Taş Üstündeki Gölgelerin Ötesinde: Renkli Yazıtlardaki Hellen, Lykia ve Roma Yakı Tekniği (ἔνκαυσις) ve Cilalama (γάνωσις) İşçiliği, Diğer Adıyla, Graphō (γράφω) ve İlgili Disiplin – Epigrafi
T.M.P. DUGGAN
PHASELIS II (2016) 269-283.
DOI: 10.18367/Pha.16019
Geliş Tarihi: 05.11.2016 | Kabul Tarihi: 10.12.2016
Elektronik Yayın Tarihi: 31.12.2016
Telif Hakkı © PHASELIS Disiplinlerarası Akdeniz Araştırmaları Dergisi, 2016
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Abstract: This paper addresses the colouring of carved inscriptions in antiquity and of the importance of colouring in conveying meaning, context and content, through the seven colours of the Messenger Goddess Iris and her rainbow, preceding and distinct from, the later Messenger God Hermes in black and white. The ancient Greeks knew the sacred texts as coloured and of the associations to be made with particular colours. Surviving examples of coloured inscriptions from Anatolia and of the support (for colour) applied within the cuttings of an inscription are given, to draw attention to the use of colour, this because a sign/γραφή/graphē, conveys meaning through both its shape, and its colour, hence epigraphy is or rather should be concerned with both. It suggests that emphasis, recognition and rhetorical relationships were established through the use of certain colours and colour combinations that together formed an integral part of the reading of the text in Antiquity, in addition to colour’s importance for the finished appearance and legibility of the inscription. The colour of the signs forming inscriptions were renewed, and the loss of evidence of colouring, consequent upon cleaning the stone to take an ‘epigraphic’ cast or squeeze, has led to the erasure of meaning, evidence of colour removed to leave shadows on the stone.
Keywords: Coloured Inscriptions · Graphō – γράφω · Epigraphy · Squeeze · Clichés · Plaster Casts
· Latex – Silicone
Öz: Bu makale, antikçağda kazınmış yazıtların renklendirilmesini ve siyah-beyaz renklerdeki Haberci Tanrı Hermes’ten ayrışan öncülü Haberci Tanrıça İris ile onun gökkuşağının yedi rengi üzerinden anlam, bağlam ve içeriği karşıya iletmede renklendirmenin önemini ele almaktadır. Hellenler kutsal metinleri bunların renkli oluşlarından ve özellikle bazı renklerle yapılan birtakım ilişkilendirmelerden tanıyorlardı. Bu çalışmada, renk kullanımına dikkat çekmek amacıyla, Anadolu’dan, günümüze ulaşmış renkli yazıtlardan ve bir yazıtın kazıntıları arasında, kullanılmış boya kalıntılarından örnekler sunulmuştur. Çünkü bu hem şekil hem de renk aracılığıyla anlamı ileten bir işaret; diğer bir deyişle graphē’dir (γραφή); ve epigrafi hem şekil hem de renkle ilgilenmektedir – daha ziyade ilgilenmelidir. Bu durum gösteriyor ki, vurgulama, onaylama ve hitap ilişkileri birtakım renklerin ve renk kombinasyonlarının kullanımına dayandırılmaktadır. Yazıtın son hali ve okunabilir olması açısından boyanın önemli olmasının yanında, bu renkler ve kombinasyonlar, birlikte, antikçağda metin okumanın ayrılmaz bir parçasını oluşturmaktadırlar. Sunulan örnek yazıtları oluşturan işaretlerin renkleri yenilenmekteydi ve, bir epigrafik kalıp veya estampaj almak amacıyla taşın temizlenmesi sonucunda boya kalıntılarının yok olması iletilmek istenen anlamın, taşta gölgeler bırakmak üzere temizlenen renk kanıtlarının silinmesine neden olmuştur.
Anahtar Sözcükler: Renkli Yazıtlar · Graphō – γράφω · Epigrafi · Estampaj · Kalıplar · Alçı Kalıp · Lateks – Silikon
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Kalıcı bağlantı adresi: http://dx.doi.org/10.18367/Pha.16019
T.M.P. DUGGAN
Öğr. Gör., Akdeniz University, Mediterranean Civilisations Research Institute, Antalya. tmpduggan@yahoo.com