Antik kaya tahtları ve tapınak mimarisi ile ilişkisi

Abstract

Çalışma kapsamında dağların veya tepelerin en yüksek noktasında, manzaraya hakim konumlarda yer alan kaya tahtlarının, inşa edilmiş mimari ile ilişkisi kurulmaya çalışılmıştır. Bu doğrultuda; tezin ilk bölümünde tahtların kült bağlamı incelenmiştir. Ana Tanrıça kültü, Zeus kültü ve hükümdar kültü özelinde kaya tahtları ele alınmıştır. Sonraki bölümde, kaya tahtlarının genel özelliklerine, tahtlarda yer alan yazıtlara ve kült törenlerindeki işlevine dair edinilen bilgilere yer verilmiştir. Kaya tahtlarının coğrafi kapsamı araştırılmış; Anadolu'da, Ege Adaları'nda, Yunanistan'da ve İtalya'da örnekleri bulunduğu tespit edilmiş ve bu örnekler hakkında kısa künye bilgileri oluşturulmuştur. Künyede tahtların konumu, tarihlemesi ve betimlemeleri bulunurken tahtlardan bahseden ilgili kaynaklara da yer verilmiştir. Örneklerin birçoğu Anadolu'dadır; coğrafi yayılımının Ana Tanrıça kültünün yayılımıyla doğru orantılı olduğu sonuca varılmıştır.Son bölümde, kaya tahtlarının tapınak mimarisi ile ilişkisini aktarabilecek özel durum ve örnekler üzerinde durulmuştur. İlk olarak, tapınaklarda yer alan tahtlar ve oturan tanrı heykelleri incelenmiştir. Bu örneklerden sonra Pergamon kenti yakınlarında bulunan Mamurtkale Kybele Tapınağı'ndan bahsedilmiştir. Kültün ilk evrelerinde açık hava kutsal mekanlarını tanımlayan ve çevresinde kült ritüellerinin gerçekleştiği kaya tahtları, sonraki evrelerinde etrafı kapatılarak tanımlı bir alana, tapınağa dönüşmektedir. Bu dönüşüm Kybele Tapınağı üzerinden anlatılmıştır. Bölümün son kısmında kaya ile mimarinin bütünleşmesi açısından Daskalopetra Kaya Anıtı ele alınmıştır. Tez çalışmasının amacı, kaya tahtlarının kült bağlamını anlamak, bir mimari öge olarak tapınak mimarisi ile kavram ve kısmen biçim ilişkisini ortaya çıkarmaktır. Doğada yer alan çıplak kayaya oyulmuş kaya tahtlarının tapınaklara dönüşmesi anlatılırken, aynı zamanda inşa edilmiş tapınaklarda da bu kültün oturan tanrı heykellerinin tahtı olarak temsilini sürdürdüğünü ifade etmek mümkün olmuştur.Son olarak, kaya tahtları konu olarak şimdiye kadar yapılan çalışmalarda `Mimarlık Tarihi` konularına dahil edilmemiştir. Mimari bir öge olarak değil bağımsız, adeta mekansal olmayan bir litürjik obje veya `mobilya` gibi ele alınmıştır. Bu çalışma ile mimarlığın perspektifinden kaya tahtlarına bakılmaya çalışılmış, inşa edilmiş mimariyle ilişkisi irdelenmiş; bu anlamda ilgili araştırma alanına katkı sağlanması amaçlanmıştır.

`Rock-cut Thrones` are defined as bare rock monuments that are located on the mountains or high hills open air and are carved in the shape of a seat. High points dominating the landscape have been sacralized and are considered as `the place where God sits`. Within the scope of the study, the relationship between the rock-cut thrones and the built-architecture was tried to be established. In the first chapter of the study, the cult context of the throne was examined within this respect. While the origin of the cult, which is in relation with rock-cut throne, is the cult of Mother Goddess, there are also examples related to the Zeus cult and the sovereignty cult. Of the 21 rock-cut throne within the scope of the study, 10 are related to the Mother Goddess cult, 4 are related to Zeus cult, and 3 are related to the sovereignty cult.In the second chapter of the study, the information acquired in relation with the general characteristics of the rock-cut thrones, the inscriptions on the throne, and their functions in the cult ceremonies were emphasized. The items that formally represent a rock-cut throne are the steps that make up a defined seating area and the base of the throne. 11 of the rock-cut thrones in the scope of the study have step in different number. The thrones are raised from the ground sometimes by means of one and sometimes several steps. The offering bowls and the inscriptions are located in the immediate vicinity of the throne as the most important evidence of the fact that the thrones have a sacred meaning. 6 of the rock-cut thrones in the scope of the study have offering bowl. The offering bowls that can be seen in front of or at the back of the throne may be of different size, shape and number. 5 of the rock-cut thrones in the scope of the study have an inscription. The inscriptions may be near the rock-cut throne as a board, and also may be in front of the steps or the base of the throne. The inscriptions provide important information about the dating of the rock-cut thrones in terms of period, understanding for which God or for which King they were built, and the learning of the cult rituals they are in relation with. During the cult ceremonies, the kings or priests sit on the throne representing God, or the statue of the God is placed on the throne. Sometimes a priest holding the God statue in his hand sits on the rock-cut throne. Prayers are said, offerings are offered to the God around the thrones. Libation ceremonies are held in the offering bowls that are on or in front of the throne. Rock-cut throne defines a cult area in the open air area, and is worshiped individually or publicly as a representative of the God.The chronological scope of the rock-cut thrones that are studied within the scope of the study starts from the Bronze Age and extends to the Hellenistic Age. The period in which the rock-cut thrones were seen the most intensely is the Iron Age.In the third chapter of the study, the geographic scope of the rock-cut thrones was researched. The geographical spread of the rock-cut throne is in line with the beginning and spread of the cult of Mother Goddess. In line with the fact that Mother Goddess belief arose in Anatolia, the rock-cut thrones also started being built. In accordance with the cultural interactions, the geographical spread of the rock-cut thrones has been enlarged by the promulgation of the Mother Goddess belief first to the Aegean islands and further to Greece and Italy. The most intensive location of the rock-cut throne in Anatolia is the Eskisehir-Afyon-Kütahya region. Apart from this, in Anatolia; near Izmir, Manisa, Konya and Çorum cities there are examples of rock-cut thrones. Examples of rock-cut throne are found in Chios Island and Chalke Island among Aegean Islands; Greece is located around Athens and Megara. Examples in Italy are; Tarquinia, Monterano, Gabii and Cerracchio cities, especially in Central Italy. In the third chapter, short tag information have been created about the rock-cut throne samples found. The tag also provides information about the location, dating and the description of the thrones, the relevant sources mentioning thrones are also includedIn the last chapter of the study, the special cases and examples which may inform about the relation of the rock-cut thrones with the temple architecture were discussed. First, the thrones in the temples and the sitting God statues were examined. The representation samples of the rock-cut thrones in the temple are mostly seen in Greek temples. There are spectacular God statues sitting on the throne in the Greek temples in Argos, Tegea, Sikyon, Patra, Megalopolis and Mantinea cities. The two most important examples in the Classical Period are the Olympia Zeus cult statue and the Argos Heraion cult statue. These statues, which are of immense size and made with precious metals, show the importance given to this God in the Greek religious world. Secondly, Mamurtkale Kybele Temple, located near Pergamon city, was mentioned. The rock-cut thrones, which defined the open air sacred areas, and around which the cult ceremonies were made in the early periods of the cult, have been closed and turned into a defined area, namely to the temples. This conversion was explained through the Kybele Temple. Thirdly, the Daskalopetra Rock Monument was considered in terms of the integration of the rock with the architecture. The Daskalopetra Rock Monument is a rock-cut stone which is carved in a small temple model. The monument, which dominates the landscape on the slope of a mountain like rock-cut thrones, is entirely carved into the rock. It is in the form of a Greek temple with a low roof and an anta in Ion order, having Kybele statue sitting on the throne at the front face.The study has been conducted bilaterally as library and field studies. In this context, the sources found in the libraries located especially in Ankara and Istanbul were used. In Istanbul, the sources found notably in German Archaeology Institute, and in Istanbul Technical University, Boğaziçi University, Atatürk Library, Salt Research Center; and in Ankara, the sources found in Ankara University Faculty of Languages, History and Geography, National Library, Turkish History Institution have been surveyed. Anatolian Civilizations Museum has been visited for the cult statues that relate to the Mother Goddess. The rock-cut throne in Değle has been documented on site for first as a genuine study within the scope of the dissertation. The rock-cut throne has been visited in September, 2017 on the site and its measurement and relief drawing were made.The term of `Rock-cut Throne` is generally used for the rock monuments having a defined sitting area and a back-rest in the relevant fields of study and are also named as `Altar` or `Stepped Altar`. The fact that the samples of rock-cut stones reviewed within the scope of the dissertation have a defined sitting area and are in a form of `seat` has been taken as a criterion, and the name of those that were mentioned in the previous studies as altar, stepped altar or rock monument has been used with their commonly known names, without any change, in order to facilitate the researchers.The aim of the dissertation is understanding the cult context of the rock-cut thrones, and setting forth their context, and in partial the form, relation with temple architecture as an architectural item. While explaining the conversion of rock-cut thrones carved into the bare rocks existed in the nature, it has been possible to state that this cult kept its representation as the throne of the sitting God statues also in the temples that are built.In conclusion, the rock-cut thrones have not been included as a subject in the `Architecture History` in the studies that were conducted up to the present. They have been considered as non-architectural and non-spatial furnitures, rather than an architectural item. With this study, it is tried to consider rock-cut thrones within an architectural perspective, their relation with the built-architecture were examined; and within this context, it is aimed to provide a contribution to the relevant field of research.