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The secretarybird dilemma: identifying a bird species from the Temple of Hatshepsut at Deir el-Bahari

Author(s): Kamila Braulińska / Language(s): English Issue: XXVII/2018

Known from a few representations in Predynastic Egyptian art, the secretarybird has otherwise been elusive, in the art of Pharaonic Egypt as well as the scientific discourse on iconographic imagery of birds in ancient Egypt. The author’s studies of the animal decoration at the Temple for her doctoral dissertation identified three images of birds belonging most likely to the same species, depicted in the context of the expedition of Hatshepsut shown in the Portico of Punt. The zoological identification of the species as the secretarybird (another possibility is the African harrier-hawk) derives from an in-depth analysis of the bird’s systematics, appearance, distribution and habitat, as well as behavior, which are essential for proper species recognition and instrumental for understanding the rationale behind bringing this particular bird from the “God’s Land”.

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An “achtformige” bronze lamp from Ptuj/Poetovio

Author(s): Aleksandra Nestorovič,Laurent Chrzanovski / Language(s): English Issue: XXVIII/2019

This research highlights a recent discovery, at Poetovio, among a huge number of standard imported Roman oil lamps, of an open-shape copper-alloy lamp to be used with tallow (type Loeschcke XXV). This form, together with its clay counterpart (type Loeschcke XI), is typical of the northern Roman limes provinces where its production and usage was almost exclusive. To understand the uniqueness of this find so far south, the authors have mapped all the known parallels made of different metals. They also present a short introduction to the very eclectic clay variant, which is marginal almost everywhere except for Trier, where it constitutes by far the most common type, quantitatively speaking, of Roman lamps found in situ.

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Roman lamp from the 'Aρχέπολις workshop and other late antique lamps from Burial House 1/2007 in the Harbour Necropolis of Ephesos

Author(s): Marina Ugarković / Language(s): English Issue: XXVIII/2019

The article presents ceramic lamps discovered during the 2007 rescue excavation conducted in Burial House 1/2007 in the Roman and late antique Harbour Necropolis of Ephesos, located north of the harbour channel. An imported Roman lamp of probable Cypriot origin, with the first instance of an 'Aρχεπόλεως signature coming from Ephesos, is given special attention among the grave goods from Grave 3. It depicts Hercules dragging Cerberus from the Underworld. Other finds represent imported and local late antique arts and crafts. Some of these may have been used in the context of Ephesian burial rites, most conceivably as lighting devices, contributing thus to a better understanding of local crafts and customer demand.

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Clay lamps from the temenos of Allat in Palmyra

Author(s): Maria Krogulska / Language(s): English Issue: XXVIII/2019

The excavation of the temenos of Allat in Palmyra in the 1970s uncovered a deposit of clay lamps with a few vessels and coins. Inside the cella, the lamps were clustered in two groups, a few examples were found also in the temenos outside the cella. All in all, there were 191 complete and fragmentary lamps, the bulk of them made locally in Palmyra. The assemblage reveals two trends in oil lamp production: wheelmade lamps with different numbers of nozzles and imitations of imported lamps moulded from archetypes. The assemblage from the temenos is of 4th century date, but many of the moulded lamps copy Greek and Roman types from the 3rd century, with Antioch-on-the-Orontes being a highly probable source of inspiration for Palmyrene lampmakers. Special in this context are rectangular multi-nozzled lamps with relief decoration, in one case menorahs framing a scallop shell and a figural fieze, most likely a Dionysiac thiasos.

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Two unpublished terracotta oil lamps from Marina el-Alamein in Egypt

Author(s): Abdel Baset Saad / Language(s): English Issue: XXVIII/2019

The two complete terracotta oil lamps published in this paper come from salvage excavations by an Egyptian team clearing House 21 in the ancient Graeco-Roman harbor of Marina el-Alamein on the northern coast of Egypt. Both are of Alexandrian manufacture, one of the two being an imitation of an Italic relief lamp. One is decorated with a representation of Sarapis enthroned, the other with a scene of roosters fighting. Both are from the 2nd–3rd century and reflect the Alexandrian cultural tradition in the life of this ancient town.

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Bronze and Iron Age pottery from Metsamor (2018 season)

Author(s): Mateusz Iskra,Tigran Zakyan / Language(s): English Issue: XXVIII/2019

A rich and diverse pottery assemblage from the Middle Bronze Age through the Urartian Red Burnished Ware and local “post-Urartian ware” of the Iron III period comes from occupational deposits discovered within the lower town of Metsamor during fieldwork in 2018. The stone architecture recorded in this sector functioned in the first half of the 1st millennium BC. The pottery finds thus represent periods from Iron Age I to Iron Age III, for the first time producing a detailed sequence for the previously less than satisfactorily documented Iron Age I phase. New types of pottery were also distinguished for the Urartian and post-Urartian phases.

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The West Wall of the Portico of Obelisks in Hatshepsut’s Temple in 2018 and 2019: conservation and studies

Author(s): Ewa Józefowicz / Language(s): English Issue: XXVIII/2019

The longest, west wall of the South Lower Portico (Portico of Obelisks) of the Temple of Hatshepsut at Deir el-Bahari has been reassessed in terms of its current state, compared to the original documentation by Edouard Naville, as an opening step to the author’s research project organized within the frame of the larger University of Warsaw Temple of Hatshepsut research program. A considerable number of blocks from the wall, including unpublished fragments, was tracked down in storage in the various temple blockyards and storerooms. About two-thirds of the wall decoration underwent conservation treatment in the spring of 2018 and 2019 seasons. The paper discusses the author’s progress in this research.

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Reconstruction of the bases of sandstone sphinxes from the Temple of Hatshepsut at Deir el-Bahari

Author(s): Katarzyna Kasprzycka / Language(s): English Issue: XXVIII/2019

The reconstruction of the iconographic program of the decoration of the sandstone bases of a group of sphinxes of Hatshepsut lining the processional avenue leading to the Queen’s Mansion of a Million Years in the temple at Deir el-Bahari is the prime focus of this article. The fragments of these statues discovered in the 1920s by the archaeological mission of the Metropolitan Museum of Art in New York were never published. The pieces were rediscovered in storage in 2005. A theoretical reconstruction has been undertaken, leading the author to identify an unusual iconographical pattern that reflects changes in art introduced in the times of Hatshepsut. The representations on the bases of the royal sandstone sphinxes from the queen’s temple include, among others, rekhyt birds, pat-people and “enemies of Egypt”. They take on a form that departs from that known from other sphinx sculptures.

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ŞANLIURFA HARBETSUVAN TEPESİ’NDEN BEZEMELİ TAŞ PLAKALAR

Author(s): Bahattin Çelik / Language(s): Turkish Issue: 52/2021

Research within the borders of Şanlıurfa Province in recent years has increased the number of Pre-Pottery period centers, among which cult central settlements have come to the fore. In particular, these settlements, which appeared in the late 10th and early 9th millennium BC, are usually small in scale and have a size between 6-10 decares. Studies so far have identified only three locations from large-sized ones of these settlements. These are Göbekli Tepe, Karahan Tepe and Ayanlar Höyük settlements. Small-scale settlements include Sefer Tepe, Kurt Tepe, Hamzan Tepe, Taşlı Tepe, Sayburç Höyük and Harbetsuvan Tepe. The common feature of these large and small settlements is that they contain obelisks shaped like "T." Archaeological excavations on Harbetsuvan Tepe, conducted in 2017 in conjunction with the Şanlıurfa Museum, continued for three periods until 2019. Architectural findings and archaeological explorations have emerged in this rescue excavation, which was mainly conducted to understand the extent of the destruction caused by the illegal excavation sites. The decorated stone vessels that were recovered from excavations on Harbetsuvan Tepe will be evaluated in this study. In general, the decorated stone plaques captured in Neolithic excavations come across as ornamental and statue objects. They are thought to have been used sometimes to fix flint or obsidian tips or arrowheads, like sharpening stones. The decorated stone plaques that come across as archaeological finds also provide crucial symbolic insights into the Neolithic Period, with motifs and figures on them. In this study, the three decorated stone plaques captured in the Harbetsuvan Tepe excavation were examined and compared with other finds explored in Neolithic period settlements. Furthermore, a dating was tried to be made based on similar decorated stone plaques.

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BOOK ON THE INSCRIPTION FOR BURYING A CRANE AND THE ART OF CHINESE CALLIGRAPHY

Author(s): Marek PISZCZEK / Language(s): English Issue: 9/2021

Review of: MAREK PISZCZEK - Lei Xue. Eulogy for Burying a Crane and the Art of Chinese Calligraphy. University of Washington Press, 2019, xii + 220 pp., hardcover. ISBN: 9780295746364

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GŁÓWNI PRZEDSTAWICIELE BUDOWNICTWA ORGANOWEGO W STANACH ZJEDNOCZONYCH W LATACH 1815-1860

Author(s): Andrzej Widak / Language(s): Polish Issue: 12/2021

In this article, the activity of the main representatives of organ building in the United States in 1815–1860 is discussed. This was a time when organ building moved from traditional organ workshops to organ factories. There were both individual organ builders and organ-building families and firms. Three centres – New England, New York and Pennsylvania – were in the lead. The main organ builders of those particular centres were: the Goodrich Brothers, Thomas Appleton, Thomas Hall and Henry Erben, as well as the Krauss and Dieffenbach families. In the other states, the building of organs was developing to a smaller extent, but it was under the influence of organ builders from the above-mentioned centres. Most organs were designated for churches, but chamber organs for home usage (Alley and Pool) were popular as well. In time, they were replaced by reed organs. Initially, organs were built according to English and German patterns, but a domestic style of organ building also started to take shape.

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TEOLOGICZNE ASPEKTY MUZYKI W UJĘCIU FLAWIUSZA AURELIUSZA KASJODORA

Author(s): Jacek Bramorski / Language(s): Polish Issue: 12/2021

This article is an attempt to present the main themes of the theology of music from the point of view of Cassiodorus (c. 485-580). He spent his life trying to preserve Greco-Roman cultural traditions, and worked to harmonise the culture of the ancient with that of the Christian world. He helped to save ancient culture at a time of impending barbarism, and was a model of cultural encounter, dialogue and reconciliation. Cassiodorus founded Vivarium, a coenobitic community in which everything was organised in such a way that an individual monk’s intellectual work was highly esteemed. For church men like Cassiodorus, the great value of the liberal arts, including music, inspired the intelligence needed by Christians to understand Scripture. His works on music are particularly valuable for the study of the early beginnings of church music. Cassiodorus’s rich scientific achievements in this field make him a forerunner of theological reflection on music.

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A CONTEXT-BASED TRANSLATION OF CHAPTER 14 “DE VOCIBUS NATURALIBUS IN ANIMALIBUS EORUMQUE ANATOMIA” FROM THE LIBER ANATOMICUS DE NATURA SONI ET VOCIS OF ATHANASIUS KIRCHER’S MUSURGIA UNIVERSALIS SIVE ARS MAGNA CONSONI ET DISSONI

Author(s): Temina Cadi SULUMUNA / Language(s): English Issue: 12/2021

The author’s aim is to present a context-based English translation of chapter 14 titled “De vocibus naturalibus in animalibus eorumque anatomia”, from the Liber anatomicus de natura soni et vocis of Athanasius Kircher’s Musurgia Universalis sive Ars Magna Consoni et Dissoni published in 1650 in Rome. The article is divided into three parts. The first one (introduction) states the reasons for doing a context-based translation of the chapter. The second part forms the main and most extensive part because it presents the translation itself, along with annotations. In the third part, emphasis is laid on the author’s conclusions regarding the importance of a context-based approach to the translation of Kircher’s text. An examination of the context proved to be essential for achieving both clarity and quality in the translation, avoiding significant interpretative errors, distinguishing between Kircher’s own statements and covert quotations, and providing the reader with additional information contained in the annotations, which shed light on, and comment upon, the issues raised by Kircher himself.

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ERKEN CUMHURİYET DÖNEMİ MEKÂN TASARIMINDA TEKSTİL MALZEMELERİNİN KULLANIMININ İNCELENMESİ

Author(s): Nuray Öz CEVİZ,Umay Yılmaz ARER / Language(s): Turkish Issue: 82/2021

The advances and developments that appeared with the Industrial Revolution have accelerated with the independence of the countries, and the synergy between the craftsmanship and machinery had become a power factor. Particularly the concept of textile has become an inseparable part of the word “art” in the 21st century with the influence of Bauhaus. The use of textile products in interior design as spatial elements made the disciplines of textile and architecture an integral whole. In the article, textile as one of the architectural elements was analyzed for the period where postwar Turkey was in her infancy and trying to rapidly recover, and artistic movements as well as architectural identities, investments and developments that impacted the process were examined. In addition, the power of England’s influence that emerged during 1920s in shaping the world’s textile market and her interactions are examined in the article with various examples. In this context, the concepts of space and textile in Early Republican Era’s Turkey are discussed both as an interior architecture decoration element and as one of the elements in the country’s progress. In this way, the study aims to demonstrate how the history of textile design has evolved through unique trends of each era; the designs, designers and institutions that shape the society and the varying role of textile in space design.

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AZERBAYCAN BALESİNİN TARİHSEL GELİŞİMİ VE AZERBAYCAN BALESİNE YÖN VEREN ESERLER

Author(s): Sabina GANİOĞLU / Language(s): Turkish Issue: 83/2021

Azerbaijani composers have brought ballet music from 1940 to the present day, and during this period, ballet music has undergone changes and developments. As a result of long studies, Azerbaijani ballet art has taken its present place and has been accepted worldwide. The development of these ballets, which are performed in many opera and ballet stages, has progressed in parallel with the development of Azerbaijan’s culture and history. One of the most important features of Azerbaijani ballets is the use of classical symphonic instruments as well as folk instruments. Many folk songs were also included in these ballets. Among the important composers of Azerbaijani ballet music are Afrasiyab Badal beyli, Soltan Gadjibekov, Kara Karayevand Arif Melikov.

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1952 YILINDA MİLLİYET GAZETESİNDE YER ALAN LAİKA KARABEY’E AİT MÜZİK YAZILARI BİBLİYOGRAFYASININ DEĞERLENDİRİLMESİ

Author(s): Beril ÇAKMAKOĞLU / Language(s): Turkish Issue: 83/2021

Laika Karabey lived in the 20th century and contributed to traditional Turkish art music as a tanbur performer, composer, editor, music writer and instructor. It is known that Karabey, who was very productive in the period he lived, has an important place in the Turkish classical music tradition. Considering that the women representing the Turkish classical music tradition are few in number, it can easily be said that Karabey made important contributions to the history of Turkish music both in the context of her productive female identity and in ensuring the continuity of the tradition. Karabey's works, especially as a writer, are considered useful in terms of understanding the Turkish music tradition, as it provides important data about the music culture of the period. Laika Karabey drew attention with her regular newspaper articles, in addition to her articles in the Musiki Magazine, which was considered one of the most important magazines of the period. Music articles in the Milliyet newspaper, which was founded on May 3, 1952, both provide important data about the musical understanding of the period and contain information about Karabey's musical understanding. In line with the study, first of all, Karabey's music articles in Milliyet newspaper were obtained by archive scanning method. The universe of the study is limited to the articles that Karabey wrote in the Milliyet newspaper during 1952. The aim of the study is to reveal Karabey's views on music in line with the data obtained, and to present data on the general musical understanding of the period, especially in line with his criticisms.

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ANADOLU EDVAR GELENEĞİ YAKLAŞIMIYLA MAKAMI OLUŞTURAN TEMEL İLKE VE ÖĞELER, HİCAZ PERDE DÜZENİNDEN DOĞAN OTUZ YEDİ MAKAM

Author(s): Murat GÜREL / Language(s): Turkish Issue: 85/2021

The Anatolian Edvar Tradition is an ecole emerging in the 15th century which views Turkish music theory as emanating from the relationships between notes, and its pedagogical approach comprises practical and brief descriptions. In this movement-based approach, the notes become melodic development (melodic shape) of the makam concept (transformative approach), aiming to explain and demonstrate performance. The research is descriptive and based on a general survey model, aiming to conduct a substantial literature review and establish determining the current state of the theory. It will describe the four basic principles of the notion of makam in the Anatolian Edvar Tradition approach, that is, düzen (gamut), centralizations which typically occur at the beginning/center note, melodic development, and resolve note/endings. Furthermore, explanations are offered with regard to the elements that make up makams, the traditional names of notes, and the approach where notes are named after the makams based on them. The emergence of makams from the Rast düzen (Rast gamut) and of different düzens from the Rast düzen are exemplified. Thirty-seven makams arising from the Hicaz düzen (Hicaz gamut) are investigated under seven different makam families, and descriptions of makams drawn from historical sources are given. Based on these descriptions, basic melodic developments are formulated for each makam, and theoretical analysis of these examples is made. In conclusion, the fundamental principles and elements of the makam concept with the Anatolian Edvar Tradition are explained from an instructive perspective, and the makam descriptions, theoretical analysis method are simplified, explicated, and instantiated based on performance.

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KÜLTÜREL DEĞİŞİME BAĞLI GÜNDELİK YAŞAM İZLERİNİN FİKRET MUALLA’NIN SANATINA ETKİSİ

Author(s): Mehmet Cihan Gezen / Language(s): Turkish Issue: 86/2021

Culture is the values that constitute the unity of life, thought and belief that a society creates in the historical and social development process. These values, which determine the lifestyle of a nation, people and society, have been passed down from generation to generation. The unique life models, art, morality, laws and order of the society determine the culture of that society and shape the daily lives of the people who make up the society. When the social structure and life of different nations are examined, it is noteworthy that the cultures differ significantly and diverge from each other. While human beings adapt to all kinds of changes with the instinct of survival, they consciously or unconsciously keep pace with their social life in order to continue their social life within the changing cultural structure. Fikret Mualla, a Turkish painter, was born in 1903, until his mid-thirties naturally lived and produced works by being influenced by Turkish culture and society. Although he went abroad for a short time many times during this period, he went to Paris in 1939 and lived there for twenty-six years. During this long period, his art, like himself, was influenced by the culture he lived in, and he reflected the daily life in Paris and artistic expression forms on his works. Cafes, circuses and streets in Paris have become the main subject of the artist's works. To analyze the effects of contemporary life in the context of cultural change through artists and works of art; It is aimed to contribute to the relevant literature by examining the changes brought by the French culture and life in Fikret Mualla's works. In addition, it is aimed to examine how the cultural difference affects the works of the artist in question in terms of subject and technique. Qualitative research methods and techniques were used in the study in which general scanning model was used.

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GRABARIJAN ET SARAJEVO

Author(s): Dušan Grabarijan / Language(s): French Issue: 3/1970

Dušan Grabrijan oecupe une place specifique parmi les architectes, d’ailleurs peu nombreux, qui avaient developpe leur activite a Sarajevo la veille de la Deuxieme guerre monđiale. A cette epoque-la ii etait le seul architecte a s’occuper presque exclusivement de travail theorique et pedagogique. Les idees auxquelles ii aboutit temoignent un style qui suggere, qui choque meme, qui invite a la polemique.

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POČECI GRAĐANSKOG SLIKARSTVA U BOSNI I HERCEGOVINI

Author(s): Ljubica Mladenović / Language(s): Croatian,Serbian Issue: 1/1963

Građansko slikarstvo u Bosni i Hercegovini dalo je svoje prve zrele plodove tek početkom dvadesetog vijeka, tj. u vrijeme kada je ono u naprednijim jugoslovenskim zemljama - Srbiji, Hrvatskoj i Slovenačkoj već imalo određenu tradiciju. Što se ovako kasno razvilo, uzrok treba tražiti u izuzetno teškim društvenim i političkim prilikama koje su u XIX vijeku vladale u ovim krajevima, a koje nisu stvarale nimalo povoljne usiove za kulturni i umjetnički procvat, pogotovo što građansko društvo, koje je trebalo da naslijedi feudalizam na umoru, još nije bilo ono pogodno tle u kome će da proklija nova umjetnost. Iako su rani kapitalistički odnosi u njem u već izbijali, ono je, još uvijek stegnuto feudalnim okvirima, vezivalo svoja vjerska i umjetnička osjećanja i zadovoljavalo se nakaškim radovim a i kupovinom ikona zanatske proizvodnje sitnih domaćih i stranih majstora, jer je veliko doba stare umjetnosti bilo prošlo.

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