{"id":5122,"date":"2021-06-04T08:11:23","date_gmt":"2021-06-04T08:11:23","guid":{"rendered":"https:\/\/zeugma.org.tr\/?post_type=cpt_portfolio&#038;p=5122"},"modified":"2024-03-04T04:00:08","modified_gmt":"2024-03-04T04:00:08","slug":"kahvalti-sofrasindakiler","status":"publish","type":"cpt_portfolio","link":"https:\/\/zeugma.org.tr\/en-gb\/portfolio\/kahvalti-sofrasindakiler\/","title":{"rendered":"KAHVALTI SOFRASINDAK\u0130LER"},"content":{"rendered":"\n<p>Bu mozaik Frans\u0131z Arkeolog Catherine Abadie-Reynal y\u00f6netimindeki Frans\u0131z ekip taraf\u0131ndan 6 numaral\u0131 a\u00e7madaki villada ortaya \u00e7\u0131kar\u0131ld\u0131.Mozaik zengin bir bi\u00e7imde dekore edilmi\u015f bir evin muhtemelen&nbsp;<strong>triclinium&nbsp;<\/strong>yani yemek odas\u0131nda bulundu. \u00c7ok y\u00fcksek kalitede olan bu par\u00e7a m\u00fckemmele yak\u0131n bir derecede korunmu\u015f vaziyette. Mozaik \u00fc\u00e7 ana \u00f6\u011feden olu\u015fuyor. Ana panoyu \u00fc\u00e7 taraftan saran geometrik bord\u00fcr yemek yiyenlerin oturduklar\u0131 kanepelerin orijinal yerlerini g\u00f6steriyor. \u00c7er\u00e7evede (aslan, panter vb.) vah\u015fi hayvanlarla sava\u015fan Eros\u2019lar ayr\u0131nt\u0131l\u0131 ve canl\u0131 bir \u015fekilde resmedilmi\u015f; \u00f6te yandan \u00e7elenkli erkek ve kad\u0131n ba\u015flar\u0131 k\u00f6\u015felerden ve eksenden g\u00f6zlerini dikmi\u015f onlara bak\u0131yor. Son olarak, (1,75m x 1,50m) ebad\u0131ndaki ortadaki \u00e7arp\u0131c\u0131 pano g\u00fczel dokunmu\u015f bir \u015feritle \u00e7er\u00e7evelenmi\u015f ve bat\u0131 taraf\u0131ndaki kanepelere oturup yemek yiyenlerin kar\u015f\u0131s\u0131na gelecek \u015fekilde yerle\u015ftirilmi\u015f. Mozai\u011fin temas\u0131 yeme\u011fe gelen misafirler i\u00e7in bir&nbsp;<strong>\u2018sohbet konusu\u2019&nbsp;<\/strong>g\u00f6revi g\u00f6rm\u00fc\u015f olmal\u0131.<br>Resimde mimari bir arka plan \u00f6n\u00fcnde 3 kad\u0131n ve 2 gen\u00e7 k\u0131z g\u00f6r\u00fcl\u00fcyor. Kad\u0131nlardan ikisi mavi-ye\u015fil kuma\u015fl\u0131 bir kanepeye oturmu\u015f; sohbet eder gibi birbirlerine d\u00f6nm\u00fc\u015fler. \u00d6nlerinde \u00fczerinde metal bir kase olan yuvarlak, \u00fc\u00e7 ayakl\u0131 bir masa var. Onlardan az \u00f6tede, masan\u0131n sa\u011f taraf\u0131nda yer alan \u00fc\u00e7\u00fcnc\u00fc kad\u0131n,&nbsp;<strong>solium &gt;<\/strong>ad\u0131 verilen ve arkas\u0131 i\u00e7b\u00fckey, y\u00fcksek\u00e7e bir koltukta oturuyor. Bir t\u00fclle \u00f6rt\u00fclm\u00fc\u015f beyaz sa\u00e7lar\u0131 oturan di\u011fer iki kad\u0131ndan daha ya\u015fl\u0131 oldu\u011funu g\u00f6steriyor. Gen\u00e7 k\u0131zlardan biri ona bir kase uzat\u0131rken di\u011feri resmin sol taraf\u0131ndaki kanepenin arkas\u0131nda duruyor.&nbsp;<br><strong>Resmin \u00fcst\u00fcndeki yaz\u0131<\/strong><br>Kad\u0131nlar\u0131n \u00fczerinde tek bir s\u00f6zc\u00fck olarak okunmas\u0131 gereken bir yaz\u0131 g\u00f6r\u00fcl\u00fcyor;&nbsp;<strong>Synaristosai<\/strong>,<strong>(\u03a3\u03a5\u039d\u0391\u03a1\u0399\u03a3T\u03a9\u03a3\u0391\u03a3)<\/strong>&nbsp;yani&nbsp;<strong>\u2018Kahvalt\u0131 Sofras\u0131ndakiler\u2019<\/strong>.&nbsp;<br>Bu s\u00f6zc\u00fck M.\u00d6. 4. y\u00fczy\u0131lda Menander taraf\u0131ndan yaz\u0131lan bir Yunan komedyas\u0131n\u0131n ad\u0131na g\u00f6ndermede bulunuyor. Mozaikler aras\u0131nda muhtemel iki fark hemen g\u00f6ze \u00e7arp\u0131yor. Birincisi Napoli\u2019deki Ulusal Arkeoloji M\u00fczesi\u2019nde saklanan, \u00e7ok zarif teseralar\u0131 olan ufak bir pano olup Pompeii\u2019de Cicero\u2019ya ait oldu\u011fu varsay\u0131lan bir villada ortaya \u00e7\u0131kar\u0131lm\u0131\u015f.&nbsp;<strong>\u2018B\u00fcy\u00fcc\u00fcler\u2019<\/strong>&nbsp;ad\u0131yla biliniyor.&nbsp;<br>Daha sonra ve daha kaba bir tarzla yap\u0131lan ikincisi ise Yunanistan\u2019a ba\u011fl\u0131 Lesbos Adas\u0131nda, Menander\u2019in evi olarak bilinen evde bulunan bir grup mozai\u011fe ait. Lesbos\u2019taki evde bulunan panolar \u00fcst\u00fcndeki yaz\u0131lar Napoli\u2019deki mozaik ile ilgili ilk yorumun de\u011fi\u015ftirilmesine yol a\u00e7t\u0131. Komedyan\u0131n ba\u015fl\u0131\u011f\u0131ndan ayr\u0131 olarak (ki bu iyelik eki alm\u0131\u015f bir s\u00f6zc\u00fck olmas\u0131na kar\u015f\u0131n Zeugma\u2019da bulunan ismin \u2013i halindeydi) Lesbos mozai\u011finde \u00fc\u00e7 kad\u0131n karakterin isimleri yer almaktad\u0131r: \u03a6\u0406\u039b\u0391\u0399\u039d\u0399\u03a3 (Philainis), \u03a0\u039b\u0391\u0393\u039c\u0391\u0393\u03a9\u039d (Plagnaigon) ve \u03a0\u03a5\u0395\u0399\u0391\u03a3 (Pyeias).&nbsp;<br><strong>Kar\u015f\u0131la\u015ft\u0131rma \u2013 Lesbos ve Pompeii<\/strong><br>Bu \u00fc\u00e7 mozai\u011fin ana sahneleri birbirine \u00e7ok benziyor. Hepsinde de \u00fc\u00e7 kad\u0131n yuvarlak bir masa \u00f6n\u00fcnde oturmu\u015f. Kaseler yemek temas\u0131n\u0131 akla getiriyor. Hatta ya\u015fl\u0131 kad\u0131n\u0131n karakteriyle ba\u011flant\u0131l\u0131 olan solium\u2019un ayr\u0131nt\u0131lar\u0131, Menander mozai\u011finin ortaya \u00e7\u0131kar\u0131ld\u0131\u011f\u0131 evde mevcut. Buna kar\u015f\u0131n belirtilmesi gereken bir fark var; Zeugma\u2019da bulunan panoda iki gen\u00e7 u\u015fak yer al\u0131rken di\u011ferlerinde gene u\u015fak olmas\u0131 muhtemel bir \u00e7ocuk yer al\u0131yor. Ya mozaik tasar\u0131mc\u0131lar\u0131 komedyan\u0131n farkl\u0131 versiyonlar\u0131ndan yararland\u0131lar ya da daha k\u00fc\u00e7\u00fck olan panolarda yer darl\u0131\u011f\u0131 sorunu vard\u0131. Menander\u2019in evindeki ve Pompeii\u2019deki evde oldu\u011fu gibi, \u00fc\u00e7 kad\u0131n tiyatro maskesi takm\u0131\u015f. Buna kar\u015f\u0131n, bu maskeler y\u00fcz \u015feklini kabala\u015ft\u0131rm\u0131yor; tam tersine, y\u00fczdeki ayr\u0131nt\u0131lar son derece abart\u0131l\u0131 olup mozaik tasar\u0131mc\u0131s\u0131, her kad\u0131n\u0131n maskesi ve tuni\u011fi i\u00e7in ayn\u0131 renk yelpazesini kullanm\u0131\u015f. B\u00fct\u00fcn bu \u00f6\u011feler resme, Menander\u2019in evinde ve Pompeii\u2019deki evdeki panolarda yer alan kad\u0131nlar\u0131n \u00e7arp\u0131t\u0131lm\u0131\u015f y\u00fcz ifadelerinde olmayan bir do\u011fall\u0131k ve asalet hissi veriyor. 2 gen\u00e7 k\u0131z maske takm\u0131yorsa bunun sebebi hi\u00e7 \u015f\u00fcphesiz dilsizlerin Yunan komedyalar\u0131nda maske kullanmamalar\u0131d\u0131r. Menander\u2019\u0131n komedyalar\u0131 Anadolu\u2019daki klasik ikonografinin \u00e7ok pop\u00fcler bir temas\u0131 olup F\u0131rat\u2019ta bir freske ilham kayna\u011f\u0131 olmu\u015ftur.&nbsp;<br><strong>\u2018Yapan Zosimos\u2019<\/strong><br>Ana panelin alt\u0131nda yer alan ikinci bir yaz\u0131dan mozai\u011fin yarat\u0131c\u0131s\u0131n\u0131n ismini \u00f6\u011freniyoruz:&nbsp;<strong>\u0396\u03a9\u03a3\u0399\u039c\u039f\u03a3 \u0395\u03a0\u039f\u0399\u0395\u0399<\/strong>yani&nbsp;<strong>\u2018Yapan Zosimos\u2019<\/strong>. Ayn\u0131 sanat\u00e7\u0131, Zeugma\u2019daki ba\u015fka bir evde bulunan Afrodit mozai\u011finin \u00fcst\u00fcne de ismini yazm\u0131\u015ft\u0131. Daha kapsaml\u0131 ara\u015ft\u0131rmalar sonunda resim tarzlar\u0131n\u0131 kar\u015f\u0131la\u015ft\u0131rma ve daha ayr\u0131nt\u0131l\u0131 yorum yapma imkan\u0131m\u0131z olacak.<strong><em>Kaynak:Aur\u00e9lia Masson (Arkeolog-PHI)<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bu mozaik Frans\u0131z Arkeolog Catherine Abadie-Reynal y\u00f6netimindeki Frans\u0131z ekip taraf\u0131ndan 6 numaral\u0131 a\u00e7madaki villada ortaya \u00e7\u0131kar\u0131ld\u0131.Mozaik zengin bir bi\u00e7imde dekore edilmi\u015f bir evin muhtemelen triclinium yani yemek odas\u0131nda bulundu. \u00c7ok y\u00fcksek kalitede olan bu par\u00e7a m\u00fckemmele yak\u0131n bir derecede korunmu\u015f vaziyette.<\/p>\n","protected":false},"author":1,"featured_media":5726,"template":"","cpt_portfolio_group":[115],"_links":{"self":[{"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/cpt_portfolio\/5122"}],"collection":[{"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/cpt_portfolio"}],"about":[{"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/types\/cpt_portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/users\/1"}],"version-history":[{"count":0,"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/cpt_portfolio\/5122\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/media\/5726"}],"wp:attachment":[{"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/media?parent=5122"}],"wp:term":[{"taxonomy":"cpt_portfolio_group","embeddable":true,"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/cpt_portfolio_group?post=5122"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}