Hermes Kriophoros’tan İyi Çoban’a: Koç Taşıyan Figürlerin İkonografi ve Anlam Değişimleri

Year 2023, Volume: 5 Issue: 2, 737 - 761, 29.09.2023

Fatma Aytekin

https://doi.org/10.33469/oannes.1335670

Abstract

En erken örnekleri Prehistorik Döneme dek uzanan ve MÖ 3. Binden itibaren yayılım gösteren omuzlarında koç taşıyan figürlerin görüntü kalıpları, zaman içerisinde majör bir değişim göstermese de içinde bulunduğu kültürlerin geleneklerine göre şekillenen çok anlamlı bir kavram haline dönüşmüştür. Önceleri büyü yapılan ayinlerde ritüel kapsamında kullanılan sahne, daha sonra politik bir alegori aracına dönüşerek şehrin/ülkenin çobanı gibi kavramları yansıtmış ya da günlük hayatta adak olarak taşınan koçların gösterildiği sahnelerde yer almıştır. Makalenin başlangıç noktasını oluşturan Grek Dünyası’nda ise önceleri politik bir alegori kapsamında kullanılan betim, sonraki süreçte dini bir amaca hizmet etmiştir. Hermes’e yönelik bir kült bağlamında Tanagra’da gerçekleştirilen festivalde, yakışıklı bir gencin kentin surları etrafında omzunda bir koç ile dolaşması, kentin koruyucusu olarak belirlenen Hermes’in, Kriophoros epiteti ile benimsenmesini sağlamış ve tanrının kült heykeli koç taşıyan biçimde enkarne edilmiştir. Bu kapsamda, tanrının MÖ 5. yy’da Kalamis tarafından yontulan kült heykelinin ikonografisi, bir prototip niteliğine bürünmüş ve etkileri Geç Antik Çağ’a dek uzanmıştır. İlk Hristiyanların iletmek istediği alçak gönüllülük ve saygınlığı içeren yeni mesajları için seçilen figürün, Yuhanna İncili’nde geçen “İyi Çoban” kavramıyla bağlantılı olan Hermes Kriophoros olması, yalnızca çobanların sade yaşamları ve koruma içgüdüleri ile ilgili değildir. Pagan motif stokundan alınan bu figürle birlikte, Hermes’in sahip olduğu Psykhopompos epiteti ile bağlantı kurulacak ve İsa da ruhları öbür dünyaya yönlendiren ve kişilerin kaderlerini etkileme gücüne sahip olan biri olarak görülebilecektir. Bu araştırma kapsamında, koç taşıyan figürlerin yanı sıra Hermes Kriophoros’tan, Geç Antik Çağ’daki İyi Çoban’a aktarılan ikonografik ve anlamsal niteliklerin belirlenmesi ve İyi Çoban kavramının gerçekçi ya da metaforik yönlerinin analizi hedeflenmektedir.

Keywords

Kriophoros, Koç, Hermes, İyi Çoban, Geç Antik Çağ

From Hermes Kriophoros to the Good Shepherd: Iconography and Meaning Changes of Ram-Bearer

Abstract

The images of men figures carrying a ram on their shoulders, the earliest go back to the Prehistoric Period and have spread since the 3rd millennium BC. They have turned into a very meaningful concept shaped according to the traditions of cultures in which they belong although they did not show a major change over time. The figures, was used within the scope of ritual in the rites where magic was performed, later turned into a political allegory, reflecting concepts such as the shepherd of the city, or took place in real scenes where rams carried as offerings in daily life are shown. In the Greek world, in this study, the motif, which was used as a political allegory, served a religious purpose in the later period. In the festival held in Tanagra in the context of a cult for Hermes, a handsome young man walking around the city walls with a ram on his shoulder as a representation Hermes, who was determined as the protector of the city, to be adopted with the epithet Kriophoros, and the cult statue of the god was incarnated as a ram. In this context, the iconography of the cult statue of the god, which was carved by Kalamis in the 5th century BC, became a prototype and its effects extended to Late Antiquity. The fact that the figure chosen for the new messages of humility and dignity that the early Christians wanted to convey is Hermes Kriophoros, who is related to the concept of "Good Shepherd" in the Gospel of John, is not only about the simple lives and protection instincts of shepherds. With this figure taken from the pagan motif stock, a connection will be made with the epithet Psykhopompos that Hermes has, and as well as Jesus can be seen as someone who directs souls to the afterlife and has the power to influence the destinies of people. Within the scope of this research, it is aimed to determine the iconographic and semantic qualities transferred from Hermes Kriophoros to the Good Shepherd in Late Antiquity, and to analyze the realistic or metaphorical aspects of the concept of the Good Shepherd, as well as figures carrying ram.

Keywords

Kriophoros, Ram-Bearer, Hermes, Good Shepherd, Late Antiquity

References

• AYTEKİN, F., 2022. “Karia Stratonikeiası’ndan Bir İyi Çoban Heykelciği”, Seleucia, XII, ss. 123-137.
• BECHET, F., 2017. “A Fire Sap Willow On The Personality And Family Of The Pre-Hellenic Zeus”, Revue Des Études Sud-Est Européennes, Tome LV, ss. 29–39.
• BELLIDO, A. G., 1950. “Las dos figuras del "Buen Pastor" de Gádor”, Archivo Español de Arqueología, 23/78, ss. 3-12.
• BRECCIA, E., 1931. “Una Statuetta del Buon Pastore da Marsa Matrouh”, Bulletin de la Société d’Archéologie d’Alexandrie, 26, ss. 247-257.
• BRILLIANT, R., 1979. “II. The Classical Realm”, Age of Spirituality : Late Antique and Early Christian Art, Third to Seventh Century. Catalogue of the Exhibition at the Metropolitan Museum of Art, November 19, 1977 through February 12, 1978, Eds.: Kurt Weitzmann, The Metropolitan Museum of art with Princeton University Press, New York, ss.126-182.
• CHITTENDEN, J., 1947. “The Master of Animals”, Hesperia: The Journal of the American School of Classical Studies at Athens, Apr. - Jun., 16/2, ss. 89-114.
• CLERC, G. – LECLANT, J., 1994. “Osiris”, Lexicon Iconographicum Mythologiae Classicae, VII.1, ss. 107-131.
• CLERC, G. – LECLANT, J., 1994. “Osiris”, Lexicon Iconographicum Mythologiae Classicae, VII.2, ss. 79-91.
• DAWKINS, R. M., 1929. “The Sanctuary of Artemis Orthia at Sparta”, Journal of Hellenic Studies, Supplement 5, London.
• DINKLER, E., 1979. “Abbreviated Representations in V. The Christian Realm”, Age Of Spirituality, Late Antique And Early Christian Art, Third To Seventh Century, Eds.: Kurt Weitzmann, Published in Association with Princeton University Press, New York, ss. 396-448.
• DORIG, J., 1965. “Kalamis-Studien”, Jahrbuch des Deutschen Archäologischen Instituts, 80, ss. 138–265.
• DORIG, J., 1977. Onatas of Aegina (Monumenta Graeca et Romana), Brill; Bilingual edición.
• FARNELL, L. R., 1909. The Cults of Greek States, Vol. 5. Oxford.
• FEUSER, S., 2013. “Monopodia – Figürliche Tischfüße aus Kleinasien. Ein Beitrag zum Ausstattungsluxus der römischen Kaiserzeit”, Byzas, 17, İstanbul.
• FINNEY, P. C., 1990. “Good Shepherd,” Encyclopedia of Early Christianity, New York: Garland, ss. 846-846.
• FRANCIS, J. E., 1998. “Re-writing Attributions: Alkamenes and the Hermes Propylaios”, ΣΤΕΦΑΝΟΣ: Studies in Honor of Brunilde Sismondo Ridgway, Eds.: Kim J. Hartswick – Mary C. Sturgeon, Published By The University Museum, Philadelphia, ss. 61-68.
• FRANKLIN, D., 2014. The CMA Companion Guide: A Guide to the Cleveland Museum of Art, Cleveland Museum of Art.
• FREEMAN, J. A., 2015. “The Good Shepherd and the Enthroned Ruler: A Reconsideration of Imperial Iconography in the Early Church”, The Art of Empire Christian Art in Its Imperial Context, Eds.: Lee M. Jefferson - Robin M. Jensen, Fortress Press, Minneapolis, ss. 159-195.
• FURTWÄNGLER, A. 1883‒1887. Le Collection Sabouroff. Monuments de l’Art Grec, 2 volumes, Berlin.
• GOODE, S., 2021. “The Icon of the Vulva”, A Basis of Civilization, Journal of Archaeomythology, 10, ss. 87-118.
• HADLEY, J., 2015. “The Shepherd who Saves: a Liturgical Symbol of Salvation”, ANAPHORA, 9.2, ss. 71-102.
• HANNESTAD, N., 1999. “How did rising Christianity cope with Pagan Sculpture?”, East and West, Modes of Communication Proceedings of the First Plenary Conference at Merida (Transformation of the Roman World, 5), Eds.: Euangelos K. Chrysos - Ian Wood, Brill, ss. 173-204.
• HESBERG H., 2014. “Bukolik. Formkonstanz und Bedeutungswandel”, Formkonstanz und Bedeutungswandel, Morphomata, Band 19, Eds.: Gunter Blamberger - Dietrich Boschung – Ludwig Jäger, Wilhelm Fink-Paderborn, ss. 229-252.
• HIMMELMANN, N., 1973. “Ein antikes Vorbild für Guercinos ‚Et in Arcadia ego‘?”, Pantheon, 31, ss. 229–236.
• HIMMELMANN, N., 1974. “SARCOFAGI ROMANI A RILIEVO: Problemi di cronologia e iconografia”, Annali della Scuola Normale Superiore di Pisa. Classe di Lettere e Filosofia, Serie III, Vol. 4, No. 1, ss. 139-177.
• JENSEN, R. M., 1999. Encyclopedia Of Early Christianity Second Edition, Eds.: Everett Ferguson, New York.
• JENSEN, R. M., 2000. Understanding Early Christian Art, Routledge, London and Newyork.
• KITZINGER, E., 1995. Byzantine Art in the Making, Main Lines of Stylistic Development in Mediterranean Art: 3th – 7th Century, Harvard University Press, Cambridge.
• KLAUSER, T., 1960. “Studien zur Entstehungsgeschichte der christlichen Kunst”, Jahrbuch für Antike und Christentum, 3, ss. 113–124.
• LEBESSI, A. 2002. Το Ιερό του Ερμή και της Αφροδίτης στη Σύμη Βιάννου Τα Χάλκινα Ανθρωπόμορφα Ειδώλια, Βιβλιοθήκη της εν Αθηναίς Αρχαιολογικής Εταιρείας, αρ. 225. Athens.
• MARCHIONI, G., 2018. Gathering the Shepherds Uses and Meanings of Pastoral Imagery and Shepherding Metaphors between 3rd and 6th Centuries, Uniiverrsiittà dii Bollogna, Cultural Heritage Studies, Dottorato Dıı Rııcerca Iın, Ciclo XXX.
• MENDEL, G., 1914. Catalogue des sculptures grecques, romaines et byzantines des Musées Impériaux Ottomans, Constantinople.
• MICHAELIDES, D., 2004. “Baubo and Priapos In Cyprus”, Mediterranean Archaeology, Vol. 17, Festschrift in Honour of J. Richard Green, ss. 307-309.
• MULLER, V., 1944. “The Prehistory of the "Good Shepherd"”, Journal of Near Eastern Studies, Apr., 3/2, ss. 87- 90.
• ÖZGAN, R., 1997. “Alkamenes'in Hermes Propylaiosu Üzerine Düşünceler”, Türk Arkeoloji Dergisi, 51, ss. 162-193.
• PEPPARD, M. 2015. “Was the Presence of Christ in Statues? The Challenge of Divine Media for a Jewish Roman God” The Art of Empire Christian Art in Its Imperial Context, Eds.: Lee M. Jefferson - Robin M. Jensen, Fortress Press, Minneapolis, ss. 225-269.
• PEPPARD, M., 2016. The World's Oldest Church, Bible, Art, and Ritual at Dura Europos, Syria, Yale University Press.
• PERROT, G. - CHIPIEZ, C., 1970. Histoire de l'Art dans l'Antiquité. Tome IV: Judee, Sardaigne - Syrie – Cappadoce, Published by Graz, Akademische Druck- und Verlagsanstalt, 1970.
• PROVOOST, A., 2004. “Pastor Or Pastor Bonus?: The Interpretation And Evolution of Pastoral Scenes in The Late Antiquity”, Nederlands archief voor kerkgeschiedenis/Dutch Review of Church History, Vol. 84, ss. 1-36.
• QUASTEN, J. 1946. “Der Gute Hirt in Fruhchristlicher Totenliturgie Und Grabeskunst,” in Miscellanea G. Mercati, Studi E Testi, 121 (Città del Vaticano: Biblioteca Apostolica Vaticana), ss. 373–476.
• RAMSEY, B., 1983. “A Note on the Disappearance of the Good Shepherd from Early Christian Art”, The Harvard Theological Review, Jul., 1983, 76/3, ss. 375-378.
• SÁNCHEZ R. C. - GARCÍA M. A. G., 2014. “A Gem with Christian motifs at the Bilbao Fine Art Museum”, Bilbao: Bilboko Arte Eder Museuoa, 8, ss. 1-21.
• SCHACHTER, A., 1986. “Cults of Boeotia 2. Herakles to Poseidon”, Bulletin of the Institute of Classical Studies, Supplement 38.2. London.
• SIEBERT, G., 1990. “Hermes” Lexicon Iconographicum Mythologiae Classicae, V1, ss. 285-387.
• SIEBERT, G., 1990. “Hermes” Lexicon Iconographicum Mythologiae Classicae, V2, ss. 199-283.
• SMITH, R. R. R., 2002. “The Statue Monument of Oecumenius: A New Portrait of a Late Antique Governor from Aphrodisias”, The Journal of Roman Studies, Vol. 92, ss. 134-156.
• SVOBODA, J., 2008. “Upper Paleolithic female figurines of Northern Eurasia”, The Dolní Věstonice Studies, 15, ss. 193-223.
• TKACZ, C. B., 2002. The Key to the Brescia Casket: Typology and the Early Christian Imaginationi, Paris: University of Notre Dame Press, Institut d’Etudes Augustiniennes.
• VOUTIRAS, E. 1997. “Zeus”, Lexicon Iconographicum Mythologiae Classicae, VIII-1, ss. 310-374.
• WEITZMANN, K., 1979. “II. The Classical Realm, Science and Poetry”. Age Of Spırıtualıty, Late Antique And Early Christian Art, Third To Seventh Century, Eds. Kurt Weitzmann, Published in Association with Princeton Unıversity Press, New York, ss. 254-262.
• WIXOM, W. D., 1967. “Early Christian Sculptures at Cleveland”, The Bulletin of the Cleveland Museum of Art, Mar., 54/3, ss. 67-88.
• WRIGHT G. E., 1939. “The Good Shepherd”, The Biblical Archaeologist, 2/4 (Dec.), ss. 44-48.
• ZOLOTNIKOVA, O. A., 2020. “The Festival of Hermes Kriophoros in Tanagra (Boeotia): an Anthropological Interpretation”, Studia Antiqua et Archaeologica, 26 (2), ss. 261–286.
• https://artgallery.yale.edu/collections/objects/34493
• https://www.clevelandart.org/art/1998.172
• https://www.clevelandart.org/art/1965.241
• https://www.britishmuseum.org/collection/image/188749001