Gravestones

Doğu Anadolu Bölgesinde Elâzığ iline bağlı bir ilçe statüsünde bulunan Palu, Urartu döneminden başlayarak Osmanlı Devleti’nin son zamanlarına kadar önemli bir olarak varlığını devam ettirmiştir. Günümüzde küçük bir yerleşim birimi olarak var olan Palu’nun, birer vesika niteliğinde olan mezar taşları bilimsel bir boşluğun doldurulması amacıyla sanat tarihi açısından ele alınmıştır. Palu ilçe merkezinde yer alan üç mezarlık alanı ile Cemşid Bey Türbesinde yer alan toplamda 76 adet mezar incelenerek bunların ayrıntılı tanımları yapılmıştır. Her bir mezarın fotoğrafları ve çizimleri ile ayrıntılı ölçüleri katalog bölümüne eklenerek, Anadolu coğrafyasında Selçuklu ve Osmanlı döneminde ortaya çıkan mezar taşlarıyla bilimsel mukayese yöntemiyle değerlendirmeleri yapılmıştır. Şahideli, sandukalı, pehle ve kapak taşlı tiplere sahip olan mezarların, dil ve kitabe içerikleri ortaya çıkarılmış ve süsleme özellikleri açısından tahlil edilmiştir.
Tüm bu çalışmalar neticesinde Palu’daki İslami Dönem Mezar Taşları’nın, Anadolu coğrafyasında yer alan Türk-İslam dönemine ait mezar taşlarıyla önemli oranda benzer oldukları görülmüştür. Palu’nun kendine özgü olarak kitabe içeriklerinde birtakım farklılıkların bulunduğu ve süsleme açısından oldukça kısır bir düzenlemeye sahip olduğu tespit edilmiştir.

Since the 1960s, James Deetz and other archaeologists have attributed the appearance of the cherub icon on colonial-period gravemarkers to religious movements such as the Great Awakening or diminished Puritan influence during the eighteenth century. The cherub has been interpreted by many scholars as a symbol of a heavenly being that reflects freer perceptions on life and the afterlife. This article challenges the long-held religious connotations of the cherub icon. Instead, this article demonstrates that the icon relates to the wider Rococo artistic trend that was the prime influence on the forms and decorations of contemporary material culture. In this artistic fashion, the cherub is a putto, a Classical allegorical element that remained common in architectural and mortuary sculpture. The use of the putto comes with a number of additional contemporary elements and shows that consumer choice connected to the latest fashion instead of changing religious attitudes being the driver behind iconographic and decoration change on colonial gravemarkers.

TWO ROMAN IMPERIAL "PALMETTE" FUNERARY STELAI
The two funerary “palmette” stelai (nos. 17, 16) published here are from ancient Tanagra. They are housed in the recently-renovated Museum of Schematari in the village of this name.
Stele no. 17 is of a gray Boeotian “marble”. It is surmounted by a wide palmette crowning element with relief decoration (a nine-petaled palmette at the center, and three-petaled half-palmettes at the corners). On the front of the body of the stele there is a carved petal-shaped niche, supported on its sides by pilasters with capitals (a part of the left side is preserved). Within the niche is a relief depiction of a frontal female head, broken off at the base of the neck. On the basis of stylistic criteria, the scene in the niche may be dated to the late Tra- janic-early Hadrianic period. The similar finishing of stele and crowing element argues in favour of their hav- ing been done at the same time. However, a series of individual features (part of the stem on the left side (facing the monument) of the crowning element, saddle-shaped cross-section of the crowning element, the stele’s construction material) raise the serious possibility that this stele is the product of a reworked earlier Hellenistic palmette stele from which traces of its existing decoration have been completely erased, and the present result is an original work of the Roman Imperial age.
Stele no. 16 is of a white, probably Pentelic marble, and it too has a palmette crowning element. On its main body inside the vaulted niche, whose apse is supported on either side by pillars with capitals, a scene with three frontal figures (their faces deliberately cut off) has been carved. The stele is the product of a re- worked earlier palmette funerary stele of the Hellenistic age, from whose crowning element only a part of the palmette remained. The niche was created during the Roman Imperial age; the three relief figures were carved inside it, as were the inscriptions on the pediment of its crowning element, the vaulted epistyle of its niche, and its plinth. There is a discussion of problems concerning: a) the sex of the two adult figures in the scene; b) the inscriptions, which do not correspond to the figures they accompany; c) the profession of the right- hand figure in light of the attribute he holds, and d) the stele’s date.

The study of cemeteries, with their accumulated material culture, is a popular topic in historical archaeology, eliciting a number of methodological approaches. This paper describes the application of a phenomenological approach, best known previously in archaeology for its use in prehistoric landscape
studies, to a historical public cemetery. The plan and layout of the colonial section (1837–1900) of Adelaide’s West Terrace Cemetery is analysed within the context of nineteenth-century visitation patterns, prevailing attitudes to death and burial in Britain and their influence on South Australian colonial society, to consider what factors influenced the layout, selection, placement, accumulation and display of material culture within
the cemetery. The study concludes that beyond the immediate practicality of the deceased’s disposal, the colonial cemetery landscape developed during a time of more regulated cemetery visitation, was intended as a place of movement and experience demonstrating private and public expressions of religious and social beliefs to the observer. Its conscious construction was designed to project a sensory experience of prevailing attitudes to death, burial and society in the nineteenth century. The visitor immersed within this landscape,
was engaged in a reflexive sensory dialogue through the mediums of space and material culture. This experiential communication could invoke the power of memory to conjure the deceased’s persona, invite contemplation of personal loss, prevailing community attitudes and religious beliefs, and reaffirm and perpetuate social worldviews.

Bu çalışmada, Bursa ili İnegöl ilçesi Kavaklaraltı Mezarlığında ilk
gömülerinin yapıldığı bölümde yer alan Arap harfleri ile Osmanlıca olarak
düzenlenen 41 adet mezar taşından 24 tanesi ele alınmıştır. Araştırmada, söz konusu
mezar taşlarının seçilmesinin sebebi taşlarda yer alan “muhacir” ibaresi ya da mezar
da yatan kişinin doğduğu toprakları tanımlayan “memleket” ibareleridir.
Ayrıntılı olarak tanımlanan muhacir mezar taşları malzeme, süsleme programı
ve biçimsel özellikleri açısından içerisinde yer aldıkları mezarlığın ve dönemin diğer
mezar taşlarından herhangi bir farklılık göstermezler. Bu mezar taşlarını diğerlerinden
ayıran en önemli özellik hiç şüphesiz ki “muhacir” ibaresidir. Mezarda yatan
insanların anavatana dışarıdan geldiklerini gösteren “muhacir” ibaresinin yanında
muhacirlerin doğdukları toprakların isimleri de mezar taşlarına yansımıştır.
Bu çalışma ile İnegöl ilçesi için hem bir mezar taşı envanteri oluşturulması
için ilk adım atılmış olmakta; hem de ilçenin demografik yapısındaki değişimle ilgili
veriler ortaya konulmaktadır.

The present article aims to present a type of Κoan funerary monument, the rectangular pillar-shaped altar, named after the near square cross-section of its orthostat. In Kos this type of monument accounts for nearly 100 pieces and it can bear crown moldings (type Ε.I.α), crown moldings with corner acroteria atop (type Ε.I.β), two relief pediments on the short sides (type E.I.γ), and, in the most common type, a relief pediment on the front (type E.I.δ). All types are usually accompanied by a set- back stepped finial. The orthostat of the Koan altars is usually plain or, rarely, adorned with a relief garland suspended by boucephalia, one in the middle of each side, or with a figurative scene in a panel. The systematic typological classification of the Koan pillar-shaped altars revealed that their form is heavily depended on the Archaic Ionian altars with crown moldings, as well as on the wider disseminated Classical altars with pedimented barriers of Mainland and Island Greece. Their main morphological features combined with different types of crowning remain constant in the Koan production from the 3rd c BC to the 1st c AD, entering into decline in the 2nd c. AD. The same basic form is reproduced by the Roman funerary altar, whose origins scholars had till now located in the West and which was predominant in Rome and Pompeii in the 1st c. AD, crowned either by moldings or by a free standing triangular or curvilinear pediment, combined with acroteria and pulvini. From there it spread to North Italy and Iberia, and, from the 2nd c. to the 3rd c. AD, its use expanded in most of the Western, North and East Provinces, and dominated in Macedonia. Nevertheless, the particular feature of the relief pediment in the front, appearing in the majority of the Macedonian altars, for this reason referred to by scholars as “Macedonian” type of altar, predominated in Kos as early as the Hellenistic period.

In the article two grave stelai of roman period with manual workers’ representations, housed in the National Archaeological Museum, are published. Both of them are of unknown provenance.
The first one (inv. no. 6956), possibly of naiskos type with pilasters and pediment, is of dark grey marble. On the shaft, a man with a beard is depicted standing to face. He is wearing a short chiton with sleeves and a chlamys fastened on his right shoulder. In his lowered right hand, he is holding a knife with a curved blade. By his right side, a slender-looking vine is rising. Based on the type of knife the man can be identified with a vine-grower. He is depicted during his repose, as it was usual for the Greek grave stelai with relative representations. Based on iconographical and stylistic criteria, the gravestone should be dated in the second half of the 2nd century A.D.
The second stele (inv. no. 15496), from which only its left half is preserved, is of naiskos type with pilasters, epistyle and pediment and is made of white, thick-grained marble. On the shaft, a shoemaker is depicted sitting on a small bench to the right inside his workshop, as indicated by the tools i.e. an awl and a chisel hanging on the wall in the background of the relief. Here, what is most interesting is the tool with the large handle and the flat surface which the man is holding in his right hand. We don’t know what it was like, since there are no depictions of it either in vase-painting or in sculpture. However, its use is described by Plato and its name is cited in the Latin grammarian Festus. It is likely that shoemakers used it to stretch the leather on the shoe-last, so that every wrinkle could be eliminated and their work be facilitated. The stele is close to the Italian gravestones with relative thematic material. It should be dated around the middle of the 3rd century A.D.

Özet
Şeyh Şa’bân-ı Velî Külliyesi Haziresi’nde, Osmanlı dönemi mezar taşları içerisinde henüz başka bir yerde örneğine rastlanmamış nadir bir mezar taşı dikkat çekmektedir. Ümmü Gülsüm Hanım’a ait olan mezar taşını bu denli önemli kılan özellik ise, sivri kemerli alınlık yüzeyinin iç kısmına sarkaçlı saat figürünün işlenmiş olmasıdır. İncelemiş olduğumuz mezar taşı üzerinde, ölüm tarihinin yıl, ay ve günün yanı sıra saat ibaresi olarak da verildiği kanaatindeyiz. Ancak burada verilen saat ibaresi, diğer mezar taşı örneklerinde görüldüğü gibi kitabe metni içerisinde yazı ile yer almayıp, alınlık kısmının içerisine nesnel karakterli bir figür olarak işlenmiştir. Bu bildirimizde söz konusu mezar taşı ayrıntılı olarak tanıtılacaktır. Anahtar Kelimeler: Sarkaçlı Saat, Mezar Taşı, Mezarlık, Şeyh Şa’bân-ı Velî Külliyesi.
Abstract
A unique tombstone, no similar sample of which has yet been encountered within Ottoman period tombstones stands out in burial ground of Şeyh Şa’bân-ı Velî Complex. Having pendulum clock figure on inner side of the frontal surface with pointed arch makes the tombstone belonging to Ümmü Gülsüm Hanım quite remarkable. We believe that time of death was given also with hour as well as year, month and day on the tombstone. Hour expression at that, however, is not included in the text of inscription as in other tombstone samples but available as a figure with practical texture on frontal side. In this study, the tombstone in question will be introduced in detail.
Key Words: Pendulum Clock, Tombstone, Graveyard, Şeyh Şa’bân-ı Velî Complex.

The Hatch Cemetery (16RA1087) was discovered in 2001near Roxana, Rapides Parish, Louisiana. This paper discusses the gravestones and other features at the cemetery. Additionally, a member of the Hatch family surrendered at the Battle of Vicksburg and also played several roles in west-central Louisiana history.

Kioniskoi are the most common form of Athenian grave monuments of the Hellenistisc period (323-31 BC. They are small columns with name inscriptions of the deceased, usually placed on top of the tomb. Very few of these preserve colours that show that the only ornament were painted wreaths, as an eternal gift to the dead.

This volume is a collection of ten articles published between 2009 and 2016 by Mark Dickens on the Church of the East in Central Asia, along with a new article on Mar Yahbalaha III, the only Turkic patriarch of the Church of the East. Most articles deal with the textual evidence for Syriac Christianity in Central Asia, including six on Christian manuscript fragments from Turfan (China) and two on gravestone inscriptions from Semirechye (Kyrgyzstan and Kazakhstan). As the volume title indicates, these articles remind us of the centuries-long presence of the Church of the East at the centre of the Asian continent, now all but forgotten due to the general scarcity of sources from which this history can be reconstructed. ISBN 978-3-643-91103-2

ANADOLU’DA HELLENİSTİK VE ROMA DÖNEMLERİNDE ÖLÜ GÖMME ADETLERİ ULUSLARARASI SEMPOZYUMU
PROGRAM

INTERNATIONAL SYMPOSIUM ON BURIAL CUSTOMS IN ANATOLIA DURING THE HELLENISTIC AND ROMAN PERIODS
PROGRAM
23-26 TEMMUZ / JULY, 2018 Aizanoi-Çavdarhisar / Kütahya-TÜRKİYE
http://www.pau.edu.tr/symposiumburialcustoms

Abstract: Being a coastal settlement, having one of the few natural harbours on the southern Black Sea coast and lying at the mouth of the river Billaios with a fertile hinterland accessible by river, Tios / Tieion was located on the transit route between Eastern Bithynia and Western Paphlagonia. It is continued by the modern township Filyos which belongs to the province of Zonguldak in the western Black Sea region of Turkey. According to the ancient sources, it was founded as a Milesian colony during the colonization period, which seems to be confirmed at least to some degree by the material remains. It was politically dependant first on the tyranny of Herakleia, then on Amastris, followed by the kings of Bithynia and Pontos. Thereafter, the city slipped under Roman control in ca. 70 BCE, becoming part of the provincia Pontus et Bithynia. The epigraphic evidence found outside of Tios allows us to make a few observations on the mobility of the Tianoi and more generally on the external relations of the settlement.

Tios / Tieion war eine Küstenlandschaft an einer der wenigen natürlichen Hafenstellen an der südlichen Schwarzmeerküste. An der Mündung des Flusses Billaios gelegen, hatte es ein fruchtbares Hinterland. Tios war nicht nur über den Flusslauf zugänglich, sondern es befand sich auch an der Transitstrecke zwischen Ostbithynien und Westpaphlagonien. Die heutige Nachfolgesiedlung ist die Gemeinde Filyos, die zur Provinz Zonguldak in der türkischen Schwarzmeerregion gehört. Nach antiken Quellen handelte es sich um eine Siedlung der Milesier aus der Zeit der Koloniegründungen, was zumindest zum Teil durch die materiellen Überreste bestätigt wird. Die Stadt war politisch abhängig zuerst von den Tyrannen Herakleias, dann von Amastris, gefolgt von den Königen Bithyniens und des Pontos. Danach geriet es um 70 v. Chr. unter römische Kontrolle und wurde Teil der Provinz Pontus et Bithynia. Epigraphische Zeugnisse, die außerhalb von Tios gefunden wurden, erlauben uns, einige Beobachtungen zur Mobilität der Tianoi und allgemeiner noch zu den auswärtigen Beziehungen der Siedlung zu machen.

Bénéficiant de son emplacement sur la côte et de l’un des rares ports naturels de la côte méridionale de la mer Noire, ainsi que de sa position à la bouche du fleuve Billaios (moderne Filyos) avec son arrière pays fertile accessible par le fleuve, Tios / Tieion était placée sur la route qui allait de l’Est de la Bithynie vers la Paphlagonie occidentale. Aujourd’hui, il s’agit de la localité moderne Filyos située dans la province de Zonguldak, dans la partie ouest de la région pontique turque. Selon les sources anciennes, la cité a été fondée par Milet pendant la période de colonisation, ce qui semble confirmé, du moins dans une certaine mesure, par les traces matérielles. Tout au long de son histoire, elle a été dépendante du point de vue politique des tyrans d’Héraclée, du synoecisme avec Amastris, du Royaume de Bithynie et du Royaume du Pont. Vers 70 av. J.-C., la cité passe de la dépendance des rois hellénistiques sous le contrôle des Romains, qui l’intègrent, à l’époque impériale, dans la province Pont-Bithynie. Les sources épigraphiques retrouvées en dehors de Tios nous donnent accès à la mobilité des Tianoi et nous permettent de faire quelques remarques concernant les relations externes de cet établissement.

This paper brings to light the life and times of two distinct, but intertwined Czech immigrants from the 1800s.  Emanuel Beránek and Mario Josef Korbel.  First we review and present Beránek's major work, which was his 1896 Czechoamerican cookbook.  Second we offer the exclusive English translation of his obituary as printed in the 1921 edition of Amerikán Národní Kalendář.  Finally, we include a brief biography of the sculptor Mario Josef Korbel and how his life touched Beránek's.

Willunga, South Australia, had a thriving slate industry in the nineteenth century. Remains of this industry are manifested in the carvings of a small group of men who lived in the district. This presentation explores the range of these works.

Marcus Abbott, Laila Kitzler Åhfeldt, Tertia Barnett, Bruce Bishop, David Breeze, David Caldwell, Murray Cook, Neil Curtis, Audrey Dakin, Fiona Davidson, Stephen Driscoll, Iain Fraser, Shannon Fraser, Simon Gilmour, Moira Greig, Marta Díaz Guardamino, Mark Hall, Strat Halliday, Isabel Henderson, John Hughes, Fern Insh, Andy Meirion Jones, Siân Jones, Dianne King, Murdo Macdonald, Cait McCullagh, Peter McKeague, Adrián Maldonado, Gilbert Márkus, Hugh Morrison, Colin Muir, Gordon Noble, Emma O’Riordan, John Picken, Edwina Proudfoot, John Raven, Anna Ritchie, Matthew Ritchie, Judith Roebuck, Christa Roodt, Nigel Ruckley, Jeff Sanders, Ian G Scott, Bill Stephens, Antonia Thomas, George Thomson, Sharon Webb, Iain Ross Wallace, Kelsey Jackson Williams CASE STUDIES