Iconographical Interpretations of New Figured Composition on The Walls of Diyarbakır

Basit Öğe Kaydı
dc.contributor.authorYariş, Sahure
dc.date.accessioned2025-02-22T14:10:57Z
dc.date.available2025-02-22T14:10:57Z
dc.date.issued2024
dc.departmentDicle Üniversitesien_US
dc.description.abstractDiyarbakır is one of the largest cities in Southeastern Anatolia. The fact that it is on trade routes and is geologically important has paved the way for the city to be used as a permanent settlement throughout history. There are historical artifacts in the city, where many civilizations ruled. The geometric, floral and figurative ornaments engraved on these works reflect the artistic and cultural development of the period in which they were engraved. One of the structures that draws attention with its figurative decorations among these works is the fortification walls surrounding the city. Among the figures engraved on the bastions, gates or wall surfaces, the figure of the eagle, known for its symbols of power, strength and domination, is important. This figure was sometimes made in a single composition and sometimes in a composition. In some signs, the throne is located at the top of the scenes as double-headed and in some signs or doors as single-headed. In the article, in the field studies in 2022-2023, it was tried to introduce the figurative composition that we determined in a rectangular frame on the eastern face of the Inner Castle facing the Tigris Valley, on the left of the Oğrun Gate, on the beginning of the single-line inscription belt on the wall. The fact that the stone in which this composition was processed was worn out paved the way for two different interpretations of the composition. The first is the mother eagle-puppy eagle; the second is the fight scene of the eagle-topped toy bird. In the first comment, it was commented that the mother eagle-puppy eagle could be emphasized and the symbols of compassion and compassion could be processed in the defense structure, and the sultan of the period protected the person appointed as the governor under his own power. In the second, it was stated that the eagle-topped toy bird was the fight scene. With this scene, it was interpreted that the sultan wanted to show his power and strength to his enemies. © 2024, Ataturk Universitesi. All rights reserved.en_US
dc.identifier.doi10.47571/sanatyorum.1443604
dc.identifier.endpage93en_US
dc.identifier.issn2822-2865
dc.identifier.issue43en_US
dc.identifier.scopus2-s2.0-85196656038en_US
dc.identifier.startpage84en_US
dc.identifier.trdizinid1271355en_US
dc.identifier.urihttps://doi.org/10.47571/sanatyorum.1443604
dc.identifier.urihttps://search.trdizin.gov.tr/tr/yayin/detay/1271355
dc.identifier.urihttps://hdl.handle.net/11468/29917
dc.identifier.volume2024en_US
dc.indekslendigikaynakScopusen_US
dc.indekslendigikaynakTR-Dizinen_US
dc.institutionauthorYariş, Sahure
dc.language.isotren_US
dc.publisherAtaturk Universitesien_US
dc.relation.ispartofArt and Interpretationen_US
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/closedAccessen_US
dc.snmzKA_Scopus_20250222
dc.subjectcrested Larken_US
dc.subjectdecorationen_US
dc.subjectDiyarbakıren_US
dc.subjecteagleen_US
dc.subjectfigureen_US
dc.subjectfortification wallsen_US
dc.subjecticonographyen_US
dc.titleIconographical Interpretations of New Figured Composition on The Walls of Diyarbakıren_US
dc.title.alternativeDiyarbakır Surlarında Yeni Figürlü Kompozisyonun İkonografik Yorumlarıen_US
dc.typeArticleen_US

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