G. Kökdemir, “Some Egyptian Influences on the Temple of Artemis in Magnesia on the Meander” in:...

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• YAZARLAR / AUTHORS •

• Tulga ALBUSTANLIOĞLU

• Serdar AYBEK

• Abdulkadir BARAN

• Alix BARBET

• Işık BİNGÖL

• Cengiz ÇETİN

• İnci DELEMEN

• M. Baki DEMİRTAŞ

• Nuran DEMİRTAŞ

• Boris DREYER

• Aygün EKİN-MERİÇ

• Bekir ESKİCİ

• Diane FAVRO

• Nina FENN

• Çiğdem GENÇLER-GÜRAY

• Onur GİRGİN

• Volkmar von GRAEVE

• Friedmund HUEBER

• Fahri IŞIK

• Musa KADIOĞLU

• Lars KARLSSON

• Volker KÄSTNER

• Görkem KÖKDEMİR

• Antonio LA MARCA

• Sabine LADSTÄTTER

• Sebastiana LAGONA

• Christopher S. LIGHTFOOT• Hans LOHMANN• Thuri LORENZ• Emre MADRAN • Meral ORTAÇ• Zeynep ÇİZMELİ-ÖĞÜN• A. Coşkun ÖZGÜNEL• Deniz ÖZKUT• Serdar Hakan ÖZTANER• Erhan ÖZTEPE• Ömer ÖZYİĞİT• Hatice PAMİR• Wulf RAECK• C. Brian ROSE

• Ayşe ÇALIK-ROSS • Nuran ŞAHİN• Martina SEIFERT • Erika SIMON• Volker Michael STROCKA • Y. Selçuk ŞENER• Oğuz TEKİN• Billur TEKKÖK• Özlem VAPUR• Carina WEISS• Peter WEISS

• Burkhardt WESENBERG

• Fikret K. YEGÜL

• Şahin YILDIRIM

Ankara Üniversitesi Arkeoloji Bölümü öğretim üyelerinden Prof. Dr. Orhan Bingöl’e 67. Yaş Armağanı olarak hazırlanmış bu kitap, Bingöl’ün yurtiçi ve yurtdışındaki yakın meslektaşlarının, çalışma arkadaşlarının ve öğrencilerinin hazırladığı, büyük bir çoğunluğu Klasik Arkeoloji alanında yazılmış toplam 50 makaleden oluşmaktadır.

The present Festschrift honors Prof. Dr. Orhan Bingöl, one of the distinguished faculty members of the Department of Archaeology at Ankara University, on his 67th birthday. It includes fifty articles, mostly in the field of Classical Archaeology, written by his national and international colleagues, collaborators, and former students.

Orhan Bingöl’e 67. Yaş Armağanı

A Festschrift for Orhan Bingöl on the occasion of his 67th Birthday

Ankara2013

Tüm metnin yayım hakkı saklıdır. Tanıtım için yapılacak kısa alıntılar dışında editörün yazılı izni olmaksızın hiçbir yolla

çoğaltılamaz.

ISBN: 978-605-620-41-6-6

1. Baskı 2013

EditörGörkem Kökdemir

Redaction (İngilizce-Almanca)

Dr. Mutlu Er Hacettepe Üniversitesi, Alman Dili ve Edebiyatı

Derya Perk Er Ankara Üniversitesi, Alman Dili ve Edebiyatı

Betül Yalçınkaya Ankara Üniversitesi, Alman Dili ve Edebiyatı

Yıldız Dirmit Başkent Üniversitesi, Amerikan Kültür ve Edebiyatı

Kapak ResimMagnesia 1989, Çarşı Bazilikası,

Prof. Dr. Orhan Bingöl ve Skylla Başlığı.

Kapak ve Sayfa TasarımMustafa Horuş

YayınlayanŞükrü Devrez

YayıneviBilgin Kültür Sanat Yayıncılıkwww.bilginkultursanat.com

Selanik 2 cad. 68/4 Kızılay AnkaraTel: 0 312 419 85 67Fax: 0 312 419 85 68

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Orhan Bingöl’e 67. Yaş Armağanı

A Festschrift for Orhan Bingöl on the occasion of his 67th Birthday

Editor/Edited byGörkem Kökdemir

5Orhan Bingöl’e 67. Yaş ARMAĞANI

İÇİNDEKİLER / CONTENTS

ÖNSÖZ / FOREWORD _____________________________________________________________ 9

SUNUŞ / PREFACE _______________________________________________________________ 11

PROF. DR. ORHAN BİNGÖL ________________________________________________________ 13

İMPARATORLUK MERMER OCAKLARINDA KARŞILAŞILAN “R”, “RMA” VE “VFR” KISALTMALARININ OCAK ORGANİZASYONUNDAKİ YERİ _______________ 25Tulga ALBUSTANLIOĞLU

THE RECENT CONTEXT AND REVISING FOR DATING PROPOSAL OF METROPOLIS STOA ________________________________________ 35Serdar AYBEK / Aygün EKİN-MERİÇ

A NEW AEOLIC STYLE PILASTER CAPITAL FROM KARIA _________________________________ 53Abdulkadir BARAN

UN TOMBEAU PEINT PALÉOCHRÉTIEN À İZNİK Permanence et changements dans la peinture romaine en Turquie __________________________ 67Alix BARBET

ARKEOLOJİK KAZI ALANINDA ÖNLEYİCİ KORUMA ______________________________________ 83Cengiz ÇETİN

PERGE’DEN PERGAMON TİPİNDE HARAP BİR HERME: TAŞIN ÖMRÜ ______________________ 103İnci DELEMEN

MAGNESIA ARTEMİS TAPINAĞI DİŞ SIRASI VE ‘ALTIN ORAN’ _____________________________ 111M. Baki DEMİRTAŞ

DAS STADION, DIE SITZINSCHRIFTENUND DIE GESELLSCHAFT VON MAGNESIA AM MÄANDER ________________________________ 117Boris DREYER

ARKEOLOJİK VE SANAT ESERLERİNİN KORUNMASINDA TEMİZLİĞİN ÖNEMİ VE LAZER TEKNOLOJİSİ ÜZERİNE ___________________________________________________ 133Bekir ESKİCİ

OFF THE GRID: RESISTING, ADJUSTING, AND REENVISIONING THE ROMAN ORTHOGONAL URBAN PLAN ___________________________ 141Diane FAVRO

EIN FESTLICH DEKORIERTES TRINKGEFÄß AUS PRIENE _________________________________ 159Nina FENN

MENDERES MAGNESİASI THEATRON KAZISI CAM BULUNTULARI _________________________ 171Çiğdem GENÇLER-GÜRAY

ZUM ARCHAISCHEN GIEBELSCHMUCK AUS DEM APHRODITEHEILIGTUM IN MILET. EINE ERGÄNZUNG _______________________________________________________________ 181Volkmar von GRAEVE

6 A Festschrift for Orhan Bingöl on occasion of his 67th Birthday

ANASTYLOSIS IS A SERIOUSLY NECESSARY METHOD OF RESEARCH AN PRESENTATION AT SITES WHERE COLLAPSED BUILDINGS ARE EXCAVATED _____________ 193Friedmund HUEBER

ZUR ANATOLISCHEN DEMETER ____________________________________________________ 207Fahri IŞIK

ANAZARBOS ZAFER TAKI: RESTİTÜSYON VE TARİHLEME ÖNERİSİ ________________________ 237Musa KADIOĞLU

THE BUILDING TECHNIQUES IN THE FORTIFICATION TOWERS OF LABRAUNDA ______________ 261Lars KARLSSON

DIE CELLAMAUERN DES ARTEMISTEMPELS VON MAGNESIA AM MÄANDER _________________ 273Volker KÄSTNER

SOME EGYPTIAN INFLUENCES ON THE TEMPLE OF ARTEMIS IN MAGNESIA ON THE MEANDER __________________________ 289Görkem KÖKDEMİR

KYME HELLENİSTİK SUR DUVARI ___________________________________________________ 301Antonio LA MARCA

THYMIATERIEN DER JÜNGEREN RÖMISCHEN KAISERZEIT AUS EPHESOS __________________ 317Sabine LADSTÄTTER

KYME E LA MACEDONIA ___________________________________________________________ 339Sebastiana LAGONA

A GLASS VESSEL WITH DOUBLE-LINE LETTERING IN THE METROPOLITAN MUSEUM OF ART, NEW YORK __________________________________ 353Christopher S. LIGHTFOOT

DIE MACHT DER LIEBE: LAERTES UND ANTIKLEIA AUF DEM SOGENANNTENSISYPHOS-KRATER MÜNCHEN 3268 ________________________________________________ 363Hans LOHMANN

SATYROI ANMERKUNGEN ZU EINEM BRIEF AUS DEM JAHRE 1488 ________________________ 379Thuri LORENZ

ASPENDOS TİYATROSU ONARIM PROJESİ BİR ÖN SUNUŞ ________________________________ 389Emre MADRAN / Nuran DEMİRTAŞ

BOLU MERKEZ, MUDURNU, YENİÇAĞA VE DÖRTDİVAN İLÇELERİANTİK ÇAĞ TARIM TEKNOLOJİSİ: PRES AĞIRLIK TAŞLARI (LİTUSLAR) ______________________ 407Meral ORTAÇ

HADRİANOPOLİS MAKEDONYA KULESİ KURTARMA KAZILARINDA ELE GEÇEN NÜRNBERG JETONLARI _________________________________________________ 433Zeynep ÇİZMELİ-ÖĞÜN

SMINTHEION’DAN BRONZ ARTEMİS FİGÜRÜ __________________________________________ 439A. Coşkun ÖZGÜNEL


REPRESENTATION OF ARCHAEOLOGICAL HERITAGE: IN CONSIDERATION WITH THE INTEGRATED ARCHITECTURAL DOCUMENTATION ____________ 447Deniz ÖZKUT

SALAMİS “GRANİT FORUM (?)” ALANI’NDA ELE GEÇEN BİR GRUP MİMARİ ELEMAN __________ 461Serdar Hakan ÖZTANER

SALAMİS’TEN KİREÇTAŞI İKİ HEYKELCİK _____________________________________________ 477Erhan ÖZTEPE

AYVALIK’TA 19.YÜZYILDAN KORİNTH DÜZENİNDE BİR PROSTYLOS TAPINAK YAPISI: PANAGIA PHANEROMENI AYAZMASI ________________________________________________ 485Ömer ÖZYİĞİT

HATAY ARKEOLOJİ MÜZESİ AL MİNA KOLEKSİYONUNDAN BİR KRATER VE GEÇ DEMİR ÇAĞDA AL MİNA’DA YEREL SERAMİK ÜRETİMİ ___________________________ 523Hatice PAMİR

ZU DEN GRÜNDEN DER VERLEGUNGVON STÄDTEN IM UNTEREN MÄANDERGEBIET ________________________________________ 535Wulf RAECK

THE EGYPTIANIZING OF ROME IN THE WAKE OF ACTIUM _______________________________ 543C. Brian ROSE

CLEVELAND SANAT MÜZESİ JONAH HEYKELCİKLERİ ___________________________________ 559Ayşe ÇALIK-ROSS / Onur GİRGİN

KLAROS’TA BULUNMUŞ “LYRE PLAYER” (LYRA ÇALANLAR) GRUBU’NDAN SKARABOİD BİR MÜHÜR _______________________________ 567Nuran ŞAHİN

ORNAMENT ODER BILDELEMENT? ÜBERLEGUNGEN ZU DEN GESTALTUNGSPRINZIPIEN GEOMETRISCHER BILDDARSTELLUNGEN ________________ 575Martina SEIFERT

JUPITER, MARS, QUIRINUS UND CONCORDIA _________________________________________ 587Erika SIMON

CELSUS ODER AQUILA? ZUR PANZERSTATUE ISTANBUL 2453 ___________________________ 597Volker Michael STROCKA

ARKEOLOJİK ALANDA YAPI MALZEMELERİNİN KORUNMASI:TEMEL YAKLAŞIMLAR, YÖNTEM VE UYGULAMA BİÇİMLERİ ______________________________ 611Y. Selçuk ŞENER

WEIGHTS OF CYZICUS IN BANDIRMA MUSEUM ________________________________________ 625Oğuz TEKİN

ANTİK ÇAĞDA BOYA KULLANIMI ____________________________________________________ 631Billur TEKKÖK

MENDERES MAGNESİASI HYPOKAUSTLU YAPI KAZILARINDAELE GEÇEN İTHAL KALİTELİ SERAMİKLER ____________________________________________ 641Özlem VAPUR


GEMMENBILDER DER LYDISCHEN ARTEMIS/KORE VON SARDEIS _________________________ 667Carina WEISS

MAGNESIA MEA. MARKTGEWICHTE UND BLEISIEGEL DER STADT AM MÄANDER ____________ 677Peter WEISS

ZUM BAUMASS DES ERECHTHEION _________________________________________________ 695Burkhardt WESENBERG

YAĞMALANAN SARDES VE TÜRK ARKEOLOJİSİNİN GEÇMİŞLE İLK HESAPLAŞMASI, 1922-1925 ___________________________________________ 711Fikret K. YEGÜL

TİOS TİYATROSU _________________________________________________________________ 727Şahin YILDIRIM

SONSÖZ / EPILOGUE ______________________________________________________________ 751TUTKU Işık BİNGÖL

YAZARLAR LİSTESİ / LIST OF AUTHORS ______________________________________________ 755


SOME EGYPTIAN INFLUENCES ON THE TEMPLE OF ARTEMIS

IN MAGNESIA ON THE MEANDER

Görkem KÖKDEMİR

Özet: Mısır Uygarlığı, MÖ III. binden Roma Döneminin sonuna kadar kendi özgün kültürünü

yaratmış ve hak ettiği şekilde Eski Çağ tarihindeki yerini almıştır. Bu özgün kültürün ve bu kültürün

yarattığı uzun soluklu bir uygarlığın, Akdeniz Dünyasındaki diğer kültür ve uygarlıkların sanat, kültür

ve mimari gelişim süreçlerinden etkilenmediğini, kaçınılmaz olarak da onları etkilemediğini söylemek,

sadece önyargılı bir görüş olacaktır. Bu görüşe paralel olarak, Mısır Uygarlığı ile Akdeniz dünyasındaki

diğer uygarlıklar arasındaki etkileşim üzerine birçok çalışma kaleme alınmıştır. Bu çalışmalardan bir

tanesi G. Hölbl’a aittir. Hölbl çalışmasında, Didyma Apollon Tapınağı ile “Mısır Geleneksel Tapınak

Mimarisi” arasında plansal açıdan bir bağlantı kurmuş ve Apollon Tapınağı’nın planında karşımıza çıkan

farklı uygulamalar üzerindeki Mısır etkilerini ortaya koymaya çalışmıştır. Didyma Apollon Tapınağı’nda

olduğu gibi Hellenistik Dönemin önemli tapınaklarından bir diğeri olan ve ünlü mimar Hermogenes’in

başyapıtı olarak da anılan Magnesia Artemis Tapınağı’nda da “Geleneksel Grek Tapınak Mimarisi”nden

farklı özelliklere sahip bazı özel uygulamalar ile karşılaşılmaktadır. Bir bütünlük içerisinde tek bir yapıda,

Magnesia Artemis Tapınağında, kullanılan bu farklılıkları seçerken acaba mimar Hermogenes nereden, ne

ölçüde etkilenmiştir? Bu çalışmada, Magnesia Artemis Tapınağında görülen bu detaylar ile Mısır Tapınak

Mimarisinde görülen benzer detaylar üzerinde bir ilişki kurulmaya çalışılmış ve tarihsel çerçeve içerisinde

kaçınılmaz olan Mısır ve Anadolu arasındaki olası etkileşime farklı bir örnek sunulmak istenmiştir.

“King Ptolemaios, greets the Magnesia council and its people!...”

IV. Ptolemaios Philopator, 222-205 BC. 1

Egyptian civilization had established its unique culture from 3rd millennium BC to the end of the Roman period and had its monumental place in the

* Special thanks for great helps on the translation of this paper to Yıldız Dirmit (Research Asistant, Başkent Üniversitesi-Ankara, Department of American Culture and Literature) and for the getting render of the images from 3D drawing of the Artemis Temple in Magnesia to Mert Ulutaş.

1 Kern 1900, 18, no. 23.

ancient history. It would be a mere prejudice to state that this culture and its long lasting civilization was not influenced by the changes in the art, culture and architecture of the other cultures and civilizations in the Mediterranean world, and vice versa.

This possible interaction between the Egyptian civilization and the other Mediterranean civiliza-tions – because of the trade and the colonization activities with the mainland Greece, Aegean islands and Anatolia, in the era of the golden age in the Mediterranean for art and architecture between 9th and 5th centuries BC, and because of its political re-lationship in the Hellenistic period – must have in-creasingly continued first during the reign of III.

Some Egyptian Influences on the Temple of Artemis in Magnesia on the Meander


Alexandros and later during the Ptolemaic dynasty. This interaction was not only felt in the realms of culture, art and the daily life, but also in the circles of religion which gives shape to the societies. Hero-dotos of Halikarnassos, who lived in the 5th century BC, also emphasized the same point by stating that the most significant interaction between the south and the north of Mediterranean is the religion and furthered his arguments on the influence of the Egyptian religiosity on Greek religious structure2.

Although Herodotos’ argument was right to some extent, it would be an insufficient argument to indicate Egyptian religiosity was the only source of influence on other civilizations which were settled in Anatolia or mainland Greece. Herodotos’ approach and its contraries have long been a concern of study and will continue to be so in the future. However, with the methods of history of architecture and ar-chaeological sciences it will bring a different insight to look at the “temple architecture”, which has signif-icance in terms of hosting the religious ceremonies and festivals.

Before handling the topic from these points of view, it is necessary to shortly review the religious ceremonies and festivals taking place over the cen-turies in the temples – which had evolved in accord-ance with the religiosity in Egypt – to better under-stand the subject.

In the Ancient Egypt, the religious ceremonies which occupy the substantial part were of magnifi-cent religious festivals with many participants. Dur-ing these festivals, the cult statue was either brought into the other spaces within the temple or to the other temples dedicated to different gods and god-desses. The core of the Egyptian religious festivals was of these cult statues ceremony; in other words, god’s and goddess’ meeting with his/her believ-ers. This meeting in Ancient Egypt, was composed of religious activities and enactments, which were performed according to a certain framework either inside or outside the temple. Ceremonies start with beams of the sunlight – enabled by the special ad-

2 Herodotos, II. 50.

justments in the indoor spaces of the temple so that the light reaches inside – touching the statue of god or goddess, which is interpreted according to their religiosity as “god’s awakening” and would continue with cult statue being brought into other lightened spaces where “god meets the believers” which is called “epiphanie”3. During these ceremonies, when the cult statue is carried from one place to the oth-er, god or goddess would reveal his/her face to his/her believers and likewise, the believers would meet with their god or goddess.

The Egyptian temple architecture, as planned and developed according to such a framework, had specific architectural details to meet the needs of religious ceremonies with little changes over the centuries, and it has evolved as an original, unique architecture of the Mediterranean. The monumen-tal gates as an entry to the temples4, courtyards with columns, the columned hallways leading into the main area of the temple5, the doors and the parapets (screen walls) along these hallways6, special struc-tures inside the temple or at the roof of the temple where the cult statue was situated7 were all planned, organized, built, and evolved according to the needs of the Egyptian religious ceremonies8.

The question is whether it is possible to follow the tangible traces of the cultural and religious inter-action between Egyptian and traditional Greek tem-ples as is seen among Mediterranean civilization?

G. Hölbl is among the scholars producing sig-nificant and righteous arguments in relations be-tween Egypt and the other Mediterranean civiliza-tions. Hölbl, in his study, has linked the designs of the Temple of Apollon at Didyma and traditional Egyptian temple architecture, and has tried to ex-plain the different features of the Temple of Apollon through the influence of Egypt9. The façade of the

3 Coppens 2009; Stadler 2008, 1-3.4 Pylon: Arnold 2003, 183. 5 Khentis (in Egyptian), Pronaos: Arnold 2003, 180.6 Arnold 2003, 74;2117 Kiosk and Wabet (in Egyptian): Arnold 2003, 130; 255. 8 See for the stylistic developments of the temple plan and its

parts, Arnold 1999, 305ff.9 Hölbl 1984.

Görkem KÖKDEMİR


temple is planned according to the traditional “dip-teros” of the Greek architecture. However, against the traditional façade, inside the temple they have quitted the traditional forms by giving place to a dif-ferent temple where they kept the cult statue. This interior temple (naiskos) follows the plan of “prosty-los”. Naiskos, gained the function of a bigger court-yard and it was surrounded by the cella walls of the temple which was in dipterous plan with an open ceiling. The Hellenistic Didyma Temple includes a pronaos with 12 columns with the distribution of 4 x 3 and a hypostyle hall with 4 columns with 2 x 2. The Temple of Apollon differs from other Greek temples for the reasons stated above and as Hölbl has argued, resembles to the Egyptian temples in terms of the parts we find similar in Egyptian temples10. So, these resemblances should be explained reasonably rather than claiming they are a result of mere chance.

Along with Temple of Apollon at Didyma, the Hellenistic Temple of Artemis at Magnesia which is considered the masterpiece of famous architect, Hermogenes, also depicts certain features which are not found in traditional Greek temple architec-ture. What had been the source of differences when the architect, Hermogenes, decided on the different forms which influenced its era and were to become a canon later?

There were doors and parapet walls at both in pronaos and pylons, rooms called wabet and kiosks, between the frontal columns in the Egyptian tem-ples. The application of these walls and the doors continued to be used until the beginning of 6th century BC11. It had been traditionally employed in Egypt and was used during Hellenistic and Roman periods as an essential part of the temple architec-ture12 (Figs. 1-4). Temple of Artemis at Magnesia, the masterpiece of famous architect Hermogenes, which has many differences compared to Greek temples, displays what reminds of the Egyptian tem-ples with the employment of door and parapet walls between the frontal columns of pronaos. A similar

10 Hölbl 1984, Abb. 10, fn. 78.11 Arnold 1999, 278.12 Arnold 1999, 277ff.

pattern is also employed at the “opisthodomos” part of the temple so to achieve the symmetry, one of the traditions in Greek architecture (Figs. 5-7)13.

Another essential feature of the traditional Egyptian architecture is the use of relatively wider spaces between the columns along the middle axis in the temple. Indeed, this rule of “wider spaces” be-tween the columns was also employed in the other parts of the temple. For example, the space allocated to the doors of the monumental pylons opening into the temple is also wider14 (Fig. 8). Going back to the Temple of Artemis at Magnesia, what Vitruvius em-phasized as Hermogenes’ adaptation in the section of “eustylos” rule15 is that there are sections in the Temple of Artemis. The spaces between the columns along the middle axis until the basis of the cult statue are wider (Fig. 9). Vitruvius considers the employ-ment of this rule not in the other orders (pynocstylos, systylos, diastylos and diastylos) but in the “eustylos” order, which literally means “the most beautiful, the ideal”, is significant. Another important thing is the fact that although Hermogenes did not design the columns according to the “eustylos”16, he only left the spaces between middle columns wider17. When the discrepancy considered, is it enough to explain the reasons behind designing the spaces between the middle columns wider was only “to emphasize the entrance” or “to have a nice scene” as Vitruvius stated? Or are there any other motives hidden such as functional purposes or mimicry in using this order?

One of the significant employments in Egyp-tian temple architecture is in the details of the fa-çade of the temple, pronaos and the columns used

13 Humann et al. 1904, 79-81, Abb. 30, 74-78. Using of the doors and parapets between the columns is seen also in the other temples in Anatolia. But this using is not traditional and seen generally in opisthodomos of the temples. See for similar using in the other temples: Prine, Temple of Athena; Magnesia, Temple of Zeus.

14 The wider spaces between the columns along the middle axis in the temple were used in Ancient Egypt in 2th millennium BC (Temple of Khonsu at Karnak, Arnold 1999, 25-26, Fig. 1). Until the end of the Roman period it was used generally and it had been general feature of the Egyptian Temple Architecture.

15 Vitruvius, III, 3, 6.16 Hoepfner 1990, 15.17 For the discussion about the wider spaces between the

columns along the middle axis in the other Hellenistic temples, see Hoepfner 1990.



in the courtyard of the temple. By certain combina-tions, and schemes, the parallel columns and capi-tals being carved in different types, the decoration was enhanced, and the ordinary common outlook of “the columned façade architecture” was given a new rich view18 (Figs. 10-11). Bingöl’s recent researches have put forward righteously, at the Temple of Ar-temis at Magnesia, to eliminate the ordinary dull outlook, there employed techniques in making the column capitals different from each other19 (Fig. 12). At the Temple of Artemis, resembling the examples in Egypt, the bases of the columns like the column capitals were designed differently. The bases of the columns around the temple have various decora-tions, which aimed at changing the appearance of a single unified decoration at the first sight20. The em-ployment of various techniques in the bases is also observed at the above discussed Temple of Apollon at Didyma, which is also claimed to have been car-rying the influence of the Egyptian architecture. In the Roman period, the façade of the temple was de-signed with 10 column bases which are in bilateral symmetry with different decoration. They were dis-tributed on the two sides of the middle axis21.

18 In Egypt, the first examples of this usage are seen from the 5th century BC, in the Ptolemaic-Roman period it was the general usage in the architecture of the temples, see Arnold 1999, 103, 115.

19 Bingöl 2007a, 113-118; Bingöl 2008, 107-112; Bingöl 2012a, Bingöl 2012b.

20 Pontremoli 1904, 157-159 (according to Huyot, 1820); Humann et al. 1904, 53, Abb. 36. According to Bingöl’s newest study, the emergence of pseudodipteros plan and wider pteron employment was aiming at ability to better see and recognize the enrichment of the decorations on the columns, see Bingöl 2012a, Bingöl 2012b.

21 See for the Didyma, Knackfuss 1941, 84ff. Along with the Temple of Artemis, again in Magnesia, “the Ceremony Gate” – called Propylon in the archaeological terminology – which linked the Sacred Square of Artemis to the Agora including the Temple of Zeus inside also depicts architectural varieties. The Gate is recently dated back to the Julius-Claudius Period. Propylon is composed of three columns marked with pilaters. On the façade of the structure, between the five columns they used marble jambs and doors supported with lintel. This is also something uncommon in the traditional Greek “entrance gates.” This specific employment of an architectural technique, as in the example of the pronaos of the Temple of Artemis, is borrowed from Egyptian temple architecture. In the Propylons, again as in the temple and in the examples of the Egypt, the spaces between the columns in the middle are wider. It is just like in the Temple of Artemis and other parts of the temple complex of Egypt, in the monumental gates of Propylons. The differences in the Propylon are not confined to these. Again, as in the capitals and bases of the Temple of Artemis at Magnesia and the bases of the Temple of Apollon at Didyma, the Ionic capitals of three columns of the Propylon have side

The Artemis festivals taking place at the Temple of Artemis at Magnesia especially during the Hel-lenistic period were quite important recognized and participated by the whole Mediterranean civiliza-tions. The invitations to the festivals in many cities during the Hellenistic period were welcomed. In-deed, even the Ptolemaios IV in Egypt who reigned between 221- 205 BC answered the invitations and recognized the games22 as the other Hellenistic kings.

The interpretations about the actualization of the epiphanie of Artemis, who is a moon goddess, increases the importance of the sanctuary and the festivals taking place in Artemision. There are gates, one big in the middle and small ones around it on the pediments of the temple of Artemis. The gates on these pediments were interpreted differently by dif-ferent researchers but it is sure that they have served the same function in the temple23. Humann claimed that these gates were designed for using during the religious ceremonies of Artemis24. Bingöl is holding a more realistic and concrete evidences to claim that these gates were for the epiphanie but in a different framework. According to him, at a certain time in a year, through these doors and windows, with the spe-cial design of the temple on the east and west, came the moon light with which the goddess was lightened and she “showed herself to her believers.” This was also mentioned in the inscriptions as the epiphanie taking place. Although the two claims appear to be different at the first sight, “epiphanie” as was in written in the inscriptions, at the Temple of Artemis, the symbolic meeting of the goddess with her believers was enabled by the details in the architecture of the temple25.

In the Egyptian temples, there are also parts con-structed at the top of the temples, which are called “Wabet” consisting of two columns and between the

parts different from each other to enrich the decoration and to eliminate the dullness of the common employments in the columns. It is as if the varieties of designs Hermogenes in the Hellenistic period wanted and achieved rejuvenated in the Propylons of the early Roman imperial period as an outcome of interaction in Magnesia. See for the Propylon in Magnesia, Kökdemir 2009; Kökdemir 2012.

22 Kern 1900, 18, no.23.23 Bingöl 2007b, 68-69.24 Humann et al. 63-64, fn. 1.25 Bingöl 1999; Bingöl 2007b, 65-73.

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columns there are parapet walls and doors26 just like what we find in the temple of Artemis in Magnesia. At a certain time in a year, the statue of god was be-ing brought here. The spaces between the columns were closed by the parapets and the doors to have a darker interior. In this way, it was only the placed statue of god which was totally lightened by the sun-light. Similarly, at some temples in Egypt the sun-light enters deep into the most sacred rooms in the temple with the specially designed window openings and the special situatedness of the temple in accord-ance with sun27 and possibly with moon. That is why, the light enters through the pylons at the gateways, windows etc. and lightens the cult statue. In all these employments the aim was to enable the symbolic meeting of god with his believers, to actualize the “epiphanie”. In Egypt, the rebirth of god and his showing himself at the religious ceremonies is a sig-nificant enactment and occupies the central part of the ceremonies28 as in Magnesia.

All these different features apart from the tra-ditional Greek architecture found in the temple of Artemis at Magnesia are the implementations to be equal with the religious ceremonies performed in the Artemision. And, these differences at Magnesia first bring the idea of a possible interaction between them and the Egyptian civilization which has reflected its great accomplishments in mathematics and astrono-my on the temples, monumental pyramids.

When the already known political relationship with the Ptolemaic dynasty during the 3rd century BC is considered, it becomes more concrete to put forward the Anatolia’s interaction of the south of the Mediterranean in terms of following the same em-ployments in the architecture which are traced earlier in the temple architecture of Egypt. What strikes dif-ferent in the temple of Artemis at Magnesia from the other traditional Greek architecture are relatively the wider spaces between the middle columns, the use of parapet and doors between pronaos columns, the use of doors in the pediment indicating the immensity of

26 Arnold 2003, 130;255, Arnold 1999, 277.27 Arnold 1999, 147.28 Stadler 2008.

the religious ceremonies, and the decorations on the column capitals to increase their visual quality. All in all, these features place it unique among the other temples when the Hellenistic Anatolian architecture examples are considered. All these different applica-tions observed in Magnesia as borrowed from Egyp-tian temple architecture could also inform us of the fact that other southern Mediterranean civilizations might have affected the Anatolian architecture.

It would not ally with the scientific thinking to claim that Hermogenes had come up with all these ideas different from the mainstream traditional Greek architecture as taken into consideration by Vitruvius over “a day”. The architect must have made a synthesis of the novelties implemented before him and by his contemporaries to achieve the functions that need of the religious ceremonies to take place in the temple at Magnesia.

In this evaluation and the examples we came across in the sanctuary of Artemis in Magnesia forward us to think of the Mediterranean basin as a whole and the interactions are from one single source. For the future researches, this study shows that the civilizations on the other side of the Medi-terranean have an undeniable effect on the Anato-lian architecture.

List of Figures:

Figure 1. Reconstructed frontal elevation and plan of the pronaos of Nectanebo I (Arnold 1999, Fig. 65).

Figure 2. The pronaos of Ptolemy III at Kom el-Deir in 1816 Drwawing of Jean Jacques Rifaud (Arnold 1999, Fig. 116).

Figure 3. The pronaos of Augustus Temple in Mandulis (Arnold 1999, Fig. 201).

Figure 4. Dendera, the parapet wall between the columns of Birthhouse form Roman Period (G. Hölbl, Altägypten im Römischen Reich: der römische Pharao und seine Tempel I. Mainz (2000), Abb. 99).



Figure 5. Detail view from figure 6.

Figure 6. Temple of Artemis in Magnesia, pronaos. The parapet walls and door between the columns (Rekons. M. Ulataş, The archive of Magnesia Excavations).

Figure 7. Temple of Artemis in Magnesia, opisthodomos. The parapet walls and door between the columns (Rekons. M. Ulataş, The archive of Magnesia Excavations).

Figure 8. Plan of Horus temple at Edfu (Arnold 1999, Fig. 170).

Figure 9. Plan of the temple of Artemis in Magnesia (Hoepfner 1990).

Figure 10. Reconstruction of the unfinished pronaos of Antoninus Pius at Medinet Habu (Arnold 1999, Fig. 230).

Figure 11. Inner columns of the pronaos of Claudius for Khnum of Esna. (G. Hölbl, Altägypten im Römischen Reich: der römische Pharao und seine Tempel I. Mainz (2000), Abb. 143).

Figure 12. The capitals of the temple of Artemis in Magnesia, examples of the diffrent types of the poslters faces (The archive of Magnesia Excavations).

Görkem KÖKDEMİR


BIBLIOGRAPHY

Arnold 1999 D. Arnold, Temples of the Last Pharaohs. New York, Oxford (1999).

Arnold 2003 D. Arnold, The Encyclopedia of Ancient Egyptian Architecture. Princeton, New Jersey (Trans. S. H. Gardiner – H. Strudwick, Edited by N. Strudwick – H. Strudwick 2003)2.

Bingöl 1999 O. Bingöl, “Epiphanie an den Artemistempeln von Ephesos und Magnesia am Mäander” in: H. Friesinger - F. Krinzinger (Eds.), 100 Jahre Österreichische Forschungen in Ephesos.. Akten des Symposion Wien 1995. Wien (1999), 233-240.

Bingöl 2007a O. Bingöl, Die Westseite des Artemistempels von Magnesia. Patronus. C. Özgünel’e 65. Yaş Armağanı (2007), 113-118.

Bingöl 2007b O. Bingöl, Magnesia am Mäander. İstanbul (2007).

Bingöl 2008 O. Bingöl, “Innovationen und Impulse von und durch Hermogenes” in: F. Pirson-U. Wulf-Rheidt (Eds.) Austausch & Inspiration. Kulturkontakt als Impuls architektonischer Innovation. DiskAB 9. Berlin (2008), 107-112.

Coppens 2009 F. Coppens, “Temple Festivals of the Ptolemaic and Roman Periods” in: J. Dieleman – W. Wendrich (Eds.), UCLA Encyclopedia of Egyptology. Los Angeles. (2009), 1-11, http://escholarship.org/uc/item/4cd7q9mn

Hoepfner 1990 W. Hoepfner, “Bauten und Bedeutung des Hermogenes” in: W. Hoepfner – E.-L.Schwandner (Eds.), Hermogenes und die hochhellenistische Architektur. Internationales Kolloquium in Berlin vom 28. bis 29. Juli 1988 im Rahmen des 13. Internationalen Kongresses für Klassische Archäologie. Mainz (1990), 1-34.

Hölbl 1984 G. Hölbl, “Ägyptischer Einfluss in der griechischen Architektur” ÖJh 55, 1984, 1-18.

Humann et al. 1904 C. Humann – J. Kohte – C. Watzinger, Magnesia am Mäander. Bericht über die Ergebnisse der Ausgrabungen der Jahre 1891-1893. Berlin (1904).

Kern 1900 O. Kern, Die Inschriften von Magnesia am Mäander. Berlin (1900).

Knackfuss 1941 H. Knackfuss, Didyma / Theodor Wiegand. Die Erste Teil. Die Baubeschreibung. Berlin (1941).

Kökdemir 2009 G. Kökdemir, Menderes Magnesiası - Propylon (Ankara Üniversitesi, Sosyal Bilimler Enstitüsü, PhD Thesis, Ankara 2009)

Kökdemir 2011 G. Kökdemir, “Menderes Magnesiası – Propylon Mimari Bezemeleri”,Anadolu/Anatolia, 37, 2011, 93-141.

Pontremoli 1904 E. Pontremoli, Didymes : Fouilles de 1895 et 1896. Paris (1904)

Stadler 2008 M. Stadler, “Procession” in: J. Dieleman – W. Wendrich (Eds.), UCLAEncyclopedia of Egyptology. Los Angeles. (2008), 1-12, http://escholarship.org/uc/item/679146w5



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