistic. Finally, in the Late Hadrian period (after 130 AD), the pupil and iris were carved with a single drill stroke for the first time. On the woman head, the pupil and iris were not processed, although the characteristic features were realistically reflected. With these important stylistic features, it is possible to date the priestess of Men to before 130 AD.

References

  • [1] Anderson, John G. Clark (1913), “Festivals of Men Askaenos in Roma Colonia at Antioch of Pisidia”, Journal of Roman Studies, No. 3/2. (267-300)
  • [2] Arlı, Yaşar (2020), “Kayseri Müzesi’nden Yayımlanmamış Bir Portre Baş”, Asia Minor Studies, No. 8/2, July. (513-517)
  • [3] Arlı, Yaşar (2022a), “Ödemiş Müzesi’nde Korunan Kadın Başı Betimli Mobilya Ayağı”, Amisos, No. 7/13, December. (315-323)
  • [4] Arlı, Yaşar (2022b), “Burdur Müzesi’nden Erkek Portresi”, IBAD Journal of Social Sciences, No. 13, Winter. (599-607)
  • [5] Aurenhammer, Maria (1988), “Römische Porträts aus Ephesos”. Ritratto Ufficiale e Ritratto Privato: Atti Della II. Conferenza Internazionale sul Ritratto Romano, Roma.
  • [6] Boatwright, Mary T. (1991), “The Imperial Women of The Early Second Century A.C”, The American Journal of Philology, No. 112/4, Winter. (513-540)
  • [7] Boschung, Dietrich (2002), Gens Augusta: Untersuchungen zu Aufstellung, Wirkung und Bedeutung der Statuengruppen des Julius-Cladiuschen Kaiserhauses, Verlag Philipp von Zabern and Mainz am Rhein, Germany.
  • [8] Can, Alper (2023), Güney Bithynia’da Bir Kent: Prusa ad Olympum, Bursa Uludağ Univesity, Bursa. (Unpublished PhD Thesis).
  • [9] Durugönül, Serra (2021), Roma Devlet Kabartmalarında Propaganda ve ‘Sanat’, Bilgin Kültür Sanat Yayınları, Ankara.
  • [10] Erkoç, Serap (2012), Anadolu’da Iulius-Claudiuslar Dönemi Portre Sanatı, Akdeniz University, Antalya. (Unpublished PhD Thesis).
  • [11] Erkoç, Serap (2016), “Küçük Asya’daki Livia Portreleri”, Cedrus, No. 4, June. (209-217)
  • [12] Fejfer, Jane (2008), Roman Portraits in Context, Walter de Gruyter, Berlin and New York.
  • [13] Fittschen, Klaus and Zanker, Paul (1983), Katalog der Römischen Porträts in den Capitolinischen Museen und den Anderen Kommunalen Sammlungen der Stadt Rom III-Text, Philipp von Zabern and Mainz am Rhein, West Germany.
  • [14] Fittschen, Klaus and Zanker, Paul (1983), Katalog der Römischen Porträts in den Capitolinischen Museen und den Anderen Kommunalen Sammlungen der Stadt Rom III-Tafeln, Philipp von Zabern and Mainz am Rhein, West Germany.
  • [15] French, David H. (2014), Roman Roads & Milestones of Asia Minor, Vol. 3 Milestones Fasc. 3.5 Asia, Electronic Monograph 5, British Institute at Ankara.
  • [16] Freyer/Schauenberg, Brigitte (1982), “Die Kieler Livia”, Bonner Jahrbücher Band 182. (209-224)
  • [17] Hürmüzlü/Kortholt, Bilge and Tanrıver, Öznur (2016), “Antik Kaynaklar, Epigrafik ve Arkeolojik Veriler Işığında Kuzeybatı Pisidia Bölgesi’nin Kültürel Kimliği”, SDU Faculty of Art and Sciences Journal of Social Sciences, No. 37, April. (27-49)
  • [18] Inan, Jale and Rosenbaum, Elisabeth Alföldi (1966), Roman and Early Byzantine Portrait Sculpture in Asia Minor, The Oxford University Press, London.
  • [19] Inan, Jale and Rosenbaum, Elisabeth Alföldi (1979), Römische und Frühbyzantinische Porträtplastik aus der Türkei-Text, Philipp von Zabern and Mainz am Rhein, West Germany.
  • [20] Inan, Jale and Rosenbaum, Elisabeth Alföldi (1979), Römische und Frühbyzantinische Porträtplastik aus der Türkei-Tafeln, Philipp von Zabern and Mainz am Rhein, West Germany.
  • [21] Kleiner, Diana E. E. (1992), Roman Sculpture, Yale University Press, New Haven.
  • [22] Lane, Eugene N. (1971), Corpus Monumentorum Religionis dei Menis (CMRDM) I: The Monuments and Inscriptions, Brill, Leiden.
  • [23] Lane, Eugene N. (1976), Corpus Monumentorum Religionis dei Menis (CMRDM) III: Interpretations and Testimonia, Brill, Leiden.
  • [24] Lane, Eugene N. (1978), Corpus Monumentorum Religionis dei Menis (CMRDM) IV: Supplementary Men-Inscriptions From Pisidia, Brill, Leiden.
  • [25] Lane, Eugene N. (1990), “Men: A Neglected Cult of Roman Asia Minor”, ANRW 2, No. 18/3. (2161-2174)
  • [26] Leake, William Martin (1824), Journal of a Tour in Asia Minor, With Comparative Remarks on the Ancient and Modern Geography of that Country, John Murray, London.
  • [27] Livius, Titus (1912), The History of Rome, Rev.: Canon Roberts, E.P. Dutton and Co., New York.
  • [28] Miller, Konrad (1916), Itineraria Romana: Römische Reisewege an der Hand der Tabula Peutingeriana, Verlegt von Strecker and Schröder, Stuttgart.
  • [29] Ozgan, Ramazan (2013a), Roma Portre Sanatı I, Ege Yayınları, Istanbul.
  • [30] Ozgan, Ramazan (2013b), Roma Portre Sanatı II, Ege Yayınları, Istanbul.
  • [31] Ozsait, Mehmet and Özsait, Nesrin (2010), “2009 Yılı Isparta ve Burdur Yüzey Araştırmaları”, Araştırma Sonuçları Toplantısı, No. 28/2, May. (41-56)
  • [32] Polybius (1889), The Histories of Polybius, Rev.: Evelyn S. Shuckburgh, Macmillan, London and New York.
  • [33] Poulsen, Vagn (1962), Les Portaits Romains I: République et Dynastie Julienne, Ny Carlsberg, Copenhague.
  • [34] Ptolemaios, Claudius (2000), Ptolemy’s “Geography”: Annototated Translation of the Theoretical Chapters, Rev.: J. Lennart Bergren and Alexander Jones, Princeton University Press, Princeton and Oxford.
  • [35] Robert, Louis (1950), “Inscriptions d’Antalya et de Byzance”, Hellenica, No. 9. (39-66)
  • [36] Rumpf, Andreas (1941), Abhandlungen der Preußischen Akademie er Wissenschaften: Antonia Augusta, Verlag der Akademie der Wissenschaften, Berlin.
  • [37] Sadurska, Anna (1972), Corpus Signorum Imperii Romani Pologne Volume I: Les Portraits Romains Dans Les Collections Polonaises, PWN-éditions Scientifiques de Pologne, Warszawa.
  • [38] Stirling, Lea M. (2012), “A New Portrait of Livia From Thysdrus (El Jem, Tunisina)”, American Journal of Archaeology, No. 116/4, October. (625-647)
  • [39] Strabon (1969), Coğrafya, Rev.: Adnan Pekman, Istanbul University Faculty of Letters Publications, Istanbul.
  • [40] Tepebaş, Ulus (2018), Roma Portre Metodolojisi Işığında Manisa Müzesi Portreleri ve Başları, Mersin University, Mersin. (Unpublished PhD Thesis).
  • [41] Varner, Eric R. (1995), “Domitia Longina and The Politics of Portraiture”, American Journal of Archaeology, No. 99/2, April. (187-206)
  • [42] Wegner, Max (1956), Das Römische Herrscherbild: Hadrian (Plotina. Marciana. Matidia. Sabina), Verlag Gebr. Mann, Berlin.
  • [43] Wegner, Max (1966), Das Römische Herrscherbild: Die Flavier (Vespasian. Titus. Domitian. Nerva. Iulia Titi. Domitilla. Domitia), Verlag Gebr. Mann, Berlin.
There are 43 citations in total.

Details

Primary Language English
Subjects Greek and Roman Period Archeology
Journal Section Research Articles
Authors

Yaşar Arlı 0000-0001-7799-6764

Early Pub Date December 23, 2023
Publication Date December 27, 2023
Submission Date August 24, 2023
Acceptance Date December 9, 2023
Published in Issue Year 2023 Volume: 6 Issue: 2

Cite

APA Arlı, Y. (2023). A Woman Portrait Bust from Central Çallıca Village (Cormasa). Journal of Universal History Studies, 6(2), 213-225. https://doi.org/10.38000/juhis.1349332

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