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Bizans Sanatında Monogram

Yıl 2023, Sayı: 18, 257 - 281, 10.09.2023

Dilek Maktal Canko

https://doi.org/10.46250/kulturder.1312339

Öz

İsim, unvan veya bir dua belirten bir dizi harfin bileşimi ile oluşan bir sembol olan monogramlar, Erken Hristiyanlık dünyasından itibaren Bizans sembolizminde önemli bir yer edinmiştir. Nomina sacra’dan türeyerek kutsal karakterler için sembol haline gelen kutsal kişilerin monogramları, apotropaik işlev görmüştür. Seküler monogramlar ise, dünyevi kişilerin veya grupların isimlerine atıfta bulunmuşlar ve en yaygın olarak imparatorluk sanat eserleri üzerinde görülmüşlerdir. Bunların işlevleri ise, dini monogramlardan farklıdır. Üzerinde yer aldıkları nesneyle bütünleşerek sahiplik, iktidar ve güç sembolü olmuşlardır. Günümüzde araştırmacılar için monogramların en önemli problemi, harflerin yerleştirilme sistematiği bulunamadığı için okunmasının hipotezden öteye geçmemesidir. Ayrıca, mimari yapılar, mücevherler gibi kişisel kullanım eşyaları, seramik ve tekstil üzerindeki monogramların işlevi hala tartışılmaktadır. Antik çağlardan Bizans’a miras kalan monogramları şekilsel olarak dört kategoriye ayırmak gereklidir: Kutu monogramlar, haç monogramlar, çubuk monogramlar ve yan yana bitişik harf monogramlar. Bu makalede, Bizans görsel kayıtlarındaki monogramların çeşitlerini sistematize etmek ve işlevleri konusunda tartışmak amaçlanmıştır.

Anahtar Kelimeler

monogram Bizans sanatı semboller erken Hristiyanlık sanatı monogram çeşitleri

Kaynakça

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  • Ball, Jennifer L. (2006). “A Double-Headed Eagle Embroidery: From Battlefield to Altar”. Metropolitan Museum Journal, 41: 59-64.
  • Baran Çelik, Gülbahar (2016). “Yenikapı Theodosius Limanı Kazısı Zemberek Biçimli Fibulaları”. Trade in Byzantium Papers from the 3rd International Sevgi Gönül Byzantine Studies Symposium. Ed. P. Magdalino ve N. Necipoğlu. İstanbul: Koç Üniversitesi Yayınları, 431-444.
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  • Bates, George Eugene (1971). Archaeological Exploration of Sardis Byzantine Coins. Cambridge: Harvard University Press.
  • Brooks, Sarah T. (2004). “Capital with Monogram”. Byzantium: Faith and Power (1261-1557). Ed. Helen C. Evans. New York: The Metropolitan Museum of Art, 112.
  • Bulgurlu, Vera (2016). “Yenikapı’daki Theodosius Limanı Kazılarından Bizans Kurşun Mühürleri”. Trade in Byzantium Papers from the 3rd International Sevgi Gönül Byzantine Studies Symposium. Ed. P. Magdalino ve N. Necipoğlu. İstanbul: Koç Üniversitesi Yayınları, 403-429.
  • Büyükkolancı, Mustafa (2000). “1974-1998 Yıllarında Selçuk/Efes St. Jean Anıtı ve Çevresinde Yapılan Kazı, Restorasyon ve Çevre Düzenleme Çalışmaları”. 10. Müze Kurtarma Kazıları Semineri 26-28 Nisan 1999 Kuşadası. Ankara: TC. Kültür Bakanlığı Yayınları, 19-24.
  • Canart, Paul (2009). “Un manuscrit byzantin au monogramme d'un Agapètos”. Scriptorium, 63(2): 220-230.
  • Carile, Maria Cristina (2020). “Ivory Production: Commerce, Culture and Power”. Ravenna and the Traditions of Late Antique and Early Byzantine Craftsmanship, Labour, Culture, and the Economy. Ed. Salvatore Cosentino. Millennium Studies in the Culture and History of the First Millennium C.E., 85: 115-152.
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Monogram in Byzantine Art

Yıl 2023, Sayı: 18, 257 - 281, 10.09.2023

Dilek Maktal Canko

https://doi.org/10.46250/kulturder.1312339

Öz

Monograms, symbols formed by the combination of a name, title or a series of letters indicating a prayer, have taken an important place in Byzantine symbolism since the early Christian world. Monograms of holy persons, derived from the nomina sacra and became symbols for the sacred characters, served an apotropaic function. Secular monograms, on the other hand, referred to the names of secular persons or groups and were most commonly seen in imperial artworks. Their functions are different from religious monograms. They became a symbol of ownership, power and power by integrating with the object on which they are located. For today's researchers, the most important problem with monograms is that their reading does not go beyond a hypothesis, since the systematics of placement of letters cannot be found. In addition, the function of monograms on architectural structures, personal use items such as jewellery, ceramics, and textiles are still debated. It is necessary to formally divide the monograms inherited from the ancient times to Byzantium into four categories: Box monograms, cross monograms, bar monograms, and juxtaposition monograms. In this article, it was aimed to systematize the types of monograms in the Byzantine visual records and to discuss their functions.

Anahtar Kelimeler

monogram Byzantine art symbols Early Christian art types of monogram

Kaynakça

  • Altınoluk, Zeynep Sencan (2021). “Silifke Arkeoloji Müzesi'nden Bir Grup Bizans Kurşun Mührü”. Çanakkale Araştırmaları Türk Yıllığı, 30: 147-172.
  • Artamonoff, Nicholas (2013). Artamonoff Bizans İstanbul’u İmgeleri 1930-1947. Der. Günder Varinlioğlu. İstanbul: Koç Üniversitesi Yayınları.
  • Ball, Jennifer L. (2006). “A Double-Headed Eagle Embroidery: From Battlefield to Altar”. Metropolitan Museum Journal, 41: 59-64.
  • Baran Çelik, Gülbahar (2016). “Yenikapı Theodosius Limanı Kazısı Zemberek Biçimli Fibulaları”. Trade in Byzantium Papers from the 3rd International Sevgi Gönül Byzantine Studies Symposium. Ed. P. Magdalino ve N. Necipoğlu. İstanbul: Koç Üniversitesi Yayınları, 431-444.
  • Bardill, Jonathan (2000). “The Church of Sts. Sergius and Bacchus in Constantinople and the Monophysite Refugees”. Dumbarton Oaks Papers, 54: 1-11.
  • Bates, George Eugene (1971). Archaeological Exploration of Sardis Byzantine Coins. Cambridge: Harvard University Press.
  • Brooks, Sarah T. (2004). “Capital with Monogram”. Byzantium: Faith and Power (1261-1557). Ed. Helen C. Evans. New York: The Metropolitan Museum of Art, 112.
  • Bulgurlu, Vera (2016). “Yenikapı’daki Theodosius Limanı Kazılarından Bizans Kurşun Mühürleri”. Trade in Byzantium Papers from the 3rd International Sevgi Gönül Byzantine Studies Symposium. Ed. P. Magdalino ve N. Necipoğlu. İstanbul: Koç Üniversitesi Yayınları, 403-429.
  • Büyükkolancı, Mustafa (2000). “1974-1998 Yıllarında Selçuk/Efes St. Jean Anıtı ve Çevresinde Yapılan Kazı, Restorasyon ve Çevre Düzenleme Çalışmaları”. 10. Müze Kurtarma Kazıları Semineri 26-28 Nisan 1999 Kuşadası. Ankara: TC. Kültür Bakanlığı Yayınları, 19-24.
  • Canart, Paul (2009). “Un manuscrit byzantin au monogramme d'un Agapètos”. Scriptorium, 63(2): 220-230.
  • Carile, Maria Cristina (2020). “Ivory Production: Commerce, Culture and Power”. Ravenna and the Traditions of Late Antique and Early Byzantine Craftsmanship, Labour, Culture, and the Economy. Ed. Salvatore Cosentino. Millennium Studies in the Culture and History of the First Millennium C.E., 85: 115-152.
  • Chichurov, I. S. (ed.) (1991). Byzantine Cherson Catalogue of Exhibition. Moscow: Nauka.
  • Dalton, Ormonde Maddock (1901). Catalogue of Early Christian Antiquities and Objects from the Christian East. London: Order The Trustees.
  • Dalton, Ormonde Maddock (1912). Catalogue of Finger Rings Early Christian, Byzantine, Teutonic, Medieval and Later. London: Order of the Trustees.
  • Demangel, Robert & Mamboury, Ernest (1939). Le quartier des Manganes et la première région de Constantinople. Paris: E. de Boccard.
  • Demirel-Gökalp, Zeliha (2009). Yalvaç Müzesi Bizans Sikkeleri. Ankara: Kültür ve Turizm Bakanlığı Yayınları.
  • Demirel-Gökalp, Zeliha (2014). Malatya Arkeoloji Müzesi Bizans Sikkeleri Kataloğu, İstanbul: Arkeoloji ve Sanat Yayınları.
  • Demirer, Ünal & Elam, Nilgün (2018). “Lead Seals of the Kibyra Excavations”. Adalya, 21: 245-276.
  • DOC 1 (1992). Bellinger, A.R. P. Catalogue of the Byzantine Coins in the Dumbarton Oaks Collection and in the Whittemore Collection, Vol. 1. Anastasius I to Marice 491-602, USA.
  • DOC 2/1 (1993). Philip Grierson, Catalogue of the Byzantine Coins in the Dumbarton Oaks Collection and in the Whittemore Collection, Vol. 2/1, Phocas & Herakles 602-641, USA.
  • DOC 4/1 (1999). Catalogue of the Byzantine Coins in the Dumbarton Oaks Collection and in the Whittemore Collection, Vol. 4/1, Alexius I to Alexius V (1081-1204), USA.
  • Doğan, Sema (2019). “Heykeltraşlık ve Mimari Plastik Eserler”. Bir Koleksiyonerin Tutkusu Rahmi M. Koç Koleksiyonu’ndan Seçmeler. Haz. Vera Bulgurlu. İstanbul: YKY, 57-94.
  • Eastmond, Antony (2010). “Consular Diptychs, Rhetoric and the Languages of Art in Sixth-Century Constantinople”. Art History, 33(5): 743-765.
  • Eastmond, Antony (2016). “Monograms and the Art of Unhelpful Writing in Late Antiquity”. Sign and Design Script as Image in Cross-Cultural Perspective (300–1600 ce). Ed. B. M. Bedos-Rezak & J. F. Hamburger. Washington: Dumbarton Oaks Research Library and Collection, 219-235.
  • Entwistle, Chris & Meek, Andrew (2015), “Early Byzantine Glass Weights: Aspects of Function, Typology and Composition”. Technical Research Bulletin, 9: 1-14.
  • Evangelatou-Notara, Florentia & Mavrommati, Kalliope (2022). “Not Even a Band on My Finger? Rings of Non-Elite Women”. Secular Byzantine Women Art, Archaeology and Ethnography of Female Material Culture from Late Roman to Post-Byzantine Times. Ed. Sophia Germanidou. New York: Routledge, 43-79.
  • Evans Helen C. & Ratliff, Btandie (eds.) (2012). Byzantium and İslam Age of Transition 7th-9th Century. New York: The Metropolitan Museum of Art.
  • Evans Helen C. (ed.) (2004). Byzantium: Faith and Power (1261-1557). New York: The Metropolitan Museum of Art, 112.
  • Feind, Robert (2010). Byzantinische Monogramme und Eigennamen Alphabetisiertes Wörterbuch/ Byzantine Monograms an Alphabetized Lexicon/ Byzantine Monograms and Personal Names. Ragenstauf: Gietl Verlag.
  • François, Veronique (2017). La vaisselle de terre à Byzance, Cataloque des collections du Musée du Louvre. Paris: Coédition Somogly/Louvre Editions.
  • Frutiger, Adrian (1989). Signs and Symbols Their Design and Meaning. New York: Van Nostrand Reinhold. Garipzanov, Ildar (2018). Graphic Signs of Authority in Late Antiquity and The Early Middle Ages 300-900. New York: Oxford University Press.
  • Garipzanov, Ildar (2021). “Late Antique and Early Medieval Monograms, From Producers’ Marks to Liminal Graphic Devices”. The Hidden Language of Graphic Signs: Cryptic Writing and Meaningful Marks. Eds. John Bodel & Stephen Houston. New York: Cambridge University Press.
  • Ginkut, Natalia Vitalievna (2020). “Vizantiyskiye Polivnyye Sosudy XIV v. s Monogrammami iz Raskopok Khersona i Kreposti Chembalo”. Antichnaya drevnost' i sredniye veka, 48: 225-253.
  • Grierson, Philip (1982). Byzantine Coins. Berkeley: University of California Press.
  • Grünbart, Michael (2022). “Das Kreuz mit den Monogrammen –und eine vernetzte Lösungsstrategie”. Liber Amicorum Claus Pelling zum 90. Geburtstag. Eds. T. Finkenauer & A. Nordheim. Tübingen: Tübingen Library Publishing, 71-80.
  • Guerro, Fermin (2015). A Study of the Development of Monograms: From Ancient Greek Coins to Contemporary Logos. London: University of Reading.
  • Harrison, R. Martin (1986). Excavations at Saraçhane in Istanbul, V.1. Princeton: Princeton University Press.
  • Hörandner, Wolfram (1991). “Monogram”. The Oxford Dictionary of Byzantium. New York: Oxford University Press, 1397-1398.
  • Hurtado, Larry (1998). “The Origin of the Nomina Sacra”. A Proposal, Journal of Biblical Literature, 117(4): 655-673.
  • Hurtado, Larry (2006). “The Staurogram in Early Christian Manuscripts: The Earliest Visual Reference to the Crucified Jesus?”. New Testament Manuscripts: Their Text and Their World. Eds. Thomas J. Kraus & Tobias Nicklas. Leiden: Brill, 207-226.
  • Hurtado, Larry (2017). “Earliest Christian Graphic Symbols and Earliest Textual References to Christian Symbols”. Graphic Signs of Identity, Faith, and Power in Late Antiquity and the Early Middle Ages. Ed. I. Garipzanov et al. Turnhout: Brepols, 1-14.
  • Kalamari, Pali & Mexia, Angeliki (eds.) (2001). The City of Mystras, Byzantine Hours Works and Days in Byzantium Athens-Thessaloniki-Mystras. Athens: Hellenic Ministry of Culture.
  • Karabacak, Yasin (2021). İstanbul’un Keşfedilmeyi Bekleyen Sembolleri Monogramlar. İstanbul: Gezilla Basın Yayın.
  • Karagianni, Flora (2013). “City-Ports from Aegean to the Black Sea. An Overview of their Early Christian and Medieval Past”. Medieval Ports in North Aegeanand the Black Sea Links to the Maritime Routes of the East International Symposium. Ed. Flora Karagianni. Thessaloniki, 23-46.
  • Kuleff, Ivelin & Djingova, Rumyana (1998). “Chemical Profile of Medieval Grafitto Ceramic Finds V. Investigation of Archaeological Finds from Nessebar and Sozopol (Bulgaria)”. Berliner Beiträge zur Archäometrie Band, 15: 217-236.
  • Laflı, Ergun & Buora, Maurizio (2021). “Inscribed Finger Rings from Late Antique and Byzantine Asia Minor”. Cercetări Arheologice, 28(1): 233-246.
  • Lightfoot, Chris S. (2012). “Byzantine Weights and Related Material”. Amorium Reports 3: The Lower City Enclosure, Finds Reports and Technical Studies. Eds. C. S. Lightfoot & E. A. Ivison. İstanbul: MAS, 379-386.
  • Mango, Cyrill & Sevcenko, Ihor (1961). “Remains of the Church of St. Polyeuktos at Constantinople”. Dumbarton Oaks Papers, 15: 243-247.
  • Marrou, Henri Irenee (1978). “Autour du monogramme constantinien”. Christiana tempora. Mélanges d'histoire, d'archéologie, d'épigraphie et de patristique. Roma: École Française de Rome, 239-250.
  • Metivier, Sophie (2010). “Sceaux des musées de Kayseri et de Nigde (Cappadoce byzantine)”. Studies in Byzantine Sigillography 10. Ed. J. C. Cheynet et al. Berlin: de Gruyter, 61-74.
  • Michailidou M. (2002). “Glazed Bowl”. Everyday Life in Byzantium. Ed. Demetria Papanikola-Bakirtzi. Athens: Hellenic Ministry of Culture, 187.
  • Millet, Gabriel (1899). “Inscriptions byzantines de Mistra (Pl. XIV-XXIII)”. Bulletin de correspondance hellénique, 23: 97-156.
  • Millet, Gabriel (1906). “Inscriptions inédites de Mistra”. Bulletin de correspondance hellénique, 30: 453-466.
  • Moutafov, Emmanuel S. (2014). “A Byzantine Monogram of a Lady on a Marble Capital from the Louvre”. Rev. Roum. Hist. Art, Série Beaux-Arts, Tomeli, 129–135.
  • Nesbitt, John W. (1977). “Double Names on Early Byzantine Lead Seals”. Dumbarton Oaks Papers, 31: 109-121.
  • Olivier, Jean-Marie (2002). “Encore une reliure au monogramme des Paléologues”. Scriptorium, 56(2): 323-331.
  • Onurkan, Somay (1994). “Perge Tuğla Damgaları, Satır ve Monogram”. XII. Türk Tarih Kongresi, 12-16 Eylül 1994, C.1. Ankara: TTK, 161-192.
  • Ousterhout, Robert (2010). “Brickstamps from the Zeyrek Camii”. Bizans ve Çevre Kültürler. Ed. Sema Doğan ve Mine Kadiroğlu. İstanbul: YKY.
  • Oyarçin, Kasım ve Payveren, Merve (2021). “Erzurum Arkeoloji Müzesi Bizans Sikkeleri (2005-2017)”. TÜBAKED, 24: 69-92.
  • Ödekan, Ayla (ed.) (2007). Kalanlar/The Remnants: 12. ve 13. Yüzyıllarda Türkiye’de Bizans. İstanbul: Vehbi Koç Vakfı.
  • Öztaşkın, Muradiye (2013). “Stratonikeia ve Lagina Kazılarında Bulunan Bizans Dönemi Seramikleri”. Doktora Tezi. Eskişehir: Anadolu Üniversitesi.
  • Papanikola-Bakirtzi, Demetria (1987). “The Paleologan Glazed Pottery of Thessaloniki”. L’art de Thessalonique et des pays balkaniques et les courants spirituels au XIV siècle. Ed. R. Samardžić. Recueil des rapports du IVe colloque serbo-grec, Belgrade 1985, Belgrad, 193-204.
  • Papanikola-Bakirtzi, Demetria (2004). “Bowl with Ligature of the Name of Saint Demetrios”. Byzantium Faith and Power (1261-1557). Ed. Helen C. Evans. New York: The Metropolitan Museum of Art, 48.
  • Papanikola-Bakirtzi, Demetria (ed.) (1999). Byzantine Glazed Ceramics. The Art of Sgraffito. Atina: Archaeological Receipts Fund.
  • Papanikola-Bakirtzi, Demetria (ed.) (2002). Everyday Life in Byzantium. Athens: Hellenic Ministry of Culture.
  • Parman, Ebru (1978). “Bizans Keramik Sanatı ve Ayasoluk Tepesinde Bulunan Bizans Keramikleri”. Doktora Tezi. Ankara: Hacettepe Üniversitesi.
  • Pasinli, Alpay (2001). “Pittakia ve Magnum Palatium-Büyük Saray Bölgesinde 1999 Yılı Çalışmaları (Eski Sultanahmet Cezaevi Bahçesi)”. 11. Müze Çalışmaları ve Kurtarma Kazıları Sempozyumu. Ankara: Kültür Bakanlığı Yayınları, 41-64.
  • Pülz, Andrea M. ve Kat, Feride (2011). “Ephesos Bizans Dönemi Küçük Buluntuları- Malzemeye Genel Bakış”. Bizans Döneminde Ephesos. Ed. Falko Daim ve Sabine Ladstatter. İstanbul: Ege Yayınları, 197-212.
  • Robov, Mirko (2015). “Nov podglazuren monogram ot goiztochniya sektor na Trapezitsa”. Spisanie EPOHI Izdanie na Istoriçeskiya fakultet na VTU Sv. sv. Kiril i Metodiy, XXIII(2): 279-285.
  • Sear, David R. (1974). Byzantine Coins and Their Values. London: Seaby Publications.
  • Seibt, Werner (2016). “The Use of Monograms on Byzantine Seals in the Early Middle-Ages (6th to 9th Centuries)”. Parekbolai, 6: 1–14.
  • Sengalevich, Georgi (2016). “Dimitrios or Prodromos: The Case of a Popular Sgraffitı Ceramics Monogram”. Proceedings of the 23rd International Congress of Byzantine Studies Belgrade 22-27 August 2016, Thematic Sessions of Free Communications. Ed. Dejan Dželebdžić & Stanoje Bojanin. Belgrade: AIEB, 438-439.
  • Sengalevich, Georgi (2018a). “Vizantiĭska Sgrafito Keramika s Monogrami na Paleolozite”. Bulgarskoe-Spisanie za Arkheologiia, 6: 157-168.
  • Sengalevich, Georgi (2018b). “Medieval Sgraffito Ceramics with Underglazed Monograms and Other Inscriptions from Bulgaria”, XII Congress on Medievaland Modern Period Mediterranean Ceramics (Athens, October 21–27). Athens, 49–50.
  • Sengalevich, Georgi (2020). “Monogramite vuv Vizantiiskata Pismena Kultura. Prinos Kum Sistemnoto im Izsledvane”. Carissimae Magistra Grato Animo, 301-312.
  • Spier, Jeffrey (2010). “Some Unconventional Early Byzantine Rings”. Intelligible Beauty: Recent Research on Byzantine Jewellery. Eds. Chris Entwistle & Nöel Adams. London: British Museum, 13-19.
  • Spier, Jeffrey (2012). Byzantium and the West: Jewelery in the First Millennium, London: Paul Holberton Publishing.
  • SSM (2010). Bizantion’dan İstanbul’a Bir Başkentin 8000 Yılı. İstanbul: Sakıp Sabancı Müzesi Yayınları.
  • Stanilov, Stanislav & Sengalevich, Georgi (2019). “Notes on the Identification of an Earing with Monogram from the Benaki Museum in Athens”. Archaeologia Bulgarica, XXIII(3): 109-120.
  • Stevenson, Robert B. K. (1947). “The Pottery, 1936-7”. The Great Palace of the Byzantine Emperors, being a First Report on the Excavations Carried Out in Istanbul on Behalf of the Walker Trust (The University of St. Andrews) 1935-1938. Ed. Gerard Brett et al. Oxford: Oxford University Press, 31-63.
  • Sulzberger, Max (1925). “Le Symbole de la Croix et les Monogrammes de Jésus chez les premiers Chrétiens”. Byzantion, 2: 337-453.
  • Swainson, H. (1895). “Monograms on the Capital of S. Sergius at Constantinople”. Byzantinische Zeitschrift, 105-107.
  • Swift, Emerson H. (1937). “The Bronze Doors of the Gate of the Horologium at Hagia Sophia”. The Art Bulletin, 19(2): 137-147.
  • Tekin, Oğuz (2015). Corpus Ponderum Antiquorum et Islamicorum Turkey 3 Suna and İnan Kıraç Foundation Collection at Pera Museum part 2 Late Roman and Byzantine Weights. İstanbul: Suna ve İnan Kıraç Vakfı.
  • Thomas, Thelma K. (2012). “Ornaments of Excellence from the Miserable Gains of Commerce: Luxury Art and Byzantine Culture”. Byzantium and İslam Age of Transition 7th-9th Century. Eds. Helen C. Evans & Btandie, Ratliff. New York: The Metropolitan Museum of Art, 124-133.
  • Tobias, Bendeguz & Weights, Glass (2015). Corpus Ponderum Antiquorum et Islamicorum Turkey 3 Suna and İnan Kıraç Foundation Collection at Pera Museum part 2 Late Roman and Byzantine Weights. İstanbul: Suna and İnan Kıraç Vakfı.
  • Tobias, Bendeguz (2011). “Riemenzungen mediterraner Gürtelgarnituren mit Monogrammen. Studien zur Chronologie und Funktion”. Acta Praehist. Et. Arch. 43: 151-188.
  • Underwood, Paul A. & Hawkins, Ernest J. W. (1961). “The Mosaics of Hagia Sophia at Istanbul: The Portrait of the Emperor Alexander: A Report on Work Done by the Byzantine Institute in 1959 and 1960”. Dumbarton Oaks Papers, 15: 187-217.
  • Vikan, Gary & Nesbitt, John (1980). Security in Byzantium, Locking, Sealing and Weighing. Washington: Dumbarton Oaks Center for Byzantine Studies Publications.
  • Vikan, Gary (1987). “Early Christian and Byzantine Rings in the Zucker Family Collection”. The Journal of the Walters Art Gallery, 45: 32-43.
  • Vroom, Jonita & Fındık, Ebru (2015). “The Pottery Finds. Die Türbe im Artemision Ein frühosmanischer Grabbau. Ayasuluk/Selçuk und sein kulturhistorisches Umfeld”. Österreichisches Archäologisches Institut Sonderschriften Band, 53: 205-292.
  • Waksman, Sylvie Yona et al. (2009). “Les ateliers céramiques de Sirkeci (İstanbul). Résultats de la campagne 2008”. Anatolia Antiqua, XVII: 457- 467.
  • Wallis, Henry (1907). Byzantine Ceramic Art. Notes on Examples of Byzantine Pottery recently found at Constantinople with Illustrations. London: British Museum.
  • Weitzmann, Kurt (ed.) (1979). Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century. New York: The Metropolitan Museum of Art.
  • Woods, David (2020). “Greek Monograms and Countermarks in Seventh-Century Syria”. Coinage and History in the Seventh Century Near East 6. Ed. Tony Goodwin. London: Archetype Publications, 101-120.
  • Wroth, Warwick (1908a). Catalogue of the Imperial Byzantine Coins in the British Museum Vol. 1. London: Order of the Trustees.
  • Wroth, Warwick (1908b). Catalogue of the Imperial Byzantine Coins in the British Museum Vol. 2. London: Order of the Trustees.
Toplam 97 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Sanat Tarihi
Bölüm Araştırma Makaleleri
Yazarlar

Dilek Maktal Canko 0000-0003-4034-6797

Yayımlanma Tarihi 10 Eylül 2023
Yayımlandığı Sayı Yıl 2023 Sayı: 18

Kaynak Göster

APA Maktal Canko, D. (2023). Bizans Sanatında Monogram. Kültür Araştırmaları Dergisi(18), 257-281. https://doi.org/10.46250/kulturder.1312339
AMA Maktal Canko D. Bizans Sanatında Monogram. KAD. Eylül 2023;(18):257-281. doi:10.46250/kulturder.1312339
Chicago Maktal Canko, Dilek. “Bizans Sanatında Monogram”. Kültür Araştırmaları Dergisi, sy. 18 (Eylül 2023): 257-81. https://doi.org/10.46250/kulturder.1312339.
EndNote Maktal Canko D (01 Eylül 2023) Bizans Sanatında Monogram. Kültür Araştırmaları Dergisi 18 257–281.
IEEE D. Maktal Canko, “Bizans Sanatında Monogram”, KAD, sy. 18, ss. 257–281, Eylül 2023, doi: 10.46250/kulturder.1312339.
ISNAD Maktal Canko, Dilek. “Bizans Sanatında Monogram”. Kültür Araştırmaları Dergisi 18 (Eylül 2023), 257-281. https://doi.org/10.46250/kulturder.1312339.
JAMA Maktal Canko D. Bizans Sanatında Monogram. KAD. 2023;:257–281.
MLA Maktal Canko, Dilek. “Bizans Sanatında Monogram”. Kültür Araştırmaları Dergisi, sy. 18, 2023, ss. 257-81, doi:10.46250/kulturder.1312339.
Vancouver Maktal Canko D. Bizans Sanatında Monogram. KAD. 2023(18):257-81.
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