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Aedikula Mimarisinin Orijini ve Mimari İkonografisi Üzerine Bir Gözlem

Year 2009, Volume: 10 Issue: 16, 55 - 75, 06.01.2009

Ayşe F. Erol

Abstract

M.Ö. 1. yüzyılın erken dönemlerinde tarihlenen sahne binası tasvirlerini içeren rölieflere dayanarak, bilinen en erken aedikula tasarımlı mimarinin İtalya coğrafyasını işaret ettiği ileri sürülebilir. Bunun yanında antik yazarların kayıtları zamansal olarak arkeolojik malzemeyi destekleyen veriler sunmaktadır. Antik yazarların kayıtlarına dayanarak bu mimari tasarımın çıkış noktası olarak dönemin siyasi ve ekonomik yönden güçlü kişilerinin kendi propagandalarını heykeller aracılığıyla yapmak istedikleri fikri ileri sürülebilir. Bu kişilerin siyasi başarılarını gözler önüne serecek somut araçlara olan ihtiyaçları, bu heykelleri yerleştirecekleri mekanların yer aldığı bir mimari tasarıma yol açmış olmalıdır

Keywords

Aedikula sahne binası heykel siyasi propaganda

References

  • Anderson, M. L. (1987). The Portrait Medallions of the Imperial Villa at Boscotrecase. AJA, 91/1, 127-135.
  • Berns, C. (2002). Fruhkaiserzeitlich Tabernakelfassaden: Zum Beginn eines Leitnotius Urbaneer Architectur in Kleinasien. Patris und Imperium: Kulturelle und Politische Identitat in den stadten der Römischen Provinzen Kleinasiens in der Frühen Kaiserzeit, Köln, 1998, 159- 174.
  • Bieber, M. (1971). The History of the Greek and Roman Theater, Princeton: Princeton University Press.
  • Blanckenhagen, P. H. von ve Alexander, C. (1962). The Paintings from Boscotrecase, Heidelberg: F.H. Kerle Verlag. Buckler, C. (1992). Two Sicilian Skeai: A modified View. AA, 1992, 277- 293.
  • Bulle, H. (1928). Untersuchungen an Griechischen Theatern, Munich.
  • Bulle, H. (1934). Eine Skenographie, Berlin
  • Burrell, B. (2006). False Fronts: Seperating the Aedicular Facade from the Imperial Cult in Roman Asia Minor. AJA, 110/ 3, 437-469.
  • Cerutti S. ve Richardson, L. (1989). Vitruvius in Stage Architecture and Some Recently Discovered Scaenae Frons Decorations. The Journal of the Society of Architectural Historians, 48/2, 172-179.
  • Coarelli, F. (1972). Il sepolcro delgi – Scipioni, Dialoghi di Archeologia, 6, 36-106.
  • David, B. S. (1983). Studies in Roman Theater Design. AJA, 87/1, 55-68. De Chaisemartin, N. (2002). Continuité dans la thématique décorative hellénistique et nouveaux thèmes idéologiques dans le décor architectural aphrodisien entre Actium et l’époque julio-claudienne. Patris und Imperium: Kulturelle und Politische Identitat in den stadten der Römischen Provinzen Kleinasiens in der Frühen Kaiserzeit, Köln, 1998, 233-245.
  • Erim, K.T. ve Smith, R. R. R. (1991). Sculptures from the theatre: A Preliminary Report. Aphrodisias Papers, II, 74-79.
  • Fleischer, R. (1972/1975). Skulpturen aus dem nymphaeum des Laecanius Bassus. JOAI, 50, 421-432.
  • Fossel, E. ve Langmann, G. (1983). Das Nymphaeum des C. Laecenius Bassus in Ephesos, AW, 14/3, 53-55.
  • Holliday, P. J. (2002). The Origins of Roman Historical Commemoration in the Visual Arts, Cambridge: Cambridge University Press.
  • İdil, V. ve Kadıoğlu, M. (2002). 2003 Yılı Nysa Kazı ve Restorasyon Çalışmaları. 26. Kazı Sonuçları Toplantısı, Cilt:1, 387-401.
  • İnan, J. ve Rosenbaum, E. (1966) Roman and Early Byzantine Portrait Sculpture in Asia Minor, London: British Academy Press.
  • Keil, J. (1929). XIII. Vorlaufiger Bericht überdie Ausgrabungen in Ephesos. Öjh, 24, 5-68.
  • Künzl, E. (1988). Der Römische Triump: Sie Gergeiern im antiken Rom, Munich.
  • Lanckoronski, K. G. (2005). Pamphylia ve Pisidia Kentleri, 1.Cilt, Çev. Selma Bulgurlu Gün, İstanbul: Akmed Yayınları.
  • Lauter, H. (1986). Die Architektur des Hellenismus. Darmstadt: Wissenschaftliche Buchgesellschaft. Little, A.G.M. (1956). A Roman Sourcebook for the stage. AJA, 60, 27-33.
  • Mansel, A. M. (1956). Bericht über den Ausgrabungen und Untersuchungen in Pamphylien in den Jahren 1946-1955. AA, 71, 34-120.
  • Mansel, A.M. (1975). “Ausgrabungen in Pamphylien 1957-1972. AA, 90, 49-96.
  • Mansel, A. M. (1978). 1947-1966 Yılları Kazıları ve Araştırmalarının Sonuçları. Ankara: Türk Tarih Kurumu Yayınları.
  • Merkelbach, R et al. (1979). Die Inschriften von Ephesos, Band VII, Bonn.
  • Miltner, F. (1958). Ephesos: Stadt der Artemis und des Johannes, Vienna: Deuticke.
  • Miltner, F. (1959). Vorlaufiger Bericht über die Ausgrabungen in Ephesos. Öjh, 44, 326- 354. Puchstein, O. (1901). Die Griechische Bühne. Berlin.
  • Raté, C. (2002). The Urban Development of Aphrodisias in the Late Hellenistic and Early Imperial Periods, Patris und Imperium: Kulturelle und Politische Identitat in den stadten der Römischen Provinzen Kleinasiens in der Frühen Kaiserzeit., Köln, 1998, 5-32.
  • Rostovtzeff, M. (1926). Social and Economic History of the Roman Empire, Oxford: Oxford University Press. Rowell, H. T. (1957). Satyricon 95-96. Classical Philology, 52/4, 217-227.
  • Saglio, E. Dictionnaire Des Antiquites Grecques et Romaines 1.1, 92- 95, http://dagr.univ-tlse2.fr/sdx/dagr/feuilleter.xsp?tome=1&partie= 1&numPage=104&nomEntree=AEDICULA. Sear, F. (1982). Roman Architecture. London: Cornell University Press.
  • Sear, F. (1993). The Scaenae Frons of the Theatre of Pompey. AJA, 97/4, 687-701.
  • Sear, F. (2006). Roman Theatres: An Architectural Study, Oxford: Oxford University Press.
  • Smith, R. R. R. (1987). The Imperial Reliefs from the Sebasteion at Aphrodisias. JRS, 77, 88-138.
  • Smith, R.R.R. (1993). The Monument of C. Iulius Zoilos: Aphrodisias I, Mainz: Philipp von Zabern.
  • Smith, R.R.R. (1998). Cultural Choice and Political Identity in Honorific Portrait statues in the Greek East in the second century B.C. JRS, 88, 56-93.
  • Şahin, S. (1999). Die Inschriften von Perge. Bonn: Westfalische Akademie der Wissenschaften. Vandeput, L. (1997). The Architectural Decoration in Roman Asia Minor: Sagalassos. Leuven: Brepols Publishers.
  • Von Hersberg, H. (1981/ 1982). Elemente der Frühkaiser-Zeitlichen Aedicula- Architectur. Öjh, 53, 43-86.
  • Yegül, K. F. (1982). A Study in Architectural Iconography: Kaisersaal and the Imperial Cult. The Art Bulletin, 64/1, 7-31.

Year 2009, Volume: 10 Issue: 16, 55 - 75, 06.01.2009

Ayşe F. Erol

Abstract

Based on reliefs from the early 1st century B.C. depicting stage buildings, it can be argued that the earliest material to our knowledge exemplifying aedicule design point to the Italian geography. Along with that, the records of antique authors provide data that temporally suggest the same conclusion. Departing from these sources, the origin of the aedicule architecture can be traced back to the idea that politically and economically significant persons of the time wished to carry out their own propaganda through sculptures to be placed within the aedicule. In other words, the reason why such an architectural design which offered space to place sculptures in was invented, must have been this need to make use of certain medium to denote these persons’ political achievements

Keywords

Aedicule stage building sculptures political propaganda

References

  • Anderson, M. L. (1987). The Portrait Medallions of the Imperial Villa at Boscotrecase. AJA, 91/1, 127-135.
  • Berns, C. (2002). Fruhkaiserzeitlich Tabernakelfassaden: Zum Beginn eines Leitnotius Urbaneer Architectur in Kleinasien. Patris und Imperium: Kulturelle und Politische Identitat in den stadten der Römischen Provinzen Kleinasiens in der Frühen Kaiserzeit, Köln, 1998, 159- 174.
  • Bieber, M. (1971). The History of the Greek and Roman Theater, Princeton: Princeton University Press.
  • Blanckenhagen, P. H. von ve Alexander, C. (1962). The Paintings from Boscotrecase, Heidelberg: F.H. Kerle Verlag. Buckler, C. (1992). Two Sicilian Skeai: A modified View. AA, 1992, 277- 293.
  • Bulle, H. (1928). Untersuchungen an Griechischen Theatern, Munich.
  • Bulle, H. (1934). Eine Skenographie, Berlin
  • Burrell, B. (2006). False Fronts: Seperating the Aedicular Facade from the Imperial Cult in Roman Asia Minor. AJA, 110/ 3, 437-469.
  • Cerutti S. ve Richardson, L. (1989). Vitruvius in Stage Architecture and Some Recently Discovered Scaenae Frons Decorations. The Journal of the Society of Architectural Historians, 48/2, 172-179.
  • Coarelli, F. (1972). Il sepolcro delgi – Scipioni, Dialoghi di Archeologia, 6, 36-106.
  • David, B. S. (1983). Studies in Roman Theater Design. AJA, 87/1, 55-68. De Chaisemartin, N. (2002). Continuité dans la thématique décorative hellénistique et nouveaux thèmes idéologiques dans le décor architectural aphrodisien entre Actium et l’époque julio-claudienne. Patris und Imperium: Kulturelle und Politische Identitat in den stadten der Römischen Provinzen Kleinasiens in der Frühen Kaiserzeit, Köln, 1998, 233-245.
  • Erim, K.T. ve Smith, R. R. R. (1991). Sculptures from the theatre: A Preliminary Report. Aphrodisias Papers, II, 74-79.
  • Fleischer, R. (1972/1975). Skulpturen aus dem nymphaeum des Laecanius Bassus. JOAI, 50, 421-432.
  • Fossel, E. ve Langmann, G. (1983). Das Nymphaeum des C. Laecenius Bassus in Ephesos, AW, 14/3, 53-55.
  • Holliday, P. J. (2002). The Origins of Roman Historical Commemoration in the Visual Arts, Cambridge: Cambridge University Press.
  • İdil, V. ve Kadıoğlu, M. (2002). 2003 Yılı Nysa Kazı ve Restorasyon Çalışmaları. 26. Kazı Sonuçları Toplantısı, Cilt:1, 387-401.
  • İnan, J. ve Rosenbaum, E. (1966) Roman and Early Byzantine Portrait Sculpture in Asia Minor, London: British Academy Press.
  • Keil, J. (1929). XIII. Vorlaufiger Bericht überdie Ausgrabungen in Ephesos. Öjh, 24, 5-68.
  • Künzl, E. (1988). Der Römische Triump: Sie Gergeiern im antiken Rom, Munich.
  • Lanckoronski, K. G. (2005). Pamphylia ve Pisidia Kentleri, 1.Cilt, Çev. Selma Bulgurlu Gün, İstanbul: Akmed Yayınları.
  • Lauter, H. (1986). Die Architektur des Hellenismus. Darmstadt: Wissenschaftliche Buchgesellschaft. Little, A.G.M. (1956). A Roman Sourcebook for the stage. AJA, 60, 27-33.
  • Mansel, A. M. (1956). Bericht über den Ausgrabungen und Untersuchungen in Pamphylien in den Jahren 1946-1955. AA, 71, 34-120.
  • Mansel, A.M. (1975). “Ausgrabungen in Pamphylien 1957-1972. AA, 90, 49-96.
  • Mansel, A. M. (1978). 1947-1966 Yılları Kazıları ve Araştırmalarının Sonuçları. Ankara: Türk Tarih Kurumu Yayınları.
  • Merkelbach, R et al. (1979). Die Inschriften von Ephesos, Band VII, Bonn.
  • Miltner, F. (1958). Ephesos: Stadt der Artemis und des Johannes, Vienna: Deuticke.
  • Miltner, F. (1959). Vorlaufiger Bericht über die Ausgrabungen in Ephesos. Öjh, 44, 326- 354. Puchstein, O. (1901). Die Griechische Bühne. Berlin.
  • Raté, C. (2002). The Urban Development of Aphrodisias in the Late Hellenistic and Early Imperial Periods, Patris und Imperium: Kulturelle und Politische Identitat in den stadten der Römischen Provinzen Kleinasiens in der Frühen Kaiserzeit., Köln, 1998, 5-32.
  • Rostovtzeff, M. (1926). Social and Economic History of the Roman Empire, Oxford: Oxford University Press. Rowell, H. T. (1957). Satyricon 95-96. Classical Philology, 52/4, 217-227.
  • Saglio, E. Dictionnaire Des Antiquites Grecques et Romaines 1.1, 92- 95, http://dagr.univ-tlse2.fr/sdx/dagr/feuilleter.xsp?tome=1&partie= 1&numPage=104&nomEntree=AEDICULA. Sear, F. (1982). Roman Architecture. London: Cornell University Press.
  • Sear, F. (1993). The Scaenae Frons of the Theatre of Pompey. AJA, 97/4, 687-701.
  • Sear, F. (2006). Roman Theatres: An Architectural Study, Oxford: Oxford University Press.
  • Smith, R. R. R. (1987). The Imperial Reliefs from the Sebasteion at Aphrodisias. JRS, 77, 88-138.
  • Smith, R.R.R. (1993). The Monument of C. Iulius Zoilos: Aphrodisias I, Mainz: Philipp von Zabern.
  • Smith, R.R.R. (1998). Cultural Choice and Political Identity in Honorific Portrait statues in the Greek East in the second century B.C. JRS, 88, 56-93.
  • Şahin, S. (1999). Die Inschriften von Perge. Bonn: Westfalische Akademie der Wissenschaften. Vandeput, L. (1997). The Architectural Decoration in Roman Asia Minor: Sagalassos. Leuven: Brepols Publishers.
  • Von Hersberg, H. (1981/ 1982). Elemente der Frühkaiser-Zeitlichen Aedicula- Architectur. Öjh, 53, 43-86.
  • Yegül, K. F. (1982). A Study in Architectural Iconography: Kaisersaal and the Imperial Cult. The Art Bulletin, 64/1, 7-31.
There are 37 citations in total.

Details

Other ID JA74VH58EY
Journal Section Articles
Authors

Ayşe F. Erol This is me

Publication Date January 6, 2009
Published in Issue Year 2009 Volume: 10 Issue: 16

Cite

APA Erol, A. F. (2009). Aedikula Mimarisinin Orijini ve Mimari İkonografisi Üzerine Bir Gözlem. Uludağ Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi, 10(16), 55-75.

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