Adana Müzesi'nden diadem örnekleri
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Dosyalar
Tarih
2019
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Mersin Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Adana Müzesi koleksiyonuna satın alma yöntemi ile kazandırılan 14 diadem bu çalışmanın konusunu oluşturur. Başa sarılan ince şerit bant anlamına gelen diadem terimi Ksenophon tarafından Pers kralı Kyros’un tiarasını çevreleyen bandı tanımlamak için kullanılmıştır. Tunç Çağ mezarlarında ele geçen örneklerden anlaşıldığı üzere kullanımı köklü bir geleneğe dayanan bu baş süslemesi Hellenistik Dönem krallarının vazgeçilmez bir aksesuarına dönüşmüş, böylece krali bir anlam da kazanmıştır. Bu süreç ucuz maliyetli ince altın varaktan yapılan diademlerin ölü gömme geleneği kapsamında geniş bir coğrafyada kullanılmaya başlamasını da tetiklemiştir. İşlevi nedeniyle “Ölü Takıları” kapsamına giren bu diademler günlük yaşamda kullanılan diademlerden çok daha incedir. Adana Müzesi diademleri gerek varak kalınlığı gerekse düşük işçilik kalitesiyle ölü diademi olarak kullanılmıştır. Makalede şerit, alınlıklı ve baklava dilimi olmak üzere üç ana formdan oluşan Adana Müzesi diademleri bezemeli ve bezemesiz oluşlarına göre iki ana başlıkta toplanmıştır. Diademlerde geometrik, bitkisel ve figürlü bezeme repertuvarı görülür. Zik zak geometrik bezemede ana motiftir. Kıvrık dal ve sarmaşık yaprağı bitkisel bezemenin temasını oluşturur. Figürlü anlatımlarda düğün seremonisinin işlendiği diadem gerek işçilik kalitesi gerekse de zengin ikonografisiyle tekil bir örnektir. Yerel işçilik özelliklerinin baskın olduğu diğer figürlü diademlerde ise kadın-erkek karışık veya sadece kadınlardan oluşan kortej betimlenmiştir. Kortejin ortasında, yani diademin alınlık hizasında diğer figürlerden daha büyük ölçülerde kadın figürleri yer alır. Literatür araştırmalarında aynı veya benzer temanın işlendiği diadem örneklerine rastlanmamıştır. Bezeme kompozisyonu, stil ve ikonografik özellikleri doğrultusunda Adana Müzesi diademleri Tunç Çağ, Geometrik Dönem, Geç Klasik-Hellenistik Dönem olmak üzere üç periyod altında değerlendirilmiştir. Bezemesiz 4 diademden alınlık formunda olanlar Hellenistik Dönem, baklava dilimi formlu örnek ise Geç Tunç Çağ ile Erken Demir Çağ arasına tarihlenmiştir. Satın alma yöntemiyle müze koleksiyonuna dâhil edilen diademlerin buluntu yeri ve konteksti bilinmediği için tarihlemeler de diğer görsel anlatımlardan da yararlanılmıştır.
The collection of 14 diadems which were brought by the the Adana Museum is the subject of this study. These diadems were produced by the hammering method. The term diadem, which means a thin strip of tape wrapped around the head, was used by Ksenephon to describe the band surrounding the tiara of the Persian king, Kyros. As can be seen from the examples uncovered in the Bronze Age tombs, this head ornament, which is based on a long tradition, turned into an indispensable accessory of the Hellenistic period kings, thus gained a royal prerogative. This process also triggered the use of diadems made of cheap and thin gold foil in a wide geography as part of the burial tradition. Due to its function, these diadems, which fall within the scope of “Funerary Jewelry”, are much thinner than diadems used in daily life. The diadems in the Adana Museum were used as funerary diadems because of both the thickness of the foil and the low labor quality. In the article, the diadems of the Adana Museum, consisting of three main forms as strip, pedimental and elliptical shapes, are grouped under two main headings according to being ornamental or plain. The diadems were decorated geometric, plantal and figurative. Zig zag is the main motif in geometric decoration. Curled branch and ivy leaf form the theme of herbal decoration. The diadem, in which the wedding ceremony is performed in figured narratives, is a singular example with its quality of workmanship and rich iconography. In the other figured diadems that have dominant local workmanship characteristics, male or female mixed or only women's cortege are depicted. There are larger female figures in the middle of the cortege or at the level of diadem’s pediment than the other figures. During our literature researches it was not possible to find parallel diadem examples. In terms of decoration, style and iconography characteristics, the Adana Museum diadems were evaluated under three periods as Bronze Age, Geometric Period, Late Classical-Hellenistic Period. The ones that are in pedimental form among the four diadems of the plain group were dated to Hellenistic Period and the elliptical shaped example was dated to Late Bronze Age and Early Iron Age. As the provenance and context of the diadems in the Adana Museum collection are not known, they are dated according to similiar representations in ancient art.
The collection of 14 diadems which were brought by the the Adana Museum is the subject of this study. These diadems were produced by the hammering method. The term diadem, which means a thin strip of tape wrapped around the head, was used by Ksenephon to describe the band surrounding the tiara of the Persian king, Kyros. As can be seen from the examples uncovered in the Bronze Age tombs, this head ornament, which is based on a long tradition, turned into an indispensable accessory of the Hellenistic period kings, thus gained a royal prerogative. This process also triggered the use of diadems made of cheap and thin gold foil in a wide geography as part of the burial tradition. Due to its function, these diadems, which fall within the scope of “Funerary Jewelry”, are much thinner than diadems used in daily life. The diadems in the Adana Museum were used as funerary diadems because of both the thickness of the foil and the low labor quality. In the article, the diadems of the Adana Museum, consisting of three main forms as strip, pedimental and elliptical shapes, are grouped under two main headings according to being ornamental or plain. The diadems were decorated geometric, plantal and figurative. Zig zag is the main motif in geometric decoration. Curled branch and ivy leaf form the theme of herbal decoration. The diadem, in which the wedding ceremony is performed in figured narratives, is a singular example with its quality of workmanship and rich iconography. In the other figured diadems that have dominant local workmanship characteristics, male or female mixed or only women's cortege are depicted. There are larger female figures in the middle of the cortege or at the level of diadem’s pediment than the other figures. During our literature researches it was not possible to find parallel diadem examples. In terms of decoration, style and iconography characteristics, the Adana Museum diadems were evaluated under three periods as Bronze Age, Geometric Period, Late Classical-Hellenistic Period. The ones that are in pedimental form among the four diadems of the plain group were dated to Hellenistic Period and the elliptical shaped example was dated to Late Bronze Age and Early Iron Age. As the provenance and context of the diadems in the Adana Museum collection are not known, they are dated according to similiar representations in ancient art.
Açıklama
Anahtar Kelimeler
Diadem, Takılar, Cenaze, Aphrodite, Düğün Seremonisi, Jewellery, Funeral, Aphrodite, Wedding’s Ceremony
Kaynak
OLBA
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
27
Künye
UYGUN Ç (2019). ADANA MÜZESİ’NDEN DİADEM ÖRNEKLERİ. OLBA, 0(27), 265 - 306.
