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Mould-Blown Glass Vessels in Diyarbakır Museum
No full textI have studied 583 glass vessels from Diyarbakır Museum Glassware Collection. Nearly all of these glass vessels which have a
great variety of forms are in good conditions and have been well preserved so far. According to the scientific researches, it was found out that the glass vessels in Diyarbakir Museum’s glass collection were generally produced between 6th century B.C and 13th century A.D. It was investigated whether the glass vessels having rich forms of diversity were the production of a centre in the region and incase of the existence of such a centre, it was investigated by which production centres it was affected. In addition, it was aimed to find new information about glass trade of Diyarbakır province located in the crossroads of trade routes of antique period. The vessels at issue were classified under the headings of oinochoe, aryballos, alabastron, amphoriskos, unguanteria, bottles, bowls, plates, cups, candles, spreaders, jar, glass and amulets and were evaluated individually. With regard to technique, the glass vessels concerned were produced with core formed technique, rod formed technique, free blowing technique and mould blowing technique and were decorated with different decoration techniques such as feather, upsetting and pinching. The vessels which will be mentioned in this presentaion include seventy four glass vessels which were produced by using mould blown technique. These glass vessels include Date-shaped Bottle, Grape Cluster-shaped Bottle, Head-shaped Bottle, Sprinkler, Ribbed Bottle and Hexagonal Bottle with Jewish Symbols. The earliest one of these bottles is Date-shaped Bottle which dates back to 1st century A.D. The latest one of these samples is Hexagonal Bottle with Jewish symbol which dates back to 5th and 6th centuries A.D
MARDİN ARTUKLU ÜNİVERSİTESİ HIRBE HELALE NEKROPOL ALANI CAM BULUNTULARI (2010, 2011, 2018 YILI KAZILARI)
No full textHırbe Helale nekropol alanı; Mardin-Diyarbakır karayolunun 6. kilometresinin batısında, Mardin ili Artuklu ilçesi sınırlarında, Mardin Artuklu Üniversitesi yerleşkesi içerisinde yer almaktadır. III. Derece Arkeolojik sit alanı olarak tescillenmiş olan Hırbe Helale nekropol alanında, 2010, 2011 ve 2018 yıllarında kazı çalışmaları gerçekleştirilmiştir. Çalışmalar, Mardin Artuklu Üniversitesi Güzel Sanatlar Fakültesi Otoparkı’nın kuzeydoğusunda bulunan alanda yürütülmüştür. Yapılan kazı çalışmaları neticesinde tespit edilen buluntular Paleolitik Dönem, Geç Roma Dönemi, Bizans Dönemi ve Artuklu Dönemi gibi birbirinden farklı dönemlere tarihlendirilmiştir. Bu çalışmanın kapsamı; Hırbe Helale nekropol alanı 2010, 2011 ve 2018 yılı kazı çalışmalarında ortaya çıkarılan cam materyeller arasından seçilen ve profil veren kase parçaları, kandil parçaları, kadeh parçaları, karıştırma çubuğu parçaları, oyun taşı ile bileziklerden oluşmaktadır. Bu çalışma ile kazılar sırasında açığa çıkarılan cam materyallerin ilk bilimsel verilerine ulaşmak amaçlanmaktadır. Söz konusu materyaller Hırbe Helale nekropol alanının genel stratigrafisi ve yaptığımız kaynak araştırması sonucunda saptanan paralel örnekler ışığında tipolojik ve kronolojik olarak değerlendirilmiştir. Kazı verileri ve kaynak araştırması sonucunda tespiti yapılan paralel örnekler bu cam buluntuların Geç Roma ve Bizans dönemlerinden köken aldıklarını açığa çıkarmıştır. Bu nedenle Hırbe Helale nekropol alanında Geç Roma Dönemi ve Bizans Dönemi’ne tarihlenen cam buluntuların ortaya çıkarılması, kentin sosyal yaşamının bir parçası olan cam kap formları hakkında detaylı verilere ulaşmamızı sağlaması açısından önem arz etmektedir.Hırbe Helale necropolis area is located on the borders of Artuklu, a town in Mardin province and Mardin Artuklu University Campus area, which is 6 km away from the city centre on the highway to Diyarbakir province. Three excavations were carried out in 2010, 2011 and 2018 in this area, and it is registered as a Third Degree Archaeological site. The excavations were carried out on the northeast of the parking lot of Mardin Artuklu University Faculty of Fine Arts. During the excavations, numerous finds which were produced by using stone, terracotta, metal and glass materials were found, and these finds date to different periods such as the Paleolithic Period, the Late Roman Period, the Byzantine Period and the Artukid Period. The samples included in the scope of the study consist of profile bowl fragments, oil lamp fragments, goblet fragments, stirring stick fragments, game stones and bracelets selected from glass materials unearthed in Hırbe Helale necropolis area in 2010, 2011 and 2018. This study aims to reach the first scientific data on glass materials unearthed during these excavations. The mentioned materials were evaluated typologically and chronologically in the light of the parallel straits that were determined as a result of the general stratigraphy of Hırbe Helale necropolis area and literature research. The parallel samples determined as a result of the literature research and excavation data revealed that the glass finds originate from the Late Roman and Byzantine Period. For this reason, the detection of glass finds dating to the Roman and Byzantine Periods in Hırbe Helale necropolis area is important in terms of providing detailed information about the glass container forms that were an essential part of the social life of the city
The Commercial Glass Containers of Tralleis Antique City: Flagon
No full textRemains of the ancient city of Tralleis, which was within the borders of the Caria Region in the ancient period, are located in the Topyatağı area of Aydın province. In the researches, detailed data were obtained on the city's gymnasium complex, residential areas, shops, necropolis and other structures. In the 2nd century AD, we see that different and new forms of vessels were produced using the mould blowing technique, while the vessels with angular lines produced during this period came to the fore with their functionality rather than decorative characteristics. Angular shaped glass vessels (flagon) were preferred for the transportation of traded liquids throughout the Roman Empire as they were more functional due to the ease of packaging in the trade of liquid substances compared to glass vessels with cylindrical bodies. This study aims to introduce and evaluate the flagon pieces unearthed in Tralleis excavations, to share the first scientific data on the subject and to contribute to the regional archaeology.
These glass vessels called flagons were evaluated typologically and chronologically in the light of parallel materials with the excavation data. Samples included in the study were unearthed during the excavations carried out in the ancient city of Tralleis, especially in areas with gymnasium and arsenal between 1999 and 2008. These materials, which are seen to have been produced by the blow moulding technique, consist of profiled parts such as the rim parts, the rim and the part where the handle is protected together, the handle parts, the body parts and the base parts. It is concluded that the Tralleis flagon samples, which were handled typologically and chronologically in the light of the excavation data, originated from the 1-4th centuries AD, when the most prosperous periods of the Roman Empire were experienced. Before the flagons which are the main subject of the study are evaluated, information about the short history of glass, the location and history of the ancient city of Tralleis, Tralleis glasses, glass workshops in Tralleis and the origin, function, form development and propagation areas of the vessels produced as flagon will be included
Zerzevan Kalesi Cam Buluntuları
No full textZerzevan Kalesi; Diyarbakır-Mardin karayolunun 45. km’sinde, Çınar ilçesine 13 km, Demirölçek
Köyü’ne 1 km. mesafede, yol seviyesinden 124 m yükseklikte yaklaşık olarak 60 dönümlük bir
alanı kaplayan kayalık bir tepe üzerinde bulunur. Kaleyi ekonomik, siyasi, stratejik açıdan her
zaman önemini koruyan ve konumu itibariyle bütün vadiye hakim, antik ticaret yolu üzerinde geniş
bir alanı kontrol altında tutan bir Roma sınır garnizonu olarak tanımlayabiliriz. Roma Dönemi’nde
üfleme tekniğinin keşfi ile beraber, Roma kültürünün hakim olduğu tüm yerleşim alanlarında gündelik
kullanıma hitap eden cam malzemelerin üretiminin popüler bir endüstriye dönüştüğü bilinir.
Roma’nın doğudaki en uç sınırında bulunan Zerzevan Kalesi, bu endüstrinin bulguların izlendiği
önemli bir merkezdir. Zerzevan Kalesi 2014-2020 kazı çalışmaları sırasında, yerleşim alanlarının farklı
noktalarında gerek gündelik eşya formları gerekse de aksesuar olarak işlevlendirildiği düşünülen
çok sayıda cam materyal ele geçmiştir. Tespiti yapılan bu materyaller unguentarium, kase, kadeh,
kandil ve bilezik parçaları şeklindedir. Bu çalışma ile Zerzevan Kalesi 2014-2020 yılı kazı çalışmaları
sırasında ortaya çıkarılan cam materyallerin ilk bilimsel verilerine ulaşmak amaçlanmıştır. Zerzevan
Kalesi kazı verileri ve yaptığımız kaynak araştırması sırasında tespit edilen paralel örnekler Zerzevan
Kalesi cam buluntularını tipolojik ve kronolojik olarak değerlendirmemize yardımcı olmuş, bu buluntuların
Roma ve Geç Roma dönemlerinde üretilen cam kap formlarını ve aksesuarlarını içerdiği
sonucunu ortaya koymuştur.Zerzevan Castle is located at the 45th km of Diyarbakır-Mardin highway, 13 km from Çınar district
and 1 km from Demirölçek Village, on a rocky hill covering an area of approximately 60
decares at an altitude of 124 m above the road level. We can define the Zerzevan Castle as a
significant military settlement located on the easternmost border of Rome or a Roman border garrison.
It always kept its importance economically, politically and strategically, dominated the entire
valley due to its location, and controlled a large area on the ancient trade route. As it is known, with
the discovery of the blowing technique in the Roman Period, the production of glass vessels for
daily use spread in all residential areas dominated by Roman culture, become a popular industry.
Zerzevan Castle, located on the easternmost border of Rome, is an important center where the
findings of this industry are followed. During the 2014-2020 excavations of Zerzevan Castle, a large
number of glass materials were found at different points of the settlement areas. These materials
are thought to be functional as both everyday objects and accessories. Among the materials found,
the samples that give precise profiles are pieces of unguentarium, bowls, goblets, oil lamps and
bracelets. This study aims to reach the first scientific data on glass materials unearthed during the
2014-2020 excavations of Zerzevan Castle. The excavation data and the parallel samples found
during our resource research helped evaluate the glass finds typologically and chronologically. This
evaluation revealed that the findings are comprised of glass vessel forms and accessories produced
during the Roman and Late Roman periods
Findings That Shows Glass was Discovered in Mesopotamia
No full textThrough excavations in many different countries, the science of archaeology makes important contributions to the determination of the origin, usage patterns and distribution areas of the material remains produced by humans. The origins of the use of glass, which has an important place in our daily life, and the way glass material has traveled, of course, is an important subject worth researching. The aim of this study is to share the first and primary data on the origin of the use of glass as a material. Glass, as you all know, is a liquid material, but it doesn't behave like the fluids we know. Because glass is a fascinating and unique material that cannot be included in either the realm of liquids or the realm of solids. It has fascinated countless people since our ancestors produced the first glass thousands of years ago. Despite all that time, it has not grown old and still continues to fascinate many people. It is defined as a transparent, translucent or opaque, amorphous, artificial material that solidifies without crystallization, formed by melting glass silica, potash or soda, lime and other additives together. Glass, which has become an integral part of contemporary life after the technological and artistic stages recorded in the past thousands of years, is an important material that is completely natural but created with human hands and contribution, symbolizing the success of human beings in benefiting from natural resources with intelligence and creativity. We learn from ancient sources and cuneiform tablets that the first written data to form a basis for the production of glass, which we do not know exactly where, how and when it was produced. Glass-like shiny objects have been used in the Near East since the 5th millennium BC. The earliest records of glass making technology were found in cuneiform tablets found in Mesopotamia, while the earliest tablet containing a formula for glazing was found in Tell-Umar on the Tigris River. In this tablet dating to the 17th century BC, it is recorded that glassmaking was a well-structured tradition. It is known that the first glass was produced in Mesopotamia around the 3rd millennium BC and artificial glass was first used as a layer of glaze covering stone and ceramic beads in Mesopotamia in 3500-3000 BC. In 2500 BC, beads and amulets were made entirely of glass material. It has been observed that after 1500 BC, glass containers were produced in Mesopotamia in Western Asia, during the period of the Kingdom of Mitanni, using the inner mould technique and that the glass containers produced in Mesopotamia spread over a wide area in Iran, Elam, Babylon in Eastern Syria, Palestine on the Mediterranean coast, Cyprus, and in the Middle East and Near East, including Mycenae in Greece. Glass is a versatile material that has been in constant evolution over the centuries. When we examine the chronological development of glass; It is understood that this material has been functionalized in small pieces for many years and has become an indispensable part of daily life today, as it was in the past, and preserves its feature of being a material that is loved and used
MOLD-BLOWN GLASS VESSELS IN DİYARBAKIR MUSEUM
No full textI have studied 583 glass vessels from Diyarbakır Museum Glassware Collection. Nearly all of these glass vessels which have a
great variety of forms are in good conditions and have been well preserved so far. According to the scientific researches, it was found out that the glass vessels in Diyarbakir Museum’s glass collection were generally produced between 6th century B.C and 13th century A.D. It was investigated whether the glass vessels having rich forms of diversity were the production of a centre in the region and incase of the existence of such a centre, it was investigated by which production centres it was affected. In addition, it was aimed to find new information about glass trade of Diyarbakır province located in the crossroads of trade routes of antique period. The vessels at issue were classified under the headings of oinochoe, aryballos, alabastron, amphoriskos, unguanteria, bottles, bowls, plates, cups, candles, spreaders, jar, glass and amulets and were evaluated individually. With regard to technique, the glass vessels concerned were produced with core formed technique, rod formed technique, free blowing technique and mould blowing technique and were decorated with different decoration techniques such as feather, upsetting and pinching. The vessels which will be mentioned in this presentaion include seventy four glass vessels which were produced by using mould blown technique. These glass vessels include Date-shaped Bottle, Grape Cluster-shaped Bottle, Head-shaped Bottle, Sprinkler, Ribbed Bottle and Hexagonal Bottle with Jewish Symbols. The earliest one of these bottles is Date-shaped Bottle which dates back to 1st century A.D. The latest one of these samples is Hexagonal Bottle with Jewish symbol which dates back to 5th and 6th centuries A.D
Demeter Kültü Işığında Eleusis Mysterleri
No full textDoğurganlığın sonsuz güç kaynağı olarak bilinen yer, tanrıların anası ve toprak
ana şeklinde tanımlanır. Hellen inanışının tanrıları kişileştirmesi üzerine yer, Demeter
gibi toprak ve verimlilik ile yakından ilişkilendirilen kutsal varlıkların ortaya çıkmasına
fırsat tanımıştır. Olymposlu tanrılar kuşağından olan tanrıça Demeter, ekili
dikili toprağın ve bereketin tanrıçası olduğundan toprak ana, mevsimleri getiren,
insanları besleyen, yaşamı devam ettiren ulu tanrıça olarak tasvir edilir. Ölümlüleri
besleyen ve toprağı seven bir Olymposlu olarak bilinen Demeter, Homeros’un destanlarında
sarı saçlı, ela gözlü güzel bir tanrıça olarak betimlenirken; Hesiodos’un
şiirlerinde Kronos ile Rheia’nın kızı ve Zeus’un kız kardeşi olduğundan söz edilmiştir.
Demeter mitolojisinde kızı ile beraber anılır ve bu nedenle birçok kaynakta “ikili tanrıçalar”
veya “tanrıçalar” şeklinde tanımlanırlar. Demeter kültüne, Kıta Yunanistan’da
tahıl tarımının yapıldığı hemen hemen her bölgede rastlamak mümkündür. Bu kültte,
Persephone’nin Hades tarafından kaçırılış mitolojisi tanrıçanın tapınımının temellerini
oluşturur. Demeter, Persephone ve Hades mitolojisi temelde doğadaki yaşam
çemberini, mevsimsel döngü ile toprağın kışın ölüp ilkbaharda yeniden canlanışını
temsil eder. Demeter kültünün kaynağını oluşturan tanrıçaların mitolojisi ve bu mitolojinin
sonucu olarak ortaya çıktığı kabul edilen Eleusis Misterleri antik çağlarda
yaygın bir uygulama alanı bulmuştur. Eleusis Misterleri olarak adlandırılan bu gizli
tapınımın oluşum sürecinde yerine getirilen dinsel törenler ise tamamıyla birbiri ile
bağlantılıdır. Tanrıçanın insanoğluna sunduğu en büyük hediye olan bu misterlerde,
insanlar ölüme ve yaşama farklı bir bakış açısı ile yaklaşmayı denemektedir. Demeter
kültü ve bu kültün insanoğluna sunduğu Eleusis Misterleri, bu külte inanan insanların
ölümden sonraki yaşam için daha umutlu bir ruh haline sahip olmalarını mümkün
kılmıştır. Bu çalışmanın amacı Demeter kültünün temeli olduğu düşünülen Persephone’nin
Hades tarafından kaçırılış mitolojisi, bu mitolojinin sonucu olarak ortaya çıkan
Eleusis Misterleri’nin oluşturulma nedenleri, misterlerin törensel içeriği, Demeter
ve Persephone’nin bu misterlerde üstlendikleri görevler ve Persephopne’nin yeraltı
dünyası ile yeryüzü arasında aracı bir rol üstlenişinin nedenlerini açıklamaktır
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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