LIFE OF PROCOPIUS

  

 Procopius, one of the most important historians of Byzantine History and the Justianic Period, wrote about the city of Kaiseria, founded by the Romans on the seashore of Palestine,

    He is thought to have been born in or shortly before 500 AD. He would have studied in Constantinople or in Gaza, an important Hellenic cultural centre where the classical rhetorical tradition was established and where the school of philosophy reconciled neo-Platonism with Christianity. In 527 AD he became a private scribe and legal adviser (symboulos) to the commander Belisarius. He participated in campaigns in Iran, Africa and Italy with the commander Belisarius. He was in Istanbul during the great plague epidemic in 542 AD. After the death of Theodora, he established relations with Justianius and became illustres (distinguished and enlightened) in 560, and in 562 he became Byzantine city administrator or Praefectur in Latin. He is believed to have died in 565, the same year as Justianius.

WORKS

    The historian has three important works. Wars, which consists of eight books, Structures and Secret History, which consists of six books.

Wars

    In his book History of Wars; He describes the campaigns he participated in with Belisarius. The first three volumes are on the war with the Goths (De Bello Gothica), two volumes are on the war with the Persians (De Bello Persico), two volumes are on the war with the Vandals (De Bello Vandalico), and the eighth volume is a later addition.

Structures

    It deals with the works built or repaired on the territory of the Empire during the reign of Justianius and consists of six books based on three main themes: church buildings, fortifications and waterworks. Book I covers the buildings in Constantinople and its outskirts, Book II covers the defences surrounding the farthest borders of the Empire. Book III deals with the defence structures on the borders with Persia, Book IV with those in Europe, Book V with those in the remaining parts of Asia, and Book VI with those in Africa. While Books I and II are dealt with in a certain completeness, from Book III onwards, he is contented with giving a list.

    Secret History

    Ostrogorsky, one of the important Byzantine historians, emphasised the importance of the work by calling the Secret History "the famous Secret History", and Procopius, in his introduction, said: "In the events discussed in my previous narrative, I was obliged to conceal the causes that led to their formation. Therefore, in this book, it is necessary not only to explain what has remained hidden until now, but also to explain the causes of the formations previously described". In 1623 a copy was found in the Vatican Library and in the same year it was partially published in Lyon by Alemannus, who found some parts of it objectionable. In 1663, a complete edition was published in Paris by Maltretus. The ancient Greeks called the Secret History Anecdota, in Latin it was called Historia Arcana, and English Historians translated it into English as Anecdotes.

    In Chapter 1, Commander Belisarius and his wife Antonina, in Chapter 2, the emperor justinus period before Justianius and how Justianius ascended the throne, in Chapter 3, Justianius' mismanagement, in Chapter 4, Theodora's affairs, in Chapter 5. Chapter 5 declares that Justianius is the devil disguised as a human being, Chapter 6 describes how Theodora and Justianius oppressed various classes of society, Chapter 7 describes Justianius' fondness for money.

    STYLE

    We know that Procopius received a classical education for that period. In his time, the Byzantine Empire was under the influence of both ancient Rome and Greek civilisation. We see that Procopius followed the methods of Herodotus and Thucydides in his official histories inspired by the ancient historians. We can say that he was under the influence of classical writers and thinkers due to his quotations from the plays of Aristophanes. The difference in style and interpretation between the three works of the historian emerges in his attitude towards the Emperor and brings along the temporal problem. While criticising the Emperor in his work titled Wars, in Structures, we encounter praise for the Emperor in the Christian ideology, while in the Secret History, the Emperor is vilified and his cruelty and mismanagement are emphasised. Especially in the Secret History, we see that the actions against the aristocratic class are criticised by Procopius. This shows that he came from the upper strata, if not from the top, and that he had an elitist view. Av. Cameron, in his work on the temporal problem, Procopius and the Sixth Century (1985), argues that the books I-VII of the Wars were written in 550 A.D., Book VIII in 554 A.D., the Secret History in 550 A.D., and the Structures in 554 A.D., based on comments and styles.

PHRYGIAN GODDESS KYBELE

    When we talk about the countless blessings that nature offers to mankind, we say "what Mother Nature has given us". We talk about the damages caused to "mother nature" by the fossil fuels we use and the many chemicals we consume. But how many of us are aware that the concept of "Mother Nature" or "Mother Nature" is associated with Cybele, the Phrygian goddess of Ancient Anatolia?

    In ancient times, the region of Anatolia known as Phrygia was bordered by Mysia, Lydia and Caria to the west, Galatia and Lyakonia to the east, Bithynia to the north, Pisidia and Lycia to the south.  Phrygia was not only the cradle of the Phrygian civilisation, but also influential in the field of religion by presenting the belief in Cybele to its neighbours of that era and to Greece and Rome in later periods. The goddesses known as Kybebe in Lydia, Isis in Egypt, Artemis in Ephesus, Rhea in Crete, Demeter in Greece and Magna Mater in Rome are merely the reflections of Phrygian Kybele under different names.

    As a goddess of nature, Cybele is responsible for the order in nature. But primarily she symbolises the fertility of the soil. Being the protector of agriculture also makes it possible to see her as the founder of social progress, civilisation and cities. In the depictions of the goddess, the tower figures on the diadem (crown) on her head emphasise this characteristic of her.

    The mother goddess of Phrygia was worshipped especially in the mountains. One of her names, Dindyme, is related to the worship of the goddess on the Dindymos mountain in the region. There are three mountains with this name in Ancient Anatolia, all of which are in the vicinity of the Phrygian region. One of them is the Günyüzü mountain around the city of Pessinus (Ballıhisar) on the Sangarios (Sakarya) river, which was the centre of the cult of Cybele. The first temple, which also hosted a meteorite, the first depiction of the goddess, was also here.

    Agdistis, another name of the goddess, was derived from a rock known as Agdus, which was also located on Mount Dindymos and believed to be sacred.  Her name is also mentioned as Agdistis in the myth originating from Pessinus.

Cybele Myth

    According to the legend; God Zeus had a dream and poured his seeds on a rock and a hermaphrodite being emerged from it. The gods cut off the male organ of this being named Agdistis. When the limb fell to the ground, an almond tree grew out of it. Nana, the daughter of the river Sangarios, plucked an almond from the tree and hid it in her chest. She became pregnant from this fruit and a boy named Attis was born. When he became a beautiful young man, Agdistis fell in love with this young man. But he decided to marry the daughter of the king of Pessinus. Agdistis, who appeared on the wedding day, caused the young man to go mad, castrate himself and die. The king also castrated himself.

    In another version of the story; Zeus spills his seeds on the stone known as Agdus, a manifestation of the goddess Cybele. Agdistis is born. When the god Dionysus gets him drunk, he passes out and cuts off his male organ. An almond tree grows from his limb. Nana, the daughter of the river Sangarios, hides an almond from this tree in her breast and becomes pregnant. Attis is born. When he comes of age, both Cybele and Agdistis fall in love with him. Midas, the king of Phrygia, wants to marry this young man to his daughter. Agdistis causes the young man to lose his mind and he castrates himself under a pine tree and dies. Cybele buries him. Violets grow at the bottom of the pine tree watered with his blood. Midas' daughter also commits suicide. Goddess buries her too. An almond tree grows on her grave along with violets. When Agdistis asks Zeus to keep Attis' body intact, the god only allows his hair to grow and one of his fingers to keep moving. Agdistis takes the body of her beloved to Pessinus and buries it and organises a festival in his memory. It is also rumoured that Attis was killed by a wild boar, and it is associated with this rumour that especially the people of Pessinus refrain from eating pork.

    Another point to be emphasised about the myth of Cybele-Attis, which symbolically describes the fertility of the soil with the elements it contains, is that the story is similar to the myths of Ishtar-Tammuz in Babylonian mythology and Astarte-Adonis in Syrian mythology.

Cybele Temple and Cybele Festivals

    The cult centre in Pessinus, where the ceremonies for the Phrygian goddess were held, was headed by two high priests. These clergymen, called Attis and Megabyzos, who castrated themselves when they entered the service of the goddess, were also the administrators of the cult centre.The ceremonies in honour of the goddess were held in spring, when the earth awakened and the shoots began to sprout, and lasted five days. On the first day of the celebrations, Attis was mourned. The trunk of a pine tree, considered sacred, was wrapped with pieces of woollen cloth and paraded through the streets. On the second day, other priests of Cybele, known as Gallos, would dance ecstatically to the accompaniment of musical instruments such as drums, tambourines and cymbals. Just like the "Korybants" in the myth; who wandered around the countryside with torches in their hands in pursuit of the goddess and danced wildly to the music. The third day was reserved for bloody ceremonies. Participants in the ritual cut their bodies and shed blood. On the fourth day, Attis' resurrection was celebrated with joyful dances, and the last day was spent in rest.

    The worship of Cybele spread throughout the Aegean and Mediterranean by the travelling priests of Phrygia. Kybele's qualities are also expressed in the personalities and myths of the goddesses Rhea, Artemis and Demeter, who have a considerable importance in the belief system of continental Greece. The greatest similarity is with Demeter. She too is primarily an earth goddess. She is the protector of wheat and the assurance of the product.

    The goddess known as Magna Mater (Great Mother) in Rome is Kybele herself. The introduction of her cult to Rome took place in 205-204 BC during the war with Carthage. There is a meteorite rain in the city. The frightened people consulted the Sibylla books, which were kept in the temple of Jupiter and contained the prophecies of the priestess of the god Apollo. Accordingly, if Phrygia's Cybele temple is brought to the city, the Carthaginian army will be expelled from Italy. A group of envoys travelled to Anatolia and received from King Attalos the black stone, the first manifestation of the goddess in Pessinus. The stone is placed in the temple of Victory on the Palatine hill of the city of Rome. After winning the war (202 BC), a temple for the goddess was built here. In honour of the goddess, who was named Magna Mater, a festival called Megalensia is held every year between 4-9 April.

    It is interesting to note that the celebrations in Rome were also led by a priest of Cybele from Phrygia. A Phrygian priestess and eunuch priests (Galloi) would pass through the city in a procession during the celebrations. Citizens were forbidden to participate in the celebrations. Only a group of prominent Roman aristocrats were allowed to join in the festivities.   

    The story of the Phrygian goddess in Rome takes a different turn in the early period of the empire, and the belief in Cybele-Attis leads to the birth of another festival. The ceremonies; in which a group of clergymen (quindecimviri) as well as all women and men could participate; were held between 15-27 March, also in spring. On the first day; cane-carrying priests called "kanofori" carried cut tree canes to the temple of the goddess. Seven days later, the "dendrofi" or tree-bearer priests brought a pine tree cut from the forest. The trunk of the tree was wrapped with ribbons like a corpse and a depiction of Attis was tied in the centre. The tree represented the dead god. On 24 March, "dies sanguinis" or blood day, eunuch priests (galloi) and candidates for initiation began a wild dance to the accompaniment of flutes, cymbals and tambourines, whipped their backs until they bled, and cut their arms with knives. At the height of the frenzy, some candidates cut off their male organs and offered them to the goddess. The lamentations of death that filled the night between 24 March and 25 March were replaced the next morning by a sudden burst of joy at the news of the god's resurrection. That day was "hilaria", the day of joy. After a day's rest, on 27 March, a great procession was held to the river, where the statue of Cybele was immersed in water (lavatio). From the 2nd century AD, candidates for puberty were purified with the blood of a bull or ram (taurobolium or criobolium). They also offered this animal to the goddess instead of their own male organs.

    The fact that these sacrificial ceremonies were organised at all seasons in the imperial age, not only for individual maturation but also for the well-being of the monarchy, points to the prestige of the Phrygian mother goddess in Rome.

    Apuleius, the famous Roman poet, orator and philosopher, in his novel "Transfigurations" or "Asinus Aureus", introduces the Phrygian from his own mouth: "I, the mother of nature, the lord of all elements, the firstborn of the ages, the greatest of the gods, the queen of the dead, the guide of the celestial beings, the one who gathers all the forms of gods and goddesses into one... With a nod of my head, I rule all the bright peaks of the sky, the healthy winds of the sea and the sorrowful silence of the underworld. My divinity is unique. The whole world worships me in my various forms. With different ceremonies and under various names. The Phrygians, the first lineage of mankind, call me the mother of the gods from Pessinus. The earth-born people of Attica call me Minerva of Kekrops. Venus of Paphos, say the Kyprosians beaten by the seas. The Cretans, who never part with their alms, call me Diktynna Diana. The Sicilians, who speak three languages, call me Proserpina of the Styx. The ancient people of Eleusis know me as Ceres of Attica. Some call me Juno, some Bellona. Some call me Hecate, some Rhamnusia... Egyptians, who adhere to their ancient beliefs, call me the Goddess Isis..."

Is there a better answer to the question "Who is the Phrygian goddess?"

Bibliography

Apuleius, Başkalaşımlar, Kabalcı Yayınları, çev: Çiğdem Dürüşken, İstanbul, 2006.

Eliade, Mircea, Dinsel İnançlar ve Düşünceler Tarihi, II. cilt, Kabalcı Yayınları, çev: Ali Berktay, İstanbul, 2003.

Erhat, Azra, Mitoloji Sözlüğü, Remzi Kitabevi, İstanbul, 1984.

Frazer, James G, Altın Dal-Din ve Folklorun Kökenleri, I.cilt, Payel Yayınları, çev: Mehmet H. Doğan, İstanbul, 2004.

Graves, Robert, New Larousse Encyclopedia of Mythology, The Hamlyn Publishing, London, 1959.

Seyffert, Oscar, A Dictionary of Classical Antiquities, George Allen&Unwin Ltd., London, 1957.

Speake, Graham, Dictionary of Ancient History, Penguin Books, London, 1994.

ARTEMIS and the essence of her mother divinity

    Man lives in a universe of symbols. Everything that surrounds us; numbers, colours, shapes are symbols.

    Human beings comprehend each historical phenomenon with symbols/symbols. It is undeniable that mankind has used symbols expressing this power on the way to a divine power and creation by concretising the events he has seen or perceived in nature since the Upper Palaeolithic Period. These symbols are the very essence of nature, the cycle of reproduction and death, and nature itself.

    The cult of the mother goddess is found in every region of Anatolia since Prehistoric times. The characteristics of this belief, which provides all kinds of abundance and fertility and has great power over plants and animals, have developed depending on natural conditions.

    God and idol are synonymous in Neolithic Period cultures. The idols created especially at Çatalhöyük in the Neolithic Age and at almost all settlements during the Chalcolithic Age and at Alaca and Kültepe in the following Bronze Age are the fruits of the Mother Goddess cult in Anatolia. With the Early Bronze Age; the Mother Goddess Wurushemu, who was perceived abstractly in Hatti, becomes the Sun Goddess of Arriana and Hepat in Yazılıkaya by becoming pictorialised in the Hittite Civilisation of the Middle and Late Bronze Age. Even the fall of the Hittites could not destroy this belief, which was worshipped in every region of Anatolia. Like ploughed soil, like a tree whose branches have been pruned, it continues uninterruptedly with the New Hittite Kubaba. This continuity affects Phrygian art and beliefs in sculpture and Cybele beliefs, and the 7th century BC Phrygian Cybele paintings shape the Ionian Goddesses. The Archaic Age shows the first signs of the golden age of Ionian art. After the Persian invasion, the belief in the Mother Goddess and the symbols expressing her have now left Anatolia and reached the opposite shore. All the goddesses known as "Greek" were born from her, only their names changed.

    Artemis emerged from this idea, daughter of Zeus and Leto, sister of Apollo. Even this mythos cannot tear her away from Anatolia, the arrival of the Achaeans in front of Troy binds her to her ancestral land and keeps the Trojans. He sits on the mountains and peaks again. He inhabits the forested valleys. All plants and animals are under her control.(Potnia Theron) According to another local rumour of antiquity, Leto gave birth to Apollo and Artemis not in Delos, but in Patara and Ephesus in the pains of holy birth, in the Anatolian Mother Goddess's own land.

    Artemis draws her essence from nature and the cult of the Anatolian Mother Goddess. So much so that she is symbolised by the very primitive image "xoanon", a statue of an almost unhewn tree. Artemidoros of Ephesus, who lived in the second century AD, recommends the worship of Artemis Ephesia and Eleuthera as well as the old abstract form of Artemis Pergaia.

    Artemis Eleuthera, Artemis Pergaia, Artemis of Ephesos, Phrygian Cybele and Neo-Hittite Kubaba share common characteristics.  It is known that the Goddess Artemis was worshipped in Myra with the epithet Eleuthera and festivals were held in honour of the Goddess. And this worship continued until the Roman Period. So much so that the depiction on the reverse side of one of the Myra city coins of the reign of Gordianus III (238-244 A.D.) is very interesting.

    While the goddess is depicted as a whole with the tree trunk, two snakes prevent two figures on her right and left from attempting to cut the tree with axes in their hands. It is interesting that this depiction appears on a coin during the Roman Period. In other words, by emphasising the identity of the goddess with nature, it is expressed that this belief and worship is protected by nature itself. The fact that the idea of perceiving the divine power in the tree goes back to the Bronze Age Beycesultan with concrete findings coincides with the fact that Eleuthera was "born" from the essence of the Anatolian Mother Goddess. Artemis Pergaia, locally known as Wanassa Periia, who was worshipped in Perge, is depicted in relief on a pillar belonging to the skene frons of the Perge Theatre; with her high calathos on her head and inside the temple.

    In Ephesos, the most important Artemis cult centre known, the goddess shows us her identity with nature with her high headdress, plant and animal ornaments, breast-like braids on her torso symbolising fertility and fertility, and deer figures on both sides. It is difficult to make a definite judgement whether the "stele" shaped abstract body of both goddesses and the Artemis of Kaumos symbolises the "tree" or the rock in which her power is perceived; what is known is that in every case the Mother Goddess exists in that essence.

The best historical places in Antalya

 Some historical places you can visit in Antalya:

    Antalya Kaleici: Kaleiçi, the historical centre of Antalya, contains historical buildings from the Roman, Byzantine and Ottoman Empire periods. While travelling in this region, you can see many important historical buildings such as the historical clock tower, Hıdırlık Tower, Hadrian's Gate, Yivli Minaret, Kesik Minaret and historical houses.

    Perge Ancient City: The ancient city of Perge, located 18 km east of Antalya, was founded during the Roman Empire and had a population of 15,000 people. Here you can visit many historical buildings such as ancient theatre, agora, stadium, baths and city walls.

    Aspendos Ancient Theatre: Aspendos Ancient Theatre, located in the Serik district of Antalya, was built during the Roman Empire. With a capacity of 15,000 people, the theatre is one of the best preserved ancient theatres in the world.

    Termessos Ancient City: Termessos Ancient City, located in the west of Antalya, is a city in the Lycian region. Located on the top of a steep mountain, the city contains many historical buildings such as city walls, agora, theatre, baths and mausoleums.

    Myra Ancient City: Myra Ancient City, located in the west of Antalya, is an important city in the Lycian region. Here you can visit important buildings such as ancient theatre, mausoleums and St. Nicholas Church.

    Side Ancient City: Side Ancient City, located in the Manavgat district of Antalya, hosts many historical buildings from the Hellenistic, Roman and Byzantine periods. Here you can visit important structures such as ancient theatre, agora, colonnaded street, Temple of Apollo and aqueducts.

    Phaselis Ancient City: Phaselis Ancient City, located in Kemer district of Antalya, is an ancient city in the Lycian region. Here you can visit important buildings such as ancient theatre, agora, baths and harbour.

    Alanya Castle: Alanya Castle, located in the Alanya district of Antalya, is a castle complex dating from the Seljuk period. The castle contains many historical buildings such as walls, towers, mosques and baths. By climbing the castle, you can see a view dominating the castle.

    Antalya Museum Antalya Museum has a rich museum collection that tells the history and culture of Antalya. The museum contains many historical artefacts such as archaeological finds from the Lycian period, mosaics from the Roman period, churches from the Byzantine period and manuscripts from the Ottoman period.

    Antalya Clock Tower: The clock tower, one of the historical symbols of Antalya, is located in the Kaleiçi region. The clock tower, which belongs to the Ottoman period, has a 3-storey structure and has an impressive appearance especially with its night lighting.

ANCIENT CITY OF EPHESUS

     

    

The first foundation of the ancient city of Ephesus within the borders of Selçuk District in İzmir Province dates back to 6000 BC. Recent researches and excavations have revealed Bronze Age and Hittite settlements in the mounds (prehistoric hill settlements) around Ephesus and on Ayasuluk Hill where the castle is located. The name of the city was Apasas during the Hittite Period. The harbour city of Ephesus, where immigrants from Greece started to live in 1050 BC, was moved around the Temple of Artemis in 560 BC. Ephesus, which is visited today, was founded by Lysimakhos, one of the generals of Alexander the Great, around 300 BC. Ephesus, which lived its most glorious times during the Hellenistic and Roman periods, had a population of 200,000 people as the capital of the Asian province and the largest harbour city. Ephesus was relocated again during the Byzantine Period and came to Ayasuluk Hill in Selçuk, where it was founded for the first time.

What is the most important feature of the ancient city of Ephesus?

    Ephesus, which was the main gate between East and West, was an important harbour city. This position enabled Ephesus to develop as the most important political and commercial centre of its time and to become the capital of the province of Asia during the Roman period. Ephesus does not only owe its importance in ancient times to this. The largest temple of the Artemis cult based on the ancient Anatolian mother goddess (Cybele) tradition is also located in Ephesus. The Temple of Artemis in Ephesus is considered one of the seven wonders of the world. Ephesus was an ancient Greek city on the west coast of Anatolia, 3 kilometres from today's Selçuk district, which later became an important Roman city. It was one of the twelve cities of Ionia during the classical Greek period. Its foundation dates back to 6000 BC in the Neolithic Age. The first foundation of the ancient city of Ephesus within the borders of Selçuk District of İzmir Province dates back to 6000 BC, the Neolithic Period, the Neolithic Stone Age. Recent researches and excavations have revealed Bronze Age and Hittite settlements in the mounds (prehistoric hill settlements) around Ephesus and on Ayasuluk Hill where the castle is located. 

    The name of the city was Apasas during the Hittite Period. The harbour city of Ephesus, where immigrants from Greece started to live in 1050 BC, was moved around the Temple of Artemis in 560 BC. Ephesus, which is visited today, was founded by Lysimakhos, one of the generals of Alexander the Great, around 300 BC. Ephesus, which lived its most glorious periods in the Hellenistic and Roman ages, had a population of 200.000 people as the capital of the Asian province and the largest harbour city. Ephesus was relocated again in the Byzantine Age and came to Ayasuluk Hill in Selçuk, where it was first founded. In 1330, Ayasuluk was taken over by the Turks and became the centre of Aydınoğulları, and gradually started to shrink from the 16th century onwards. After the establishment of the Republic in 1923, it was renamed Selçuk and today it is a touristic place with a population of 30.000 people. Ephesus, one of the most important centres of the ancient world, has always played an important role in the fields of civilisation, science, culture and art throughout its history dating back to the 4th millennium BC. Ephesus, which was the main gate between East and West (Asia and Europe), was an important harbour city. This position enabled Ephesus to develop as the most important political and commercial centre of its age and to become the capital of the province of Asia during the Roman period. However, Ephesus did not only owe its importance in antiquity to its development as a major trade centre and its status as a capital city. The largest temple of the Artemis cult based on the ancient Anatolian mother goddess (Cybele) tradition is also located in Ephesus. This temple is considered one of the seven wonders of the world. Since Ephesus has been relocated many times throughout its history, its ruins spread over a wide area. These ruins spread over an area of approximately 8 km², excavation-restoration and arrangement works have been carried out and are open to visitors.

1- Ayasuluk Hill (the earliest settlement dated to the 3rd millennium BC and the Church of St. Jean, which belongs to the Byzantine period and is of great importance for the Christian world)

2- Artemision (an important religious centre from the 9th-4th centuries BC; Temple of Artemis, one of the seven wonders of the world)

3- Ephesus (Archaic-Classical-Hellenistic-Roman and Byzantine Period settlement)

4- Selçuk (Seljuk, Ottoman settlement and the modern city that hosts this settlement, which is an important tourism centre today), Ephesus, which was an important civilisation centre in ancient times, is still an important tourism centre visited by an average of 1.5 million people annually.

    The first archaeological excavations in Ephesus began in 1869 by J.T. Wood on behalf of the British Museum. Wood's excavations to find the famous Temple of Artemis were continued by D.G. Hogarth after 1904. The Austrian excavations at Ephesus, which continue today, were first started in 1895 by Otto Benndorf. The work of the Austrian Archaeological Institute, which was interrupted during the First and Second World Wars, continued uninterruptedly after 1954. In addition to the work of the Austrian Archaeological Institute in Ephesus, the Ephesus Museum has been carrying out excavation, restoration and arrangement works on behalf of the Turkish Ministry of Culture and Tourism since 1954.

BAZİLİKA NEDİR?

    Roma Cumhuriyet ve İmparatorluk Dönemi’nde mahkeme salonu, ticaret ve halk toplantı salonu olarak da kullanılan yapıdır. Genellikle agoraların bir kenarı boyunca yer alırlardı. Çoğu kez iki kat seviyesinde,dikdörtgen bir plana sahip olan bazilikalar hukuki işlerin dışında borsa spekülatörlerinin,toptancıların, bankerlerin kullanabildikleri yapılardı. Bazilikanın bir diğer işleviyse hükümet konağı olarak kullanımıydı. İkincisi kullanımı haç şeklindeki orta alanı ve koridorları olan kilise plan tipi ve son olarak resmi törenler için Papa tarafından yetkilendirilen büyük kilise. Roma Döneminde, yargı ve ticaret amacıyla kullanılan, çoğunlukla üç bölüme ayrılmış; yarım, dairesel bir ya da iki apsisi dikdörtgen  bir planı olan yapı, toplantı salonu hizmeti de verir.

Bazilikanın bir diğer tanımı ise üstü kapalı dikdörtgen biçiminde, içte bir ya da çift sütun dizileriyle nef ve koridorlara bölünmüş apsisli ya da apsissiz yapılara denir. Roma mimarisine özgü bir yapı tipi olan Bazilikalar çok işlevli yapılardır. 

Roma Dönemi Bazilika Örnekleri

The Basilica of Maxentius and Constantine (Basilica Nova)

Pompeii

Roma Ulpia

Asyatik Bazilika nedir?

Anadolu’da Roma egemenliğinin öncesinde de köklü bir mimari anlayış ve gelenek oluşmuş durumdadır. Kanonik formlar ve ölçüler yüzyıllar boyunca yerleşmiş ve kullanılmıştır.  Bölgenin Roma egemenliği altına girmesi ile birlikte bu mimari miras tamamen terk edilmemiş fakat değişime uğramıştır. Roma egemenliği altında Anadolu‟ya gelen sadece yeni inşaat teknikleri değildir; aynı zamanda yeni fikirler ve formlar da gelmeye başlamıştır. Bu yeni fikirlerden olan bazilika mimarisi de aynen alınıp kullanılmamış, taklit edilmemiştir. Onun yerine yeni fikirler daha eski gelenekler ile harmanlanmış ve ortaya yeni bir form çıkarılmıştır. Romalı bir fikir olan bazilika yapısı, Hellen mimari geleneğinin devamı olarak inşa edilmiş ve sonuçta ortaya, Hellen ve Romalı düşünce ve formlarının uyumlu birlikteliğinin bir sonucu olan Asyatik bazilikalar çıkmıştır. Asyatik Bazilika ifadesi Stinson tarafından kullanılmıştır. Batı Anadolu kentlerinde görülen bu tip bazilikalar, Roma Bazilikasından gelişmiş olmasına rağmen Kıta Yunanistan ve İtalya’da ki bazilika örneklerinden farklıdır. Batı Anadolu’da yaygın olan geleneksel yapı formları ve anlayışı terk edilmeyerek mimari geleneğin devamlılığı sağlanmıştır. Asyatik Bazilikaların, Batıdaki örneklerinden ayrılmasını sağlayan, ortak özellikleri ince, uzun oranları, yapının bir ya da iki ucuna eklemlenmiş dikdörtgen mekanlar ve Batı bazilikalarında görülen, yapının dar uçlarındaki sütunla çevrilmiş alanların, ambulatorium  olmayışıdır. Bunun sonucunda da her iki uçta bulunan dikdörtgen mekanlar yapının ana alanından koparılmamış ve böylece en azından orta nefe hakim bir konuma yerleştirilmişlerdir.

Geç Antik Çağ’da  ''BAZİLİKA'' Kavramı

    Hıristiyanlık İmparatorluğun resmi dini olur olmaz, hem işlevsel hem de simgesel açıdan kamusal tapınmaya uygun bir yapı tipinin tasarlanması sorunu ortaya çıkmıştır. Büyük kitleleri barındıracak ve ayinleri yapacak kapalı mekanlara gerek duyuluyordu. Eski tapınak formunun kullanılmayacağı açıktı. Bu durum İki yönden uygun  değildi. Birincisi bu yapılar büyük insan topluluklarının içine alabilecek iç mekanlara sahip değildi. İkincisi Pagan tanrılarına ve Roma imparatorlarına dair simgelerle doluydu.     Bu yüzden kilise yetkilileri din dışı kamu yapılarına yöneldiler. Dolayısıyla büyük halk topluluklarını içine alabilecek yapı tipi olan Bazilikaya yöneldiler. Bazilika başlangıçta kamusal toplantılar için tasarlanmıştı; dünyevi adalete bağlı adil yönetimin simgesi olması nedeniyle olumlu bir simgeydi. Ayrıca eksenli mekan organizasyonuna sahip olan bazilika ilginin sunak üzerinde odaklanmasını sağlayan bir yapı tipiydi.

GIOTTO DI BONDONE 1267-1337

Rönesans'ınyaratıcılarından Giotto di Boııdone, ölümünden sonra yıllarca tarihsayfalarında kalacak kadar yetenekli bir ressam olarak anıldı. İtalyan tarzınıstilize etmesi ve Bizans sanatını resimlerinde harmanlaması, başarısının asılsebebi oldu.

BAZİLİKA

             Bazilika sözcüğü Yunanca basilike stoa ve krali salon kelimelerinden Latince basilica türetilmiş ve genellikle çok nefli, dikdörtgen planlı toplantı mekanlarını ifade etmek için kullanılmıştır. İlk olarak Romalılar tarafından kamusal ve hukuksal işlerin görüldüğü bir mekan olarak kullanılmıştır. Erken Hıristyanlık mimarisinin ana tipi olan bazilikalar ise dini amaçlarla kullanılmıştır.

Ambon

Ambon: Genellikle bemanın dışında diakon tarafından kutsal kitaptan okumaların yapıldığı, orta nefte orta aksın güneyinde yer alan unsurdur. Farklı formları vardır., bazı örneklerde tek bazılarında ise çift merdiven kullanılmıştır. Bazı örneklerde merdiven yelpaze şeklindedir.

Ayasofya

Sagalassos

Sagalassos

Sagalassos’un Kısa Tarihçesi

     Sagalassos Türkiye’nin güneybatısında, Burdur’un Ağlasun ilçesinde yer alır. Antalya’dan yalnızca yaklaşık 100 km uzaklıktadır. Antik kent dağ eteklerine, denizden 1450 ile 1600 metre yükseklik arasına kurulmuştur. Güneyinde Akdeniz, kuzeyinde Anadolu platosu yer alır. Hemen doğusunda 2271 metredeki zirvesiyle Akdağ yükselir. Antik kentin civarında pekçok verimli ova vardır. Bunlar zamanla kent topraklarına dahil olur. Bunlardan en önemlisi ve Sagalassos idaresine ilk katılan (MÖ 2. yüzyıl başında) Burdur Ovasıdır. Böylece kentin tarım alanı büyük ölçüde genişler ve bu durum ileriki yıllarda Sagalassos’un Anadolu Roma yol ağına bağlanmasına olanak sağlar. Ardından, Augustus Dönemi’nde Bağsaray ve Çelitkçi vadileri de kentin idaresi altına girer.

Perge Tiyatrosu

Cavea (Seyirci oturma yerlerinin bulunduğu alan), Orkestra ve Scene (Sahne) olmak üzere üç ana bölümden oluşur. Cavea ve sahne arasında orkestraya ayrılan alan, yarım daireden biraz geniştir. Bir dönem orkestra alanında yine aynı dönem popüler olan gladyatör ve vahşi hayvan dövüşleri yapılmıştır. 13000 seyirci kapasitelidir. Alt tarafta 19, üstte 23 oturma sırası vardır. Tiyatroda orkestra kısmının korkuluklarla çevrilmiş olması, burada gladyatör oyunlarının da yapıldığını göstermektedir. Fakat Perge tiyatrosunun en ilginç bölümü sahne binasıdır. 5 kapı ile kulise açılan sahne binasını yüzünde tablolar halinde şarap tanrısı Dionysos’un hayatını anlatan rölyefler vardır. Perge tiyatrosunun sahne binasındaki mermer kabartmalar da adeta bir filmin kareleri gibi betimlenmiştir. Sahne binasının yıkılması sonucu bu kabartmalardan bir çoğu ağır hasar görmesine rağmen Dionysos’un hayatını anlatan bölümler oldukça anlaşılır durumdadır.