Flavians and Traianus periods Anatolia portrait art

Throughout my thesis which covers a very wide geography, totally 65 portraits have been examined with pieces abroad along with researches in 34 museums in Anatolia. While many of these pieces have been published, there are also 6 portraits (PBOP2, MBOP4, PHBOP1, BBOP1, BBOP4, BMOP1) introduced to archeology science for the first time. The status, definitions and evaluations of these portraits newly introduced to the scientific world have been carried out and their identity and periods have been explained. On the other hand, the published pieces have been interpreted again with an objective evaluation and a new identity and a period proposal have been brought to many of them. As a result of these evaluations, 17 official portraits have been published in the period range I have discussed. 5 of these official portraits are sculptures of Vespasianus. Among portraits of Vespasianus, the portraits in VP1 and VP2 are in main type because of lack of hair on the corners of the forehead together with short hair tresses on the forehead and more dynamical depiction of highlighted signs of old age. The portraits in VP3 and VP4 are in IInd type because of being in form of main type turned to an old man and lack of hair behind the forehead. In VP5, physiognomical features in main type have been depicted by being idealized. Two portraits of Titus (TP1, TP2) are in main type. There is 1 portrait of Domitianus (DP1). DP1 which reminds portraits of Nero with its hair style is in Ist type of Domitianus. The portrait of Nerva (NP 1, NP2) which has been rendered is 2. Both portraits are in main type. The physiognomical features in NP2 are depicted under influence of idealism. The number of portraits of Traianus (TRP1, TRP2, TRP3, TRP4, TRP5) which have been reevaluated is 5. As a result of scientific researches I have carried out, Ist and IInd type of portraits of Traianus have not been uncovered in Anatolia. Hair style in TRP1, TRP2 and TRP3 represents IIIrd type of Traianus. Hair style in TRP4 is sample for IVth type of Traianus. The physiognomical features of TRP5 sculptured in IIIrd type of Traianus are idealized. Other two official portraits are emperial sculptures (IH1, IH2) which were sculpted twice. The second sculpting on these pieces on which the first sculpting depicted Traianus has been dated to Tetrarchs period. While 21 portraits of 48 private portraits are female portraits, the rest is male portraits. During my thesis study, the sculpting pieces which I have listed according to the regions on the road map I have followed have been given in chronological order within the regions. The hair style and other physiognomical features on male portraits and the hair/hairdressing fashion on female portraits have been dated by comparing with contemporary formal portraits. While doing this, hair styles on official portrait types that have not been found in Anatolia until today, with some private portraits emerged by being inspired from official portraits have been defined. For instance, hair style in which end parts of short hair tresses were depicted wavy is seen on IInd type portraits of Domitianus. Small bifurcation motif in the center of the forehead created by long hair tresses combed towards the the forehead on KBOP2, PHBOP2, AMMOP1 and BMOP1 is peculiar to hair style on Ist type portraits of Traianus. The hair style in form of a deep bifurcation created in the center of the forehead by long and moving hair tresses coming down to the middle of the forehead on KBOP5 and IBOP4 is sample for IInd type portraits of Traianus. In my PhD thesis in which 65 portraits are examined, my first research point is Pamphylia Region where 6 pieces have been detected. The regions where portraits have been mostly found Mysia and Caria Regions. In both regions, 24 portraits were defined in both regions, 12 in Mysia Region and 12 in Caria Region. As well as both regions contain important cities (Pergamon, Aphrodisias) that host important sculpting activities, historical roles which these cities assumed in the important stages of the history explain that it is not a coincidence that the sculpting pieces in these cities are mostly found. Beside these, 2 portraits in Phrygia Region, 7 portraits in Bithynia Region, 2 portraits in Paphlagonia and Pontus Regions, 1 portrait in Galatia Region, 6 portraits in Ionia Region, 3 portraits in Lydia Region and 5 portraits in Cilicia Region have been rendered. While 1 portrait of 9 pieces of which finding place is not known is official portrait, 8 are private portraits. While the official portrait of which finding place is unknown has been given in the text in chronological order, 6 special portraits are placed in alphabetical order of museum names in which they are preserved. In previous publications, 7 pieces (two other pieces of which findin place is unknown under the title "ANNEX-1"), which were evaluated under my thesis title, have been dated to Iulio – Cladian Era with re-examinations. Periodic features such as hair style and idealized face in these pieces excluded from my thesis title are quite different from style of portrait art of Flavians and Traianus periods. Archaeological data such as hair style, characteristic features, portrait typology and hair fashion on all pieces which are published and unpublished within the context of my study are important in terms of showing development of portrait art style of Flavians and Traianus periods in Anatolia, the continuity of sense of art that follows each other and the place of Anatolia in Roman portrait art.