G\u00fcne\u015f \u015femsiyeleri basit bir i\u015flevi yerine getiriyor gibi g\u00f6r\u00fcnse de eski Yak\u0131ndo\u011fu uygarl\u0131klar\u0131 ve antik Yunan d\u00fcnyas\u0131 d\u00e2hil bir\u00e7ok k\u00fclt\u00fcrde iktidar, soyluluk ve cinsiyet sembol\u00fc olarak kullan\u0131lm\u0131\u015ft\u0131r. Genel olarak tanr\u0131lar\u0131n bir ihsan\u0131, ki\u015finin g\u00f6\u011f\u00fcn korumas\u0131 alt\u0131nda bulundu\u011funu g\u00f6steren bir e\u015fyad\u0131r. Anikonik Buda tasvirlerinde g\u00fcne\u015flik onun varl\u0131\u011f\u0131n\u0131 telkin etmeye yeter. Hindistan\u2019da Vi\u015fnu\u2019yu simgeleyen g\u00fcne\u015f \u015femsiyesi monar\u015finin g\u00f6stergesidir. Orta\u00e7a\u011f Fransa\u2019s\u0131nda h\u00fck\u00fcmdar\u0131n, tanr\u0131n\u0131n yery\u00fcz\u00fcndeki tezah\u00fcr\u00fc ve iktidar\u0131n\u0131n kutsal oldu\u011funu g\u00f6sterir. Fransisken ke\u015fi\u015fi Giovanni dal Piano dei Carpini\u2019nin anlatt\u0131klar\u0131na bak\u0131l\u0131rsa Cengiz Han\u2019\u0131n torunu Batu (1127-1251) at \u00fcst\u00fcndeyken ba\u015f\u0131n\u0131n \u00fczerinde m\u0131zra\u011fa tak\u0131l\u0131 bir \u015femsiye her zaman bulunuyordu; Tatar prensleri ve e\u015fleri i\u00e7in de ayn\u0131s\u0131 uygulanmaktayd\u0131 (Roux 2020: 270-3).<\/p>\n\n\n\n

G\u00fcne\u015f \u015femsiyesinin en erken temsilleri Be\u015finci Hanedanl\u0131k M\u0131s\u0131r\u2019\u0131nda (M\u00d6 2450), hem kad\u0131n hem erkek aksesuar\u0131 olarak g\u00f6r\u00fcl\u00fcr. Yak\u0131ndo\u011fu\u2019da ise en erken \u00f6rnek, Akkad kral\u0131 I. Sargon\u2019la (M\u00d6 2130) birlikte bir zafer kutlamas\u0131nda kar\u015f\u0131m\u0131za \u00e7\u0131kar. Daha sonra, M\u00d6 13. y\u00fczy\u0131lda men\u015fei belirsiz bir Asur silindir m\u00fch\u00fcr\u00fcnde bir kral\u0131n arkas\u0131nda g\u00f6r\u00fcr\u00fcz. Ayn\u0131 d\u00f6nemde Miken Yunanistan\u2019\u0131nda, a\u00e7\u0131k\u00e7a bir ayr\u0131cal\u0131k sembol\u00fc olarak g\u00f6rsel sanatlarda kendisine yer bulmu\u015ftur: K\u0131br\u0131s\u2019taki Enkomi\u2019den M\u00d6 1370\u2019lere ait bir krater<\/em> \u00fczerinde bir sava\u015f\u00e7\u0131, arkas\u0131nda kendisine tutulan bir \u015femsiye e\u015fli\u011finde arabas\u0131yla ilerlemektedir. Benzer ikonografi yakla\u015f\u0131k iki y\u00fczy\u0131l sonras\u0131na ait Mykenai ve Tirnys kaplar\u0131nda da mevcuttur. Demir \u00c7a\u011f\u0131\u2019na geldi\u011fimizde, Ge\u00e7 Asur sanat\u0131nda krallar\u0131n alameti olarak M\u00d6 erken 9. y\u00fczy\u0131ldan itibaren 7. y\u00fczy\u0131l boyunca g\u00f6r\u00fclmeye devam eder.<\/p>\n\n\n\n

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Soldan sa\u011fa: Be\u015finci Hanedan M\u0131s\u0131r’\u0131, I. Sargon steli ve K\u0131br\u0131s-Enkomi’den g\u00fcne\u015f \u015femsiyesi betimleri<\/figcaption><\/figure><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n
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M\u00d6 13. y\u00fczy\u0131la ait Asur silindir m\u00fch\u00fcr\u00fc (sol) ve Nimrud’dan II. A\u015furnasirpal kabartmas\u0131<\/figcaption><\/figure>\n\n\n\n
G\u00fcne\u015f \u015femsiyelerinin krali otorite ve me\u015fruiyet sembol\u00fc olarak i\u015flevi Persler taraf\u0131ndan de\u011fi\u015ftirilmeden benimsenmi\u015ftir. \u015eemsiyenin de d\u00e2hil oldu\u011fu sineklik, ayak taburesi, asa, ta\u00e7, kaftan gibi \u00e7e\u015fitli nesneler Pers kraliyet alametleri olarak g\u00f6r\u00fclmekteydi (Briant 2002: 217-21). Pers saray t\u00f6renleri se\u00e7kinler aras\u0131nda hiyerar\u015fiyi kal\u0131c\u0131la\u015ft\u0131rd\u0131\u011f\u0131 ve peki\u015ftirdi\u011fi, ayn\u0131 zamanda saray erk\u00e2n\u0131, kral ve kral\u0131n ailesi aras\u0131ndaki iktidar ili\u015fkilerini belirledi\u011fi i\u00e7in b\u00f6yle alametlerin \u00f6nemi b\u00fcy\u00fckt\u00fc. Nesneler ve bunlar\u0131n d\u00e2hil oldu\u011fu t\u00f6renler taht etraf\u0131nda \u00f6zel bir \u201caura\u201d yaratmay\u0131 hedefliyordu. \u00d6nemli Pers merkezlerinden Pasargadai\u2019daki P Saray\u0131\u2019nda ve Persepolis\u2019teki kap\u0131 s\u00f6velerinde, kral arkas\u0131nda k\u00fc\u00e7\u00fck boyutlu bir hizmetk\u00e2r\u0131n tuttu\u011fu bir \u015femsiye alt\u0131nda betimlenmi\u015ftir. Kral\u0131 tahtta otururken g\u00f6steren ba\u015fka sahnelerde g\u00fcne\u015f \u015femsiyesi, onunla birlikte t\u00fcm taht\u0131 \u00f6rtecek \u015fekilde b\u00fcy\u00fck i\u015flenmi\u015ftir ki bu da sadece kral\u0131n de\u011fil, onun etraf\u0131ndaki uzam\u0131n da kutsal say\u0131ld\u0131\u011f\u0131na i\u015faret eder. Ksenophon Pers krallar\u0131n\u0131n a\u011fa\u00e7lar ve kayalar\u0131n sa\u011flad\u0131\u011f\u0131 g\u00f6lgeliklerle yetinmedi\u011fini, kendilerine g\u00f6lge yapmalar\u0131 i\u00e7in \u015femsiye ta\u015f\u0131yc\u0131lar\u0131n\u0131 her zaman yanlar\u0131nda istediklerini aktar\u0131r (Xen. Cyr. <\/em>8.817; Athen. <\/em>12.515c).<\/p>\n\n\n\n
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Persepolis ana salonun bat\u0131 kap\u0131 s\u00f6vesinde I. Dareios (sol) ve Pasargadai P Saray\u0131 g\u00fcneydo\u011fu kap\u0131 s\u00f6vesinde bir bo\u011fa ve bal\u0131k adam aras\u0131nda g\u00fcne\u015f \u015femsiyesi <\/figcaption><\/figure>\n\n\n\n
Pers krallar\u0131n\u0131n g\u00fcne\u015f \u015femsiyelerini krali hediye olarak yabanc\u0131lara verdi\u011fini de biliyoruz: I. Artakserkses bir tanesini Giritli Entimos\u2019a g\u00f6ndermi\u015fti (FGrH<\/em> 2.296). \u015eemsiyeyi de\u011ferli k\u0131lan\u0131n yap\u0131ld\u0131\u011f\u0131 malzeme mi yoksa sembolik anlam\u0131 m\u0131 oldu\u011fu sorgulanabilirse de Pers h\u00e2kimiyetindeki Anadolu\u2019dan gelen g\u00f6rsel malzeme, ikinci ihtimali g\u00fc\u00e7lendirmektedir. Lykia \u015fehirleri Tyrsa (Heroon\u2019da) ve Ksanthos\u2019a (Nereidler An\u0131t\u0131\u2019nda) ilaveten K\u0131z\u0131lbel mezar\u0131n\u0131n duvar resimlerinde bu ayr\u0131cal\u0131k Pers satraplar\u0131n\u0131n ve yerel se\u00e7kinlerin stat\u00fcs\u00fcne bir g\u00f6nderme olarak yer al\u0131r. M\u00d6 390-380 ait Nereidler An\u0131t\u0131\u2019n\u0131n bat\u0131 ve do\u011fu Lykia\u2019y\u0131 birle\u015ftiren yerel y\u00f6netici Erbinna\u2019ya ait oldu\u011fu d\u00fc\u015f\u00fcn\u00fclmektedir. G\u00fcne\u015f \u015femsiyesi alt\u0131ndaki kabul sahnesi Erbinna\u2019y\u0131 do\u011frudan Pers krallar\u0131na ba\u011flarken, mezar\u0131n Ion d\u00fczeninde bir tap\u0131na\u011fa benzeyen mimari \u00f6zellikleri onu Yunan tanr\u0131lar\u0131yla ili\u015fkilendirir. Fakat ayn\u0131 zamanda Bat\u0131 Lykia\u2019n\u0131n ikonografik olarak Pers y\u00f6netimine, Do\u011fu Lykia\u2019n\u0131n da bat\u0131ya meyletti\u011fi bir d\u00f6nemde \u015femsiye ve Ion d\u00fczeninin mezardaki birlikteli\u011fi, Erbinna\u2019n\u0131n iki b\u00f6lgeyi uzla\u015ft\u0131rma ba\u015far\u0131s\u0131na i\u015faret ediyor olabilir (Dusinberre 2020: 56).<\/p>\n\n\n\n
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Nereidler An\u0131t\u0131<\/figcaption><\/figure>\n\n\n\n
Yunan d\u00fcnyas\u0131nda Miken merkezlerinin \u00e7\u00f6kmesiyle birlikte erkekler i\u00e7in stat\u00fc sembol\u00fc olarak g\u00fcne\u015f \u015femsiyeleri de ortadan kaybolur ve tekrar g\u00f6r\u00fcnd\u00fcklerinde bu sefer erkeklerden ziyade kad\u0131nlarla ili\u015fkilendirilen bir nesneye d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Do\u011frudan kad\u0131nlarla ili\u015fkili bir kontekstte ele ge\u00e7mi\u015f olmamas\u0131na kar\u015f\u0131n -bir adak olabilir- Samos\u2019tan M\u00d6 7. y\u00fczy\u0131la ait ah\u015fap \u015femsiye par\u00e7alar\u0131, organik malzemelerlerden yap\u0131ld\u0131klar\u0131 i\u00e7in daha erken arkeolojik kay\u0131tlardaki eksikliklerini a\u00e7\u0131klayabilir. \u015eair Anakreon M\u00d6 6. y\u00fczy\u0131l\u0131n sonlar\u0131nda fildi\u015fi g\u00fcne\u015f \u015femsiyelerinin kad\u0131nlar taraf\u0131ndan ta\u015f\u0131nd\u0131\u011f\u0131n\u0131 s\u00f6yler ve Artemon adl\u0131 birini bunu ta\u015f\u0131d\u0131\u011f\u0131 i\u00e7in efemine olarak niteler, ancak as\u0131l vurgu \u015femsiye ve di\u011fer nesneler \u00fczerinden s\u00f6z konusu ki\u015finin yoksulken zenginle\u015fmesine yap\u0131lmaktad\u0131r (Price 1990: 171).<\/p>\n\n\n\n
Attika\u2019da ise ilk g\u00fcne\u015f \u015femsiyesi betimi M\u00d6 530\u2019lara tarihlenen bir k\u0131rm\u0131z\u0131 fig\u00fcrl\u00fc \u201cg\u00f6z kadehi\u201dnde, erkeklerin ellerinde g\u00f6r\u00fcl\u00fcr. Elimizde ayr\u0131ca, do\u011fu k\u0131yafetleri, aksesuarlar\u0131 ve bazen g\u00fcne\u015f \u015femsiyeleriyle komastes<\/em>leri (symposion<\/em>a kat\u0131lanlar) betimleyen elli kadar Attika siyah ve beyaz k\u0131rm\u0131z\u0131 fig\u00fcrl\u00fc kap bulunmaktad\u0131r. Bu vazolar ilgin\u00e7 \u015fekilde Anakreon\u2019un Atina\u2019ya geldi\u011fi M\u00d6 520\u2019lere tarihlenmektedir ve fig\u00fcrler uzun khiton, mitra<\/em>, \u00e7izmeler, hatta k\u00fcpelerle (Xen. Anab<\/em>. 3.1.31\u2019de bir erke\u011fin Yunan olmad\u0131\u011f\u0131 kula\u011f\u0131nda deliklerden anla\u015f\u0131l\u0131r) birlikte kar\u015f\u0131m\u0131za \u00e7\u0131karlar. Sahneler zaten yabanc\u0131 etkilere a\u00e7\u0131k (mesela uzanarak yemek bir Yak\u0131ndo\u011fu al\u0131\u015fkanl\u0131\u011f\u0131yd\u0131) Ge\u00e7 Arkaik symposion<\/em>lardaki \u201cLydia\u2019l\u0131la\u015fma\u201d ya da \u201cIonia\u2019l\u0131la\u015fma\u201d e\u011filiminin bir par\u00e7as\u0131 olarak yorumlanabilirse de bu sorunlu bir a\u00e7\u0131klamad\u0131r, zira \u015femsiye Do\u011fu\u2019da erkeklerin stat\u00fc g\u00f6stergesi i\u015flevini y\u00fcklenirken, Yunan toplumunda bir kad\u0131n aksesuar\u0131 olarak g\u00f6r\u00fcl\u00fcr. Lenaia vazolar\u0131 olarak bilinen bir grup Erken Klasik vazoda da bu ili\u015fkilendirme a\u00e7\u0131kt\u0131r. \u0130stisnai olarak Erken Klasik D\u00f6nem\u2019de Briseis Ressam\u0131\u2019na ait M\u00d6 470\u2019lere tarihlenen bir vazoda g\u00fcne\u015f \u015femsiyesi otorite simgesi gibi kullan\u0131lm\u0131\u015ft\u0131r, ama burada \u201cPers giysi ve \u00e2detlerini alaya alma\u201d niyeti (Price 1990: 142), Miller\u2019a g\u00f6re \u015femsiye ve a\u015fa\u011f\u0131da g\u00f6rece\u011fimiz gibi di\u011fer Pers k\u0131yafetlerinin Yunanistan\u2019daki pop\u00fclaritesi y\u00fcz\u00fcnden etkili olmayacakt\u0131 (Miller 1992: 100).<\/p>\n\n\n\n
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Soldan sa\u011fa: g\u00f6z kadehi, Kleophrades Ressam\u0131’na ait bir kalyks kraterde \u015femsiyeli erkek, Lenaia grubuna ait bir stamnos<\/em><\/figcaption><\/figure>\n\n\n\n
G\u00fcne\u015f \u015femsiyesi Yunan d\u00fcnyas\u0131na Arkaik D\u00f6nem\u2019de girmi\u015f olmakla birlikte hem o hem de di\u011fer Pers k\u00f6kenli nesneler, mobilyalar ve k\u0131yafetlerin yayg\u0131nl\u0131\u011f\u0131 aslen Pers Sava\u015flar\u0131\u2019n\u0131n bir etkisidir. M\u00d6 5. y\u00fczy\u0131l\u0131n sonundan itibaren Pers tarz\u0131nda kollar\u0131 olan khiton<\/em>lar ve kandys <\/em>ad\u0131 verilen Pers tarz\u0131 elbiselerin, persike <\/em>isimli ayakkab\u0131lar\u0131n (mezar yaz\u0131t\u0131nda kendisini persikopoios, <\/em>yani \u201cpersike<\/em> ustas\u0131\u201d olarak tan\u0131tan bir Thrakia\u2019l\u0131 Atina\u2019dan bilinmektedir) kad\u0131nlar taraf\u0131ndan tercih edildi\u011fi adak yaz\u0131tlar\u0131nda g\u00f6r\u00fclmektedir. Ayn\u0131 \u015fekilde g\u00fcne\u015f \u015femsiyeleri de l\u00fcks e\u015fyalar olarak yine kad\u0131nlarla ili\u015fkilendirilirler. Aristophanes ge\u00e7 be\u015finci y\u00fczy\u0131lda g\u00fcne\u015f \u015femsiyesini (skiadeion<\/em>) kad\u0131nlara \u00f6zg\u00fc tipik e\u015fyalar aras\u0131nda sayar (Thesm. <\/em>82, Eq. <\/em>1347-8). Ku\u015flar<\/em>\u2019da Prometheus kendisini bir g\u00fcne\u015f \u015femsiyesiyle gizler (1508-9, 1549-51). \u015e\u00fcphesiz bir yar\u0131 tanr\u0131n\u0131n kad\u0131n e\u015fyas\u0131ndan medet ummas\u0131 durumu daha da komik h\u00e2le getiriyordu.<\/p>\n\n\n\n
Panathenaia festivalinde g\u00fcne\u015f \u015femsiyeleri yine kad\u0131nlara \u00f6zg\u00fc olmakla birlikte, a\u00e7\u0131k bir siyasi anlam ta\u015f\u0131r. Alayda \u015femsiyeler kutsal t\u00f6ren sepetlerini ta\u015f\u0131yan k\u0131zlara (kanephoroi<\/em>) Atina\u2019daki yerle\u015fik yabanc\u0131lar\u0131n (metoikoi)<\/em> k\u0131zlar\u0131 taraf\u0131ndan tutuluyordu (Ar. Av. <\/em>1549-51; Ael. VH<\/em> 6.1). Daha ge\u00e7 tarihli yazarlar bunu Atinal\u0131lar\u0131n kibrine yormu\u015flard\u0131r. Perslere ait bir sembol Yunan usul\u00fcnce, Atina emperyal g\u00fcc\u00fcn\u00fcn bir simgesi olarak \u00f6zg\u00fcr Atina k\u0131zlar\u0131na hizmet eden yabanc\u0131lar\u0131n eline verilmi\u015ftir. G\u00fcne\u015f \u015femsiyesi Atinal\u0131yla yabanc\u0131y\u0131, vatanda\u015fla vatanda\u015f olmayan\u0131, y\u00f6netenle y\u00f6netileni ay\u0131rt eden bir simgedir. Yabanc\u0131lar ya da vatanda\u015f olmayanlar kar\u015f\u0131s\u0131nda Atina vatanda\u015fl\u0131\u011f\u0131 se\u00e7kinlik anlam\u0131 ta\u015f\u0131d\u0131\u011f\u0131ndan (M\u00d6 451\/450\u2019deki Perikles yasas\u0131na g\u00f6re \u00e7ocuklar\u0131n Atina vatanda\u015f\u0131 say\u0131labilmesi i\u00e7in anne ve baban\u0131n da Atinal\u0131 olmas\u0131 gerekmekteydi; dolay\u0131s\u0131yla vatanda\u015fl\u0131k soyluluk gibi aileden geliyordu) \u015femsiyelerle soyluluk aras\u0131nda sembolik bir ba\u011flant\u0131 kurulmu\u015f oluyordu.<\/p>\n\n\n\n
Bunlar\u0131n d\u0131\u015f\u0131nda, Pers etkisi Atina\u2019n\u0131n mimarisinde de kendine yer edinmi\u015fti. En bilinen \u00f6rne\u011fimiz akropolis<\/em>in g\u00fcney yamac\u0131nda bulunan ve Perikles taraf\u0131ndan M\u00d6 446-430 aras\u0131nda in\u015fa edilmi\u015f Odeion\u2019dur. Bu, Yunan d\u00fcnyas\u0131ndaki en b\u00fcy\u00fck \u00e7at\u0131l\u0131 binayd\u0131 (62×65 m). Neredeyse kare plan\u0131, kaplad\u0131\u011f\u0131 alan, i\u00e7indeki \u00e7ok say\u0131daki s\u00fctun ve piramit \u015feklindeki \u00e7at\u0131s\u0131 onu \u015f\u00fcphe g\u00f6t\u00fcrmez \u015fekilde Pers apadana<\/em>lar\u0131 ve onlar\u0131 kopyalayan kral \u00e7ad\u0131rlar\u0131na ba\u011fl\u0131yordu ki \u00e7e\u015fitli antik kaynaklar yap\u0131y\u0131 \u00f6zellikle Plataia zaferinden sonra ganimet olarak al\u0131nm\u0131\u015f Kserkses\u2019in \u00e7ad\u0131r\u0131yla kar\u015f\u0131la\u015ft\u0131rm\u0131\u015flard\u0131r (Vitruv. 5.9.1.; Plut. Per.<\/em> 3.9-11; Paus. 1.20.4). Perikles\u2019in toplum i\u00e7indeki davran\u0131\u015flar\u0131 yap\u0131n\u0131n Pers mimarisiyle ili\u015fkisini daha iyi anlamam\u0131z\u0131 sa\u011flar. Plutarkhos’un, Perikles\u2019in her zaman halka g\u00f6r\u00fcnmedi\u011fini, her soruya cevap vermedi\u011fini, kar\u015f\u0131s\u0131nda \u00e7\u0131kan her f\u0131rsatta vatanda\u015flara hitap etmedi\u011fini belirtmesi (Per<\/em>. 7.5), Pers krallar\u0131n\u0131n etraflar\u0131nda \u00f6rd\u00fckleri \u201cula\u015f\u0131lmazl\u0131k\u201d alg\u0131s\u0131n\u0131 hat\u0131rlat\u0131r. Mesela I. Kyros g\u00f6zlerden uzak bir \u015fekilde ya\u015f\u0131yor sadece \u00f6nemli anlarda insanlar\u0131n kar\u015f\u0131s\u0131na \u00e7\u0131k\u0131yordu. Med kral\u0131 Deiokes\u2019in saray\u0131 ve saray t\u00f6renleri t\u00f6renlerin \u00f6zellikle onu tebas\u0131ndan ay\u0131rmak \u00fczere d\u00fczenlenmi\u015fti (Hdt. 1.97-103). Burada yap\u0131n\u0131n sembolizmi nettir: Pers kral\u0131n\u0131n apadana<\/em>s\u0131 \u00f6zel kabul salonu olarak sadece belirli gruplara a\u00e7\u0131kken, Odeion t\u00fcm halk\u0131n kullanabilece\u011fi bir kamu yap\u0131s\u0131yd\u0131. Perikles bir despotik y\u00f6netim sembol\u00fcn\u00fc al\u0131p demokratik bir ba\u011flama yerle\u015ftirerek yap\u0131n\u0131n i\u015flevini tersy\u00fcz etmi\u015fti. \u00d6te yandan Odeion \u015fehirdeki yabanc\u0131lar i\u00e7in tersine emperyal imalar ta\u015f\u0131yordu: Odeon\u2019un ilham ald\u0131\u011f\u0131 Persepolis\u2019teki Apadana\u2019ya \u00e7\u0131kan merdivenlerde krala hara\u00e7 getiren el\u00e7iler betimlenmi\u015fti ve Delos Deniz Birli\u011fi\u2019ne \u00fcye \u015fehirler de y\u0131ll\u0131k hara\u00e7lar\u0131n\u0131 Atina\u2019da Dionysos tiyatrosuna getirirken Odeion\u2019un \u00f6n\u00fcnden ge\u00e7mek zorundayd\u0131lar.<\/p>\n\n\n\n
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Atina agoras\u0131nda Odeion (24) ve Tholos (6)<\/figcaption><\/figure>\n\n\n\n
Benzer \u015fekilde, Kimon\u2019un idaresi alt\u0131nda, M\u00d6 470\u2019de Atina agora<\/em>s\u0131nda in\u015fa edilmi\u015f Tholos ad\u0131 verilen yuvarlak planl\u0131 kamu yap\u0131s\u0131 da antik kaynaklarda g\u00fcne\u015f \u015femsiyesiyle ili\u015fkilendirilmi\u015ftir. Buras\u0131 her bir Attika boyundan elli ki\u015finin y\u00fcr\u00fct\u00fcc\u00fc komite olarak d\u00f6n\u00fc\u015f\u00fcml\u00fc \u015fekilde Be\u015f Y\u00fczler Meclisi\u2019nin i\u015flerine bakt\u0131\u011f\u0131 prytaneis<\/em>in mek\u00e2n\u0131yd\u0131. Yap\u0131 Hesykhios, Harpokration, ve Photios gibi antik kaynaklar taraf\u0131ndan g\u00fcne\u015f \u015femsiyesinin Yunanca kar\u015f\u0131l\u0131\u011f\u0131ndan t\u00fcretilmi\u015f Skias ismiyle de an\u0131lm\u0131\u015ft\u0131r (pasajlar i\u00e7in Thompson 1940: 70-1). Bu yak\u0131\u015ft\u0131rman\u0131n nedeni arkeolojik kaz\u0131larla anla\u015f\u0131lm\u0131\u015ft\u0131r: S\u0131rad\u0131\u015f\u0131 formda (baklava) kiremitler ve di\u011fer mimari bulgular, Tholos \u00e7at\u0131s\u0131n\u0131n g\u00f6rsel sanatlardaki g\u00fcne\u015fliklere benzer \u015fekilde konik oldu\u011funu g\u00f6stermektedir. Odeion\u2019un sembolik anlam\u0131n\u0131 antik kaynaklar\u0131n verdi\u011fi bilgiler sayesinde daha iyi kavrayabilmemize kar\u015f\u0131n, Tholos i\u00e7in ad\u0131 d\u0131\u015f\u0131nda yorumlar\u0131m\u0131za katk\u0131 sa\u011flayabilecek ilave bilgilerden yoksunuz. Buna ra\u011fmen gerek ismi, gerek Odeon\u2019a yak\u0131nl\u0131\u011f\u0131, gerekse orada oldu\u011fu gibi bir Pers sembol\u00fcn\u00fcn demokratik bir ba\u011flamda kazand\u0131\u011f\u0131 potansiyel anlamla birlikte d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde d\u00f6nemin ruhuna uygun bir tan\u0131mdan bahsetmemiz m\u00fcmk\u00fcnd\u00fcr. <\/p>\n\n\n\n
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Tholos’un plan\u0131, giri\u015fi ve \u00e7at\u0131 kiremitleri<\/figcaption><\/figure>\n\n\n\n
<\/p>\n\n\n\n
Kaynak\u00e7a<\/h4>\n\n\n\n
<\/p>\n\n\n\n
Azaoulay, V., Pericles of Athens<\/em>, \u00e7ev. J. Lloyd, Princeton University Press, Princeton.<\/p>\n\n\n\n
Briant, P., Form Cyrus to Alexander. A History of the Persian Empire<\/em>, \u00e7ev. P.T. Daniels, Eisenbraums, Indiana.<\/p>\n\n\n\n
Camp, J.M., The Archaeology of Athens<\/em>, Yale University Press, Londra, 2001.<\/p>\n\n\n\n
Dusinberre, E.R.M., \u201cImpacts of Empire in Achaemenid Anatolia\u201d, Achaemenid Anatolia: Persian Presence and Impact in the Western Satrapies 546\u2013330 BC. Proceedings of an International Symposium at the Swedish Research Institute in Istanbul, 7\u20138 September 2017<\/em>, ed. A.P. Dahlen, Danag\u00e5rdLiTHO AB, Uppsala, 2020, 37-65.<\/p>\n\n\n\n
Hill, I.T., The Ancient City of Athens. Its Topography and Monuments<\/em>, Harvard University Press, Cambridge, MA, 1953.<\/p>\n\n\n\n
Jacobs, B. \u2013 R. Rollinger (ed.), A Companion to the Achaemenid Persian Empire<\/em>, Blackwell, Londra, 2021.<\/p>\n\n\n\n
Miller, M.C., \u201cThe Parasol: An Oriental Status Symbol in the Late Archaic and Classical Athens\u201d, JHS<\/em> 112, 1992, 91-105.<\/p>\n\n\n\n
Muscarella, O.W., \u201cParasols in the Ancient Near East\u201d, Source<\/em> 18\/1, 1999, 1-7.<\/p>\n\n\n\n
Price, S.D., \u201cAnacreonic Vases Reconsidered\u201d, GRBS<\/em> 31\/2, 1990, 133-745.<\/p>\n\n\n\n
Roux, J.P., Kral. Mitler ve Simgeler<\/em>, \u00e7ev. N.F. K\u0131c\u0131ro\u011flu, Derg\u00e2h, \u0130stanbul, 2020.<\/p>\n\n\n\n
Thompson, H.A., \u201cThe Tholos of Athens and Its Predecessors\u201d, Hesperia<\/em> Supplements <\/em>4, 1940.<\/p>\n","protected":false},"excerpt":{"rendered":"
G\u00fcne\u015f \u015femsiyeleri basit bir i\u015flevi yerine getiriyor gibi g\u00f6r\u00fcnse de eski Yak\u0131ndo\u011fu uygarl\u0131klar\u0131 ve antik Yunan d\u00fcnyas\u0131 d\u00e2hil bir\u00e7ok k\u00fclt\u00fcrde iktidar, soyluluk ve cinsiyet sembol\u00fc olarak kullan\u0131lm\u0131\u015ft\u0131r. Genel olarak tanr\u0131lar\u0131n bir ihsan\u0131, ki\u015finin g\u00f6\u011f\u00fcn korumas\u0131 alt\u0131nda bulundu\u011funu g\u00f6steren bir e\u015fyad\u0131r. Anikonik Buda tasvirlerinde g\u00fcne\u015flik onun varl\u0131\u011f\u0131n\u0131 telkin etmeye yeter. Hindistan\u2019da Vi\u015fnu\u2019yu simgeleyen g\u00fcne\u015f \u015femsiyesi monar\u015finin … <\/p>\n
Continue reading<\/a><\/p>\n","protected":false},"author":2,"featured_media":1144,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[92,88,90,93,63,91,89],"class_list":["post-1110","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-genel","tag-dareios","tag-gunes-semsiyesi","tag-odeion","tag-panathenaia","tag-perikles","tag-persler","tag-tholos","nodate","item-wrap"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/eskicagblog.istanbul.edu.tr\/wp-content\/uploads\/nereid-1.jpg?fit=1200%2C352&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9zFXd-hU","jetpack-related-posts":[],"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/posts\/1110","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1110"}],"version-history":[{"count":28,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/posts\/1110\/revisions"}],"predecessor-version":[{"id":1153,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/posts\/1110\/revisions\/1153"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/media\/1144"}],"wp:attachment":[{"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1110"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1110"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}