Raman

Edirne’nin sahip olduğu köklü tarihi, kültürel çekiciliği ve doğal güzelliklerinin tanıtılmasına ve turizmin gelişmesine olumlu destek sağlayacak Edirne Tanıtım ve Turizm Derneği Dergisi (ETTDERGİ) 3. sayıda Edirne’nin tarih, kültür, sanat ve sosyal yaşamına dair 8 makale ve Edirne ile ilgili onlarca fotoğraf ve gravür yer alıyor. 

Her sayısında Edirne’ye farklı açılardan, farklı konu ve konuklarla bakmayı hedefleyen ETTDERGİ, 3. sayısında da kent kimliğine değer katan  yazılar ve bu yazıları tamamlayan değerli fotoğrafları bir araya getirerek okurlarını Edirne’nin bilinmeyen derinliklerine götürüyor.
 
Derginin 3. sayısına bilimsel yayınları ve sanatları ile dünyaya mâl olmuş ve alanlarında hatırı sayılır derecede tanınan; Fransa Ulusal Bilimsel Araştırma Merkezi Araştırmacısı ve Sorbon Üniversitesi Emekli Öğretim Üyesi Prof. Dr. Philippe Colomban, İsveç Göteborg Üniversitesi HDK-Valand Tasarım ve El Sanatları Akademisi Öğretim Üyesi, İstanbul İsveç Araştırma Enstitüsü'nde (SRII) Misafir Araştırmacı, SRII Akademisyenler Birliği Üyesi ve SRII Program Planlama Kurulu Başkanı olan Doç. Dr. Gertrud Olsson ve UNESCO Programı kapsamında, 2015 senesinde Kültür ve Turizm Bakanlığı Araştırma ve Eğitim Genel Müdürlüğü tarafından “Yaşayan İnsan Hazineleri” ödülüne layık görülen, Kalemişi üstadı, Edirne’nin en gözde eseri olan Selimiye Camii ve Muradiye Camii hakkında çok değerli çalışmalar sunan Mimar M. Semih İrteş ve bir çok değerli yazarın araştırmaları değer katmıştır.

ETTDERGİ Yayın Yönetmeni Neslihan Çakır kaleme aldığı yazısı ile; yaklaşık 6 aylık bir çalışmanın sonucu ve uluslararası diyalogla ortaya çıkan bu sayının da yakın zaman dilimi içinde kaybettiğimiz derneğimizin kurucu üyesi ve neferi olarak çalışmış “Edirne’nin Saadet Ablası” Dr. Saadet Yardım’ın anısına ithaf edildiğine yer verdi.

Edirne Tanıtım ve Turizm Derneği olarak; dergiye desteğinden dolayı dernek yönetim kuruluna ve başkan Bülent Bacıoğlu’na, editörlüğünü üstlenen Altay Bayatlı’ya, kapak tasarımını yapan ve çeviri katkısı sunan Duygu Yürek’e, farklı makalelerin çevirisini yapan Kutalmış Bayraktar ve Fatih Bayraktar’a,  derginin dizgi ve tasarımını yapan Deer Prodüksiyon (Hasan Yiğit Konaklılar) ’a, derginin basım hizmetini yüklenen ve sponsorluk desteği veren yerel firmalar; SOS Elektronic / Lora Sayaç (Sn. Süleyman Ulusoy), Birkan Yapı & Tasarım & İnşaat (Sn. Hakan ve Okan Birkan kardeşler), Gülse Cafe & Patiserria (Sn. Bülent Günal) ve Vinum Hotel & Spa (Sn. Demir Öktem) firmalarına teşekkürü bir borç biliriz.

Tamamen ETTDER üye ve gönüllülerinin emeği sonucu ortaya çıkan ETTDERGİ, 6 ay aralıklarla yılda 2 kez yayınlanmaya devam etmektedir.

Dergi, Kültür ve Turizm Bakanlığından uluslararası ve çok dilli (multi-language) ISSN numarası aldığı için “www.academia.edu” üzerinden de tüm dünya ile akademik ortamda paylaşılmaktadır. Elektronik ortamda gönderilen  binlerce e-posta ile ulusal ve uluslararası düzeyde yaygınlaştırılmaktadır. Aynı zamanda ülkemizde ve yurtdışında birçok kütüphaneye de gönderilmektedir. ETTDERGİ’nin 3. sayısında yer alan makalelerin bir kısmı gönüllüler sayesinde İngilizce, Fransızca, İsveç dillerine çevrilerek uluslararası mecrada da okunabilir duruma getirilmiştir.

Trakya Üniversitesi SOBE Tarih ABD 'da doktorasını yapan, dernek üyesi ve proje koordinatörü Altay Bayatlı’nın editörlüğünü üstlendiği üçüncü sayının Danışma Kurulu;
Prof. Dr. Suphi Saatçi,
Prof. Dr. Emel Gönenç Güler,
Doç. Dr. Gertrud Olsson,
Doç. Dr. Bülent Yıldırım,
Doç. Dr. Aziz Tekdemir,
Dr. Nilüfer Bayatlı ve
Dr. Sibel Bayraktar’dan oluşmaktadır.

Derginin yayın yönetmeni Neslihan Çakır, yazı işleri sorumlusu ise Esra Konaklılar’dır. Aynı zamanda ETTDERGİ ’nin 3. sayısına derneğin “www.ettder.org” sayfasından da ulaşmak mümkündür. Keyifli okumalar…

The red disks from El Castillo Cave are among the earliest known cave paintings. Here, we combine the morphometric and technological study of red disks from two areas located at the end of the cave with the microscopic, elemental, and mineralogical analysis of the pigment and compare the results obtained with observations derived from experimental replication. Ergonomic constraints imply that a number of disks were made by adults, and the differences in pigment texture and composition suggest that they correspond to an accumulation through time of panels made by different persons who shared neither the same technical know-how nor, very possibly, the same symbolic system.

The present paper reports a detailed and systematic theoretical study of structural, mechanical, electronic, vibrational and thermodynamical properties of three beryllium chalcogenides BeS, BeSe and BeTe
in zinc blende, NiAs and rock salt phases by performing ab initio calculations based on density-functional theory. The calculated value of lattice constants and bulk modulus are compared with the available
experimental and other theoretical data and found to agree reasonably well. These compounds are indirect wide band gap semiconductors with a partially ionic contribution in all considered three phases. The
zinc blende phase of these chalcogenides is found stable at ambient condition and phase transition from zinc blende to NiAs structure is found to occur. The bulk modulus, its pressure derivative, anisotropic factor, Poission’s ratio, Young’s modulus for these are also calculated and discussed. The phonon dispersion curves of these beryllium chalcogenides in zinc blende phase depict their dynamical stability in this phase at ambient condition. We have also estimated the temperature variation of specific heat at constant volume, entropy and Debye temperature for these compounds in zinc blende phase. The variation of lattice-specific heat with temperature obeys the classical Dulong–Petit’s law at high temperature, while at low-temperature it obeys the Debye’s T3 law.

The Andean church of San Andrés de Pachama is located in the highland of the northernmost of Chile, near the limit with Bolivia and next to the Ruta de la Plata. This commercial route contributed in the past to the transport and commerce of various raw materials, such as silver, from the Andean mountains region to the Pacific Ocean coast and then to the European market. The walls inside the church are decorated with paintings from the end of the eighteenth century that reproduce religious motivs together with flowers, fruits, and birds. In this study, micro samples taken from one of the mural paintings have been analysed to acquire information on the artistic materials and the painting technique previous to the restoration of the paintings. Analysis by micro-Raman spectroscopy complemented with scanning electron microscopy–energy dispersive X-ray spectroscopy, attenuated total reflection infrared spectros-copy, X-ray diffraction, and high-performance liquid chromatography with diode-array detection allowed the identification of orpiment, vermilion, indigo, smalt, antlerite, hematite, carmine lake, and wood charcoal as pigments as well as gypsum as the ground layer. Lipidic and proteinaceous materials extracted from the microsamples were identified by gas chromatography coupled to mass spectrometry and indicated the use of a mixture of egg and siccative oil as binders and a secco painting technique involving animal glue as the plaster primer. Smalt and the prized cochineal lake are reported for the first time in an Andean colonial mural painting.

This communication aims to present the information concerning the identification of furniture and know-how originally from eastern Mediterranean in Corsica through Middle Bronze Age (1600-1200 b.C.) and Late Bronze Age (1200-800 b.C.).
In this island, the question of the presence of Aegean elements was, for a long time, associated to a theory involving a foreign-born population, the Sherden, a group mentioned within the famous Sea Peoples. After the abandonment of these historic-factual constructions, the insular archaeological research attached itself to the analysis of the sociocultural character of insular groups from the Bronze Age, without trying to connect them to the cultural dynamics from eastern Mediterranean.
After three decades of scientific introspection, it seems important to propose a postponed inventory on this specific issue. The issue of relations between the Aegean and Near-Eastern areas is documented today by several discoveries, revisions on objects and specific analysis made for fifteen years. In the early 2000s, the first formal testimony of the eastern importation recognized in Corsica is a copper ingot of ox-hide typology and Cypriot origin, found out of context in Sant’Anastasia, in the northeast area of the island. This object, published by F. Lo Schiavo, illustrates the integration at least marginal of Corsica into the Mediterranean networks of metal distribution in the late second millennium. This discovery thereby came to partially fulfill an important gap in research, particularly illustrated by the strong contrast expressed by the number of remains of this type between Corsica and Sardinia. At the same time, the realization of analysis (laser ablation coupled to mass spectrometry) on vitreous furniture unearthed during ancient excavations of the sites of Foce, Tiresa and Filitosa permitted to set the context of production, revealing the near-eastern origin of the materials. 
More recently, the discovery of a set of ornaments in connection in a sepulchral context of the late Middle Bronze at the site of Campu Stefanu (southwest) allowed obtaining of one of the largest repositories for this type of production throughout the western Mediterranean. This necklace is composed by 25 blue-glass beads of Near-Eastern origin, even Egyptian, and of 29 Baltic amber beads of Aegean typology, which show, in addition, a perfect physical, chemical and morphological superposition with isolated beads from contemporary sepulchral contexts of Sardinia. In this context, the formal non-recognition of Helladic crockery in Corsica, while several cases are known and published in Nuragic area, seems to be explained by a delay in research.
Besides these direct testimonies betraying the importation of exotic prestige goods in Corsica between the fourteenth and the twelfth centuries, recent achievements illustrate the existence of technical transfers between the island and the Mycenaean world around the middle and late second millennium. These phenomena are notably materialized by the strong technical and iconographic analogies observed during repoussé work in metal foils. The matrices recognized in Corsica present indeed profound occurrences with those individualized in Greece, as well as the finished objects to which they are attached. Unlike importing exotica and bullion, repoussé metalwork is not known in Sardinia and peninsular Italy during those times, thereby introducing a direct transfer of know-how between these two territories.
Through these few examples, of which we sense a short-term enrichment, we’ll try to measure and explain the integration of different types of remains within the native society, in order to draw the position of the island amongst the networks between the two basins of the Mediterranean.

This two-part article (history and analysis, followed by the interpretation of data obtained via analytical techniques) is a study of Amedeo Modigliani’s Self-Portrait (1919, oil/canvas, 100 x 65 cm2), which belongs to the Museu de Arte Contemporânea of the Universidade de São Paulo (MAC USP). By collating documentation on the work’s provenance, critical sources regarding Modigliani’s approach to painting, and technical-scientific (physicochemical and imaging) analyses, we were able to reassess it in light of the articulation between the work’s materiality and composition. We also managed to throw new light on the work’s critical reception in the 1950s, when it arrived in Brazil and received international exposure – at that time, already part of a Brazilian collection – by means of publications and exhibitions.

Chinese celadon shards of the Longquan type, believed to date from the Southern Song dynasty (1127–1279 AD), were excavated in 1934 on Mapungubwe Hill, a 13th century Iron Age site in the Limpopo valley, South Africa. We studied the shards with Raman spectroscopy, x-ray fluorescence (XRF) spectroscopy and
x-ray diffraction (XRD). The Raman polymerization index (Ip), calculated from the spectra of the glaze of the shards, indicated a higher firing temperature than expected for the relatively calcium-rich Longquan glazes of the Southern Song dynasty. XRF analysis of the glaze and XRD measurements of the bulk of the
shards supported this view and date the shards to possibly the Yuan (1279–1368 AD) or even early Ming (1368–1644 AD) dynasties. These results have an impact on the chronology of the history of the region and therefore call for further research of a comparative nature of other Chinese celadon shards excavated on archaeological sites in Africa, in addition to additional carbon dates of Mapungubwe hill.