Dionysos- Eros- Panter: Diphilos İmzalı Bir Terrakotta Figürin

Yıl 2022, Cilt: 2 Sayı: 29, 165 - 179, 31.10.2022

Elçin Doğan Gürbüzer

https://doi.org/10.51493/egearkeoloji.1101476

Öz

Hellenistik Dönem ile birlikte Pişmiş Toprak Figürin endüstrisinde üretimin gelişmesi, birçok üretim işliğinin de kurulmasına yol açmıştır. Söz konusu atölyeler ile ilgili en net bilgi, figürinlerin üzerindeki imza ve monograflar yoluyla edinilebilmektedir. Antik Dönemdeki koroplathos ismiyle bilinen terrakotta üreticileri, özellikle Aolis bölgesindeki Myrina kentindeki kazılardan elde edilen veriler aracılığıyla saptanmıştır. Bu üreticilerin ya da atölyelerin arasında Diphilos en bilinenidir. Diphilos’ a ait eserler günümüzde dünyanın çeşitli müze ve koleksiyonlarında bulunmaktadır. Bu çalışmada ele alınan Diphilos imzalı figürin, İzmir Karaoğlu Koleksiyonuna aittir. Söz konusu figürin, Dionysos, Eros ve panter figürlerini kapsayan bir üçlemeden oluşmaktadır. Merkez figür Dionysos, yarı çıplak ve feminen bir tarzda betimlenmiştir. Tipik Hellenistik stilde çıplak ve çocuk Eros ve panter figürleri ana figüre doğru odaklanmış ve böylece piramidal bir kompozisyon yaratılmıştır. Aynı tip figürin grubu Diphilos dışında başka atölyelerde de üretilmiştir. Ancak bu eserin en yakın örneği Atina Arkeoloji Okulu’nda bulunan yine Diphilos imzalı bir başka figürindir. Olasılıkla bu iki eser aynı kalıptan üretilmişlerdir. İkonografik açıdan ise Dionysos’un feminen betimi, antik literatürde de sözü edilen tanrının çift cinsiyetli kimliğini, Eros ile birlikteliği ise her iki tanrının çılgınlık duygusunu yayma konusundaki ortak misyonlarını ortaya koyar.

Anahtar Kelimeler

Pişmiş toprak figürin, koroplastik, figürin atölyesi, Diphilos, Dionysos.

Dionysus-Eros-Panther: A Terracotta Figurine Inscribed by Diphilos

Öz

With the Hellenistic Period, the development of production in the Terracotta Figurine industry led to the establishment of many production workshops. The clearest information about those workshops can be obtained through the signatures and monograms printed which were stamped on the figurines. The terracotta producers, known as koroplathos in the Ancient Period, were identified especially through the data obtained from the excavations in the city of Myrina in the Aolis region. Among these manufacturers or workshops Diphilos is the most well-known. The terracotta figurines signed by Diphilos can be found in various museums and collections around the world today. The figurine which is discussed in this study, belongs to the İzmir Karaoğlu Collection. The figurine consists of a trilogy that includes the figures of Dionysus, Eros and panther. The central figure, Dionysus, is depicted in a half-naked and feminine style. The nude and child Eros that reflects the Hellenistic style and panther figures are focused towards the main figure creating a pyramidal composition. The same type of figurine group was produced in other workshops besides Diphilos. However, the closest example of this figurine is located in French School at Athens. It is possible that these two figurines were produced from the same mold. From an iconographic point of view, the feminine depiction of Dionysus reveals the androgynous identity of the god mentioned in the ancient literature, and his association with Eros reveals the common mission of both gods in spreading the sense of insanity.

Anahtar Kelimeler

Terracotta figurine, coroplastic terracotta workshop, Diphilos, Dionysus

Kaynakça

• Aydaş 2017: M. Aydaş, “Myrinalı Koroplastlar”, In: M. Çekilmez, E. Dereboylu Poulain (Ed.), Myrina ve Gryneion Arkeolojik Yüzey Araştırmaları I, İzmir, 235-239.
• Baudat 1953: B. Baudat, “Terres cuites de l'École française d'Athènes”. Bulletin de Correspondance Hellénique, 77, 1-45.
• Besques 1983: S. Besques, “Une Aphrodite au collier de Myrina signée par Ménophilos.” AntK 26, 22-30.
• Burn ve Higgins 2001: L. Burn- R. Higgins, Catalogue of Greek Terracottas in the British Museum. Vol. III London.
• Burn 2012: L. Burn, “Terracottas”, In: T. J. Smith- D. Plantzos (Ed.), A Companian to Greek Art, Malden: MA, 221-234.
• Burr 1934: D. Burr, Terra-cottas from Myrina in the Museum of Fine Arts, Boston.
• Burr Thompson 1965: D. Burr Thompson “A Stamp of the Coroplast Diphilos," Studi in onore di Lusia Banti, Rome, 319-325.
• Carpenter 1993: T.H. Carpenter, Dionysian Imagery in Archaic Greek Art, London.
• Çekilmez et al. 2021: M. Çekilmez, M. Arınç, P. Taşpınar, Myrina ve Gryneion. Bergama Müzesindeki Myrina Terracotta Figürinleri, Aliağa-İzmir.
• Denda-Weber 2014: I. Denda-Weber, “Non Greek Headdresses in the Greek East” C. A. Giner, J. O. Garcı́a, M.A. Peset (Ed.) Tiarae, Diadems and Headdresses in the Ancient Mediterranean Cultures. Symbolism and Tecnology, Valencia, 95-115.
• Dickens 1920: D. Dickens, Hellenistic Sculpture, Oxford.
• Erlich 2015: A. Erlich, “Terracottas” In: E.A.Friedland, M. Grunow (Eds.), The Oxford Handbook of Roman Sculpture, 155-172, New York.
• Freidenberg 1998: O. Freidenberg, Image and Concept: Mythopoetic Roots of Literature, Taylor & Francis e-Library.
• Gasparri 1986: C. Gasparri, “Bacchus”, LIMC III.1, 540-566.
• Gezgin 2020: İ. Gezgin, Sanatın Mitolojisi, İstanbul.
• G. D. 1913. A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome. The Sculptures of the Museo Capitolino. H. Stuart Jones ed., Oxford.
• Gkikaki 2016: M. Gkikaki, “Ptolemaic fingerring in the Kanellopoulos Museum, Athens”, Numismatica e Antichita Classiche 45, 99-106.
• Hasselin Rous et al. 2015: I. Hasselin Rous, M.E. Çaldıran Işık, G. Kongaz, Musées archéologiques d’Istanbul catalogue des figurines en terre cuite grecques et romaines de Smyrne / İstanbul Arkeoloji Müzeleri Yunan-Roma Dönemi̇Pişmiş Toprak Smyrna Figürinleri Kataloğu, İstanbul.
• Havelock1995: C. M. Havelock, The Aphrodite of Knidos and her successors: a historical review of the female nude in Greek art. 1st pbk. ed. Ann Arbor: University of Michigan Press.
• Higgins 1967: R.A. Higgins, Greek Terracottas, London.
• Higgins 1970: R.A. Higgins, “The Polychrome Decoration of Greek Terracottas”, Studies in Conservation 15(4), 272–277.
• Kassab 1988: D. Kassab, Statuettes en terre cuite de Myrina. Corpus des signatures, monogrammes, lettres et signes. Paris.
• Kassab Tezgör, 2001: D.Kassab Tezgör, Diphilos (III). In: R. Vollkommer (Ed.), Künstlerlexikon der Antike: Über 3800 Künstler aus drei Jahrtausenden, Hamburg.
• Kielau 2009: S. Kielau, Terrakotten aus Pergamon. Ton figuren aus Wohnhäusern der Stadtgrabung. (Yayımlanmamış Doktora Tezi) U n i v e r s i t ä t Munster, Munster.
• Kielau 2019: S. Kielau, “Terracottas from Pergamon’s Residential Area: Chronology and Other Sites” G. Papantoniou, D. Michaēlidēs, M. Dikomitou-Eliadou (ed) Hellenistic and Roman Terracottas, Leiden, Boston, 272-285.
• Lenzen 1946: V. Lenzen, The Figure of Dionysos on Siphnian Frieze, Berkely&Los Angeles.
• Sieveking 1916: J. Sieveking, Die Terrakotten der Sammlung Loeb, München.
• McGovern 2019: P. McGovern, Lands of Dionysos: Greece and Western Anatolia. Ancient Wine: The Search for the Origins of Viniculture, Princeton.
• Mollard-Besques 1963: S. Mollard-Besques, Musée National du Louvre Catalogue Raisonné des Figurines et Reliefs en Terre Cuite Grecques, Etrusques et Romaines. II Myrina. Editions des Musées Nationaux, Paris.
• Muller 1996: A. Muller, Les terres cuites votives du Thesmophorion. De l’atelier au sanctuaire, Etudes thasiennes 17, Athens.
• Muller 2018: A. Muller, Coroplastic studies: What’s new? Archaeological Reports, 64, 153-169.
• Muller 2014: A. Muller, « L’atelier du coroplathe : un cas particulier dans la production céramique grecque », Perspective [En ligne], 1 | 2014, mis en ligne le 31 décembre 2015, consulté le 01 octobre 2020. URL: http://journals.openedition.org/perspective/4372.
• Otto 1965: W. F. Otto, Dionysos: Myth and Cult, (Çev. R.B. Palmer), Indiana.
• Özyiğit 2004: Ö. Özyiğit, "On the Dating of the Poyracık (Gambrion) Tomb Finds", IstMitt 54, 331-350.
• Pottier vd: 1887: E. Pottier, S. Reinach, A.Veyries,: La nécropole de Myrina: recherches archéologiques exécutées au nom et aux frais de l'École française d'Athénes. Paris.
• Pottier 1909: E. Pottier, Diphilos et les modeleurs de terres cuites grecques, Paris.
• Reinach ve Pottier 1883: R. Salomon, P. Edmond. “Fouilles dans la Nécropole de Myrina, IV, Inscriptions sur les figurines en terre-cuite” BCH 7, 204-230.
• Seaford 2006: R. Seaford, Dionysos, New York.
• Sevilla-Sadeh 2021: N. Sevilla-Sadeh, “Dionysian Eros or Erotic Dionysus? Sources and Meanings of Hybridization in the Bacchus Mosaic at the Naples Museum”, Journal of Mosaic Research 14, 289-300.
• Smith 2002: R.R.R. Smith, Hellenistik Heykel (çev. A.Y. Yıldırım), İstanbul.
• Stone 2015: S.C. Stone, Morgantina Studies, Volume VI: The Hellenistic and Roman Fine Pottery. Princeton University Press.
• Topperwein 1976: E. Topperwein, Terrakotten von Pergamon (Pergamenische Forschungen 3), Berlin.
• Turcan1999: R. Turcan, The Cult of Roman Empire, London.
• Paglia 2004: C. Paglia, Cinsel Kimlikler. Nefertiti’den Emily Dickons’a Sanat ve Çöküş (çev. A. Hazaryan, F. Demirci), Ankara.
• Papantoniou et al 2019: G. Papantoniou, D. Michaelides, M. Dikomitou-Eliadou, “Terracottas in a Domestic Context: The Case of the House of Orpheus in Nea Paphos, Cyprus” In: G.Papantoniou, D. Michaelides, M. Dikomitou-Eliadou (Eds.) Hellenistic and Roman Terracottas, Leiden,Boston, 7 - 44.