| ID |
Group |
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Short description |
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| 001 |
1 |
001.jpg
Underlying aims of the research may be found in the End of Award report and in rather more detail in the text archive discussion. Simply put, though, the project emerges from the researchers' experience in both the anthropological and the archaeological fields. The aim of the illustrations is to provide some sense of the visual context of the research, and that of the notes to indicate how I find them most relevant to my project.
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This project's researcher |
JPG
001.jpg
Underlying aims of the research may be found in the End of Award report and in rather more detail in the text archive discussion. Simply put, though, the project emerges from the researchers' experience in both the anthropological and the archaeological fields. The aim of the illustrations is to provide some sense of the visual context of the research, and that of the notes to indicate how I find them most relevant to my project.
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54 Kb |
| 002 |
2-5 |
002.jpg
View from above of restored Roman theatre at Pamukkale. The theatre forms one of a larger complex of 'sights' at Pamukkale within the wider area that has been cleared of intrusive tourism building development. The Roman remains stand increasingly therefore in a space that has been cleared of material from the modern period through the central state acting against local touristic development. In Turkey as a whole, such theatres play often a role in opening classical sites to mass tourism because of their obvious viewing capacity. They may become the object of heated controversy also, if economic demands (eg. to hold pop concerts in them) appear to damage them. Outside the theatre lies a long straight accumulation of piled carved masonry (perhaps placed so in order that it follows the path of the original street) that the Italian excavation team have gradually collected together with a view to restoration. There is also a local museum (depicted in Image 6) within the Pamukkale preservation area, whose director (as is often the case) would prefer that the excavators move more quickly to achieve restored sights, whilst the excavators are restricted by financial (and other) considerations. The museum staff would also prefer that that Italian excavation team were rather better funded, and therefore able to provide equipment for the museum. This is a difficult aspect of their relationship.
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Theatre at Pamukkale (Hierapolis), showing general view, interior, and detail of piled worked stone |
JPG
002.jpg
View from above of restored Roman theatre at Pamukkale. The theatre forms one of a larger complex of 'sights' at Pamukkale within the wider area that has been cleared of intrusive tourism building development. The Roman remains stand increasingly therefore in a space that has been cleared of material from the modern period through the central state acting against local touristic development. In Turkey as a whole, such theatres play often a role in opening classical sites to mass tourism because of their obvious viewing capacity. They may become the object of heated controversy also, if economic demands (eg. to hold pop concerts in them) appear to damage them. Outside the theatre lies a long straight accumulation of piled carved masonry (perhaps placed so in order that it follows the path of the original street) that the Italian excavation team have gradually collected together with a view to restoration. There is also a local museum (depicted in Image 6) within the Pamukkale preservation area, whose director (as is often the case) would prefer that the excavators move more quickly to achieve restored sights, whilst the excavators are restricted by financial (and other) considerations. The museum staff would also prefer that that Italian excavation team were rather better funded, and therefore able to provide equipment for the museum. This is a difficult aspect of their relationship.
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61 Kb |
| 003 |
2-5 |
003.jpg
View from above of restored Roman theatre at Pamukkale. The theatre forms one of a larger complex of 'sights' at Pamukkale within the wider area that has been cleared of intrusive tourism building development. The Roman remains stand increasingly therefore in a space that has been cleared of material from the modern period through the central state acting against local touristic development. In Turkey as a whole, such theatres play often a role in opening classical sites to mass tourism because of their obvious viewing capacity. They may become the object of heated controversy also, if economic demands (eg. to hold pop concerts in them) appear to damage them. Outside the theatre lies a long straight accumulation of piled carved masonry (perhaps placed so in order that it follows the path of the original street) that the Italian excavation team have gradually collected together with a view to restoration. There is also a local museum (depicted in Image 6) within the Pamukkale preservation area, whose director (as is often the case) would prefer that the excavators move more quickly to achieve restored sights, whilst the excavators are restricted by financial (and other) considerations. The museum staff would also prefer that that Italian excavation team were rather better funded, and therefore able to provide equipment for the museum. This is a difficult aspect of their relationship.
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Theatre at Pamukkale (Hierapolis), showing general view, interior, and detail of piled worked stone |
JPG
003.jpg
View from above of restored Roman theatre at Pamukkale. The theatre forms one of a larger complex of 'sights' at Pamukkale within the wider area that has been cleared of intrusive tourism building development. The Roman remains stand increasingly therefore in a space that has been cleared of material from the modern period through the central state acting against local touristic development. In Turkey as a whole, such theatres play often a role in opening classical sites to mass tourism because of their obvious viewing capacity. They may become the object of heated controversy also, if economic demands (eg. to hold pop concerts in them) appear to damage them. Outside the theatre lies a long straight accumulation of piled carved masonry (perhaps placed so in order that it follows the path of the original street) that the Italian excavation team have gradually collected together with a view to restoration. There is also a local museum (depicted in Image 6) within the Pamukkale preservation area, whose director (as is often the case) would prefer that the excavators move more quickly to achieve restored sights, whilst the excavators are restricted by financial (and other) considerations. The museum staff would also prefer that that Italian excavation team were rather better funded, and therefore able to provide equipment for the museum. This is a difficult aspect of their relationship.
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60 Kb |
| 004 |
2-5 |
004.jpg
View from above of restored Roman theatre at Pamukkale. The theatre forms one of a larger complex of 'sights' at Pamukkale within the wider area that has been cleared of intrusive tourism building development. The Roman remains stand increasingly therefore in a space that has been cleared of material from the modern period through the central state acting against local touristic development. In Turkey as a whole, such theatres play often a role in opening classical sites to mass tourism because of their obvious viewing capacity. They may become the object of heated controversy also, if economic demands (eg. to hold pop concerts in them) appear to damage them. Outside the theatre lies a long straight accumulation of piled carved masonry (perhaps placed so in order that it follows the path of the original street) that the Italian excavation team have gradually collected together with a view to restoration. There is also a local museum (depicted in Image 6) within the Pamukkale preservation area, whose director (as is often the case) would prefer that the excavators move more quickly to achieve restored sights, whilst the excavators are restricted by financial (and other) considerations. The museum staff would also prefer that that Italian excavation team were rather better funded, and therefore able to provide equipment for the museum. This is a difficult aspect of their relationship.
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Theatre at Pamukkale (Hierapolis), showing general view, interior, and detail of piled worked stone |
JPG
004.jpg
View from above of restored Roman theatre at Pamukkale. The theatre forms one of a larger complex of 'sights' at Pamukkale within the wider area that has been cleared of intrusive tourism building development. The Roman remains stand increasingly therefore in a space that has been cleared of material from the modern period through the central state acting against local touristic development. In Turkey as a whole, such theatres play often a role in opening classical sites to mass tourism because of their obvious viewing capacity. They may become the object of heated controversy also, if economic demands (eg. to hold pop concerts in them) appear to damage them. Outside the theatre lies a long straight accumulation of piled carved masonry (perhaps placed so in order that it follows the path of the original street) that the Italian excavation team have gradually collected together with a view to restoration. There is also a local museum (depicted in Image 6) within the Pamukkale preservation area, whose director (as is often the case) would prefer that the excavators move more quickly to achieve restored sights, whilst the excavators are restricted by financial (and other) considerations. The museum staff would also prefer that that Italian excavation team were rather better funded, and therefore able to provide equipment for the museum. This is a difficult aspect of their relationship.
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60 Kb |
| 005 |
2-5 |
005.jpg
View from above of restored Roman theatre at Pamukkale. The theatre forms one of a larger complex of 'sights' at Pamukkale within the wider area that has been cleared of intrusive tourism building development. The Roman remains stand increasingly therefore in a space that has been cleared of material from the modern period through the central state acting against local touristic development. In Turkey as a whole, such theatres play often a role in opening classical sites to mass tourism because of their obvious viewing capacity. They may become the object of heated controversy also, if economic demands (eg. to hold pop concerts in them) appear to damage them. Outside the theatre lies a long straight accumulation of piled carved masonry (perhaps placed so in order that it follows the path of the original street) that the Italian excavation team have gradually collected together with a view to restoration. There is also a local museum (depicted in Image 6) within the Pamukkale preservation area, whose director (as is often the case) would prefer that the excavators move more quickly to achieve restored sights, whilst the excavators are restricted by financial (and other) considerations. The museum staff would also prefer that that Italian excavation team were rather better funded, and therefore able to provide equipment for the museum. This is a difficult aspect of their relationship.
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|
Theatre at Pamukkale (Hierapolis), showing general view, interior, and detail of piled worked stone |
JPG
005.jpg
View from above of restored Roman theatre at Pamukkale. The theatre forms one of a larger complex of 'sights' at Pamukkale within the wider area that has been cleared of intrusive tourism building development. The Roman remains stand increasingly therefore in a space that has been cleared of material from the modern period through the central state acting against local touristic development. In Turkey as a whole, such theatres play often a role in opening classical sites to mass tourism because of their obvious viewing capacity. They may become the object of heated controversy also, if economic demands (eg. to hold pop concerts in them) appear to damage them. Outside the theatre lies a long straight accumulation of piled carved masonry (perhaps placed so in order that it follows the path of the original street) that the Italian excavation team have gradually collected together with a view to restoration. There is also a local museum (depicted in Image 6) within the Pamukkale preservation area, whose director (as is often the case) would prefer that the excavators move more quickly to achieve restored sights, whilst the excavators are restricted by financial (and other) considerations. The museum staff would also prefer that that Italian excavation team were rather better funded, and therefore able to provide equipment for the museum. This is a difficult aspect of their relationship.
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60 Kb |
| 006 |
6 |
006.jpg
The archaeological building stands out within newly designated preservation area, the creation of which has resulted in the unusually cleared spaces around it. Note the flag that marks all Turkish state buildings, and sets them off all civil service buildings from everyday use. Behind the museum lie the Roman baths, which the Museum are slowly excavating, perforce using pneumatic drills to clear the set limestone.
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Pamukkale: View of archaeological museum |
JPG
006.jpg
The archaeological building stands out within newly designated preservation area, the creation of which has resulted in the unusually cleared spaces around it. Note the flag that marks all Turkish state buildings, and sets them off all civil service buildings from everyday use. Behind the museum lie the Roman baths, which the Museum are slowly excavating, perforce using pneumatic drills to clear the set limestone.
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59 Kb |
| 007 |
7 |
007.jpg
Pamukkale consists mainly of a large Roman/Byzantine settlement on the top of a flat hill created by limestone deposits from running warm streams. The deposits run white, and are therefore attractive to tourism. Throughout the eighties and early nineties hotels were permitted by the provincial governor to develop freely within the hill-top. However, as the effluent from the hotels began to mark the hillside, they were ordered to be removed, even though flunkies from the hotel would take brushes and re-scale white the brown marks during the night. This removal took place extremely thoroughly. Now, the whole hill-top is entirely deserted when the coach loads leave at night, and the foundations of the cleared hotels are still visible and open, with ''danger' signs to mark where their cellars are now exposed. Pamukkale therefore marks an important spot in the relationship between national and local tourist administration (that is, it would have been better for the locals for Pamukkale to stay as it it: the national interest is better served by cleaning and controlling the area included in the preservation area because then the site can be marketed as retaining its pristine quality as well as having its heritage protected).
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Pamukkale: view of demolished hotel |
JPG
007.jpg
Pamukkale consists mainly of a large Roman/Byzantine settlement on the top of a flat hill created by limestone deposits from running warm streams. The deposits run white, and are therefore attractive to tourism. Throughout the eighties and early nineties hotels were permitted by the provincial governor to develop freely within the hill-top. However, as the effluent from the hotels began to mark the hillside, they were ordered to be removed, even though flunkies from the hotel would take brushes and re-scale white the brown marks during the night. This removal took place extremely thoroughly. Now, the whole hill-top is entirely deserted when the coach loads leave at night, and the foundations of the cleared hotels are still visible and open, with ''danger' signs to mark where their cellars are now exposed. Pamukkale therefore marks an important spot in the relationship between national and local tourist administration (that is, it would have been better for the locals for Pamukkale to stay as it it: the national interest is better served by cleaning and controlling the area included in the preservation area because then the site can be marketed as retaining its pristine quality as well as having its heritage protected).
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56 Kb |
| 008 |
8 |
008.jpg
The modern settlement at Pamukkale lies beneath the hill, and expanded greatly with the rise in mass and back-packing tourism. However, after the site was cleared of hotels, the direct road to the village form the site was also cut. The once thriving village community is now much less visited and the many pensions doing less business accordingly.
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Pamukkale: view of village beneath |
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008.jpg
The modern settlement at Pamukkale lies beneath the hill, and expanded greatly with the rise in mass and back-packing tourism. However, after the site was cleared of hotels, the direct road to the village form the site was also cut. The once thriving village community is now much less visited and the many pensions doing less business accordingly.
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58 Kb |
| 009 |
9 |
009.jpg
In this newly formed haven, tourists are taken directly from the buses to the warm streams, where they are permitted to paddle and to take photographs for a few minutes before getting on the bus again. The road connecting the village and the hill-top has been covered in white by channeling the stream along it. Now, it is possible to walk to and from the village along it, though most just go a little way along and return to the top.
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Pamukkale: tourists in travertines |
JPG
009.jpg
In this newly formed haven, tourists are taken directly from the buses to the warm streams, where they are permitted to paddle and to take photographs for a few minutes before getting on the bus again. The road connecting the village and the hill-top has been covered in white by channeling the stream along it. Now, it is possible to walk to and from the village along it, though most just go a little way along and return to the top.
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59 Kb |
| 010 |
10 |
010.jpg
In this newly formed haven, tourists are taken directly from the buses to the warm streams, where they are permitted to paddle and to take photographs for a few minutes before getting on the bus again. The road connecting the village and the hill-top has been covered in white by channeling the stream along it. Now, it is possible to walk to and from the village along it, though most just go a little way along and return to the top.
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Pamukkale: walking along filled-in road |
JPG
010.jpg
In this newly formed haven, tourists are taken directly from the buses to the warm streams, where they are permitted to paddle and to take photographs for a few minutes before getting on the bus again. The road connecting the village and the hill-top has been covered in white by channeling the stream along it. Now, it is possible to walk to and from the village along it, though most just go a little way along and return to the top.
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61 Kb |
| 011 |
11 |
011.jpg
View of path to village (former road) from below, showing travertines and the large number of package tourists walking along.
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Pamukkale |
JPG
011.jpg
View of path to village (former road) from below, showing travertines and the large number of package tourists walking along.
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57 Kb |
| 012 |
12 |
012.jpg
There are many such newly opened areas dotted along the hill-top, perhaps as many as twenty large hotels have been cleared.
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Pamukkale: exposed cellars of cleared hotels |
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012.jpg
There are many such newly opened areas dotted along the hill-top, perhaps as many as twenty large hotels have been cleared.
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57 Kb |
| 013 |
13 |
013.jpg
The development of Aphrodisias as an archaeological resource is quite different from Pamukkale. In this case, the excavations were directed firmly over thirty years by Kenan Erim, a Turkish academic based in America, who instituted extremely careful visitor facilities. This has resulted in a controlled presentation within the antique town's ruins of the sculptures for which Aph. is famous. There still exists some potential tension between the professional archaeologists from outside and the local Turkish museum authorities over the speed of further development, however there is no need for drastic action as was taken at Pamukkale. It should be noted, however, that the pristine quality of the site has been created through moving the modern villagers who lived within it to a new site two kilometers down the road. Thus, the 'single period' nature of the area is very much the result of deliberate external intrusions.
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Aphrodisias: controlled development |
JPG
013.jpg
The development of Aphrodisias as an archaeological resource is quite different from Pamukkale. In this case, the excavations were directed firmly over thirty years by Kenan Erim, a Turkish academic based in America, who instituted extremely careful visitor facilities. This has resulted in a controlled presentation within the antique town's ruins of the sculptures for which Aph. is famous. There still exists some potential tension between the professional archaeologists from outside and the local Turkish museum authorities over the speed of further development, however there is no need for drastic action as was taken at Pamukkale. It should be noted, however, that the pristine quality of the site has been created through moving the modern villagers who lived within it to a new site two kilometers down the road. Thus, the 'single period' nature of the area is very much the result of deliberate external intrusions.
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60 Kb |
| 014 |
14 |
014.jpg
Note that even the jandarma (gendarmes) building (rear of car-park) has been built to fit in with the development of the visitor facilities.
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Aphrodisias: car park outside the site |
JPG
014.jpg
Note that even the jandarma (gendarmes) building (rear of car-park) has been built to fit in with the development of the visitor facilities.
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60 Kb |
| 015 |
15 |
015.jpg
Some new digging is taking place around the amphitheatre, but the present-day team is conscious not just of modern requirements, but also of the huge amount of comparatively unstudied material resulting from the Erim excavations that lies in the depots.
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Aphrodisias: Amphitheatre |
JPG
015.jpg
Some new digging is taking place around the amphitheatre, but the present-day team is conscious not just of modern requirements, but also of the huge amount of comparatively unstudied material resulting from the Erim excavations that lies in the depots.
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61 Kb |
| 016 |
16 |
016.jpg
The restored temple is one of the most frequently used images in Turkish international tourism literature. Erim is buried alongside it. See Image 29.
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Aphrodisias: Restored temple |
JPG
016.jpg
The restored temple is one of the most frequently used images in Turkish international tourism literature. Erim is buried alongside it. See Image 29.
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58 Kb |
| 017 |
17 |
017.jpg
Sculpture outside the museum (detail).
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Aphrodisias: Sculpture |
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017.jpg
Sculpture outside the museum (detail).
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60 Kb |
| 018 |
18 |
018.jpg
Entrance road as one comes from the car park to the main visitors square with fountain, museum and cafu.
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Aphrodisias: Entrance road |
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018.jpg
Entrance road as one comes from the car park to the main visitors square with fountain, museum and cafu.
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59 Kb |
| 019 |
19 |
019.jpg
Most museum gardens throughout Turkey have sculpture within them, however this is noticeably well kept and laid out.
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Aphrodisias: Museum garden |
JPG
019.jpg
Most museum gardens throughout Turkey have sculpture within them, however this is noticeably well kept and laid out.
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61 Kb |
| 020 |
20 |
020.jpg
Fountain in central visitors' square. Whilst the emphasis throughout the visitor area at Aphrodisias is on the creation of a moist green, tranquil environment in fact it contrasts sharply with the prevailing weather conditions. Throughout 2001 Turkey experienced a severe lack of rainfall that meant the watchmen at Aphrodisias were in doubt that they could maintain such intensive watering much longer.
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Aphrodisias |
JPG
020.jpg
Fountain in central visitors' square. Whilst the emphasis throughout the visitor area at Aphrodisias is on the creation of a moist green, tranquil environment in fact it contrasts sharply with the prevailing weather conditions. Throughout 2001 Turkey experienced a severe lack of rainfall that meant the watchmen at Aphrodisias were in doubt that they could maintain such intensive watering much longer.
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59 Kb |
| 021 |
21-26 |
021.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
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Aphrodisias: Scuptural details |
JPG
021.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
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60 Kb |
| 022 |
21-26 |
022.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
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|
Aphrodisias: Scuptural details |
JPG
022.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
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61 Kb |
| 023 |
21-26 |
023.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
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|
Aphrodisias: Scuptural details |
JPG
023.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
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70 Kb |
| 024 |
21-26 |
024.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
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|
Aphrodisias: Scuptural details |
JPG
024.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
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60 Kb |
| 025 |
21-26 |
025.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
[ DOWNLOAD] right-click and save link
|
Aphrodisias: Scuptural details |
JPG
025.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
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61 Kb |
| 026 |
21-26 |
026.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
[ DOWNLOAD] right-click and save link
|
Aphrodisias: Scuptural details |
JPG
026.jpg
These pieces are typical of those in Aphrodisias. Figurative architecture remains deeply problematic in many Islamic countries, and in Anatolia too becomes the focus of immediate attack in times of religious unrest. The Republican policy of state ownership of archaeological sites through their separation and control by the authorities, and the subsequent development in conjunction often with external excavation teams, here has worked to preserve figurative art in amounts and in a condition that is unprecedented in areas where such control has not been exercised. Indeed, it contrasts with Capadoccia, where figurative art is often defaced, but such control more difficult to achieve because of the dispersed nature of the rock-cut churches there.
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The mound behind the theatre is much earlier than the rest of the site, and was cut into by the later Romans themselves in order to make the larger of two theatres. Today, it is little featured in the way that the site is presented.
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Aphrodisias: small theatre with mound in background |
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The mound behind the theatre is much earlier than the rest of the site, and was cut into by the later Romans themselves in order to make the larger of two theatres. Today, it is little featured in the way that the site is presented.
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View from mound over partially restored Roman causeway, with relocated village in background. When a site becomes of very great importance, it is often the case that the villagers become expelled from the territory, in effect this simplifies the history of the site by excluding the later occupation record. This is perhaps one reason why the study of the interaction between different cultural interchanges is so little developed in the literature on the archaeology of Anatolia.
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Aphrodisias: view from mound |
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View from mound over partially restored Roman causeway, with relocated village in background. When a site becomes of very great importance, it is often the case that the villagers become expelled from the territory, in effect this simplifies the history of the site by excluding the later occupation record. This is perhaps one reason why the study of the interaction between different cultural interchanges is so little developed in the literature on the archaeology of Anatolia.
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Erim was buried by the temple that he helped restore. The inscription reads 'Professor Kenen T. Erim, 1923-1990, archaeologist, who for 30 years devoted himself to bringing this antique city to public attention'. Today, Turkish visitors sometimes note aloud that it is curious that a Muslim should wish to be buried at a Pagan temple, and some find it disturbing.
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Aphrodisias: Erim grave |
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Erim was buried by the temple that he helped restore. The inscription reads 'Professor Kenen T. Erim, 1923-1990, archaeologist, who for 30 years devoted himself to bringing this antique city to public attention'. Today, Turkish visitors sometimes note aloud that it is curious that a Muslim should wish to be buried at a Pagan temple, and some find it disturbing.
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The creation of small almost tropical micro-climtes through over watering is a typical feature of the creation of garden spaces throughout Anatolia. It contrasts markedly with the dryness of the steppe and contributes to a remarkable fusion of tranquility and antiquity at Aphrodisias.
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Aphrodisias: lush square |
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The creation of small almost tropical micro-climtes through over watering is a typical feature of the creation of garden spaces throughout Anatolia. It contrasts markedly with the dryness of the steppe and contributes to a remarkable fusion of tranquility and antiquity at Aphrodisias.
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The house of the Virgin Mary consists of a small stone structure about three miles in the hills above Ephesus, near Denizli, in the south west of Turkey. It forms one of a number of sacred places in and around Ephesus, and is often featured as part of Turkey's 'sacred tourism' initiatives. However, it also illustrates folk practices common to both Islam and Christianity, and an unusual example of living interaction between the two traditions in Anatolia. Whilst whether the building really was the Virgin Mary's house is controversial. However, it is regarded by the Catholic Church as being so, hence its official recognition as a pilgrim site. The vision that led to its discovery was discussed sceptically already by Ramsay, but today the site is extremely crowded and scepticism not obviously in evidence. The commercialisation of the pilgrimage centre centres on sculptured images of the Virgin Mary, with this almost-life size figure facing all visitors as they walk along the path to the house. Pilgrims and visitors are mostly women, both from abroad and from Turkey. The women on the left in the lower thumbnail appeared to be English, whilst that on the right was one of a group of Turkish immigrants brought up in Germany. Note that the latter has covered her hair for the occasion, through she does not otherwise have a conservative appearance.
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House of the Virgin Mary: With a nun |
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031.jpg
The house of the Virgin Mary consists of a small stone structure about three miles in the hills above Ephesus, near Denizli, in the south west of Turkey. It forms one of a number of sacred places in and around Ephesus, and is often featured as part of Turkey's 'sacred tourism' initiatives. However, it also illustrates folk practices common to both Islam and Christianity, and an unusual example of living interaction between the two traditions in Anatolia. Whilst whether the building really was the Virgin Mary's house is controversial. However, it is regarded by the Catholic Church as being so, hence its official recognition as a pilgrim site. The vision that led to its discovery was discussed sceptically already by Ramsay, but today the site is extremely crowded and scepticism not obviously in evidence. The commercialisation of the pilgrimage centre centres on sculptured images of the Virgin Mary, with this almost-life size figure facing all visitors as they walk along the path to the house. Pilgrims and visitors are mostly women, both from abroad and from Turkey. The women on the left in the lower thumbnail appeared to be English, whilst that on the right was one of a group of Turkish immigrants brought up in Germany. Note that the latter has covered her hair for the occasion, through she does not otherwise have a conservative appearance.
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032.jpg
The house of the Virgin Mary consists of a small stone structure about three miles in the hills above Ephesus, near Denizli, in the south west of Turkey. It forms one of a number of sacred places in and around Ephesus, and is often featured as part of Turkey's 'sacred tourism' initiatives. However, it also illustrates folk practices common to both Islam and Christianity, and an unusual example of living interaction between the two traditions in Anatolia. Whilst whether the building really was the Virgin Mary's house is controversial. However, it is regarded by the Catholic Church as being so, hence its official recognition as a pilgrim site. The vision that led to its discovery was discussed sceptically already by Ramsay, but today the site is extremely crowded and scepticism not obviously in evidence. The commercialisation of the pilgrimage centre centres on sculptured images of the Virgin Mary, with this almost-life size figure facing all visitors as they walk along the path to the house. Pilgrims and visitors are mostly women, both from abroad and from Turkey. The women on the left in the lower thumbnail appeared to be English, whilst that on the right was one of a group of Turkish immigrants brought up in Germany. Note that the latter has covered her hair for the occasion, through she does not otherwise have a conservative appearance.
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House of the Virgin Mary: With a nun |
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032.jpg
The house of the Virgin Mary consists of a small stone structure about three miles in the hills above Ephesus, near Denizli, in the south west of Turkey. It forms one of a number of sacred places in and around Ephesus, and is often featured as part of Turkey's 'sacred tourism' initiatives. However, it also illustrates folk practices common to both Islam and Christianity, and an unusual example of living interaction between the two traditions in Anatolia. Whilst whether the building really was the Virgin Mary's house is controversial. However, it is regarded by the Catholic Church as being so, hence its official recognition as a pilgrim site. The vision that led to its discovery was discussed sceptically already by Ramsay, but today the site is extremely crowded and scepticism not obviously in evidence. The commercialisation of the pilgrimage centre centres on sculptured images of the Virgin Mary, with this almost-life size figure facing all visitors as they walk along the path to the house. Pilgrims and visitors are mostly women, both from abroad and from Turkey. The women on the left in the lower thumbnail appeared to be English, whilst that on the right was one of a group of Turkish immigrants brought up in Germany. Note that the latter has covered her hair for the occasion, through she does not otherwise have a conservative appearance.
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033.jpg
The house of the Virgin Mary consists of a small stone structure about three miles in the hills above Ephesus, near Denizli, in the south west of Turkey. It forms one of a number of sacred places in and around Ephesus, and is often featured as part of Turkey's 'sacred tourism' initiatives. However, it also illustrates folk practices common to both Islam and Christianity, and an unusual example of living interaction between the two traditions in Anatolia. Whilst whether the building really was the Virgin Mary's house is controversial. However, it is regarded by the Catholic Church as being so, hence its official recognition as a pilgrim site. The vision that led to its discovery was discussed sceptically already by Ramsay, but today the site is extremely crowded and scepticism not obviously in evidence. The commercialisation of the pilgrimage centre centres on sculptured images of the Virgin Mary, with this almost-life size figure facing all visitors as they walk along the path to the house. Pilgrims and visitors are mostly women, both from abroad and from Turkey. The women on the left in the lower thumbnail appeared to be English, whilst that on the right was one of a group of Turkish immigrants brought up in Germany. Note that the latter has covered her hair for the occasion, through she does not otherwise have a conservative appearance.
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House of the Virgin Mary: With a nun |
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033.jpg
The house of the Virgin Mary consists of a small stone structure about three miles in the hills above Ephesus, near Denizli, in the south west of Turkey. It forms one of a number of sacred places in and around Ephesus, and is often featured as part of Turkey's 'sacred tourism' initiatives. However, it also illustrates folk practices common to both Islam and Christianity, and an unusual example of living interaction between the two traditions in Anatolia. Whilst whether the building really was the Virgin Mary's house is controversial. However, it is regarded by the Catholic Church as being so, hence its official recognition as a pilgrim site. The vision that led to its discovery was discussed sceptically already by Ramsay, but today the site is extremely crowded and scepticism not obviously in evidence. The commercialisation of the pilgrimage centre centres on sculptured images of the Virgin Mary, with this almost-life size figure facing all visitors as they walk along the path to the house. Pilgrims and visitors are mostly women, both from abroad and from Turkey. The women on the left in the lower thumbnail appeared to be English, whilst that on the right was one of a group of Turkish immigrants brought up in Germany. Note that the latter has covered her hair for the occasion, through she does not otherwise have a conservative appearance.
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The house of the Virgin Mary consists of a small stone structure about three miles in the hills above Ephesus, near Denizli, in the south west of Turkey. It forms one of a number of sacred places in and around Ephesus, and is often featured as part of Turkey's 'sacred tourism' initiatives. However, it also illustrates folk practices common to both Islam and Christianity, and an unusual example of living interaction between the two traditions in Anatolia. Whilst whether the building really was the Virgin Mary's house is controversial. However, it is regarded by the Catholic Church as being so, hence its official recognition as a pilgrim site. The vision that led to its discovery was discussed sceptically already by Ramsay, but today the site is extremely crowded and scepticism not obviously in evidence. The commercialisation of the pilgrimage centre centres on sculptured images of the Virgin Mary, with this almost-life size figure facing all visitors as they walk along the path to the house. Pilgrims and visitors are mostly women, both from abroad and from Turkey. The women on the left in the lower thumbnail appeared to be English, whilst that on the right was one of a group of Turkish immigrants brought up in Germany. Note that the latter has covered her hair for the occasion, through she does not otherwise have a conservative appearance.
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House of the Virgin Mary: With a nun |
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034.jpg
The house of the Virgin Mary consists of a small stone structure about three miles in the hills above Ephesus, near Denizli, in the south west of Turkey. It forms one of a number of sacred places in and around Ephesus, and is often featured as part of Turkey's 'sacred tourism' initiatives. However, it also illustrates folk practices common to both Islam and Christianity, and an unusual example of living interaction between the two traditions in Anatolia. Whilst whether the building really was the Virgin Mary's house is controversial. However, it is regarded by the Catholic Church as being so, hence its official recognition as a pilgrim site. The vision that led to its discovery was discussed sceptically already by Ramsay, but today the site is extremely crowded and scepticism not obviously in evidence. The commercialisation of the pilgrimage centre centres on sculptured images of the Virgin Mary, with this almost-life size figure facing all visitors as they walk along the path to the house. Pilgrims and visitors are mostly women, both from abroad and from Turkey. The women on the left in the lower thumbnail appeared to be English, whilst that on the right was one of a group of Turkish immigrants brought up in Germany. Note that the latter has covered her hair for the occasion, through she does not otherwise have a conservative appearance.
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The same group of Turkish girls being photographed with a resident nun.
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House of the Virgin Mary: With a nun |
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The same group of Turkish girls being photographed with a resident nun.
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Both Christian and Muslim groups tie scraps of cloth, known in Turkish as adak. The practice is relevant for what might be regarded as a particular moderate or inclusive religious tradition whereby sites based on holy figures are respected by the Muslims in the area whatever tradition that holy figure may be supposed to come from. The existence and the importance of this alternative, informal human-centred religious tradition in interacting with the remains of the past in Anatolia is one of the central themes of my research findings. It contrasts with the more exclusive, and destructive approach of religious activism that destroys heritage not regarded part of its own past. Precisely which conditions lead to destruction is an aspect of this research that I hope to follow up subsequently in more detail.
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House of the Virgin Mary: Tying scraps of cloth |
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036.jpg
Both Christian and Muslim groups tie scraps of cloth, known in Turkish as adak. The practice is relevant for what might be regarded as a particular moderate or inclusive religious tradition whereby sites based on holy figures are respected by the Muslims in the area whatever tradition that holy figure may be supposed to come from. The existence and the importance of this alternative, informal human-centred religious tradition in interacting with the remains of the past in Anatolia is one of the central themes of my research findings. It contrasts with the more exclusive, and destructive approach of religious activism that destroys heritage not regarded part of its own past. Precisely which conditions lead to destruction is an aspect of this research that I hope to follow up subsequently in more detail.
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037.jpg
Both Christian and Muslim groups tie scraps of cloth, known in Turkish as adak. The practice is relevant for what might be regarded as a particular moderate or inclusive religious tradition whereby sites based on holy figures are respected by the Muslims in the area whatever tradition that holy figure may be supposed to come from. The existence and the importance of this alternative, informal human-centred religious tradition in interacting with the remains of the past in Anatolia is one of the central themes of my research findings. It contrasts with the more exclusive, and destructive approach of religious activism that destroys heritage not regarded part of its own past. Precisely which conditions lead to destruction is an aspect of this research that I hope to follow up subsequently in more detail.
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House of the Virgin Mary: Wall of cloth |
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037.jpg
Both Christian and Muslim groups tie scraps of cloth, known in Turkish as adak. The practice is relevant for what might be regarded as a particular moderate or inclusive religious tradition whereby sites based on holy figures are respected by the Muslims in the area whatever tradition that holy figure may be supposed to come from. The existence and the importance of this alternative, informal human-centred religious tradition in interacting with the remains of the past in Anatolia is one of the central themes of my research findings. It contrasts with the more exclusive, and destructive approach of religious activism that destroys heritage not regarded part of its own past. Precisely which conditions lead to destruction is an aspect of this research that I hope to follow up subsequently in more detail.
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The spring water from the shrine emerges next to the wall of cloth, and is regarded as auspicious by the pilgrims.
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House of the Virgin Mary: Spring water |
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The spring water from the shrine emerges next to the wall of cloth, and is regarded as auspicious by the pilgrims.
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The surrounding greenery is regarded often as an indication of the sacred nature of the spot.
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House of the Virgin Mary: Surrounding greenery |
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The surrounding greenery is regarded often as an indication of the sacred nature of the spot.
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By special permission, mass is held outside the shrine.
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House of the Virgin Mary: Mass |
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By special permission, mass is held outside the shrine.
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