Early Classical Period reliefs from Xanthos style and iconography

The sculptures of Xanthos which have been transported to the United Kingdom by Ch. Fellows at the beginning of the 19th century and whose main parts are exhibited at the British Museum, have been representing Lycian Early Classic Period sculpturing until a short time ago. Except the artifacts in the British Museum, there are some sculptures in Istanbul Archeological Museums and Antalya Archeological Museum, and a few sculptures kept in Xanthos which have been found in excavations. The iconographic examinations on the sculptures show that there are two dominant iconographies that of Greek and Persian origin and a few motives from Phoenician iconography. These iconographies depict subjects peculiar to Lycia. However, these decomposable motives generally depict East Mediterranean iconography and provide an idea about the cultural structure of Xanthos at that time. The richness of the quality of arts is an indication for the high prosperity in the city and gives clues regarding the economical relations. East Mediterranean iconography is considerably visible in the Harpy Tomb. Dating later the pediments which are depicting Sphinx and the Siren, both bearing winged hybrid creatures, can be regarded as an iconographic continuation of the Harpy Tomb. On the prossesion reliefs, it is obvious that the iconographic design continues especially with the Greek style of the clothes of human beings and the Persian style of the beard, with the tufted manes and tails at horse figures. Again, the subjects have to be chosen locally. In the hunting frieze consisting of wild animals and satyroi, the great number of lions and their different directions strengthen the idea that this scene represents a hunt by the lions. Besides the three peplophoroi and a head fragment to be thought part of them found by Ch. Fellows within the city walls, a new fragment of statue wearing peplophoros indicate that the number of these sculpture can raise to four. In terms of style there are three styles observable in sculptures of Xanthos during this period. The first one is the style of the Harpy Tomb. The dominant style of the reliefs indicate that the work could have been performed by local artists and that they could have been more under the influence of workshops of Samos or Paros, which have been centers for sculpture production in the middle of the Vth century B.C. rather than Miletos-Ephesus. The second style is represented by the Sphinx Pediment, relief depicting nikai and maenad relief which also are dated after the Harpy Tomb. The third style is observed in the Siren Pediment, prosession frieses and reliefs depicting prothesis and young men wearing chiton. Due to the fact that the city of Xanthos was a dynasty center there has to be an elite class. Besides, the fact that there are numerous sculptures hints for the existence of such a class. Works such as pillar monuments, barrel-vaulted sarcophagus, monumental tombs, and rock tombs are obviously laying down craftsmanship of the Lycians with utilizing and processing local limestone. In this context the Antique Period conditions enabling sculpturing, characterizing as local besides iconography also stylistic aspects, the continuation of the qualitative existence of sculpturing starting from the Archaic Period until the middle of the IVth century B.C. and the use of mainly limestone can be listed as the proof for local production. Keywords: Lycia, Xanthos, Early Classical Period, Sculpture, Relief, Iconography, Style.