Etrüsk lahitlerinde ve duvar resimlerinde kadın ikonografisi

Abstract

Tezde cinsiyet arkeolojisi bağlamında Etrüsk kadınının toplum içindeki konumu, nasıl betimlendiği ve kadın erkek rolleri ele alınmıştır. Bu bağlamda hem yazılı kaynaklar hem de görsel kaynaklar değerlendirilmiştir. Özellikle Etrüsk lahitleri ve duvar resimleri temel alınmıştır. Gerek yazılı kaynakların gerekse Etrüsk kadın betimlerinin ikonografik karşılaştırmasının ardından tez çalışmamızın temelini oluşturan sorular cevaplanmıştır. Bazı sonuçlara ulaşılmıştır. Bu sonuçlara kısaca değinilecek olursa; yazılı kaynaklar kapsamında başka toplumlarda Etrüsk kadınına benzer sosyal bir profil çizen kadınlar olup olmadığı değerlendirildiğinde Anadolu'da Asur Ticaret Kolonileri Çağı Kadınları ve Likya Kadınlarında benzer bir durum tespit edilmiştir. Görsel kaynaklar kapsamında mezar ortamından gelen lahitler, urneler, steller ve duvar resimleri üzerindeki Etrüsk kadın betimleri incelenmiştir. Yapılan ikonografik karşılaştırma sonucu lahit ve urnelerin kapaklarında uzanan kadın figürlerin Etrüsklere özgü olmadığı ifade edilebilir. Çünkü Etrüsk örneklerinden daha erkene tarihlendirilen Fenike metal kasesi üzerinde benzer bir sahneye rastlanmıştır. Ayrıca Etrüsk eş lahit ve urnelerinin kapak kısımlarındaki kadın ve erkeğin birbirine sarılması ve aralarındaki jestler de Etrüsklere özgü değildir. Mısır eş heykellerinde ve Geç Hitit mezar stellerinde benzer sahneleri bulmak mümkündür. Fakat Etrüskler tüm bu etkilerin bir karışımını kullanmış, buna kendilerine özgü bir tarz da katmıştır. Etrüsk eş ve birey lahitlerinde ve urnelerinde güç ve zenginlik vurgusu ön plana çıkarılmıştır. Buradan kadının erkekle eşit olduğu genellemesi yapılamaz. Etrüsk kadınının sosyal durumu ile ilgili olarak en çok ele alınan sahneler ise banket anıdır. Etrüsk stel-lerindeki ve urnelerindeki banket sahneleri klasik banket şemasındadır. Duvar resim-lerindeki tekli banket sahnelerindeki yazıtlı örnekler Greko-Pers stili stellerdeki ve Kıbrıs stellerindeki banket sahneleri ile benzerlikler taşımaktadır. Tekli banket sahnelerinin yazıtsız örneklerindeki sahnelerdeki kadınların ise eş figürleri oldukları net bir şekilde ifade edilemez. Çoklu banket sahnelerindeki kadın figürlerin ise hetairalar oldukları düşünülebilir.Anahtar Kelimeler: Etrüsk, Kadın, İkonografi, Banket, Lahitler, Duvar Resimleri.

In the thesis, the position of Etruscan women in society, how they are described and the roles of men and women in the context of gender archeology are discussed. In this context, both written sources and visual sources are evaluated. Especially Etruscan sarcophagi and wall paintings are taken as the basis.`Is it correct to make certain socially accurate generalizations for the Etruscan woman? How are Etruscan women portrayed in written texts and how are things in other societies? How are the Etruscan women depictions in the material from the tomb environment? Based on these descriptions, what interpretations do the researchers make for the Etruscan woman, and are there any deficiencies or faults in these interpretations? What are the differences in the descriptions between Etruscan folk women and aristocratic women? Are only aristocratic women shown on the stage? Do we know about folk women? Is the position of women lying on the kline in the depictions of banquets on sarcophagi, urns and wall paintings typical of Etruscans? Do Etruscan women from elite, aristocratic families attend the banquet with their spouses? How has this participation been demonstrated? Are the women in all Etruscan banquet scenes wives? Are Etruscan women more free or equal to men than women in other societies? How are women portrayed in societies other than Etruscans and what is their social position? Do the banquet scenes depict a symbolic life or real life?` These questions form the basis of our thesis work and the thesis progress in this direction. First of all, in the thesis study, the region where the Etruscans live, who this society is, their history and economy are discussed. Then, the research history of the Etruscans is examined. When the concept of gender archeology emerges in Italy and how the Etruscan social structure is evaluated are examined. In the following sections, Etruscan women, which are the main subject of the thesis, are evaluated on two main headings. The first title is written sources. Etruscan woman and social structure are tried to be understood through the perspectives of ancient writers and in the light of epigraphic documents. The evaluations of the researchers on the written sources are examined. Comparisons are made with written sources in other societies. The social position of Etruscan women has been evaluated through written sources. The second title is the material from the tomb environment, that is, the visual resources. Etruscan woman depictions have been systematically evaluated under sub-headings. These headings are organized as sarcophagi, urns, steles and wall paintings, respectively.After the Etruscan woman depictions are defined one by one and grouped within themselves, an iconographic comparison is made. It has been tried to reach a completely original conclusion about the thesis by comparing it with the examples in societies other than the Etruscans. In this context, a comparison of the Etruscan woman with the examples of Mesopotamia-Assyria, Egypt, Phoenicia, Cyprus, Anatolia, and Hellenes has been made. The iconographic comparison of the social situation of Etruscan women with other societies has been discussed under three main headings. The first of these is the banquet scenes on the boats of urns, steles and especially wall paintings, which are important for the social status of Etruscan women. The second is the embracing motif of men and women (inscriptions indicate that they are spouses) seen in Etruscan sarcophagi and urns. The third one is the motif of the Etruscan wives hugging and lying on the kline.After the iconographic comparison of both the written sources and the Etruscan woman descriptions, the questions that formed the basis of our thesis are answered. Some results have been achieved.If these results are briefly mentioned; When it is evaluated whether there are women who have a social profile similar to Etruscan women in other societies within the scope of written sources, a similar situation has been determined in Assyrian Trade Colonies Age Women and Lycian Women in Anatolia. Etruscan woman depictions on sarcophagi, urns, steles and wall paintings from the tomb environment were examined within the scope of visual sources. Some evaluations have been reached about the comments of Etruscan women researchers, whether Etruscan women lying in klines is unique to Etruscans, how women are depicted with men in banquet scenes, whether women in multiple banquet scenes are spouses, and how Etruscan women are shown in society. Primarily, it is supported by inscriptions that the figures in Etruscan spouse sarcophagi and urns are husband and wife. As a result of the iconographic comparison, it can be stated that the female figures lying on the covers of the sarcophagus and urns are not unique to the Etruscans. Because a similar scene is found on the Phoenician metal bowl, which is dated earlier than the Etruscan examples. In addition, the embracing of men and women on the covers of Etruscan spouse sarcophagi and urns and the gestures between them are not unique to Etruscans. It is possible to find similar scenes in Egyptian spouse statues and Late Hittite tomb steles. But the Etruscans used a mixture of all these influences, adding their own unique style to it. The emphasis on power and wealth is emphasized in Etruscan spouse and individual sarcophagi and urns. It is not possible to generalize here that women are equal to men.The most discussed scenes regarding the social situation of Etruscan women are the banquet moment. Banquet scenes on Etruscan steles and urns are in the classical banquet scheme. The inscriptions in the single banquet scenes on the wall paintings bear similarities with the banquet scenes on the Greco-Persian style steles and the Cyprus steles. It cannot be clearly stated that the women in the scenes of the single banquet scenes without inscriptions are the figures of the spouses. The female figures in the multiple banquet scenes can be considered to be hetairas.Keywords: Etruscan, Woman, Iconography, Banquet, Sarcophagi, Wall Paintings.