THE CROSS AND PWD SIGNS ON ANCIENT GREEK CERAMICS AND THEIR POSSIBLE SOURCES IN EURASIAN, ANATOLIAN AND MESOPOTAMIAN CULTURES

Name: THE CROSS AND PWD SIGNS ON ANCIENT GREEK CERAMICS AND THEIR POSSIBLE SOURCES IN EURASIAN, ANATOLIAN AND MESOPOTAMIAN CULTURES
Author: Lale Avsar

Title	THE CROSS AND PWD SIGNS ON ANCIENT GREEK CERAMICS AND THEIR POSSIBLE SOURCES IN EURASIAN, ANATOLIAN AND MESOPOTAMIAN CULTURES
Author	Lale Avsar
Publication Place	Mardin Artuklu University - Mardin Artuklu University
Subject	Mukaddime, 2011-03, Vol.3(3), p.115-141
Type	Book
Language	ara,tur
Digital	Yes
Manuscript	No
Library:	Leitir Library
Library Asset ID	ISSN: 1309-6087, EISSN: 2459-0711
Record ID	cdi_doaj_primary_oai_doaj_org_article_5434eb313d1441bf997ab39b3266333a
Library Location	DOAJ Directory of Open Access Journals
Notes	The ceramics that emerged in the so-called Geometric age of the ancient Greek world fully comply with this definition, whether with their precisely calculated proportional shapes or their decorations. It is noteworthy that cross and passionflower symbols were also used among the decorations of this period, which were chosen with clear lines. Masters sometimes apply these motifs, which are not directly related to the round symmetrical shapes of ceramic vessels, as filling elements, sometimes alternately with other motifs in the sections within thin or wide borders surrounding the form, and sometimes on the base or core parts. The ancient straight-angled four-armed swastika, which emerged as a development of the equal-sided cross, must have led to the formation of the meandr, the favorite motif of Greek ceramics. It is known that cross and passionflower symbols appear in different cultures, distant geographies and on various materials. It is possible to encounter these symbols in Çatalhöyük seals and in the art and architecture of Ancient Egypt, Scandinavia, India, Mesopotamia, Southern Siberia, Altai and Central Asia. It is assumed that the cross, which has not yet acquired a religious identity, carries a common universal meaning in these cultures. The crosses and passionflowers used in medieval Turkish-Islamic art have a certain significance. In this research article on the tradition of the pre-Christian period, the use, location and iconography of cross and swastika motifs in Ancient Greek ceramics will be examined, and the symbols here will be compared with early Eurasian, Mesopotamian and Anatolian examples and their similar and different aspects will be evaluated. The pre-Christian period will be discussed as the historical framework.
Detaylı Başlık	ANTİK YUNAN SERAMİKLERDEKİ HAÇ VE ÇARKIFELEK SİMGELERİ VE BUNLARIN AVRASYA, ANADOLU VE MEZOPOTAMYA KÜLTÜRLERİNDEKİ MUHTEMEL KAYNAKLARI

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THE CROSS AND PWD SIGNS ON ANCIENT GREEK CERAMICS AND THEIR POSSIBLE SOURCES IN EURASIAN, ANATOLIAN AND MESOPOTAMIAN CULTURES

Author Lale Avsar

Publication Place Mardin Artuklu University - Mardin Artuklu University

Subject Mukaddime, 2011-03, Vol.3(3), p.115-141

Type Book

Language ara,tur

Digital Yes

Manuscript No

Library Leitir Library

Library Asset ID ISSN: 1309-6087, EISSN: 2459-0711

Record ID cdi_doaj_primary_oai_doaj_org_article_5434eb313d1441bf997ab39b3266333a

Library Location DOAJ Directory of Open Access Journals

Notes The ceramics that emerged in the so-called Geometric age of the ancient Greek world fully comply with this definition, whether with their precisely calculated proportional shapes or their decorations. It is noteworthy that cross and passionflower symbols were also used among the decorations of this period, which were chosen with clear lines. Masters sometimes apply these motifs, which are not directly related to the round symmetrical shapes of ceramic vessels, as filling elements, sometimes alternately with other motifs in the sections within thin or wide borders surrounding the form, and sometimes on the base or core parts. The ancient straight-angled four-armed swastika, which emerged as a development of the equal-sided cross, must have led to the formation of the meandr, the favorite motif of Greek ceramics. It is known that cross and passionflower symbols appear in different cultures, distant geographies and on various materials. It is possible to encounter these symbols in Çatalhöyük seals and in the art and architecture of Ancient Egypt, Scandinavia, India, Mesopotamia, Southern Siberia, Altai and Central Asia. It is assumed that the cross, which has not yet acquired a religious identity, carries a common universal meaning in these cultures. The crosses and passionflowers used in medieval Turkish-Islamic art have a certain significance. In this research article on the tradition of the pre-Christian period, the use, location and iconography of cross and swastika motifs in Ancient Greek ceramics will be examined, and the symbols here will be compared with early Eurasian, Mesopotamian and Anatolian examples and their similar and different aspects will be evaluated. The pre-Christian period will be discussed as the historical framework.

Detaylı Başlık ANTİK YUNAN SERAMİKLERDEKİ HAÇ VE ÇARKIFELEK SİMGELERİ VE BUNLARIN AVRASYA, ANADOLU VE MEZOPOTAMYA KÜLTÜRLERİNDEKİ MUHTEMEL KAYNAKLARI