Arkeoloji ve Sanat Tarihi Anabilim Dalı

On the threshold of the Black Sea: Intersecting discourses of identity and empire in the paintings of Ivan Konstantinovich Aivazovsky

This dissertation examines the relationship between the visual arts and the imagination and construction of identities and spaces. It focuses on Ivan Konstantinovich Aivazovsky (1817-1900) within a cross-cultural network of meaning, in particular addressing the manifold functions of the visual arts in nineteenth-century Russian society, while attending to a diverse range of voices within, and beyond, Russian culture. This study examines how art and material culture were used to construct imperial, national, and social identities in the nineteenth-century Russian Empire and its southern coasts, and how these ways of making sense of the world interacted. Combining iconographic analysis of selected paintings, the context of nineteenth-century artistic milieus, and the biography of the artist, my research illuminates how the art of Aivazovsky was used to mediate critical stages in the relations of the nineteenth-century Black Sea world. It also shows how artistic and material contexts clarified the emergence of specific possibilities of national identity and their extension to the imperial. Analyzing Aivazovsky's oeuvre thematically, in Ottoman and Armenian as well as Russian contexts, while retaining the artist's intersecting identities (Russian, Russian-Armenian, and Armenian), facilitates a more nuanced understanding of nineteenth-century visual culture and cultural diplomacy involving Russia, the Ottoman Empire, and Armenia. Thus, art is shown to have functioned simultaneously as a process of building contextual cultural identifications and an instrument for cross-cultural and cross-imperial dialogue. Going beyond another round of national struggle for cultural ownership, the thesis investigates the complexity of context, artist, and oeuvre that emerged before the cultural hegemony of the nation. By contextualizing Aivazovsky as "in-between" and "across," rather than as embedded in the nation (or any given empire), this dissertation revises our understanding of his influence. A focus is placed on the function of the artist in respect of the histories, cultures, and politics of the peoples around the Black Sea and recalling of an older, more deeply rooted, artistic and intellectual cultural mapping of this region. By analyzing not only the ever-shifting state policies with respect to the Black Sea region but also the varying aspects of the Black Sea topography (and specifically the Crimean region) in the Russian imagination, I offer intriguing perspectives on the shifting sense of "Russianness" itself as the nation looked to move form a land-based (supposed backward) territorial empire to a maritime (forward-looking) imperial power. Locating in his creative works the features of his "national" character as a Russian imperial citizen, the expressions of the ancient culture of the Armenians, and his passion for the natural beauty of the Black Sea, my new approach views Aivazovsky as a painter, subject, and citizen operating simultaneously within, beyond, and across imperial borders and national imaginaries.

Kudretli Sığır: Batı Anadolu Geç Tunç Çağı Kaymakçı'da sığır yetiştiriciliği uygulamalarının zooarkeolojik analizleri

This study aims to understand Late Bronze Age (LBA) Anatolian animal management strategies, especially those of cattle, adopted by the people of Kaymakçı through a close study of subsistence patterns and symbolic importance. Of specific interest is how economic practices contributed to and sustained ongoing daily life, such as choices in diet, the management of livestock (e.g., meat, dairy, and traction), and in turn shaped perceptions of power and prestige. The results of this study establish a baseline for further research in western Anatolian LBA animal management systems and provide a comparison of proximate LBA cattle cultures. The dataset from Kaymakçı provides a compelling example of targeted provisioning practices. This analysis shows that animal economies characterize Kaymakçı as a western Anatolian community that adopted strategic behaviors towards animals, especially cattle, in accordance with its culture, environment, and sociopolitical interests.

An intellectual history of late Ottoman painting: Mekteb-i Harbiye and the development of realism

This study aims to examine how military painters' educational and intellectual backgrounds who graduated from Mekteb-i Harbiye (the Imperial Military Academy) opened in 1834 shaped their approach to painting. I am trying to explain the role of painting lessons, the sources they feed on, and Harbiye's view of the painting by questioning the factors that are effective in the preferences of the military painters, who mostly painted landscapes and still-lifes in the rich visual culture of the nineteenth century. I evaluate the courses related to modern painting from the curricula between 1845 to 1877 within the scope of science and functionality that prevailed after the Tanzimat (Reorganization) period (1839-1876). In this context, the study attempts to explain the dynamics in which the Ottoman Muslim population internalized modern painting and the realist attitude; on the other hand, it emphasizes that modern painting is seen as a tool in the modernization policy rather than an artistic activity in Harbiye. Keywords: Harbiye, military painters, realism, landscape, still life, aniconism, modernization, functionality, knowledge production

Church bells, cannons, and talking machines: Sounding devices and the "modernization" of Late Ottoman Istanbul

This dissertation investigates how the Ottoman state and the inhabitants of late Ottoman Istanbul understood and dealt with several sounding devices found in the city: church bells, cannons, and talking machines (the gramophone and the phonograph). Focusing on their legal, political, and cultural status and examining how the state and its inhabitants perceived, used, and regulated these sounding objects, this study argues that the Ottoman capital's modernization was an auditory as well as a visual phenomenon. Based on three case-studies of sounding devices as organizing principle, the chapters provide a history of Istanbul's modernization between 1826 and 1923 from an auditory perspective. This study observes people's sensorial experiences, perceptions of modernization, as well as the Ottoman state's multifaceted mediation between numerous institutions to control the sounds that these devices made, and in doing so investigates how the changing auditory environment altered the culture of hearing and signified a shift in power balances for the state. By combining political, legal, and cultural backgrounds with personal narratives, this dissertation also shows how the existing body of data, both written and visual, can be employed from an auditory perspective and contribute to our understanding of Ottoman modernization, culture, and politics.

Between academia, local communities, and labour: Archaeological practice and heritage in Turkey

This dissertation explores the history and politics of archaeological practice in Turkey based on a theoretical framework of memory studies. It addresses three main research themes: the development of archaeology as an academic discipline in Turkey, the relationship between local communities and archaeological teams in the field, and the landscape of labour in archaeological fieldwork in Turkey. Exploring the ways in which archaeological knowledge has been produced, narrated, and instrumentalized, this dissertation contributes to an alternative historical account of archaeology in Turkey by thickening that narrative with otherwise silent voices from the local communities who are involved in archaeological excavations. This research employs multi and cross-disciplinary methodologies including oral history, social network analysis, and archival research conducted in fifteen different institutions located in Turkey, Germany, UK, and the US. Over thirty-three hours of oral history interviews were recorded with thirty-eight participants which represent a diverse body of practitioners of archaeological fieldwork in Turkey. These interviews are further analyzed and contextualized in juxtaposition with the archival records.

MÖ 2. binyıl Batı Anadolu'da metalurji uygulamaları ve teknolojik bilgiler: Kaymakçı'dan LBA topluluğu üzerine bağlamsal, kompozisyonel ve metalografik analizler

Research on the characteristics, development, and socio-economic impact of metal industries in western Anatolia during the 2nd millennium BCE has remained extremely limited. For decaded scholars have focused on either the crucial technological innovations of the 3rd millennium BCE or the abundant evidence coming from better-known cultural horizons of central and southeastern Anatolia, on one hand, and the Aegean region, on the other. As a result, with the exception of few sites supported by a long history of research, western Anatolia has been inappropriately downgraded to the status of "peripheral region" at the fringes of more complex political entities developing throughout the Middle and Late Bronze Ages (ca. 2000/1650 and 1650/1200 BCE). In recent years, however, the growing amount of archaeological data from surveys and excavations has underlined the need to redefine the diverse and autonomous character of the region during a period of great socio-political change and cultural diversification. This doctoral dissertation contributes to the re-assessessment of the history of western Anatolia during the 2nd millennium BCE through the detailed study of the metal assemblage and evidences of metal-making practices discovered at the LBA fortified citadel of Kaymakçı (modern-day province of Manisa). Starting from the analysis of the spatial and diachronic distribution, the present work centers on the elemental and micro-structural characterization of lead and copper-alloyed specimens to investigate alloying and manufacturing strategies, and patterns of diversification and continuity in the metal-making practices adoperated by local industries during the 17th/13th centuries BCE. By placing the Kaymakçı dataset within the broader context of archaeometric studies in the region, this contribution aims not only to address discussion on local technological practices but to highlight important trends of socio-economic adaptation in a highly varied region during a crucial phase of the ancient Anatolian past.

Ayşe Kadın Cami'nde bulunan gemi kazımaları (Graffiti)

Graffiti has a broad scope since it can appear in various contexts. Graffiti in sacred/religious contexts have been interpreted as votives for protection, good fortune, salvation, hence scratching graffiti became a ritual rather than an ordinary act. On the other hand, because hull remains in the archaeological record are few, and the amount of information that can be obtained from it is very limited, scholars have been considering ship graffiti as a means to investigate nautical technology. These two aspects are combined in the current scholarship on ship graffiti. The ship graffiti in this research are located in Ayşe Kadın Mosque in the old village of Mordoğan in Karaburun peninsula, İzmir. They are densely clustered on the walls of the women's mezzanine in the prayer hall. The frescos that graffiti were scratched on give a terminus post quem of the late 18th century. This thesis analyzes this group of ship graffiti by trying to identify and interpret them within geographical, historical, and cultural contexts. By doing so, it emphasizes the human elements in their creation such as aesthetic concerns, beliefs, and habits. A secondary purpose, as a part of the methodology, is the evaluation of different documentation methods that can serve the needs of research questions. This corpus of graffiti is particularly important and unique. Even though ship graffiti in churches are well studied, the research on Islamic religious contexts is very limited. Furthermore, as they are found in the women's section of the mosque, this ritual can be safely identified with women of the village and their involvement in the maritime community. This specifically breaks the androcentric perspective in the field and encourage scholars to consider women as a possible artist of ship graffiti rather than focusing on men or staying gender neutral. Furthermore, the previous studies may be re-assessed, and new interpretations may evolve.

Climate change, environmental sustainability, and museum architecture

Climate change is a global issue with grave consequences for daily life and biodiversity. Despite scientists' warnings, the amount of greenhouse gases in the atmosphere continues to grow, and thus the global temperature continues to rise. It is evident that the planet will be unable to bear this burden unless governments, international organizations, and all communities work cooperatively. Museums, as integral components of the culture and art worlds, as opinion leaders and institutions dedicated to the preservation of the past and future, must set the standard and leaders in the efforts to mitigate climate change. This thesis examines how the arts, cultural, and particularly the museum sectors, with an emphasis on these sectors' activities in Turkey, are implementing environmental sustainability measures. It also examines what more can be done. The primary objective of this thesis is to research, document, and present the current state of Turkish museums, as well as to reflect the perspectives and challenges confronting museum professionals and architects when implementing environmental sustainability measures in their facilities. Additionally, the architectural designs of a representative sample of museums in Turkey and abroad are examined to determine the extent to which environmentally sustainable solutions and design choices have been incorporated into their structures. To gain a better understanding of the challenges museums face regarding being green buildings, a field research was conducted which documented the opinions of architects and museum professionals about how museums support climate action through architectural design. The findings of this study establish a foundation for future research on the current state of Turkish museums and demonstrate the need for additional research.

The Late Bronze Age domestic architecture at Beycesultan Höyük and its evaluation in terms of socio-economical organization

Beycesultan Höyük is located on the plateau of Çivril in the Upper Meander Basin and it constitutes one of the largest settlements located in Western Anatolia. During the excavations carried out for 6 seasons between 1954 -1959, it was revealed that the settlement was inhabited continuously from the Vth millennium BC until the end of the Late Bronze Age. The layer 5b (c.1700-1595 BC/ Early Excavation Layer II), which constitutes the subject of this dissertation, demonstrates urban characteristics with the streets and buildings therein. Especially the domestic structures located between east-west oriented streets in the layer 5b are important in terms of shedding light on the existence of a well-planned construction. During the examinations made in the houses, it is revealed that the houses consist of a main room, where the hearth is located, a room at the front-side and storage rooms connected to this main room. The silos and pithos found in the main room reveals that this area was partially used for storage purposes. It is possible to state that the room at the front-side, located at the entrance of the houses, plays an alternative role for daily work. It is considered that the production and consumption activities in these two-story houses were carried out on the ground floors, and the upper floors were used for sleeping and resting purposes. This layer was destroyed by a big fire. During this disaster, numerous human remains were revealed, along with all the items used in the houses. It is understood that individuals who were found in hiding position in rooms in the fire could not get out of a possible threat. The lack of written evidence as well as any traces of conflict have made the outbreak of this fire disaster controversial and questionable. The economic activities in the Late Bronze Age houses were mostly based on agriculture and animal husbandry. Whilst the grain residues obtained in this settlement with a large possibility of agriculture are inspected, it is possible to state that agricultural activities such as wheat, barley, lentils, and vetch were carried out for dry farming in this settlement. Houses with a dense storage capacity in this settlement appear to have the potential to feed an adequate population. In this period, it is possible to consider that the settlement had an independent economic model to a large extent, although having it partially. Moreover, finds such as spindle whorls, crescent loom weights, weaving shuttle and weaving loom comb, which are used in textile production, have been discovered in the excavations. In addition to these, a textile sample found in a house. Altogether, all these finds point out that weaving activities were an important economic activity in the settlement.

Unwritten histories of photography: Elisa Zonaro, an Italian photographer in Ottoman Istanbul

The scholarship investigating the history of photography in the Ottoman Empire has been gaining significant attention in the last decades. However, analysing the ways in which this photo-history is being written reveals a historical landscape populated by the accomplishments of male photographers, where the images produced by female photographers are left outside of the canon. Critical of this male-dominated historiography, the present study focuses on a particular case and illuminates the professional career of the Italian photographer Elisa Zonaro (1863-1945) in Istanbul to demonstrate women's active involvement in photography in the Ottoman context. Previously seen only as the wife, companion, and "muse" of Fausto Zonaro (1854-1929), the court painter to Abdülhamid II (r. 1876-1909), Elisa Zonaro emerges in this dissertation as a pioneering figure in the history of photography both as a studio photographer and as a street photographer. Departing from the personal documents and unpublished photographs of Elisa Zonaro preserved in the Zonaro family archive in Florence, this study has uncovered significant primary sources relevant to the subject in diverse archives and libraries in Turkey, Italy, and France, as well as in several online archives and databases. The research findings indicate that Elisa Zonaro did not simply take photographs to help her husband's paintings—as was the dominant supposition in the literature—but she was a professional photographer in her own right, who opened her studio Atelier Elsa Constantinople in ca. 1894. This study firstly problematises the invisibility of women in the history of photography and investigates women photographers in the Ottoman Empire. It moves on to evaluate Elisa Zonaro's position within the influential Italian community of the late nineteenth-century Istanbul by examining her life story, training in photography with Eugène Pirou in Paris, and her career working with diverse photographic genres ranging from portrait photography to street photography. Lastly, it examines the artistic collaborations between Elisa and Fausto Zonaro, where manifold interactions between photography and painting are analysed. Overall, by shedding light on Elisa Zonaro's photographic activities with new archival findings, this dissertation not only documents and analyses her photographs from various historical and thematic perspectives but also ensures that her works finally become part of the history of photography, from which she had been excluded for so long.

In pursuit of the past: Artuqid patronage of the ancient sciences

This thesis is the first study to investigate the patronage activities of the Artuqid dynasty in the field of ancient sciences. The Artuqid dynasty ruled the Jazira region between the twelfth and fifteenth centuries, with three branches active in Mardin, Hisn Kayfa, Amid, and Kharput. In addition to the lives of the scientists patronized by the Artuqid dynasty, this research analyzes the networks established by scientists with the elite, and the scientific manuscripts dedicated to the Artuqid rulers and other family members. The intellectual activities and educational backgrounds of the Artuqids, as well as their establishment of private and public libraries are investigated in detail to better understand the Artuqid stance on ancient sciences. The Artuqid courts were highly developed places where cultural and scientific pursuits were sponsored. Support for scientists, their research, and learning activities in the field of ancient sciences were consciously driven by the individual actions of Artuqid rulers and dynasty members. By bringing together diverse materials ranging from epigraphy to photography, poetry to chronicles, and coinage to architecture, this thesis offers a different interpretation and thereby sheds a new light on the Artuqids, whose history is sometimes portrayed with biases in scholarly and primary sources. Keywords: Artuqid, al-Jazira, medieval, ancient sciences, philosophy, medicine, astronomy, astrology, alchemy, occult sciences, arithmetic, engineering, automata, manuscripts, coinage, architecture, bridge, hospital, fortification.

Self-reflection in post-colonial archaeology: A case study over Türkiye

There are many different faces of colonization, and it can be suggested that in the case of Turkish archaeology, this face appears as self-colonization. Beginning with the last centuries of the Ottoman Empire and continuing through the Republican period until today, archaeology has been developed as a tool of modernization in Türkiye. The aim of this thesis is to explore the historical development of Turkish archaeology and its self-colonizing aspects, how it was reflected on the publications by the Turkish government, and the public archaeological projects that were conducted in the country.

Spaces of healthcare and hospitals in the Late Ottoman Empire and Early Turkish Republic

This dissertation examines the late nineteenth and early twentieth centuries in the Ottoman Empire and the Turkish Republic through the lens of healthcare architecture. It explores the social, political, cultural forces of the time, and the individuals, particularly the architects, who made decisions about the hospitals and healthcare institutions in Istanbul and Ankara. The four case studies of healthcare institutions examined here are: the British Seamen's Hospital in Istanbul, the American Hospital in Istanbul, the Central Hygiene Institute complex in Ankara, and the Admiral Bristol School of Nursing Nurses' Home in Istanbul. As an architectural history, this dissertation explores these examples of healthcare architecture to investigate the many different social, cultural, political, and economic factors which shaped these projects. The scope of the individuals examined in this thesis include a diverse group of architects from Britain, Austria, the United States, and Turkey, as well as the different groups of patrons, physicians, nurses, faith leaders, diplomats, and political actors who influenced the establishment and development of healthcare institutions. The individuals responsible for the examples of healthcare architecture studied in this dissertation worked in the cosmopolitan environment of the late Ottoman Empire (1839-1922) and the early decades of the Turkish Republic (1923-1950). The stylistic and typological choices made for these four building projects reflect the complex dynamics surrounding architectural output of this transformative era and highlight the intellectual and physical mobility of the individuals responsible for them as well as the impact of different architectural movements such as modernism. In addition to a detailed formal and typological analysis of four examples of healthcare architecture, this thesis explains the transformations that happened in healthcare institutions of the time, their functions, and what they meant to those who financed, built, and used them. A vast number of primary sources from archives in Turkey, the US and UK have been used in this thesis including correspondence, periodicals, diaries, parliamentary records, diplomatic exchanges, and architectural plans, some which are presented here for the first time. Oral histories of healthcare workers who lived and worked in these buildings were also conducted to learn more about the later lives of these buildings. Finally, this dissertation and the architectural projects presented here argue for a more nuanced and critical re-assessment of post-colonial theory which has tended to ignore Ottoman agency in the decision-making processes and power dynamics that shaped healthcare architecture in this era.

Cross-cultural and artistic dialogues in the seventeenth century constantinople/istanbul: The Iconography of Madonna della Misericordia and the Galata Icon

From its foundation to today, Constantinople/Istanbul has always been the threshold of cross-cultural interactions between the East and West. This thesis examines these interactions from the perspective of a Marian icon in the city, bearing the inscription of SS.V. Odighitria, kept in the church of Saints Peter and Paul in Galata/Pera, known but insufficiently studied. This composite icon is made of two components: a 13-14th century, now highly deteriorated, wooden panel that arrived at Constantinople/Istanbul by Caffan Dominican friars who translocated to the Ottoman capital in 1475, and a very elaborative silver revetment applied to the artwork at the end of the 17th century (1698-1699). As an object whose spatial and historical contexts were altered, this icon embodies cross-cultural interactions - between Byzantium and the Latin West and later between the Ottoman Empire and Western Europe. Along with its hybrid medium and polymorphic historical narrative, the iconographical formula on its metal revetment, Madonna della Misericordia, which underlines the Virgin Mary's merciful nature by displaying devoted Christians gathered under her miraculous mantle, further addresses interactions in question as an iconography that developed in the synthesis of particular Eastern and Western features. By utilizing this icon as a case study, this thesis demonstrates the catalyst role of the Virgin Mary in the long-standing cross-cultural interactions between both spheres. Furthermore, this thesis emphasizes how this Marian icon has historically been misinterpreted and offers an entirely novel perspective by designating it as the Galata icon and addressing cultural perspectives that have been effective in its representation. Moreover, it demonstrates how the Galata icon enriched the iconography of the Madonna Misericordia with references to 17th-century society. By analyzing it from the perspective of enduring cross-cultural interactions, this thesis elaborates on the Galata icon as a unique visual and cultural testimony of the multicultural identity of Constantinople/Istanbul. Keywords: Marian icons, Madonna della Misericordia (Virgin of Mercy)/Schutzmantelmadonna, Constantinople/Istanbul, Pera/Galata, Church of Sts. Peter and Paul, Dominican Order, Genoa, Caffa, Venice, Byzantium, Ottoman Empire.

Pera/Galata: Neighbourhoods and churches of a late Medieval Genoese city

During nearly two hundred years, from 1267 to 1453, the Genoese ruled over the Pera/Galata quarter of Istanbul. The Galata Tower stands as a reminder of this period. Although there is little public awareness about this heritage, in reality, an abundance of publications has been produced since the middle of the nineteenth century. The thesis aims to understand the characteristics of the Genoese settlement Pera, how it came to exist, function, survive over the years and how this is reflected to its monuments. It seeks to discover the communities that composed Pera, how they coexisted, how the neighbourhoods were organized, and how the Byzantine space was transformed. The methodology employed is the study of texts. The thesis aims to compile existing research about the Genoese city of Pera, its history, topography and urban life. The Genoese notary archives have been the main source for the scholarship. They are scanned with a particular focus on churches and neighbourhoods. Propositions are made for possible locations of San Antonio, San Giovanni Battista, and San Costantino. In addition, an Ottoman source, the Galata section of the 1455 Survey of Istanbul is thoroughly examined to detect information about the topography of Pera/Galata before its Ottomanization began. The findings of the Survey are compared with those of the Genoese sources with particular attention given to churches, neighbourhoods and communities.

Urban identities in a late Ottoman frontier (A study on the deserted (Palia) Sagiada, Epirus-Greece

This dissertation focuses on Palia Sagiada, a little-known deserted settlement in Thesprotia, coastal Epirus –Greece, aiming to reconstruct tangible and intangible aspects of a bygone culture on the contested border between Greece and Albania. Employing an interdisciplinary methodology that takes into consideration the rich material evidence, historical records, and ethnographic perspectives, this work delves into the domains of architecture, residential areas, and public spaces through the lens of late Ottoman urbanism. Following the settlement's reconstruction post the 1872 earthquake and subsequent abandonment after World War II, this research offers a historical view that juxtaposes macro-scale cultural phenomena onto the micro-scale of this rural frontier. Examining the Ottoman State's bureaucratic apparatus, the Ecclesiastic authorities, the non-Muslim, Christian residents of Palia Sagiada – various individuals circulating within the Empire and abroad, and traveling groups of craftsmen, the study reveals them as space-makers in re-generating the heterogeneous, eclectic built environment post-disaster. The resulting material culture, including houses and other settlement spaces, blends established patterns with novelties, reflecting individual tastes. Moreover, public spaces linger between the profane and sacred, shaping communal identities through their daily function and through the various events and celebrations that host. By contextualizing architecture and spatial planning within the broader late Ottoman cultural milieu, the study on Palia Sagiada offers a more comprehensive understanding of these creations as integral aspects of their contemporary culture and catalysts/generators for evolving social practices. In Palia Sagiada, the boundaries between urban and rural blur as it happens with its private and public spheres, architectural styles and individual identities. Finally, this dissertation challenges contemporary romanticisms and nationalistic misconceptions, highlights a diverse and eclectic architectural landscape that reflects local interpretations of post-Tanzimat Ottoman urban reforms and nuances, revealing a rich material for further research.

Ottoman Objects in Nineteenth Century British Interiors

The present thesis examines Ottoman objects incorporated into Victorian British interiors during the latter half of the nineteenth century. A primary objective is to elucidate the reasons behind the presence of these Ottoman objects in Victorian British interiors. Both Ottoman objects that were imported to Britain and reproductions created based on these items, in accordance with industrial production and the Arts and Crafts movement, fall within the scope of this research. The study concentrates on middle-class homes, as they offer a balanced perspective on trade and production trends and encompasses household items. This study assesses the artistic attributes that facilitated the integration of Ottoman craftwork into eclectic Victorian interiors, within the context of the design principles and aesthetic preferences of the period. It analyses the roles of buyers, sellers, designers and state actors in this process and reveals the economic model of a phenomenon that was initially believed to be economically driven. Each chapter features a main heading or subheading titled "Key Tastemakers in the Nineteenth Century Britain", exploring the roles of British Victorian collectors, government institutions, department stores, British designers, and decorative art periodicals. A substantial portion of the sources is derived from exhibition and sales catalogues, departmental reports, museum inventories and other archival materials obtained during research conducted in the United Kingdom. The influence of Eastern styles on interior design is frequently analysed through uniformly decorated rooms noted for their 'exotic' appeal. Rooms designed entirely with an Eastern theme; regardless of the specific style they represent, are products of Orientalist thought. This study examines the subject through the circulation of objects as instruments of consumption or simply commodities. The interaction between factors influencing the integration of Ottoman objects into British Victorian interiors was complex and multifaceted. Ottoman objects found their place in Victorian interiors due to their aesthetic attributes such as colours, patterns, and qualities—rather than their origin. Furthermore, they offered attractive alternatives within the diverse consumption environment of nineteenth-century Britain.

Geç Tunç Çağı Anadolusunda Kayalıpınar (Samuha)'nın ağ merkeziyeti analizi: Alternatif bir başkentin belirleyicileri

This study aims to explore the main advantage of Kayalıpınar (Samuha) in the Old Assyrian and Hittite period) located 55 km west of Sivas, in its emergence as one of the foremost centers of Hittite Anatolia (ca. 1650-1200 BC) across the spheres of administration, religion, military, and trade: One of the most important nodes of the Assyrian Trade Colony network according to its history of holding first a wabartum status (small port) and then developing into a karum (major port) during the Colony Period, Kayalıpınar (Samuha) became the capital of a major province of the Hittite State, the Upper Land located on the Eastern sections of Central Anatolia. The great king Hattusili III gained power in Kayalıpınar (Samuha) until his victory over king Urhi-Teshup in this very city, followed by his reign over the Hittite throne. The city was associated with the great goddess Shaushga of the Hittite Pantheon, being home to a great temple of the deity acting as a religious education center for the Hittite royal youth. As Anatolian geography is weaved with rivers, mountain ranges, and other smaller geographical obstacles that act as natural boundaries; geography dominated the expansion of power throughout history. Considering the challenges posed by the Anatolian landscape, the research seeks to identify the logistical and geopolitical advantages that drived Kayalıpınar's (Samuha) prominence: The analysis employs calculations of Least Cost Path and the Gravity Model as the foundational elements of network data. Accessibility is approximated through walking distances, while settlement size is represented by archaeological site surface area. Utilizing these datasets, gravity calculations are applied to ascertain the flow between cities. Subsequently, a social network model is constructed based on the gravity values, and four distinct centrality measures (degree, closeness, betweenness, Eigenvector) are computed for the entire network. Through comparative analysis of Kayalıpınar's (Samuha) different centrality values, it has been shown that Kayalıpınar's (Samuha) main advantage was rooted in its betweenness centrality, and the city served as a bridge node.

Cultural exchange and iconographic borrowings in Ilkhanid painting

This thesis examines how the Ilkhanid dynasty, a cultural crossroad during the thirteenth and fourteenth centuries, integrated Persian, Islamic, Armenian, and Byzantine traditions using art as a tool to forge political and cultural identity. The Jami al Tawarikh (Compendium of Chronicles), a monumental manuscript commissioned by the Ilkhanid ruler Ghazan Khan and written by the Vizier Rashid al-Din, is a case study. Following the Mongol rulers' conversion to Islam under Ghazan Khan (r.1295-1304), the Ilkhanid court had influences from both Muslim and Christian traditions. This study analyses how Ilkhanids employed artistic representations to construct a new cultural and political identity, particularly through the visual and textual narratives in the Jami al-Tawarikh. This illustrated manuscript merges Mongols' religious and artistic understanding with Persian, Islamic, and Christian art. The manuscript's comparative analysis of religious scenes, Jami al-Tawarikh, emphasizes shared Abrahamic narratives and iconographic parallels with contemporaneous Armenian and Byzantine churches and manuscripts in medieval Anatolia. This study demonstrates the fluidity of artistic borrowing across religious boundaries and underlines the significant cultural exchanges between these two Christian entities in Anatolia and the Ilkhanids. Moreover, the thesis explores the pivotal role of Rashid al-Din and Rab-i Rashidi workshop in creating and disseminating Jami al-Tawarikh. Rashid al-Din's cultural and religious background and scholarly vision shaped the manuscript's illustrations, guiding their interpretation of historical and religious narratives. This master's thesis contributes new dimensions to the studies of Jami al-Tawarikh in terms of emphasizing the two leading Christian entities' role in transitioning the Christian iconography in Anatolia to the Ilkhanid court, which is the distinguishing part of the thesis considering the recent Ilkhanid studies since most of the publications partly indicates these similarities. It aims to reveal the political and cultural exchanges and artistic borrowings taken from Anatolia's Byzantine and Armenian arts and how the Ilkhanids created a new Islamic genre and blended iconography through the religious representations of the Jami al-Tawarikh.

The Making of a medical museum: Recontextualizing the Gülhane medical history collection in Ankara, Türkiye

Medical museums play a crucial role in preserving the material culture of medicine, enhancing awareness of public health issues, and integrating medical history, humanities, and art into medical education. Initially serving didactic purposes in the 19th century, medical museums began to reassess and revitalize their roles in the 20th century in response to wars, socio-economic changes, and technological advancements. Along with integrating more interactive musicological practices, medical museums of the 21st century are now addressing issues such as the ethics of owning and exhibiting human remains, the decolonization of collections, and the need to increase information and awareness about public health issues. Medical museums have responded to new challenges with diverse solutions, from developing online platforms and modern technologies to initiating collaborative curatorial projects with local communities. This thesis examines the history and the current challenges facing medical museums in a national and international context. It then focuses on a case study: the Gülhane Medical History Collection, which is located in the Gülhane Research and Training Hospital and is affiliated with the Department of History of Medicine and Deontology at the University of Health Sciences in Ankara, the capital of Türkiye. The Gülhane Medical History Collection aims to achieve national and international recognition and be officially designated as a museum by the Turkish Ministry of Culture and Tourism. To evaluate and provide recommendations about the current curatorial practices, and potential of the collection, this thesis explores the exhibition strategies used at medical museums in Türkiye and around the world. It then examines many of the objects in the Gülhane collection to determine how they could be recontextualized to address some of the contemporary issues facing medical museums. Following an assessment of the current exhibition space, displays, and technical limitations, this thesis recommends future directions for documenting, conserving, and ethically managing the Gülhane collection. Additionally, it aims to propose practical and sustainable collection management policies and curatorial strategies that are aligned with ICOM's definition of a museum and follow the best practices in managing medical museums.

Çamaltı Burnu I batığı amphoralarındaki kazıma işaretler ve 13. yüzyıl Bizans deniz ticareti

This thesis investigates 158 examples of graffiti found on 13th-century Byzantine amphoras recovered from a shipwreck near Marmara Island in the Sea of Marmara. The research is based on previously unpublished materials from the 1998-2004 excavation, which uncovered a variety of artifacts, including glazed ceramics and amphoras marked with graffiti and stamps. This thesis provides a comprehensive overview of the graffiti collection, evaluates the significance of the Çamaltı Burnu I wreck within the context of Late Byzantine maritime trade in the Marmara Sea region, and presents data on incised marks on amphoras from the Bandırma Archaeology Museum. The analysis includes an interpretation of the graffiti found on the amphoras. The majority of the amphoras are identified as Günsenin Type IV jars, with approximately 20.25% displaying graffiti inscriptions. The study concludes that the cargo group possesses a homogeneous runic collection, characterized by an abundance of Runic characters, some of which share similarities with Greek and Cyrillic alphabets. Symbols categorized as numeric designations also carry phonetic values in different Runic forms. Based on these findings, the numerically dominant symbols in the collection have been divided into 15 distinct groups, establishing parallels with similar forms from other archaeological sites. These results suggest a complex trade network in the Sea of Marmara during the period, marked by a multilingual and multiethnic environment.

Arkeolojik seramiklerin tamamlanmasinda 3 boyutlu teknolojilerin kullanimi

Maritime context material culture presents unique challenges for study, conservation, and analysis - in maritime ceramics these issues include that of salinization, stability, and humidity, to name a few. These issues can be especially apparent in the context of loss compensation, wherein the ceramic is stabilized with the supplementation of a non-original fill material. Amphorae, due to their ubiquity in shipwreck excavation and seafloor survey, are especially prominent among maritime context material culture. The diverse applicability of 3D technologies through their responsive materials, added flexibility, and ability to pair with existing analyses, have the potential to solve some of these difficulties while at the same time streamlining the documentation process. The goal of this study, from virtual model creation to model manipulation, and reverse engineering to sensorization, is to provide a fill for an artifact's missing pieces through near-lossless reverse engineering. While the straightforward use of 3D printing for archaeological conservation is a burgeoning technique with even fewer studies, 3D printing ceramic and the pairing of this mode of 3D printing with sensorization offers unique benefits. Using sensors fabricated into the printed fill, these cutting-edge materials can respond to – and signal – changes in temperature, humidity, pH, or stress. These are all environmental factors important to the curation and stability of objects in a museum environment. Yet, this specific application of additive manufacturing for a collection has almost never been tested or applied at any scale. This leaves a distinct gap in the research that this methodology can fill. This study establishes, applies, and tests this new methodology through two case studies: the amphorae found in the Çamaltı Burnu I shipwreck cargo assemblage from the Bandırma Museum, Turkey and the Amalfi Coast maritime context assemblage from the Villa Romana e Antiquarium, Minori, Italy. I have selected these case studies as they provide simultaneously disparate and valuable contexts in which to apply this new integrated methodology. Through them I seek to demonstrate the diverse applicability of these 3D technologies for the purpose of loss compensation in regard to documentation, analysis, interpretation, and future innovations in conservation and curatorial practices.

Walters Art Museum'deki Kitâb-ı Bahriye: İstanbul ve Kahire

In the thesis, I conduct single-manuscript study of the Walters Art Museum's Kitâb-ı Bahriye, or Book of Sea Navigation, (W.658) an atlas of sea charts and seafaring texts by the Ottoman sea admiral Piri Reis. I argue the manuscript, which is based on the 1526 edition of Piri Reis' work and made during the reign of Mahmud I (1730-1754), has ornamentation and topography reminiscent of eighteenth-century Ottoman architectural styles, print culture, and contemporaneous Ottoman painting. I contend that the interplay of past and present, sixteenth and eighteenth century influences, and painting and print within both the text and image creates a unique and multifaceted eighteenth-century viewer experience. On the foundation of my single-manuscript study, I conduct a dual art historical and urban historical study of the Walters' Kitâb-ı Bahriye sea charts of Istanbul and Cairo, which are elaborately painted city views vastly different in style, perspective, aesthetic, and relationship to the manuscript's text. My study reveals that urban spatial practices, like architectural patronage and imperial use of the city, influenced the Walters' Istanbul and Walters' Cairo's singular depictions, reflecting differing Ottoman imperial engagement with the urban landscape. The result is not two views of eighteenth-century cities, but rather two eighteenth-century painted views of cities with two centuries worth of urban development inventively and originally applied. This thesis is the first singular art historical study of the entire Walters' Kitâb-ı Bahriye (text and image) and the first work on a Kitâb-ı Bahriye manuscript contextualized within its temporal, social, urban and art historical context.

Byzantine studies as an academic discipline in Türkiye: Academic lineages, institutional dynamics, and a multi-method analysis of field formation

This dissertation investigates the historical emergence, institutional development, and current challenges of Byzantine studies as an academic discipline in Türkiye. Despite Türkiye's centrality to Byzantine history and its rich cultural heritage, the field has long remained marginal within the country's academic landscape. This research addresses the question: How has Byzantine studies developed in Türkiye, and how can it overcome the institutional and ideological obstacles that have hindered its growth? Employing a multi-method approach, the study integrates oral history interviews with 35 scholars, quantitative analysis of nearly 1,500 graduate theses, and social network analysis of academic mentorship and institutional affiliations. Drawing on theoretical frameworks from the sociology of scientific knowledge and institutional theory—including Nicholas Mullins' Four-Stage Model of scholarly development and the concept of institutional entrepreneurship—the dissertation traces the formation of the field from its origins to its current fragmented state. It examines the roles of pioneering intellectual figures, organizational leaders, evolving academic lineages, and the structural constraints that have shaped—and often obstructed—the institutionalization of Byzantine studies in Türkiye. The study demonstrates that while early contributions by foreign scholars and pioneering Turkish academics were foundational, systemic bottlenecks—such as the absence of dedicated departments and programs (particularly in Byzantine history and archaeology), inadequacies in field-specific graduate education, deficiencies in knowledge of modern and source languages that limit the cultivation of researchers, and ideological resistance to Byzantine cultural heritage—have constrained the field's development and its institutionalization. Nonetheless, important bridges have emerged: research centers and symposia have fostered collaboration, visibility, and renewed generational interest in the discipline. The dissertation concludes by offering actionable strategies for strengthening Byzantine studies in Türkiye, including curricular reform, mentorship structures, cross-disciplinary networks, and participatory academic communities. It argues for a reframing of Byzantine studies not only as a field of historical inquiry but as a site of intellectual, institutional, and cultural negotiation—one whose future depends on inclusive, reflexive, and sustainable academic practices. As a participatory action research component, the dissertation culminates in the development of Bizantolog.org, a virtual community platform designed to address institutional fragmentation and foster peer-based academic solidarity. This platform serves as an intervention aimed at creating sustainable scholarly networks, encouraging inclusive engagement, and offering a replicable model for digital humanities–driven community building.

The plant subsistence strategies of neolithic northwest Türkiye

This study investigates the process of Neolithization of Northwest Türkiye in the 7th and early 6th millennium BC through a detailed macro-archaeobotanical analysis of four Neolithic sites: Barcın Höyük, Bahçelievler, Hoca Çeşme, and Aşağı Pınar. Moving beyond simplistic diffusion models, the research frames Neolithization as a mosaic of localized adaptations rather than a uniform transition. Employing comparative methods grounded in archaeobotanical datasets and informed by Human Behavioral Ecology, the thesis examines plant-based subsistence strategies and their spatial and chronological variations. The results reveal a cereal-centered plant economy across all sites, with pulses and gathered plants integrated in site-specific ways. Barcın Höyük presents evidence for early structured agricultural knowledge and crop storage, Bahçelievler shows gradual changes and increasing diversification over time, while Aşağı Pınar displays a high frequency of pulses alongside cereals, suggesting a well-integrated storage strategy and diverse crop range. These patterns reflect how ecological niches, cultural choices, and adaptive behaviors jointly shaped the uptake and modification of the Neolithic way of life. By introducing new archaeobotanical data and emphasizing intra-site and inter-site variability, this research contributes to broader discussions on the diversity of early agricultural practices and underscores the importance of regional perspectives in understanding the complex dynamics of Neolithization.

Anadolu Selçuklu sikkelerinde yazı dışı figüratif öğeler

Anadolu Selçukluları'nın kuruluşundan, sona erişine kadar geçen süre de, şu ana kadar kazılarda bulunmuş ve teşhir edilmiş 14 sultanın sikkesi bi linmektedir. Anadolu Selçuklularının kurucusu I. Süleymanşah ile I. Kılıç Ars lan ve Şehinşah'ın henüz daha sikkelerine rastlanmamıştır. Tarihçi Osman Turan tarihi belgelerde Şehinşah adına sikke bastırıldığını söylemektedir. İlk bulunmuş sikke I. Mesud'a ait olup, bunlar komşuları Hıristiyanlarla kestirdikleri müşterek sikkelerdir. Ve bu sikkeler bakır sikkelerdir. İlk Dinar ve Dirhem sikkeler II. Kılıç Arslan dönemine aittir. Anadolu Selçuklularının ilk kuruluş dönemlerinde bakır sikkeler kesil miş, daha sonra ekonomik hayatın ve refah seviyesinin artması ile Dirhem ve Dinar sikkeler kestirilmiştir. Bu sikkeler o kadar değerli olmuştur ki, Beylikler döneminde devlet sınırları dışına çıkışları yasaklanmıştır. Dinar sikkeler Moğol istilası sırasında, ganimet olarak yurt dışına götü rüldükleri için bugüne kadar çok az sayıda Dinar sikke kazılarda bulunmuş tur. Sikkeler dövme tekniği ile devletin kontrolü altında kestirilmiştir. Anadolu Selçuklularda 22 mahal, 23 de yerel olmak üzere 45 darphane faliyete geçmiştir. Sikkelerde kompozisyonlar daire, inci dizisi bordur, yıldız, yonca, altı dilimli gül yaprağı ve sade olmak üzere düzenlenmiştir.209 Anadolu Selçuklu sikkeleri çok bol figürlüdür. İnsan hayvan, fantastik, bitkisel, nesneli ve yazı motiflidir. İlk dönemlerdeki sikkelerde at üzerinde süvari olarak resmedilmiş Sultan figürlerine karşılık daha sonraki dönemlerde sadece yazı motifi görülür. Yalnızca II. Gıyaseddin Keyhüsrev Şir-i Hurşid motifini kullanmıştır. Konular Ortaçağın inanç ve düşüncelerini aksettirmektedir. Sikkelerde görülen her öğe, diğer sanat dallarındaki öğelerle paralellik gösterir. Bu figürlerde, Orta Asya, Şamanizm, İslam, geç Antik ve Bizans etkilerinin görülmesine rağmen bütün bu etkileşimlerin özümlenerek kendilerine has özgün resim anlayışı ile ortaya çıktığı izlenmektedir.

Amasya mezartaşları

Amasya ili merkezinde 134 mezartaşı tespit edilmiştir. Hazire ve mezarlıklar ile Amasya Müzesi'nde bulunan bu mezartaşları 14. - 20. yüzyılın ilk çeyreğine tarihlenmektedir. Örneklerde görülen form tipleri : 1- Sandukalar a - Şahidesiz Prizmatik Sandukalar b - Şahideli Prizmatik Sandukalar c - Üst Kısmı Yarım Silindir veya Sivri Sırt Kısmı Bulunan Yarım Silindir Şekillerindeki Kademeli Sandukalar 2 - Şahideli, Üstü Açık Dikdörtgen Sandukalar a. Şahide Formu Prizmal Gövdeli ve Kavuklu Olanlar b. Şahide Formu Düşey Dikdörtgen Plaka Halinde Gövdeli ve Kavuklu / Sarıklı / Olanlar Fesli Olanlar c. Şahide Formu Düşey Dikdörtgen Plaka Halinde Gövdeli ve Tepelikli 3 - Yekpare Şahideli Lahit Mezarlar 4 - Tek Halde Bulunan Şahideler, olarak belirmektedir. Mezartaşlarının süslemesinde bitkisel, geometrik ve nesnel motifler tek başlarına veya bir arada karma olarak kullanılmıştır. Figürlü süsleme ise tek örnek üzerinde görülür. 14. - 15. yüzyılda biçimlendirmelerde stilizasyona baş vurulmuştur. 16.ve 17. yüzyılda geleneksel motif ve süslemenin kısmen devam ettiği görülmekle birlikte doğadan seçilen gerçek bitki motiflerinin kullanılması dikkat çekici bir yeniliktir.Bu motifler stilize edilerek verilmişlerdir. 18. yüzyılın özellikle ilk yarısında, 16. - 17. yüzyıl mezartaşlarında görülen süsleme alışkanlıkları yer yer tekrar edilmiştir. Bununla birlikte geç dönem, süsleme unsurları, kompozisyon düzeni ve biçimlendirme açısından önemli yeniliklerin uygulandığı bir dönem olmuştur. Süslemede doğaya ve nesnelere daha gerçekçi bir tutumla yaklaşan anlayış kendini hissettirmektedir.Naturalist bir üslupla işlenilmiş çiçek motifleri ve meyve betimlemeleri dönemin mezartaşlarında görülen karakteristik süsleme unsurları olmuştur.

Kıyafetli albüm ve kitaplardaki Osmanlı kıyafetlerinden bazı örnekler

Osmanlı kıyafetlerinin kendine has, özgün ve dünyaca tanınan bir kimliği vardır. Bu araştırmada 1710-1820 yıllan arasındaki Osmanlı erkek ve kadın kıyafetleri, Levni, Buhari, Rafael, Van Mour, Fenerci Mehmed'in yaraşıra bir grup anonim sanatçı tarafindan yapılmış albüm veya kitaplardaki kıyafet, çizim, resim ve minyatürlerine dayanarak incelenmiştir. Gözlenen bulgular, ana hatlarıyla tasaca şöyle özetlenebilir: 18. yüzyıl saray ve askeri erkek giyim-kuşamlada benzerlikler fark edilmektedir. Aynı nitelikler bazı farklılıklarla Türk halk kıyafetleri için de geçerlidir. Yalnız, saray kesiminin kıyafetleri daha kaliteli kumaşlardan yapılmıştır. Osmanlı erkekleri, üstlerine bazen kürk kaplı, önü acık, bele kadar düğmeli, üstlükler giymişlerdir. Bunların altında uzun kollu, Önü açık, soldan sağa doğru kapanan entariler bulunmaktadır. Potur, çakşır, şalvar gibi giysilerin yaraşıra ayaklarında yemeni, pabuç veya mest benzeri çizmeler giymişlerdir. 18. yüzyıl kadın giyiminde önü açık, bele kadar düğmeli, uzun veya tasa kollu entariler göze çarpmaktadır. Entariler, 18. yüzyılın ortalarından itibaren küçük serpme çiçeklerle süslüdür. Entarilerin altına giyilen hırkaların genellikle üçgen kesimli kol peçleri vardır. 18. yüzyılın ilk çeyreğinden itibaren hotozlar moda olmuştur. Hotozlarını, alınlarım çevreleyen, oyalarla süslü başörtüleri ile tutturmuşlardır. Şalvarları çizgili veya çiçek desenlidir. 19. yüzyılın başında saray ve askeri Türk erkek kıyafetlerinde en üstte önü açık, kısa veya uzun kollu, sırt tasımlarından yalancı kol yenleri sarkan, kürk kaplı, üstlükler giyildiği görülmektedir. Bunun altına yine önü açık, uzun kollu entariler giyilmiştir. Üst giyiminde saka, cepken gibi kıyafetler de kullanılmıştır. Başlıklar çok çeşitlidir. Kallavi, börk, süpürge sorguçlu üsküf, serdengeçti kavuğu, kalafat sangı gibi serpuşlar takarlardı.19. yüzyılın ilk çeyreğinde Osmanlı kadınları, üç etek ve dört etek modeli entariler de giymişlerdir. Bunun yanısıra "U" yakalı, göğüs dekolteli, peçli ve önü açık entarilerin giyilmesine devam edilir. Serpme çiçek desenli ve kordon tutturma teknikleriyle süslenen entarilerin içine ince dokunmuş, iç gömlekleri giymişlerdir. Şalvarlı çiçek desenli veya düz kumaştandır.

Geç Tunç Çağı sonrası İonia yerleşim mimarisi

Kıta Yunanistan ve Ege Adaları'da yapılan kazılar sonucunda Demir Çağlara yönelik bilgilerimiz geniş olmakla beraber Batı Anadolu'da özellikle Erken Demir Çağ'a ait tabakalar yeterince aydınlığa kavuşturulamamıştır. Bu durum bölgedeki yürütülen kazıların yetersiz olması ya da ilgili tabaklara henüz ulaşılamamış olması ile açıklanabilir. İonia kentlerinin uzun süreli ve kesintisiz iskânı sonrasında Demir Çağ'a ait tabakaların daha geç dönem yapılarının altında kaldığı düşünülmektedir. Ayrıca geç dönem yapıları tarafından tahrip oldukları da akılda tutulmalıdır. Geç Tunç Çağ'da daha çok Kıta Yunanistan merkezli Myken ve Girit merkezli Minos kültürünün Batı Anadolu ile etkileşimleri söz konusudur. Batı Anadolu'nun önemli Geç Tunç Çağı merkezleri arasında yer alan Panaztepe, Bakla Tepe, Troia, Liman Tepe ve Miletos gibi yerleşimlerin kültür tabakalarında bu kültürlerin yoğun etkisi tespit edilmiştir. Bu etkileşim kendini mimari kültürde de göstermektedir. Daha çok kompleks ve belirli plan çerçevesinde olan ve sokaklar ile bölünen bu dönemin yapıları Erken Demir Çağ'a gelindiğinde yerini Ege Göçleri'nin etkisiyle müstakil, düzensiz yapılara bırakmıştır. Çalışmanın ana konusunu oluşturan İonia Bölgesi'nin Erken Demir Çağ'a tarihlenen, Phokaia, Klazomenai, Smyrna, Ephesos, Miletos, Erythrai, Khios Emporio ve Samos'ta ortaya çıkarılan yapılar, çağdaşı Yunanistan ve Ege Adaları'nın çoğunda görüldüğü gibi oval, apsidal ve megaron planlı yapılardır. İonların Ege Göçleri'nden sonra İonia diye anılan bölgeye gelişleri ve bu merkezlerdeki kurulan yerleşimlerin mimarisi, topografyası ve coğrafyası antik kaynaklar da göz önünde bulundurularak değerlendirilmiştir. Aynı zamanda bölgede yürütülen son kazılar ile konu hakkındaki bilgilerimizin güncellenmesi amaçlanmıştır.

Zerzevan Kalesi ok uçları

Üst Paleotik Dönem'den günümüzün modern silah kullanımların olduğu dönemlere kadar avlanma, savaş, idman amaçlı olarak kullanılan ok uçları, farklı malzeme ve yapım teknikleri ile tarih boyunca yoğun bir üretim ve kullanım görmüştür. Askeri teçhizatlar arasında saldırı araçları içinde yer alan ok uçları, uzak mesafe silahlarından en çok üretilen ve kullanılan olmuştur. Savaşta saldırı esnasında atıldığı yerde kalan ve daha sonra kullanılmayıp askeri olayların geçtiği yerlerde yapılan arkeolojik kazılar ile gün yüzüne çıkartılarak dönemin siyasi, askeri ve kültürel ilişkileri hakkında bilgiler vermektedir.Yüksek Lisans tez çalışmasının ana materyalini oluşturan Zerzevan Kalesi, Roma ve Parth / Sasani arasındaki mücadelede yer alan garnizonlardan biridir. Yerleşimde 2014 – 2018 yıllarında gerçekleştirilen kazılarda ortaya çıkarılan 95 adet demir ok ucu incelenmiştir. Arkeolojik çalışmalar ışığında elde edilen verilerden ok uçlarının değerlendirilmesi, incelenmesi ve yorumlanması yapılmıştır. Zerzevan Kalesi kazısına başlandığı ilk günden itibaren bulunan farklı tür ve nitelikteki ok uçları, bu çalışmanın oluşmasında esas faktörlerden biri olmuştur. Yapılan çalışmalarda elde edilen ok uçları demir malzemesinden olup, buluntu kontekstlerine göre belli dönemlere tarihlendirilmektedir. Çalışma ve incelemeler çerçevesinde yerleşimde bulunan ok uçlarının, kaynaklarda yayımlanmış olan benzerleriyle mukayese yapılıp, kontekslerdeki eş bilgilerin yardımıyla kataloglardaki bölümlerin tarihlenmesi de yapılmıştır. Zerzevan Kalesi'ndeki ok uçlarının hem Roma hem de Sasani'nin egemen oldukları alanlardaki benzerleri ile inceleme esnasında iki egemen güce ait ok uçları oldukları anlaşılmıştır. Tarihlemelerde ya benzerlerinin tarihlendiği dönemler ya da aynı seviyedeki buluntu konumlarındaki paralel bilgilerde dikkate alınarak tarihleme yapılmıştır. Bu tez ile beraber Zerzevan Kalesi Kazısı'nda ortaya çıkarılan ok uçlarının terminoloji, tarihlendirme ve işlev gibi sorularına çözüm aranmıştır.

Urartu dini ve tapınım sistemleri

Medeniyetlerin beşiği olan Urartu Medeniyetinin, Anadolu'dan Kafkaslara kadar kendi içinde barındırmış olduğu karmaşık inanç sistemiyle, bugünkü anlayış sisteminden daha güçlü bir hoşgörü ve anlayış metoduna sahiptir. Bu din hakkında bildiğimiz birçok şeyin kaynağı çivi yazılı belgeler, kemer, kalkan, miğfer, adak levhası gibi eşyalar üzerindeki kabartmalardır. Çivi yazılı belgeler, Urartu Tanrılarının adlarını ve yılın belli dönemlerinde onlara sunulacak kurban ve sunu miktarlarından söz eder. Bu yazıtların en önemlisi Van yakınlarındaki Zımzım Dağı'nda bulunan Meher Kapı yazıtıdır. Kemer, kalkan, adak levhası gibi eşyalar üzerinde bulunan kimi figürler ve dini törenlerin canlandırıldığı sahneler çivi yazılarını tamamlar niteliktedir.Yine son 50 yıl içinde bölgede yapılan nekropol kazıları da bu dine mensup insanların ölü gömme gelenekleriyle ilgili bilgilerimizi arttırmıştır. Bir diğer önemli kaynak tapınak ve dinin hizmetindeki kaya yapıları ile mimaridirUrartu Tanrılarının kent devletlerinin koruyuculuğunu üstlenmesi, bağ ve bahçe verimliliği ile ilgili olarak onların adına adaklar sunulması ve daha birçok yapı sistemi içinde rol almaları bizi Urartu dini hakkında bilgi sahibi yapmaktadır. Günlük hayatta ve devlet yapısında tanrıların tabiatla ilgili rolleri tanrıları insan biçiminde algılamalarına neden olmuştur.

Yakındoğu Neolitiğinde Natuf ve Nemrik kültürleri

Neolitik Dönem, yaşamı değiştiren birçok gelişimin çok hızlı yaşandığı bir dönemdir. Ancak bu dönemi, yalnızca besin üreticiliği ve bunun sonucunda elde edilen artı ürünün insanlara sağladığı rahatlılıkta, tarım ve hayvancılıkta aramamak gerekir. Çünkü, bu dönem çok daha kapsamlı ve geniştir.İnsan toplulukları gelişim sürecinde karşılaştığı ihtiyaçlar doğrultusunda gelişen arayışları, bazı deneyimleri ile ortaya koymuştur. Bu arayışlar, devrim olarak etkileyecek yenilikleri beraberinde getirmiştir. Bu yenilikler, insanın her türlü yaşantısında yani sanat, mimari, ekonomi, teknoloji, gömü gelenekleri gibi birçok yönden olup bunların yeniden şekillenmesini sağlamıştır.Çalışmanın ana konusu olan Natuf ve Nemrik yerleşiklerinin izleri, maddi kültürde belirgin olarak görülmektedir. Yakındoğu Neolitik Dönemi'ni büyük ölçüde etkileyen Natuf ve Nemrik kültürleri, Paleolitik Dönem unsurlarını içinde barındırmakla beraber, kendi dönemlerine de getirdikleri yeniliklerle yaşamın her türlü alanında dönüm noktası sayılmışlardır. Ayrıca, tez çalışmasında, Anadolu'yu da kapsayan Yakındoğu Bölgesi'nin bazı yerleşiklerinde ele geçen maddi unsurlar, Yakındoğu Neolitiği'nin kültürel, sanat ve dini uygulamaları göz önüne alınarak genel bir bakış açısıyla değerlendirilmiştir.

Yezidiler üzerine sosyo-arkeolojik inceleme

Senkretist (Bağdaştırmacı) bir din olarak görülen Yezidiliğin kelime kökeni,?Allah yolunda gidenlerin inancı? anlamına gelen ?Ezidiyati?dir.Sabiilik, Zerdüştlük, Mithraizm, Maniheizm gibi eski inançların üzerine inşaedilen ve onların ardılı olduğu düşünülen bir topluluktur. Yezidiler, Melek Tavus?unseçilmiş halkı olduğunu kabul eder, bu yüzden Yezidiliğe girmek söz konusu değildir.Yezidi dini her ne kadar 12. yüzyılda yaşamış olan Şeyh Adi ile başlatılırsa da buinancın kökeni daha da gerilere uzanmaktadır.Osmanlı döneminde dini inançlarından dolayı katliamlarla karşı karşıya kalanYezidiler?in bir kısmı Osmanlı-Rus Savaşı sırasında Kafkaslar?a göç etmişlerdir.Günümüzde Türkiye?de yaşayan Yezidi nüfusun çoğu Avrupa?da yaşamaktadır.Yezidiler?de, eski dönemlerde eğitim hakkı toplumda sadece ruhban sınıfınaverilmesine rağmen, günümüzde isteyen herkes eğitim alabilmektedir. Toplumda kastsistemini andıran hiyerarşik bir örgütlenme söz konusudur.Yezidiler, evreni, melekleri ve Adem?i yaratan, fakat sonrasında pasif kalmayıtercih eden bir Tanrı anlayışını benimsemiştir. Bununla beraber Yezidiler, Tanrıtarafından kendisine dünyanın kontrolü verilen, itibarı yükseltilmiş ve tanrısalözelliklerle donatılmış Melek Tavus?a da iman eder ve ibadetlerini ona yaparlar.Kendilerini Melek Tavus?un seçilmiş halkı kabul ederler ve bu yüzden Yezidiliğegirmek söz konusu değildir. Yezidilik dini ile ilgili yasak ve kurallar iki kutsal kitaplarıolan Kitab el- Cilve ile Mushaf-ı Reş?te anlatılmıştır.Sözlü olarak aktarılan bir din olan Yezidilik?te, toplu ibadet edilen bir mekanyoktur. Günlük ibadetlerini bireysel olarak yapmalarına rağmen, ritüel ve bayramlaronlar için önemlidir. Yılın belli dönemlerinde, onlar için kutsal olan ve Musul?a 58kilometre uzaklığında olan Laleş Vadisi?ndeki Laleş Tapınağı?nda toplanmaktadırlar.

Diyarbakır'ın kentsel sit dokusu

Güneydoğu Anadolu bölgesinde yerleşik yaşam, özgün uygarlıklar kuran Hurrilerin; Urfa, Diyarbakır, Mardin, Kerkük bölgelerini yurt edinmeleriyle başlamıştır. Elcezire denilen Fırat ile Dicle nehirleri arasında, verimli tarım topraklarını kullanan ve Yukarı Dicle boylarına yerleşen Hurriler, Diyarbakır ve yakın çevresinde yerleşik yaşama geçen ilk millettir .M.Ö. 13. yüzyılın ikinci yarısından itibaren Asurlular, Aramiler, Urartular, İskitler, Medler, Persler, Makedonyalılar, Selevskoslar, Partlar, Büyük Tigran İdaresi, Romalılar, Sasaniler, Bizanslılar, Emeviler, Abbasiler, Şeyhoğulları, Hamdaniler, Mervaniler, Selçuklular, İnaloğulları, Nisanoğulları, Artuklular, Eyyubiler, Moğollar, Akkoyunlular, Safeviler ve Osmanlılar Diyarbakır'a egemen olmuştur. Kent, önemli yerleşim merkezlerinin kültür ve ideolijik alanlarının kesiştiği ve kimlik oluşturduğu bir tarihi geçmiş üzerinde şekillenmiştir .Kent surları, Roma döneminde inşa edilmiş ve günümüze kadar her uygarlığın, kitabe, figüratif bezemelerle üzerine eklemeler yaptığı bir kültür mirası olarak anıtsal özelliğini korumuştur/korumaktadır .Diyarbakır'ın kentsel tarihi dokusu ve mimari kimliğinin yer aldığı Suriçi bölgesi, halen özgünlüğünü koruyan somut ve soyut dinamikleriyle, varlığını sürdürmektedir. Kentsel sit alanı ilan edilen Suriçi bölgesinde; İçkale ve dışkale olmak üzere tarihi dönemlere ait pek çok mimari yapı ve öğeler bulunmaktadır. Mekansal zenginliğin üzerinde bulunan sosyal doku, geleneksel tarihi çevreyle bütünleşmiş ve Diyarbakır'ın bulunduğu coğrafya itibariyle tarihi merkez olmasında önemli bir rol oynamıştır.Bu çerçevede, güncel koruma olgusu ve yerel yansımaları, Diyarbakır yapılı tarihinin, geleceğe doğru aktarılmasında ayrıca bir önem taşımaktadır. Özellikle Suriçi Bölgesine ilişkin geçmiş plan kararlarının ve yürütülen Revizyon Koruma Amaçlı İmar Planının, Diyarbakır'ın tarihini korumada ne tür önlemler aldığı ve müdahaleler geliştirdiği değerlendirilmelidir. Bu kapsamda, benzer hassasiyetlere sahip farklı kaleli kent örneklerine ilişkin uygulamalar, koruma pratiğinin geliştirilmesine önemli katkılar sağlayacağından incelenmiştir. Elde edilen sonuçlarla; teorik bir planlama süreci kapsamında bir modelleme önerisi sunularak plan çalışmalarına ilişkin somut öneriler tartışılmıştır.Anahtar sözcükler: Diyarbakır Kent Tarihi ve Kimliği, Suriçi Eski Kent Merkezi, Kaleli Kent Uygulamaları.

Diyarbakır Merkez maddi kültür varlıkları

Diyarbakır tarihi açıdan büyük bir önem taşıyan Mezopotamya ve Bereketli Hilal bölgesinde yer alır. Mezopotamya eski Yunancada

Antik Yunan'da Devlet

Birden fazla insanın bir araya geldiği yerde bir düzen ihtiyacı doğar. Zaman içinde toplumlar geliştikçe düzenin kuralları biçimlenmeye ve yayılmaya başlamış, kuralları uygulayacak kurumlar oluşmuştur. Devlet ile ilgili görüş ve düşünceler insanlık tarihi boyunca düşünürler tarafından irdelenen önemli konular arasında yer almıştır. Devlet aygıtı ve yönetim biçimleri, eski Yunan Felsefesinde de önemli yer tutmuştur. M.Ö. VI. ile IV. yüzyıllar arasında en parlak devrini yaşayan Antik Yunan felsefesi, özellikle Sokrates, Platon ve Aristo ile zirveye ulaşmıştır. Batı'da, devletin kökeni Eski Yunan kent-devletine (polis) dayanır. En eski devlet kuramcıları sayılan Platon ve Aristoteles'e göre devlet, bütün bir insan topluluğunun siyasal, toplumsal, kültürel ve ekonomik gereksinmelerine en iyi yanıt verebilecek, böylelikle daha iyi bir yaşamı gerçekleştirebilecek tek örgütlenme biçimidir. ?İdeal Devlet? düzeni arayışında olan Platon, Polis?in yetkin bir biçimde yaşamını sürdürmesi için çeşitli yönetim modelleri önermiştir. Aristo ise Platon?dan farklı olarak olması gerekenle değil, var olanla ilgilenmiştir. Aristo Politika, adlı yapıtında, Polislerin yapı ve kurumlarının karşılaştırmalı bir araştırmasını yapmıştır. İnsanın ?Zoon Politikon? (toplumsal ve düşünen bir hayvan) olduğunu söyleyen Aristoteles, insanın toplum hayatı dışında düşünülemeyeceği belirtmiştir. Antik Yunan kent devletlerinin yönetim biçimleri ve demokrasi deneyimi günümüz demokrasileri ve yönetim biçimlerine de kaynak teşkil etmiştir.

Yukarı Fırat Havzası Roma Dönemi kalıntıları

Yukarı Fırat Havzası yerleşmesi olan Urfa, antik çağda Güneydoğu Anadolu Bölgesi'nin en önemli yerleşimlerinden birisi durumundadır. Roma döneminde Edessa olarak anılan kent, Harran ile birlikte Kuzey Mezopotamya ile Güney Anadolu'da önemli ticari yolların düğümlendiği önemli bir buluşma noktasında yer alır. Zaman zaman bağımsızlığım korumakla beraber, stratejik konumundan dolayı her zaman döneminin güçlü devletlerinin (Part, Roma, Sasani) ilgi alanına giren bölge, egemen güçler arasında sürekli el değiştirmiştir. Osroene Krallığı adıyla bilinen ve başkenti Edessa olan bu topraklar uzun süre Roma'ya bağlı kaldığından Roma kültür ve sanatı yerel doğu etkileri ile yoğrularak dönemin sanat eserlerine yansıtılmıştır. Çalışmada, ilk olarak geniş zaman dilimlerini ilgilendiren kentin tarihi dokusu ana hatlarıyla ortaya konmuş; devamında Roma dönemi ayrıntılı olarak irdelenmiş; bu kapsamda, Urfa'daki arkeolojik kalıntılar aracılığıyla bölgedeki Roma varlığı tanımlanmaya çalışılmıştır.

Antiphellos Kayatapınak Gömütü

Alabanda Apollon Isotimos Tapınağı

Alabanda, Karia Bölgesinde yer alan önemli kentlerden biridir. Strabon tararından, Hellenistik Dönemde zenginliği ve akrepleri ile ünlü olduğundan bahsedilir. Kentin adı ilk olarak, İÖ. 197 yılında yapılan Makedonya Savaşında, Roma müttefikleri arasında geçmektedir. Anadolu'nun Seleukoslar egemenliğine girdiği sırada da Antiokheia ismini alır. Bu ardından, Makedonya Savaşı sonrasında İÖ.190 yılında yapılan Apameia Barışı ile Roma tararından Rhodos hakimiyetine geçer. Kentte ilk para basımı, İÖ. 198/7 yıllarında görülür. Bu durum, ismi Antiokheia olmadan hemen önce gerçekleşir. İÖ. 197-190 yıllan arasında paralar üzerinde Antikheia ismi görülürken, İÖ. 190 yıllarından sonra tekrar Alabanda ismi okunur. Rhodos Egemenliğinden İÖ. 167'de kurtularak, asyle hakkım elde eder. İÖ. 132 yılında başlayan Aristonikos ayaklanması sırasında kentin adı geçmez. İÖ. 81 'e tarihlenen, Lagina'da bulunmuş bir yazıtta Alabanda'ya verilen dokunulmazlık hakkından söz edilmektedir. Bu yazıt, Alabanda'nın İÖ. 1. yüzyılda özgür bir kent olduğunu kanıtlar. İÖ. 1. Yüzyılın ikinci yansında, Labienus'un baskılan sonucunda ortaya çıkan ayaklanmalarda, Mylasa'nın yarımda yer alır. Bu dönemin ardından, Roma İmparatorluğu yönetiminde, kentte Sebastheus ve Roma kültleri kurulur. Alabanda daha sonra Aphrodisias Psikoposluğuna bağlı bir merkez olur. Türk döneminden günümüze kadar da yerleşim günümüze kadar sürer. Hellenistik Dönemde önemli bir yere sahip Alabanda Apollon Isotimos Tapınağı plan ve mimari bezekleri yardımıyla tarihlenmeye çalışılmıştır. Tapınak pseudo dipteros planda ve 8x13 sütun sayısına sahiptir. Plan ve sütun ölçüsü ile Hermogenes geleneğinde bir yapı olduğu anlaşılmaktadır. Mimari özellikler açısından Lagina Hekate Tapınağı ile yakın benzerlikler gösterdiği dikkat çekmektedir. Bundan dolayı mimarlarının aynı olabileceği düşünülebilir. Sonuç olarak, iki tapınağın tarihinin bir birine yakın olması gerekmektedir. Dolayısıyla, Alabanda Apollon Tapınağı İÖ.100 civarına tarihlenir.

Anadolu'da paleolitik araştırma -tarih, sorunlar ve perspectif-

The main purpose of this thesis is to try to evaluate Palaeolithic archaeology according to the academic atmosphere in Turkey and its current situation independent from the events which lie in its background. The Palaeolithic Period covers the first and the longest period of human history. The development of the discipline in both practical and theoretical aspects began in the first quarter of 19th century in Europe. In Turkey, however, it was only a century later that this discipline became popular. This thesis explores the research history of Palaeolithic archaeology in Turkey and the current status of the discipline, which began in the 1930s under the auspices of the government with the objective of forming and strengthening a national identity. Within this context, academic analysis was based on the data of material culture; this research then played an important role in constructing a local chronology. In this thesis, the current state of the discipline is also considered. The history and problems encountered during the emergence of this academic discipline are addressed. Inspections of both European and Turkish research agenda, as well as the academic education policies are evaluated and compared. Efforts of public education with the goal of increasing awareness of Palaeolithic Archaeology are also analyzed. Lastly the applicability and contribution of these research projects and publication disseminating Palaeolithic archaeology analyzed and presented. Keywords: Anatolia, Europe, Palaeolithic Archaeology, Problems of Palaeolithic Archaeology, Research History.

Antalya Müzesi'nde bulunan bir grup Bizans sonrası ikonanın tarihsel ve ikonografik incelenmesi (2 cilt)

Figures, one Table The present thesis explores a group of twenty unpublished Post Byzantine Greek Orthodox icons housed in the Antalya Museum. The entire collection of icons in the Antalya Museum numbers 172. These twenty icons, a representative sample of the whole collection, are examined in terms of their chronology, provenance, and stylistic and iconographic features. A detailed catalogue of the icons provides a complete documentation. The icons rarely have fixed dates. Of the twenty presented here, two have dates painted on them, and five others have either dates pencilled on the back or iconographic indicators of dates, and so can be assigned a terminus post quern or a terminus ante quern. These dates, either a precise year or within a certain range, are in the nineteenth and early twentieth centuries. The remaining thirteen icons, because of general similarities of their style and iconography to these seven, seem also to be products of the nineteenth and early twentieth centuries. The place of manufacture of these icons is almost without exception unknown. However, they all ended in Antalya, and thus represent the tastes of nineteenth century Greek uOrthodox Antalians and the kinds of icons that they could obtain, either locally or while on travels. The thesis first explores the cultural context of the Greek Orthodox community of nineteenth and early twentieth century Antalya. Then, as a background for the twenty Antalian icons, the nature and purpose of icons are surveyed, from early Christianity to modern times. The catalogue follows. Finally, the chronology, place of manufacture, and stylistic and iconographic features are discussed. Four stylistic approaches are identified: Conservative, Provincial, Western, and Eclectic. Their usesamong the twenty Antalian icons and selected icons from elsewhere in Turkey and Greece are discussed. The icons housed in the Antalya Museum provide information on the Greek Orthodox population of Late Ottoman Antalya, both as artistic expressions of religious beliefs and practices and as historical documents. But Post-Byzantine art, especially as it survives in Turkey, has been little studied and is poorly known. This study, by presenting twenty previously unpublished icons from the Antalya Museum collection, has taken a step toward filling this gap. in

Tepede bir hayat: Sütun azizleri üzerine bir inceleme

This thesis presents the available information about the stylite saints who lived during the Byzantine period within the borders of modern Turkey. Stylites are Christian ascetics who lived on top of columns. There are over a hundred stylites mentioned in written sources, who lived between the fifth century and the nineteenth century. The vast amount of information is diverse ranging from historical and literary evidence to art historical and archaeological remains. This evidence is evaluated in order to present the circumstances that led to the invention of stylitism and outline a stylite's daily life. Later, the iconography of stylites is discussed. The last section of the work is reserved to the Monastery of St. Simeon the Younger in Samandağı near Antioch. The author hopes that this work has contributed to this interdisciplinary subject for the use of future studies. Keywords: Architecture, Ascetic, Asceticism, Byzantine, Christianity, Saints, Stylite, Stylitism, Syria. m

Issus Ovası ve Amanus Dağlarında Hellenistik ve Roma yerleşim modelleri

This thesis analyzes the Hellenistic and Roman settlement patterns in the plain of Issus and in the range of Amanus, in Hatay, Turkey. The results of Dr. Katherine Wright and Dr. Timothy P. Beach and Ezgi Akpmar's archaeological and geo-morphological work in the area were combined to illuminate the aforementioned periods' habitation models. The Issus plain and the sectors of the Amanus Mountains facing it, initially a region of the Seleucid kingdom and then a province of the Roman Empire, were geographically similar to the other parts of Cilicia. As a result, the area was likely to have developed comparable trajectories in terms of settlement between the two periods. In conclusion, the settlement patterns of the Hellenistic and Roman times, obviously communicated something of the nature of the civilian peace in Cilicia during these two periods. Keywords: Plain of Issus, Amanus range, Hellenistic and Roman settlement patterns. m

Batı Suriye`de Geç Tunç çağındaki Hitit yönetimi ve Mısır etkisinin yansımasında Ugarit Mühür başkalaşımları

Çalışma, hangi yollarla Geç Tunç Çağı`nda Kuzey Suriye`deki Hitit politik kontrolün Ugarit gliptiği ve mühürlenmiş dökümanların metodlarını etkilediği ve değiştirdiğini araştırır. Bu çalışma, başlıca Ugarit`te bulunan yüzük, damga ve silindirik mühür damgalarını analiz eder ve bunları Hattuşa, Emar ve Hitit Krallığı içindeki diğer yerleşmelerdeki benzer buluntular ve parelelleriyle karşılaştırır. Yüzük mühürün yeni bir şeklinin gelişimiyle sonuçlanan mühürleme alışkanlıkları ve mühür tiplerindeki farklılıkları tartışır. Bu farklılıklar ayrıca Hitit memurlarının Suriye topraklarının yönetimine karışmasına ve buna ilaveten derebeyi kralları ve onların adamlarının aynı zamanda farklı tiplerde mühürleri kullanmalarına sebep oldu. Bazı durumlarda bir bireyin çeşitli mühür tiplerini kullanılması bu insanın hayatı ve kariyerinde daha sonraki dönemlere yansır. Tez ayrıca Ugarit`in Hitit krallarına boyun eğmesiyle oluşan ikonografideki değişiklikleri tartışır. Ugarit ve Hitit mühür dizaynlarında vi Anadolu ve Mısır elementlerinin varlığının, derebeyi yönetimleri ve uluslararası politik durumla bağlantı kurarak, belirlenmesi ve açıklanmasına odaklanır. Anahtar Kelimeler: Mühür Baskisi, Halka Mühür, Baski Mühür, Silindir Mühür, Kil Tablet, Ikonografi, Çivi Yazısı, Hiyeroglif Yazısı.

Kakasbos/Herakles kültünün kökeni, dağılımı ve olası senkretizmleri

This thesis analyzes the local rider-god cult of Kakasbos/Herakleswihin an iconographical and religious framework. The possible origins andreasons for the popularity of the cult and possible syncretisms with other godsworshipped in Northern Lycia will be discussed alongside a presentation ofKakasbos/Herakles depictions in different media. The importance of the riderimage and the widespread popularity of the rider-heros in the Late Roman Art willalso be studied.Keywords: Kakasbos, Herakles, Rider god.

Iupiter dolichenus kültü: Kökenleri ve ikonografi

ABSTRACTTHE CULT OF IUPITER DOLICHENUS: ORIGINSAND ICONOGRAPHYKuşseven, PınarM.A., Department of Archaeology and History of ArtSupervisor: Asst. Prof. Julian BennettMay 2007This thesis examines the iconography of Roman deity Iupiter Dolichenusin order to gain an insight into cult?s hidden meaning. The image of weather godsfrom Iron Age to the Greco-Roman Period in Northern Syria is also investigatedsince the representation of Iupiter Dolichenus was unique in the West and theclose similarity of the representation of the god with the local weather gods ofNorthern Syria may point to the continuity of the cult.In the absence of ancient literary sources, the other gods, goddesses andsymbols represented in Dolichenian cult objects may express a part of Dolicheniandoctrine. This is why they are included into this study.Keywords: Iupiter Dolichenus, weather gods.

Obeyd döneminden eski Babil dönemine Mezopotamya tapınaklarının mimari ve kavramsal bir analizi

ABSTRACTAN ARCHITECTURAL AND CONCEPTUAL ANALYSIS OF MESOPOTAMIANTEMPLES FROM THE UBAID TO THE OLD BABYLONIAN PERIODSoudipour, Amir H.M.A, Department of Archaeology and History of Art.Supervisor: Dr. Marie-Henriette GatesFebruary 2007This study attempts to explore the architecture of Mesopotamian temples fromthe Ubaid to the Old Babylonian period. It analyses the ways in which the layout ofthe temples changed and developed through time. It argues how different factors suchas ideology, cosmology, religion and environment were reflected in the architectureand function of temple complexes. The thesis also looks closely at the concept of thetemple as the house of god, and by comparing the selected temples of differentperiods to the domestic architecture of the same period, aims to trace the influenceand reflection of the domestic structure on the sacred structure and to determine inwhich period the structural similarity reaches its zenith and declines. Changes inMesopotamia?s social organization can be linked to these changes in temple layout.Keywords: Mesopotamia, Temple, House, The temple as the house, Ideology,Religion, Cosmology, Environment.iii

Kinet Höyük'ün jeofiziksel yöntemle araştırılması: Manyetik yöntemle yapılan yüzey araştırma sonuçlarının kazı sonuçları ile karşılaştırılması

This thesis analyzes the results of the magnetic survey conducted at theprehistoric mound of Kinet Höyük, on the Issos Plain (Hatay, Turkey), and those ofthe test excavations, which were conducted according to this geophysical survey. Themain focus of this study is to compare the magnetometer survey results with the datafrom the test excavations to verify how proficient this method is for revealing thesubsurface features of Kinet Höyük and its surrounding area. This comparison shouldallow us to test the applicability of these kinds of methods for archaeology.Keywords: Kinet Höyük, Geophysical survey methods, Archaeology, Magneticsurvey.

Hallan Çemi Tepesi'nin mutlak tarihlemesi ve göoreli tarihlemesi

This thesis challenges the claim that Hallan Çemi (near Batman in Southeastern Turkey) was occupied during the Epipaleolithic (11th millennium BP). While techno-typological analyses of some objects, chipped stone in particular, appear to place the site?s occupation within the 11th millennium, the iconography etched into ground stone and worked bone is too similar to PPNB sites in the Urfa Plain to ignore. The excavator himself has provided various descriptions of the site, from Epipaleolithic to Aceramic Neolithic. This terminological discrepancy reflects not only on the problem of dating Hallan Çemi, but also on the larger issue of how one should describe the prehistory of Southeastern Anatolia. The latter problems are claimed to be the combined product of a) the relatively few sites within the region with which to contextualize Hallan Çemi and construct a local chrono-cultural scheme, and b) the related issue of imposing terminologies from other regions which may not be appropriate for Southeastern Anatolia.

Güzel atlar diyarı: Kapadokya'daki orta Bizans yerleşimlerinde yer alan ahırlar

The present work is a study on horses and horse breeding in Middle Byzantine Cappadociawith special attention being paid to the architectural evidence, namely, the stables. The majoraim here is to test the hypothesis that the landowner magnates living in monumental rock-cutmansions bred horses in their large stables to supply their own troops, as well as those of theimperial army. In order to evaluate this further, this thesis investigates the stables of the elitemansions in three settlements, Açık Saray, Çanlı Kilise, and Selime-Yaprakhisar. Thearchitecture of the stables is discussed along with their possible functions and meanings.Architectural data is supplemented by literary evidence on horses and horse breeding in theByzantine world.Keywords: Byzantine horses, horse breeding, Byzantine stables, Cappadocia