Adalya

The Tek Ada Shipwreck was discovered during underwater surveys around Kekova Adası, which is located within the district of Demre in the province of Antalya. The shipwreck, first detected in 2015, had been damaged by illicit diggings in 2017. As a result of excavating some of the sand on it, some timbers from the shipwreck were exposed. This situation caused the decomposition of the ship to increase rapidly. For this reason, to understand the characteristics of the shipwreck and to determine&#x0D; what necessary protective measures should be taken, studies were carried out within the scope of the “Kekova Adası Archeological Underwater Detection-Protection and Rescue Excavation Project” in 2018. During the excavation works, we observed that some of the timbers of the ship’s lower hull and its ballast have survived until today. The ship was built by using the frame-based method of construction. The Tek Ada Shipwreck is one of the rare shipwrecks on the Anatolian coast whose timbers have been preserved. These are thought to belong to the medieval period or later. In addition, around the shipwreck area and during the excavation, fragments from the ship in various forms and from different periods - made both of terracotta and lead and copper/ cooper alloy - were also identified.

Erdoğan ASLAN

L. Ufuk ERDOĞAN

ADALYA

The Underwater Recovery Excavation at Kekova Adası: Observations on the Tek Ada Shipwreck and Finds

凯科瓦岛水下发掘：泰克岛沉船及其发现观察

This article presents new perspectives concerning the dancers featured on the interior of the portal of Trysa’s Heroon and on Xanthos’s “Dancers Sarcophagus,” which became famous at the end of the 19th century. It also focuses on interpreting the visuals that are today widely accepted as having been wrongly identified as “Kalathiskos Dancers” in the literature, in contradiction to Isabella Benda’s collective analyses concerning a variety of dance compositions reflected on tomb reliefs. The visuals of dancers discussed in this article are approached with the view that they are replications of a dance template portraying cultic practices related to the god Apollo and portrayed on vases, coins, sculptures, etc. throughout the Aegean world. The attempt is also made to cast some light upon the meaning of this dance template in Lycian necropolises, as this dance template is seemingly unrelated to any necropolis or death cult outside of Lycia. The death cult and the cult of Apollo, together with contemporary and past archaeological, epigraphic and philological data have been brought together to interpret these Lycian artifacts. And in this context, the cultural elites of Trysa and Xanthos are interpreted as heroes, themselves predisposed to the trans-Aegean worship of Apollo.

Gül IŞIN

The Farewell Dance to the Dead: The Dancers on the Portal of Trysa’s Heroon and the Xanthos “Dancers Sarcophagus”

告别逝者的舞蹈：特里萨英雄神庙入口处的舞者和桑托斯“舞者石棺”

The Byzantine writer Michael Attaleiates was born in Attaleia (Antalya) and, at a young age, left home to pursue his education in Constantinople where he stayed and made a career in the law. He is mostly known for his historical work that thoroughly describes the empire’s military operations in Anatolia. The purpose of this article is to discuss the reasons behind the notable antithesis in the way the Saldjuks in general and the sultans Toghril Beg and Alp Arslan in particular are depicted in the Historia. Undoubtedly, a point of comparison is discerned between the two sulṭans and the emperors who came in direct or indirect contact with them. On these grounds, Attaleiates appears to juxtapose Toghril Beg’s high respect for bold military men with Constantine IX Monomachos’ striking indifference to the army, and Romanos IV Diogenes’ conceit with Alp Arslan’s modesty. All this serves to demonstrate the quality of imperial virtues inculcated in Botaneiates, the model of governance in Attaleiates’ view.

Antonios VRATIMOS

Toghril Beg and Alp Arslan in the Historia of Michael Attaleiates

米哈伊尔·阿塔利埃特斯《历史》中关于托格鲁尔·贝格和阿尔普·阿尔斯兰的记载

Tatarlı Höyük is one of the largest settlements of Cilicia Pedias (Campestris). It is located on the important commercial and military routes at the western exit of the Amanus Mountains, in the eastern part of the Ceyhan district of Adana. It is also close to the Hittite-Kizzuwatna Caravan Road and connected to Central Anatolia by this route. This article discusses a seal and two seal impressions found in the excavations of Tatarlı Höyük in 2013 and 2015. One of the seal impressions is without an inscription and can be suggested to belong to the 16th-15th century BC. The other seal impression is inscribed with the female name Pa-ti. We can propose a date for this hieroglyphic seal impression from the 14th to the 13th century BC. One terracotta stamp seal was found out of context during the 2015 excavation season. We can read the name of the seal owner as Sà-li-pi with a proposed dating to the 15th-14th century BC.

K. Serdar GİRGİNER

Meltem DOĞAN-ALPARSLAN

A Hittite Seal and Seal Impressions from Tatarlı Höyük

塔塔尔勒遗址的赫梯印章及印痕

After the Late Antique period, the city of Attaleia assured its continued safety against threats coming from the east by renewing and strengthening its defenses. As a result, the appearance and character of the city walls changed considerably from what they had been in Roman Imperial times. These changes affected city gates the most, as they constituted the weakest points both structurally and strategically, and many of the Roman Imperial era gates were closed. The pulling down or partial or complete destruction of these city entrances already in the Early Byzantine period, changed the fabric of those parts of the city near the walls until the end of the Ottoman period. The most extensive destruction of the city walls, the remains of which can be seen on several towers and curtain walls today, came about during the systematic demolitions of the early 20th century. This study deals with a monumental Roman city gate that has been recently revealed. An arched entrance which was built very close to and possibly at the same time as Hadrian’s Arch, this gate was completely closed during consolidation of the fortification walls in the Early Byzantine period in a manner that concealed it from the exterior. Due to the weakness of the Roman Imperial era curtain wall in which it is located, this gate, which was decorated with pilasters and capitals on both sides, was given the form of a small arch rather than a simple city entrance.

Burhan VARKIVANÇ

İsmail Akan ATİLA

A New Monumental Gate from the Roman Imperial Period on the Attaleia City Walls

安塔利亚城墙上的罗马帝国时期新发现的大门

Myra-Andriake kazılarında 2009 yılından bu yana devam eden çalışmalar kapsamında, Andriake güney kentte ve Myra Tiyatrosundaki çalışmalarda tespit edilen 34 adet mühürlü amphora kulbu bu çalışmanın konusunu oluşturmaktadır. Toplamda 30 adet Hellenistik Dönem, 1 adet Hellenistik-Roma ve 3 adet Roma İmparatorluk-Geç Antik Çağ mührü tespit edilmiştir. Makale kapsamında, Myra ve Andriake’de bulunmuş amphora mühürlerini üretim merkezlerine göre sınıflandırmak, mühürleri tarihlemek, mühürlerdeki isimlerin yöneticiye mi yoksa üreticiye mi ait olduğunu belirlemek ve Myra ile Andriake’nin ticari ilişkilerini tespit etmek amaçlanmıştır.

Erkan ALKAÇ

Beste TOMAY

Amphora Stamps of the Hellenistic and Roman Periods from Myra and its Harbor Neighborhood of Andriake

迈拉及其港口邻近地区安德里亚克时期的希腊化与罗马时期双耳瓶戳记

Olympos 3 No’lu Kilise’nin kuzeyinde yer alan yarım daire planlı eksedra gerek içerisindeki kenotaph uygulamaları gerekse dekorasyonu ile kilisenin azizlerin ve piskoposların hatırasıyla hizmet eden bir ziyaretgah olmasını sağlamış olmalıdır. Kazılar sırasında bulunan duvar resmi kalıntıları içerisinde özellikle Niş 1’de bulunan duvar resmi parçaları önemli veriler sunmaktadır. Parçalardan bir kısmı alt bölümde bulunan haleli figüre ait olup yazıt parçalarından bu kişinin Olympos’un Methodius’un şehit edilmesinden 120 yıl sonra kayıtlarda ismi geçen ilk piskoposu olan Aristokritos olduğu anlaşılmıştır. Burada bulunan esas önemli figür ise İsa’dır; parçalanıp dökülmüş halde bulunan İsa tasvirinin nişin en üst kesiminde, kemerin altında yer aldığı düşünülmektedir. İsa, yarım daire bir çerçeve içerisinde büst formunda tasvir edilmiş olup uzun saçlı ve sakallı, bir elinde İncil tutar haliyle “Pantokrator İsa” tipindedir. Bu tasvir, duvar resminde bulunan Elçilerin İşleri’nden alıntılanmış yazıtla birlikte değerlendirildiğinde, yalnızca tipolojik olarak değil ikonografik olarak da Pantokrator olarak tanımlanmalıdır. Gerek tasvir özellikleri gerekse diğer buluntuların desteğiyle MS altıncı yüzyıl ortalarına tarihlendirdiğimiz bu tasvir, tipin en erken örneklerinden birisidir ve bu sebepten Bizans resim sanatı için son derece önemlidir. Ayrıca, Olympos 3 No’lu Kilise eksedrasının figürlü duvar resimleri, Anadolu’da İkonoklast Dönem öncesine ait günümüze ulaşmış az sayıda örnek içerisinde Pantokrator İsa’nın bulunduğu şu ana kadar tespit edilmiş ilk eserdir.

Seçkin EVCİM

The Discovery in Olympus (Lycia) of One of the Oldest Known Paintings of Christ Pantocrator with a Discussion of its Iconography

奥林匹斯（利西亚）发现已知最古老的基督圣像画之一及其图像学探讨

2006 yılından beri Hatay Arkeoloji Müzesi b a ş k a n l ı ğ ı n d a s ü r d ü r ü l e n E p i p h a n e i a kazılarında çok sayıda yapı kalıntısı ortaya çıkarılmıştır. Bunlar arasında en ilginç buluntu grubuna sahip yapılardan biri Tapınak Kilisesi’dir. İlk kez 1892 yılında bahsedilen kilise, Sütunlu Cadde’nin 40 m güneyinde, erken döneme ait bir antik yapı üzerine oturmaktadır. Ana bünyesini doğuda sütunlarla ayrılmış üç nefli bir naos ile batıda olasılıkla bir narteks oluşturur. Apsisin iki yanında dikdörtgene yakın planlı iki oda bulunur. Sadece en alt sıra örgü taşları günümüze ulaşabilen yapının büyük bir bölümü mozaiklerle; kısmen mermer, tuğla ve opus sectile ile döşenmiştir. Kilisede ele geçen en sıra dışı buluntu grubunu mimari terrakotta parçalar oluşturur. Diş kesimi ve kyma rekta gibi farklı tuğla formları ile bezeme kısmındaki staurogram, haç, svastika, akanthus, yumurta-ok ve boncuk dizisi benzeri süslemeleri temel alınarak üç ana tip içinde sınıflandırılmıştır. Her bir tip ve bu tiplerin alt gruplarında karşılaşılan biçimsel ve süsleme özellikleri, benzer bir in situ örneği bulunamayan bu parçaların özgününde çatı altındaki saçaklık ile belki de pencere ve kapı gibi mimari ögelerin üst kısımlarında bulunduklarına işaret etmektedir. Arkeolojik buluntular ile karşılaştırmalı örnekler, kilise ve terracotta parçaların MS beşinci ya da altıncı yüzyıla ait olduklarını göstermektedir.

Orçun ERDOĞAN

Hatice PAMİR

The Temple Church at Epiphaneia in Cilicia Pedias and its Terracotta Frieze

西里西亚·佩迪亚斯的显圣教堂及其陶制饰带

In Asia Minor, only a relatively small number of reliefs with biblical depictions or images of saints from the early Christian period (fourth to sixth / seventh centuries AD) have been preserved. They represent an exceedingly small percentage of what was likely actually produced, with a substantial amount considered to be lost. This makes it difficult to classify the art based on geographic region, in comparison, for example, to the proliferation of the Roman grave reliefs of the second and third centuries. Nevertheless, Asia Minor was of an area of great importance for the theology of early Christianity. Numerous churches from the Early Byzantine period have been preserved or at least documented. Many were large and magnificent buildings, showing excellent masonry techniques, and some had unusual shapes. The churches were richly adorned with capitals, barrier plates, and ambons, as well as floor mosaics. Although only a few remnants of wall paintings and mosaics are preserved today, it can be assumed that most of churches possessed them. While there are portrait sculptures and busts of excellent quality, very few reliefs are based on the Bible. They are almost all very simple pieces, in terms of craftsmanship, with a few exceptions. The existence, not only, of the customary iconography, but also rare and unique character depictions of the reliefs of biblical scenes, illustrates the reach of the Byzantine Church in even the most remote areas of that region, shedding light on Late Antique art in Asia Minor as the heartland of the Byzantine Empire.

Nergis ATAÇ

Dr. KOCH

Figürliche Reliefs frühchristlicher Zeit in Kleinasien (4.-6. / 7. Jahrhundert n.Chr.)

小亚细亚早期基督教时期的浮雕（公元4-6/7世纪）

Osmanlı İmparatorluğu ile ticaret yapmaya hak kazanmış olan devletlerin Akdeniz’de yaşadıkları en önemli sorunlarından birinin korsan saldırıları olduğu görünür. Osmanlı denizciliğine dair kaynaklar incelendiğinde Garp Ocakları ve Ülgün korsanlarının ticari gemilere sıklıkla saldırdıkları izlenmektedir. Söz konusu korsanlık&#x0D; sorunu, Osmanlı Devleti-Sicilyateyn Krallığı arasındaki ticari ilişkilerde de belirgindir. Bu bağlamda iki ülke arasında imzalanan 1740 tarihli ticaret antlaşmasına korsan saldırıları karşısında Sicilyateyn tüccarlarının korunması ve zararlarının tazmin edilmesine dair hükümler konulmuştur. Ayrıca Sicilyateyn Krallığı Trablusgarp Ocağı ile 1741 yılında ayrı bir antlaşma imzalayarak uluslararası sularda tüccarlarının mal ve can güvenliğini korumak için önleyici bir hamlede bulunmuştur. Bu çalışma, Akdeniz’de Osmanlı Devleti ile Sicilyateyn Krallığı arasında korsanlık tehdidi altındaki ticari ilişkilerin durumunu Osmanlı arşiv belgeleri ışığında değerlendirmeyi amaçlamaktadır.

Publication Information	Publisher: Suna Inan Kirac Akdeniz Medeniyetleri Aractirma Enstitusunun，Publishing cycle: ，Journal Type: journal，Open Access Journals: No
Basic data	Year of publication: 2020，Proportion of original research papers: 100.00%，Self Citation Rate:50.00%， Gold OA Rate: 0.00%

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