Oil Lamp

Abstract: The systematic gathering of literary, epigraphic and archaeological sources relating to the cultivation of olives and the production of olive oil in Puglia during the Roman period makes it possible to reconstruct an articulated, albeit preliminary, framework of settlements in which coexisted huge oil-factories, whose product was intended for a large scale trade, and small-medium structures, oriented towards the prevalent local consumption. In a horizon focused on the Late Republican period, and opened to the Mediterranean basin, the comparison with the data concerning both the manufacture of clay lamps and the diffusion of similar imported lychnological types allows us to hypothesize a supply chain specialized also in the production of oil as a fuel. The synoptic analysis of the collected data can thus allow to draw an economic profile of integration between agricultural and handicraft production and thus outline a multifaceted landscape, far from the historiographic stereotypes that linked South-Eastern Italy to the Ciceronian image of the inanissima pars Italiae (Cic. Att. 8, 3, 2) and provide interesting perspectives for the continuation of such researches.

Balatlar during the different years of the Church excavations, finds made of mother of pearl were found in different parts of the excavation site. The earliest of these is a crucifix pendulum dated to the 13th century and was found as a grave find. Other mother of pearl finds have also been found in graves dated to the 19th century and in various parts of the excavation site. The majority of these are buttons. Notable examples are two pendulum crosses and mother of pearl plates belonging to a large ceremonial cross with a medallion pendulum depicting the Mother of God, Mary. There are figures, patterns and inscriptions on the Quadrangular plates, most of which belong to the ceremonial or consecrated cross, on which the scene of the crucifixion of Jesus is engraved. Apart from these, in the tomb of the bishop, buried in ceremonial clothes, there are mother of pearl medallions placed in a silver frame and decorated with a dove on the side of the clasp joined together with a hook on the belt of mother of pearl, which was unearthed in solid condition at the waist of the individual. The use of mother of pearl material, which symbolizes purity and purity in Christianity, therefore represents Mary and Jesus, and which has different meanings in many cultures, increased especially in Anatolia during the Ottoman Empire. In this study, excavation finds made of mother of pearl material, some of which were brought from different places at the northern end of Anatolia, were introduced.

Bu çalışmanın konusunu Sinop Balatlar Kilisesi Kazısında açığa çıkarılan adak mozaiklerinde görülen kuş
figürleri ve ikonografileri oluşturmaktadır. 2016-2021 yılları arasında yürütülen kazı çalışmaları sonucunda
açığa çıkarılan 10 farklı panodan oluşan Balatlar mozaikleri Yunanca yazıtlarından da anlaşıldığı üzere
belli kişilerin adakları için yapılmıştır. Bulunduğu mekan ve yapılış gayesi bu mozaiklerin ikonografilerinin
şekillenmesinde en önemli kilit noktasını oluşturmaktadır. Paganizm etkilerinden sıyrılarak Hristiyan bir kimlik
kazanmayı hedefleyen erken Bizans mozaik sanatının tümünde olduğu gibi Balatlar Kilisesi mozaiklerinde de
sadeleşme ve geometrik formlar içerisinde sınırlandırılmış alanlarda figürlerin tasvir edildiği görülmektedir.
Kuş figürü dışında herhangi bir figüratif süsleme ile karşılaşılmayan Balatlar mozaik örneklerinde 10 farklı
cinsten 42 kuş figürünün tasvir edildiği görülür. Kartal, güvercin, keklik, horoz/tavuk, kumru, papağan, leylek,
ördek ve çeşitli ötücü kuşların yer aldığı mozaiklerde bu figürlerin tek başlarına ya da birlikte tasvir edildikleri
kompozisyona göre çeşitli ikonografik anlamlara geldikleri görülmektedir.
Bilindiği üzere dünya sanat tarihi içerisinde pek çok farklı anlam ile özdeşleştirilen kuş figürleri her dönemde
olduğu gibi Hristiyan sanatında da farklı kimi özellikleri doğrultusunda çeşitli anlamlar kazanmış sembolik
figürlerdir. Bu bağlamda çalışmanın amacı Balatlar Kilisesi Mozaiklerinde karşımıza çıkan kuş figürlerinin
cinslerini tayin ederek ikonografilerini tarihsel gelişimle birleştirerek Tevrat ve İncil temelli ikonografik
yorumlarını tespit etmektir.

Ancient city of Sinope is located on the Sinop Headland, the northernmost point of Anatolia,
in the center of the southern Black Sea coastal strip. It is stated in the ancient sources that
Sinope was established as a colony of Miletos in the later 8th century BC. After the Lydians
defeated the Cimmerians, Miletus attempted to establish its colonies and Sinope was reestablished by the Miletians after the middle of the 7th century BC. Then, in the Hellenistic
Period, Sinope was also affected by the intense hellenization that started with the campaigns
of Alexander the Great, and first Antigonos and then Seleukos dominated the region. Sinope,
which was included in the territory of the Kingdom of Pontus, founded by Mithridates in 183
BC, has been settled continuously since the Archaic Period. There are lamps belonging to the
Archaic, Classical, Hellenistic, Roman and Byzantine Periods in the collection of Sinop
Museum. Most of them have been purchased or confiscated, as well as scientific
archaeological excavations. In this study, it will be tried to show the Archaic and Classical
Period lamps and their origins. The earliest example among them is an open oil lamp which is
probably dated to the last quarter of the 7th century BC. The following examples are dated to
the Archaic Period, show a profile with an open body and a bridged nozzle. These lamps are
dated between the second half of the 6th century BC and 480, according to the Attic
chronology. Sinope examples are also similar to the Ephesian finds which are dated to the last
quarter of the 7th century BC, and this date coincides with the colonization date of Sinope.

Bu bildirinin konusunu İstanbul Arkeoloji Müzeleri’ne bağlı özel bir koleksiyon olan Ayşe Mina Esen Koleksiyonu’nda bulunan Geç Roma ve Erken Bizans Dönemine ait kandiller oluşturmaktadır. Koleksiyonda Arkaik dönemden, Osmanlı imparatorluğunun sonuna kadar geçen uzun sürece tarihlendirilen çok sayıda kandil olmasına rağmen Geç Roma, Erken Bizans dönemlerinde kullanılmış olan pişmiş toprak, bakır alaşımı ve cam kandiller değerlendirilmeye çalışılmıştır. Bu çalışma kapsamında koleksiyonda yer alan 14 adet bakır alaşımı kandil, 5 adet pişmiş toprak kandil ve 1 adet cam kandil incelenmiştir. Bakır alaşımı kandillerde üretim tekniği (kalıba döküm), biçim özellikleri ve süsleme elemanları (haç, yaprak, deniz kabuğu gibi figür ve desenler) üzerinde durulmuştur. Pişmiş toprak kandillerin hamur özellikleri, üretim teknolojisi (kalıp ya da çark yapımı ), biçim ve süsleme özellikleri (figür ve desen) incelenmiştir. Aydınlatma araç gereçlerinin tipleri, günlük ve dinsel yaşamdaki kullanım alanları, Hristiyan inançla birlikte ışığın İsa’nın simgesi haline dönüşüp kutsallaşması, mezarlarda bulunmasının pratik ve mistik anlamları, büyü amaçlı kullanılması gibi kandile yüklenmiş anlamlara da değinilmiştir. Geç Antik dönem bakır alaşımı ve pişmiş toprak kandillerinin bezemesinde kullanılan haç ve benzeri Hristiyan inancıyla ilişkili anlamlar içeren desenler kandillerin Bizans İmparatorluğuna ait olduğunu gösterir. Yapılan çalışma ile koleksiyon içerisinde bulunan kandil örneklerinin bilim dünyasına kazandırılması ve ikonografik özelliklerinin tanıtılması amaçlanmıştır.
-----------------------------------------------------------------------------------------------------------------------------------
The subject of this statement is the oil lamps of the late Roman and early Byzantine periods found in the Ayşe Mina Esen collection, which is affiliated with the Istanbul Archaeological Museums. Although there are many lamps in the collection dated from the Archaic period to the long period leading to the end of the Ottoman Empire, terracotta, bronze and glass lamps used in the late Roman and early Byzantine periods were tried to be evaluated. 14 copper alloy oil lamps, 5 terracotta oil lamps, and 1 conical glass oil lamp in the collection were examined within the scope of this study. In copper alloy oil lamps, production technique (casting into mold), form characteristics and ornamental elements (figures and patterns such as crosses, leaves, seashells) were focused on. The dough properties, production technology (mold or wheel making), form and ornamental features (figure and pattern) of terracotta oil lamps were examined. The types of illumination tools, their usage in daily and religious life, the turning of light into Christ’s symbol and sanctifying with the Christian belief, the practical and mystical meanings of its presence in the tombs, and the meanings attributed to the candle a as its use for magic are mentioned. The cross and similar patterns used in the decoration of the Late Antique copper alloy and terracotta lamps indicate that the lamps belong to the Byzantine Empire. With this study, it is aimed to bring the oil lamps in the collection to the scientific world and to introduce their iconographic features.

The subject of this article is the Wild & Wessel factory in Berlin, one of the foremost producers of kerosene lamps in Europe in the second half of the nineteenth century. The success of this factory was due in large part to its founding directors’ dual emphasis on art and technology: they hired well-known and respected contemporary artists to design and prototype their lamps, and spent large sums on research and development. This, and their emphasis on catering to an inclusive market with a range of low to high price points, on thoughtful merchandising and branding, and on streamlining production, put Emil Wild and Wilhelm Wessel in the footprint of Josiah Wedgwood, often seen as the pioneer of entrepreneurship.