Information about Aphrodisias
''This is the article about the town in Caria, for the goddess see Aphrodite
Aphrodisias (Greek: Ἀφροδισιάς) was a small city in Caria, Asia Minor. It is located near the modern village of Geyre, Turkey, about 230 km from İzmir.
Aphrodisias was named after Aphrodite, the Greek goddess of Love, who had here her unique cult image, the Aphrodite of Aphrodisias. According to the Suda, before being known as Aphrodisias, the city had three previous names: Lelegon Polis (Λελέγων πόλις 'city of the Leleges'),[1] Megale Polis (Μεγάλη πόλις 'great city'), and Ninoë (Νινόη),[2] The city was later renamed Stauropolis (Σταυρούπολις 'city of the cross') in the Christian era.
The city was built near a marble quarry which was extensively exploited in the Hellenistic and Roman periods, and sculptors in marble from Aphrodisias became famous in the Roman world. Many examples of statuary have been unearthed in Aphrodisias, and some representations of the Aphrodite of Aphrodisias also survive from other parts of the Roman world, as far afield as Portugal (Pax Julia).[3]
The first formal excavations were in 1904-5, by a French railroad engineer, Paul Gaudin.
The most recent excavations were begun by Kenan Erim under the aegis of New York University in 1962 and are ongoing, currently led by Professor Christopher Ratté (at NYU) and Professor R.R.R.Smith (at Oxford University).
Evidence can be seen of emergency plumbing installed to combat this problem. Aphrodisias never fully recovered from the 7th century earthquake, and fell into disrepair. Part of the town was covered by the modern village of Geyre; some of the cottages were removed in the 20th century to reveal the older city. A new Geyre has been built a short distance away.
The Temple of Aphrodite was and still is a focal point of the town, but the character of the building was altered when it became a Christian basilica. The Aphrodisian sculptors became renowned and the school of sculpture was very productive;[4] much of their work can be seen around the site and in the museum. Many full-length statues were discovered in the region of the agora, and trial and unfinished pieces pointing to a true school are in evidence. Sarcophagi were recovered in various locations, most frequently decorated with designs consisting of garland and columns. Pilasters have been, found showing what are described as "peopled scrolls" with figures of people, birds and animals entwined in acanthus leaves. The sculptors benefitted from a plentiful supply of marble close at hand.
The available evidence indicates a construction date in the Antonine or early Severan period (late second or early third century A.D.). The scaenae frons (stage front) was certainly put up at this time, as the style of both sculpture and architectural ornament suggest. Statue bases terminating the retaining walls of the auditorium bore the names of two brothers, senators in the early Severan period, and two inscribed bases placed symmetrically against the exterior facade held statues of Aphrodisian benefactors, Claudia Antonia Tatiana and her uncle Lucius Antonius Dometinus, who were active at the end of the second century (Sculptures of the Bouleuterion). Tatiana is known to have had close ties with Ephesos and it is possible that the striking similarities between this building and the Bouleuterion on the Civic Agora there, dated by inscription to the mid-second century, are due to some initiative on her part. We do not know what stood here before the second century A.D., but it is likely that the present building replaced a smaller one contemporary with the laying out of the Agora in the late first century B.C.
The Bouleuterion at Aphrodisias remained in this form until the early fifth century, when a municipal official had it adapted as a palaestra, recording his achievement on the upper molding of the pulpitum (stage). This term usually refers to a wrestling ground, but in the fifth century it could be used to describe a hall for lectures, performances, and various kinds of competitive displays, as suggested by a number of factional inscriptions carved on the seats. Numerous additional cuttings in the surviving seats, probably for poles supporting awnings, suggest that by this time the building had lost its roof. The orchestra was lowered and provided with a marble pavement, reused, perhaps, from the earlier phase.
The architecture of the Bouleuterion is being studied by Lionel Bier, Professor, Art Department, Brooklyn College.
Le Quien (Oriens christianus, I, 899-904) mentions twenty bishops of this see, among whom were:
In the seventh century Stauropolis had twenty-eight suffragan bishops and twenty-six at the beginning of the tenth century. Between 1356 and 1361 the see must have been abandoned by the metropolitan, but the title was long retained and he was given the revenues of other churches (Waechter, "Der Verfall des Griechentums in Kleinasien im XIV. Jahrhundert", Leipzig, 1903, 34-7). Isaias of Stauropolis attended the Council of Florence (1439) and fled to avoid signing the decree of union.
Stauropolis remains (as of 1913) a Roman Catholic titular metropolitan see of the former Roman province of Caria.
Aphrodite (Greek: Ἀφροδίτη; Latin: Venus
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Aphrodite (Greek: Ἀφροδίτη; Latin: Venus
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| Aphrodisias(Ἀφροδισιάς) Ancient City of Greece (Geyre) | |
| The Temple of Aphrodite |
Aphrodisias (Greek: Ἀφροδισιάς) was a small city in Caria, Asia Minor. It is located near the modern village of Geyre, Turkey, about 230 km from İzmir.
Aphrodisias was named after Aphrodite, the Greek goddess of Love, who had here her unique cult image, the Aphrodite of Aphrodisias. According to the Suda, before being known as Aphrodisias, the city had three previous names: Lelegon Polis (Λελέγων πόλις 'city of the Leleges'),[1] Megale Polis (Μεγάλη πόλις 'great city'), and Ninoë (Νινόη),[2] The city was later renamed Stauropolis (Σταυρούπολις 'city of the cross') in the Christian era.
The city was built near a marble quarry which was extensively exploited in the Hellenistic and Roman periods, and sculptors in marble from Aphrodisias became famous in the Roman world. Many examples of statuary have been unearthed in Aphrodisias, and some representations of the Aphrodite of Aphrodisias also survive from other parts of the Roman world, as far afield as Portugal (Pax Julia).[3]
Archaeology
As many pieces of monumental stone were reused in the Late Antique city walls, many inscriptions could and can be easily read without any excavation; the city has therefore been visited and insciptions recorded repeatedly in modern times, starting from the early eighteenth century.The first formal excavations were in 1904-5, by a French railroad engineer, Paul Gaudin.
The most recent excavations were begun by Kenan Erim under the aegis of New York University in 1962 and are ongoing, currently led by Professor Christopher Ratté (at NYU) and Professor R.R.R.Smith (at Oxford University).
Geologic history
The site is in an earthquake zone and has suffered a great deal of damage at various times, especially in the 4th and 7th centuries. An added complication was that one of the 4th century earthquakes altered the water table, making parts of the town prone to flooding.Evidence can be seen of emergency plumbing installed to combat this problem. Aphrodisias never fully recovered from the 7th century earthquake, and fell into disrepair. Part of the town was covered by the modern village of Geyre; some of the cottages were removed in the 20th century to reveal the older city. A new Geyre has been built a short distance away.
Temple of Aphrodite
)
The ''tetrapylon, or Monumental Gate
The Aphrodite of Aphrodisias
The cult image that is particular to Aphrodisias, the Aphrodite of Aphrodisias, doubtless once housed in the Temple of Aphrodite,[5] was a distinctive local goddess who became, by interpretatio graeca, identified with the Greek Aphrodite. Her canonical image, typical of Anatolian cult images, shows that she is related to the Lady of Ephesus,[6] widely venerated in the Greco-Roman world as Artemis of Ephesus. The surviving images, from contexts where they must have been more civic than ritual, are without exception from the late phase of the cult, in Hellenistic and Roman times, and are rendered in the naturalistic style common to their culture, which gave the local goddess more universal appeal.[7] Like the Lady of Ephesus, the "Aphrodite" of Aphrodisia wears a thick, form-disguising tunic, encasing her as if in a columnar box, always with four registers of standardized imagery. Her feet are of necessity close together, her forearms stretched forward, to receive and to give. She is adorned with necklaces and wears a mural crown[8] together with a diadem and a wreath of myrtle, draped with a long veil that frames her face and extends to the ground. Beneath her overtunic she wears a floorlength chiton. The bands of decoration on the tunic, rendered in bas-relief, evoke the Goddess's cosmic powers: the Charites, the Three Graces that are the closest attendants of Aphrodite; heads of a married pair (the woman is veiled), identified by Lisa Brody as Gaia and Uranos, Earth and the Heavens, over which this goddess reigns, rather than as Zeus and Hera; Helios and Selene separated by a pillar; the marine Aphrodite,[9] riding a sea-goat, and at the base a group of Erotes performing cult rituals.Bouleuterion
The Bouleuterion (Council House) is centered on the north side of the North Agora. As it stands today, it consists of a semicircular auditorium fronted by a shallow stage structure about 46 m wide. The lower part of the auditorium survives intact, with nine rows of marble seats divided into five wedges by radial stairways. The seating of the upper part, amounting to an additional twelve rows, has collapsed together with its supporting vaults. The plan is an extremely open one, with numerous entrances at ground level and several stairways giving access to the upper rows of seats. A system of massive parallel buttresses shows that the building was originally roofed. The auditorium would have been lighted by a series of tall, arched windows in the curved outer wall. Seating capacity can be estimated at about 1750.)
The stadium
The available evidence indicates a construction date in the Antonine or early Severan period (late second or early third century A.D.). The scaenae frons (stage front) was certainly put up at this time, as the style of both sculpture and architectural ornament suggest. Statue bases terminating the retaining walls of the auditorium bore the names of two brothers, senators in the early Severan period, and two inscribed bases placed symmetrically against the exterior facade held statues of Aphrodisian benefactors, Claudia Antonia Tatiana and her uncle Lucius Antonius Dometinus, who were active at the end of the second century (Sculptures of the Bouleuterion). Tatiana is known to have had close ties with Ephesos and it is possible that the striking similarities between this building and the Bouleuterion on the Civic Agora there, dated by inscription to the mid-second century, are due to some initiative on her part. We do not know what stood here before the second century A.D., but it is likely that the present building replaced a smaller one contemporary with the laying out of the Agora in the late first century B.C.
The Bouleuterion at Aphrodisias remained in this form until the early fifth century, when a municipal official had it adapted as a palaestra, recording his achievement on the upper molding of the pulpitum (stage). This term usually refers to a wrestling ground, but in the fifth century it could be used to describe a hall for lectures, performances, and various kinds of competitive displays, as suggested by a number of factional inscriptions carved on the seats. Numerous additional cuttings in the surviving seats, probably for poles supporting awnings, suggest that by this time the building had lost its roof. The orchestra was lowered and provided with a marble pavement, reused, perhaps, from the earlier phase.
The architecture of the Bouleuterion is being studied by Lionel Bier, Professor, Art Department, Brooklyn College.
The Sebasteion
The Sebasteion[10] was dedicated, according to a first century inscription on its propylon "To Aphrodite, the Divine Augusti and the People". A relief found in the ruins of the south portico represented a personification of the polis making sacrifice to the cult image of Aphrodite of Aphrodisias, venerated as prometor, or "ancentral mother". "Aphrodite represents the cosmic force that integrates imperial power with the power of local elites," a reader of Chariton romance has noted.[11]Other buildings and discoveries
There are many other notable buildings, including the stadium which is said to be probably the best preserved of its kind in the Mediterranean except, perhaps, for the Sanctuary of Apollo at Delphi. It measured 262 by 59 m and was used for athletic events until the theatre was badly damaged by a 7th century earthquake, requiring part of the stadium to be converted for events previously staged in the theatre.Inscriptions of Aphrodisias
The quality of the marble in Aphrodisias has also resulted in an unusually large number of inscribed items surviving in the city. Upwards of 2000 inscriptions have been recorded by the New York excavators, many of them re-used in the city walls. Most inscriptions are from the Imperial period, with funerary and honorary texts being particularly well-represented, but there are a handful of texts from all periods from the Hellenistic to Byzantine.The Jewish inscription
Excavations in Aphrodisias uncovered an important Jewish inscription whose context is unclear. The inscription, in Greek, lists donations made by numerous individuals, of whom several are classed as 'theosebeis', or Godfearers.[12] It seems clear through comparative evidence from the inscriptions in the Sardis synagogue and from the New Testament that such Godfearers were probably interested gentiles who attached themselves to the Jewish community, supporting and perhaps frequenting the synagogue. The geographical spread of the evidence suggests this was a widespread phenomenon in Asia Minor during the Roman period.Late Antique and ecclesiastical history
In the Late Antique period the city was renamed Stauropolis 'City of the Cross', a name more fitting to the Christian era than the pagan "City of Aphrodite". The name Aphrodisias is still used by the "Hierocles Synecdemus", by Novel clx of Justinian, and figures in the signatures of the Fifth Œcumenical Council in 553. The name of Stauropolis appears for the first time about 640 in the "Ecthesis" of pseudo-Epiphanius (Heinrich Gelzer, Ungedruckte ... Texte der Notitiæ episcopatuum, 534). The name Tauropolis, said to have been borne by the town prior to that of Stauropolis, is an error of several scholars.[13]Le Quien (Oriens christianus, I, 899-904) mentions twenty bishops of this see, among whom were:
- Ammonius at the First Council of Nicæa in 325
- Eumenius at the First Council of Constantinople in 381
- Cyrus at the Council of Ephesus in 431
- Critonianus at the Council of Chalcedon in 451
- Severianus at the Second Council of Constantinople in 553
- Ephraem of Caria, a liturgical poet, etc.
In the seventh century Stauropolis had twenty-eight suffragan bishops and twenty-six at the beginning of the tenth century. Between 1356 and 1361 the see must have been abandoned by the metropolitan, but the title was long retained and he was given the revenues of other churches (Waechter, "Der Verfall des Griechentums in Kleinasien im XIV. Jahrhundert", Leipzig, 1903, 34-7). Isaias of Stauropolis attended the Council of Florence (1439) and fled to avoid signing the decree of union.
Stauropolis remains (as of 1913) a Roman Catholic titular metropolitan see of the former Roman province of Caria.
See also
- Alexander of Aphrodisias
- Chariton, whose novel Chaereas and Callirhoe reflects the power structure of Aphrodisias in the first-second century.
- Karacasu
- Caria
References
1. ^ For Greeks, "Leleges" denoted an ancient pre-Greek people.
2. ^ See Suda Online s.v. Ninoe, [1] (accessed 25-12-2006); the elite of Aphrodisias linked their founding to the Assyrian ruler called in Greek Ninus, the eponymous founder also of Nineveh.
3. ^ Peter Noelke, "Zwei unbekännte Repliken der Aphrodite von Aphrosias in Köln" Arkäologischer Anzeiger 98.1:107-31.
4. ^ Kenan T. Erim, "The school of Aphrodisias, " Archaeology 20.1:18-27.
5. ^ This section follows the dissertation by Lisa R. Brody, under the direction of Christopher Ratté, "The Iconography and Cult of the Aphrodite of Aphrodisias"; her upcoming book will present a catalogue of all surviving images.
6. ^ Lisa Brody notes other images of similar formula: the Artemis of Perge, the Artemis of Claros, the Kore of Sardis, Zeus Labraundeus, and Jupiter Heliopolitanus of Baalbek.
7. ^ Lisa Brody suggests the refounding of Artemisias as a Greek polis about the second century BCE as a possible context for the recreation in Hellenistic terms of a postulated archaic image.
8. ^ In the third century BCE, artists began to place a mural crown on images of the goddess Cybele, who had been represented since Hittite times with a cylindrical polos. The Artemis of Ephesus also wears a mural crown in Hellenistic-Roman images; such a substitution is likely also for the reinterpretation of the Lady of Aphrodisias.
9. ^ The marine Aphrodite, known to Greeks as Aphrodite Pelagia, to Romans as Venus Marina, is not otherwise represented riding the sea-goat.
10. ^ Sebaste is the Greek equivalent of Latin Augustus.
11. ^ Douglas R. Edwards notes in, "Defining the Web of Power in Asia Minor: The Novelist Chariton and His City Aphrodisias" Journal of the American Academy of Religion 62.3 (Autumn 1994:699-718) p 711.
12. ^ Published by J. M. Reynolds and R. F. Tannenbaum, Jews and Godfearers at Aphrodisias, Cambridge Philological Society Supplementary Volume 12, (Cambridge, 1987)
13. ^ See e.g. Revue des études grecques 19:228-30; the error 'Tauropolis' derives from inscription IAph 42, see discussion by Roueché at ALA VI.48
2. ^ See Suda Online s.v. Ninoe, [1] (accessed 25-12-2006); the elite of Aphrodisias linked their founding to the Assyrian ruler called in Greek Ninus, the eponymous founder also of Nineveh.
3. ^ Peter Noelke, "Zwei unbekännte Repliken der Aphrodite von Aphrosias in Köln" Arkäologischer Anzeiger 98.1:107-31.
4. ^ Kenan T. Erim, "The school of Aphrodisias, " Archaeology 20.1:18-27.
5. ^ This section follows the dissertation by Lisa R. Brody, under the direction of Christopher Ratté, "The Iconography and Cult of the Aphrodite of Aphrodisias"; her upcoming book will present a catalogue of all surviving images.
6. ^ Lisa Brody notes other images of similar formula: the Artemis of Perge, the Artemis of Claros, the Kore of Sardis, Zeus Labraundeus, and Jupiter Heliopolitanus of Baalbek.
7. ^ Lisa Brody suggests the refounding of Artemisias as a Greek polis about the second century BCE as a possible context for the recreation in Hellenistic terms of a postulated archaic image.
8. ^ In the third century BCE, artists began to place a mural crown on images of the goddess Cybele, who had been represented since Hittite times with a cylindrical polos. The Artemis of Ephesus also wears a mural crown in Hellenistic-Roman images; such a substitution is likely also for the reinterpretation of the Lady of Aphrodisias.
9. ^ The marine Aphrodite, known to Greeks as Aphrodite Pelagia, to Romans as Venus Marina, is not otherwise represented riding the sea-goat.
10. ^ Sebaste is the Greek equivalent of Latin Augustus.
11. ^ Douglas R. Edwards notes in, "Defining the Web of Power in Asia Minor: The Novelist Chariton and His City Aphrodisias" Journal of the American Academy of Religion 62.3 (Autumn 1994:699-718) p 711.
12. ^ Published by J. M. Reynolds and R. F. Tannenbaum, Jews and Godfearers at Aphrodisias, Cambridge Philological Society Supplementary Volume 12, (Cambridge, 1987)
13. ^ See e.g. Revue des études grecques 19:228-30; the error 'Tauropolis' derives from inscription IAph 42, see discussion by Roueché at ALA VI.48
Source
- http://www.newadvent.org/cathen/14283b.htm (Late Antique and Ecclesiastical History)
Bibliography
- Erim, Kenan T., "Aphrodisias, Awakened City Of Ancient Art", National Geographic Magazine, June, 1972.
- Erim, Kenan T., "Aphrodisias", Net Turistik Yayinlar A.S., 1990. ISBN 975-479-063-9.
- Erim, Kenan T., Aphrodisias: City of Venus Aphrodite, 1986 (New York: Facts on File)
- MacDonald, David (1992) The Coinage of Aphrodisias (London: Royal Numismatic Society)
- Roueche, Charlotte, Erim, Kenan T., (Editor), "Aphrodisias Papers: Recent Work on Architecture and Sculpture", Journal of Roman Archaeology Supplementary Series, 1991.
- Ratté, Christopher, "Archaeological Computing at Aphrodisias, Turkey", Connect, Humanities Computing, New York University, Summer 1998.
External links
- Aphrodisias The official site of the New York University Excavations)
- Inscriptions of Aphrodisias (published by King's College London)
- Aphrodisias in Late Antiquity (published by C.Roueché)
- Monuments of Aphrodisias, summarised by Turizm.net, a Turkish travel guide
- History of Aphrodisias, birth place of the goddess of love
- Virtual Tours of Aphrodisias
- Pandemos redirects here. For the genus of metalmark butterflies, see Pandemos (butterfly).
Aphrodite (Greek: Ἀφροδίτη; Latin: Venus
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Caria (Greek: Καρία) was a region of Anatolia situated south of Ionia and west of Phrygia and Lycia. The eponymous inhabitants were known as Carians, and came to Caria before the Greeks.
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Geyre is the ruins of the ancient city Aphrodisias in the province of Aydın. It is a popular tourist attraction for Turkish people.
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General Information
Altitude: 1800ft Population: 1,000 Province: AydınSituation
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- Pandemos redirects here. For the genus of metalmark butterflies, see Pandemos (butterfly).
Aphrodite (Greek: Ἀφροδίτη; Latin: Venus
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The term ancient Greece refers to the periods of Greek history in Classical Antiquity, lasting ca. 750 BC[1] (the archaic period) to 146 BC (the Roman conquest). It is generally considered to be the seminal culture which provided the foundation of Western Civilization.
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goddess is a female deity. Many cultures have goddesses. Most often these goddesses are part of a polytheistic system that includes multiple deities. Pantheons in various cultures can include both goddesses and gods, and in some cases also intersex deities.
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In the practice of religion, a cult image is a man-made object that is venerated for the deity, spirit or daemon that it embodies or represents. Cultus, the outward religious formulas of "cult", often centers upon the treatment of cult images, which may be dressed, fed or
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Kenan Tefvik Erim (February 13, 1929 İstanbul - November 3, 1990 Ankara) was a Turkish archaeologist who excavated from 1961 until his death the site of Aphrodisias in Turkey.
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piping system in a building with intumescent firestop being installed by an insulator, Vancouver, British Columbia, Canada.]] Plumbing, from the Latin for lead, is the skilled trade of working with pipes, tubing and plumbing fixtures for potable water systems and the
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Geyre is the ruins of the ancient city Aphrodisias in the province of Aydın. It is a popular tourist attraction for Turkish people.
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Altitude: 1800ft Population: 1,000 Province: AydınSituation
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twentieth century of the Common Era began on January 1, 1901 and ended on December 31, 2000, according to the Gregorian calendar. Some historians consider the era from about 1914 to 1991 to be the Short Twentieth Century.
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An agora (αγορά), translatable as , was a public space and an essential part of an ancient Greek polis or city-state. An agora acted as a marketplace and a forum to the citizens of the polis.
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sarcophagus is a stone container for a coffin or body. The word comes from Greek "sarx" meaning "flesh", and "phagein" meaning "to eat", so sarcophagus means "eater of flesh".
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The acanthus is one of the most common ornaments used to depict folliage.[1] Architectural ornaments are carved in stone or wood in the appearance of leaves from the Mediterranean acanthus spinosus
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Marble is a nonfoliated metamorphic rock resulting from the metamorphism of limestone, composed mostly of calcite (a crystalline form of calcium carbonate, CaCO3). It is extensively used for sculpture, as a building material, and in many other applications.
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In the practice of religion, a cult image is a man-made object that is venerated for the deity, spirit or daemon that it embodies or represents. Cultus, the outward religious formulas of "cult", often centers upon the treatment of cult images, which may be dressed, fed or
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Interpretatio graeca is a Latin term for the common tendency of ancient Greek writers to equate foreign divinities to members of their own pantheon. Herodotus, for example, refers to the ancient Egyptian gods Amon, Osiris and Ptah as "Zeus", "Dionysus" and "Hephaestus".
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Temple of Artemis (Greek: Ἀρτεμίσιον Artemision, Latin: Artemisium), also known less precisely as Temple of Diana
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mural crown identified the goddess Tyche, the embodiment of the fortune of a city, familiar to Romans as Fortuna. The high cylindrical polos of Cybele too could be rendered as a mural crown in Hellenistic times, specifically designating the Mother Goddess as patron of a
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