{"id":5828,"date":"2024-03-04T04:20:20","date_gmt":"2024-03-04T04:20:20","guid":{"rendered":"https:\/\/zeugma.org.tr\/?post_type=cpt_portfolio&p=5828"},"modified":"2024-03-04T04:20:59","modified_gmt":"2024-03-04T04:20:59","slug":"daidalos-mozaigi","status":"publish","type":"cpt_portfolio","link":"https:\/\/zeugma.org.tr\/en-gb\/portfolio\/daidalos-mozaigi\/","title":{"rendered":"DAIDALOS MOZA\u0130\u011e\u0130"},"content":{"rendered":"\n

Daidalos\u2019un yapt\u0131\u011f\u0131 i\u015flerin resimlendi\u011fi taban mozai\u011fi Belk\u0131s\u2019Zeugma kentinde, ikinci yerle\u015fim teras\u0131nda Gaziantep M\u00fczesi ba\u015fkanl\u0131\u011f\u0131nda Nantes \u00dcniversitesiyle yap\u0131lan kat\u0131l\u0131ml\u0131 1999 y\u0131l\u0131 kurtarma kaz\u0131s\u0131nda g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r. Bu mozaik Roma villas\u0131na ait yemek odas\u0131n\u0131n taban mozai\u011fidir. An\u0131lan mozaikte alt\u0131 fig\u00fcr mevcuttur. Soldan sa\u011fa: oturan Pasiphae, ayakta duran k\u0131z\u0131 Ariadne, Daidalos\u2019la sohbet eden Tropos, ah\u015fap yontan \u0130karos resimlenmi\u015ftir. Sa\u011f alt k\u00f6\u015fede Minos bo\u011fas\u0131n\u0131n kesik ba\u015f\u0131na ok tutan Eros, sa\u011f \u00fcst k\u00f6\u015fede ise Labyrinthos saray\u0131 yer al\u0131r.
Bu mozaikte d\u00f6rt mitolojik \u00f6yk\u00fc anlat\u0131lm\u0131\u015ft\u0131r.<\/strong>
I. Minos bo\u011fas\u0131n\u0131n \u00f6yk\u00fcs\u00fc:<\/strong>\u00a0Pasiphae Girit kral\u0131 Minos\u2019un kar\u0131s\u0131, tanr\u0131 Helios\u2019la Perseis\u2019in k\u0131z\u0131d\u0131r. Poseidon\u2019un kurban edilsin diye Minos\u2019a g\u00f6nderdi\u011fi ak bo\u011faya Pasiphae a\u015f\u0131k olur ve bu bo\u011fayla birle\u015febilmek i\u00e7in Daidalos\u2019a tahtadan bir inek heykeli yapt\u0131r\u0131r. Sanki canl\u0131ym\u0131\u015f gibi duran bu heykelin i\u00e7ine girer ve gebe kalarak Minos bo\u011fas\u0131n\u0131 do\u011furur. Minos bo\u011fas\u0131 insan bedenli, bo\u011fa ba\u015fl\u0131 bir canavarm\u0131\u015f. Kral Minos bu korkun\u00e7 yarat\u0131\u011f\u0131 \u00f6ld\u00fcrmek ister, ana y\u00fcregi buna dayanamaz sonunda \u00e7\u00f6z\u00fcm olarak bunun g\u00fcn i\u015fi\u011fina \u00e7\u0131kamayaca\u011f\u0131 bir yere hapsedilmesinde birle\u015filir. Bunu saklamak i\u00e7in mimar Daidalos\u2019a Labyrinthos saray\u0131 yapt\u0131r\u0131l\u0131r. Minos bo\u011fas\u0131na da her y\u0131l yedi delikanl\u0131 ve yedi gen\u00e7 k\u0131z kurban olarak verilirmi\u015f\u00a0(Erhat A. 1989, Mitoloji S\u00f6zl\u00fc\u011f\u00fc, s.225-6., 260)<\/em>Theseus Girit\u2019e Minos bo\u011fas\u0131n\u0131 \u00f6ld\u00fcrmeye geldi\u011finde Pasiphae\u2019nin k\u0131z\u0131 Ariadne yi\u011fidi g\u00f6rm\u00fc\u015f ve g\u00f6r\u00fcr g\u00f6rmez ona a\u015f\u0131k olmu\u015f. Minos bo\u011fas\u0131n\u0131n bulundu\u011fu bin bir dehlizli Labyrintos’da kaybolmamas\u0131 i\u00e7in Daidalos’un fikriyle Ariadne Theseus’un eline bir yumak iplik vermi\u015f. Theseus\u2019da kar\u0131\u015f\u0131k ve karanl\u0131k dehlizlerde ilerledikce yuma\u011f\u0131 a\u00e7\u0131p ipli\u011fi yere b\u0131rak\u0131yormu\u015f. Canavar\u0131 \u00f6ld\u00fcrd\u00fckten sonra \u00e7\u0131k\u0131\u015f yolunu ona bu iplik g\u00f6stermi\u015f. Sonra da Ariadne\u2019yi ka\u00e7\u0131r\u0131p Naksos adas\u0131na varm\u0131\u015flar\u00a0(Erhat A. 1989, s.59,312).<\/em>\u00a0Ariadne bu mozaikte annesinin ba\u015f ucunda ayakta durmaktad\u0131r.
II. \u0130lk u\u00e7an ki\u015filerin \u00f6yk\u00fcs\u00fc:<\/strong>\u00a0Theseus\u2019un Labyrinthosa girip \u00e7\u0131kmas\u0131 i\u00e7in Ariadne\u2019ye bir yumak iplik kullanmas\u0131 fikrini veren Daidalos\u2019un Theseus\u2019un ba\u015far\u0131s\u0131nda parma\u011f\u0131 oldu\u011funu \u00f6\u011frenince kral Minos buna \u00e7ok k\u0131zm\u0131\u015f ve Daidalos’u o\u011flu \u0130karos\u2019la birlikte kendi in\u015fa ettikleri Labirantos\u2019a kapatm\u0131\u015f. Ama Daidalos oradan \u00e7\u0131kma \u00e7aresini de bulmu\u015f: ku\u015flar\u0131n pencerelere b\u0131rakt\u0131klar\u0131 t\u00fcyleri ve ar\u0131 peteklerindeki bal\u0131 kullan\u0131p \u0130karos\u2019la kendisine birer \u00e7ift kanat yapm\u0131\u015f, ikisi de b\u00f6ylece u\u00e7up gitmi\u015fler.\u0130karos d\u00fcnyada ilk u\u00e7an adam olarak \u00fcn b\u0131rakm\u0131\u015ft\u0131r. Daidalos u\u00e7madan \u00f6nce o\u011fluna ne \u00e7ok al\u00e7aktan u\u00e7mas\u0131n\u0131, nede fazla y\u00fckselip g\u00fcne\u015fin \u0131\u015f\u0131klar\u0131na yak\u0131n gelmesini sal\u0131k vermi\u015f. Ne varki havaland\u0131ktan sonra \u0130karos babas\u0131n\u0131n bu s\u00f6z\u00fcn\u00fc unutmu\u015f, ba\u015far\u0131s\u0131ndan dolay\u0131 gurura kap\u0131lm\u0131\u015f, ya da hava sarho\u015flu\u011funa tutularak y\u00fckseldikce y\u00fckselmi\u015f, g\u00fcne\u015fin \u0131\u015f\u0131nlar\u0131na ald\u0131rmam\u0131\u015f, giderek do\u011fay\u0131 yenmek, \u00f6zg\u00fcrl\u00fc\u011fe kavu\u015fmak sevinciyle Helios\u2019u hor g\u00f6rme su\u00e7unu da i\u015flemi\u015f. G\u00fcne\u015f tanr\u0131 onun kanatlar\u0131n\u0131 tutan balmumunu eritmi\u015f, \u0130karos\u2019da tepetaklak denize d\u00fc\u015fm\u00fc\u015f ve bo\u011fulmu\u015f. Ege\u2019de Sisam adas\u0131n\u0131n \u00e7evresindeki denize \u0130karos denizi denmi\u015ftir.(Erhat A. 1989, s.86, 166).<\/em>
III. Testerenin icad edilme \u00f6yk\u00fcs\u00fc:<\/strong>\u00a0Daidalos hem mimar, hem heykeltra\u015f, hem de her t\u00fcrl\u00fc mekanik ara\u00e7lar yapan ve Platon\u2019un Menon adl\u0131 diologunda s\u00f6z\u00fc ge\u00e7en canl\u0131 heykelleri bile meydana getiren \u00e7ok y\u00f6nl\u00fc bir yarat\u0131c\u0131d\u0131r. Atinadaki i\u015fli\u011finde yegeni Talos ile birlikte \u00e7al\u0131\u015f\u0131rm\u0131\u015f. Ne varki g\u00fcn\u00fcn birinde Talos \u00f6l\u00fc bir yilan\u0131n di\u015finden esinlenerek testereyi icad etmi\u015f, bunu fena k\u0131skanan Daidalos \u00e7\u0131ra\u011f\u0131n\u0131 Akrapol\u2019den a\u015fa\u011f\u0131 atarak \u00f6ld\u00fcrm\u00fc\u015f. Davaya bakan Areopagas mahkemesi de Daidalos\u2019u s\u00fcrg\u00fcne mahkum etmi\u015f\u00a0( Erhat A. 1989, s.86,304).<\/em>\u00a0Bu mozaikte Daidalos’un elinde bir testere g\u00f6rmekteyiz.
IV. H\u0131rs\u0131z mimar\u0131n yakalan\u0131\u015f \u00f6yk\u00fcs\u00fc :<\/strong>\u00a0Trophonios, heykeltra\u015f ve mimard\u0131r. Boiotia kral\u0131 hazinesini saklamak i\u00e7in diger mimar olan Agamedes ile Trophonios\u2019a sa\u011flam bir yap\u0131 \u0131smarlam\u0131\u015f. Para h\u0131rs\u0131na kap\u0131lan iki mimar da hazine odas\u0131n\u0131, bir ta\u015f\u0131n\u0131 yerinden oynat\u0131p kolayca \u00e7\u0131karabilecekleri bi\u00e7imde yapm\u0131\u015flar. Geceleri buraya girer hazineden bir\u015feyler araklarlarm\u0131\u015f.Varl\u0131\u011f\u0131n\u0131n g\u00fcn ge\u00e7tikce eksildi\u011fini g\u00f6ren Kral Girit\u2019ten \u00fcnl\u00fc mimar Daidolos\u2019u \u00e7a\u011f\u0131rm\u0131\u015f. Bir tuzak kurmu\u015flar ve iki h\u0131rs\u0131z\u0131 tam yakalayacakken, Trophonios Agamedes\u2019in kafas\u0131n\u0131 keserek ka\u00e7m\u0131\u015f(Erhat A. 1989,s. 13).<\/em>\u00a0Bu mozaikde de Boiotia \u015fehrine gelmi\u015f olan Daidalosun meslekta\u015f\u0131 Trophonios ile sohbeti resimlenmi\u015ftir. Daidalos Trophonios\u2019un hazineleri \u00e7alan ki\u015fi oldu\u011funu hen\u00fcz bilmemekte o\u011flu \u0130karos ile birlikte h\u0131rs\u0131z\u0131 yakalamak i\u00e7in tuzak haz\u0131rlamaktad\u0131r.
Derleyen:Mehmet \u00d6NAL (Arkeolog)<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Daidalos\u2019un yapt\u0131\u011f\u0131 i\u015flerin resimlendi\u011fi taban mozai\u011fi Belk\u0131s\u2019Zeugma kentinde, ikinci yerle\u015fim teras\u0131nda Gaziantep M\u00fczesi ba\u015fkanl\u0131\u011f\u0131nda Nantes \u00dcniversitesiyle yap\u0131lan kat\u0131l\u0131ml\u0131 1999 y\u0131l\u0131 kurtarma kaz\u0131s\u0131nda g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r. Bu mozaik Roma villas\u0131na ait yemek odas\u0131n\u0131n taban mozai\u011fidir. An\u0131lan mozaikte alt\u0131 fig\u00fcr mevcuttur. <\/p>\n","protected":false},"author":1,"featured_media":5830,"template":"","cpt_portfolio_group":[115],"_links":{"self":[{"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/cpt_portfolio\/5828"}],"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\/5828\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/media\/5830"}],"wp:attachment":[{"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/media?parent=5828"}],"wp:term":[{"taxonomy":"cpt_portfolio_group","embeddable":true,"href":"https:\/\/zeugma.org.tr\/en-gb\/wp-json\/wp\/v2\/cpt_portfolio_group?post=5828"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}