{"id":1672,"date":"2016-12-31T16:18:56","date_gmt":"2016-12-31T14:18:56","guid":{"rendered":"http:\/\/journal.phaselis.org\/uncategorized\/019"},"modified":"2017-04-05T17:35:38","modified_gmt":"2017-04-05T14:35:38","slug":"pha-0034","status":"publish","type":"post","link":"http:\/\/journal.phaselis.org\/en\/2016_en\/pha-0034","title":{"rendered":"Not just the Shadows on the Stone: the Greek, Lycian and Roman Craft of Encaustica (\u1f14\u03b3\u03ba\u03b1\u03c5\u03c3\u03b9\u03c2) and the Polishing (\u03b3\u03ac\u03bd\u03c9\u03c3\u03b9\u03c2) of Coloured Inscriptions, that is, of Graph\u014d (\u03b3\u03c1\u03ac\u03c6\u03c9) and its Study – Epigraphy"},"content":{"rendered":"

Ta\u015f \u00dcst\u00fcndeki G\u00f6lgelerin \u00d6tesinde: Renkli Yaz\u0131tlardaki Hellen, Lykia ve Roma Yak\u0131 Tekni\u011fi (\u1f14\u03bd\u03ba\u03b1\u03c5\u03c3\u03b9\u03c2) ve Cilalama (\u03b3\u03ac\u03bd\u03c9\u03c3\u03b9\u03c2) \u0130\u015f\u00e7ili\u011fi, Di\u011fer Ad\u0131yla, Graph\u014d (\u03b3\u03c1\u03ac\u03c6\u03c9) ve \u0130lgili Disiplin – Epigrafi<\/em><\/strong><\/p>\n

T.M.P. DUGGAN<\/strong><\/p>\n

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PHASELIS<\/em> II (2016) 269-283.<\/strong>
\nDOI<\/strong>: 10.18367\/Pha.16019<\/a>
\nReceived Date:<\/strong>\u00a005.11.2016 | Acceptance Date:<\/strong>\u00a010.12.2016
\nOnline Publication Date:<\/strong>\u00a031.12.2016
\nCopyright \u00a9 PHASELIS Journal of Interdisciplinary Mediterranean Studies, 2016<\/p>\n

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Abstract<\/strong>: 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\/\u03b3\u03c1\u03b1\u03c6\u1f75\/graph\u0113, 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\u2019s 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 \u2018epigraphic\u2019 cast or squeeze, has led to the erasure of meaning, evidence of colour removed to leave shadows on the stone.
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Keywords:\u00a0<\/strong><\/span>Coloured Inscriptions \u00b7<\/strong> Graph\u014d – \u03b3\u03c1\u03ac\u03c6\u03c9 \u00b7<\/strong> Epigraphy \u00b7<\/strong> Squeeze \u00b7<\/strong> Clich\u00e9s \u00b7<\/strong> Plaster Casts
\n\u00b7<\/strong> Latex – Silicone<\/p>\n

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\u00d6z: <\/strong><\/span>Bu makale, antik\u00e7a\u011fda kaz\u0131nm\u0131\u015f yaz\u0131tlar\u0131n renklendirilmesini ve siyah-beyaz renklerdeki Haberci Tanr\u0131 Hermes\u2019ten ayr\u0131\u015fan \u00f6nc\u00fcl\u00fc Haberci Tanr\u0131\u00e7a \u0130ris ile onun g\u00f6kku\u015fa\u011f\u0131n\u0131n yedi rengi \u00fczerinden anlam, ba\u011flam ve i\u00e7eri\u011fi kar\u015f\u0131ya iletmede renklendirmenin \u00f6nemini ele almaktad\u0131r. Hellenler kutsal metinleri bunlar\u0131n renkli olu\u015flar\u0131ndan ve \u00f6zellikle baz\u0131 renklerle yap\u0131lan birtak\u0131m ili\u015fkilendirmelerden tan\u0131yorlard\u0131. Bu \u00e7al\u0131\u015fmada, renk kullan\u0131m\u0131na dikkat \u00e7ekmek amac\u0131yla, Anadolu\u2019dan, g\u00fcn\u00fcm\u00fcze ula\u015fm\u0131\u015f renkli yaz\u0131tlardan ve bir yaz\u0131t\u0131n kaz\u0131nt\u0131lar\u0131 aras\u0131nda, kullan\u0131lm\u0131\u015f boya kal\u0131nt\u0131lar\u0131ndan \u00f6rnekler sunulmu\u015ftur. \u00c7\u00fcnk\u00fc bu hem \u015fekil hem de renk arac\u0131l\u0131\u011f\u0131yla anlam\u0131 ileten bir i\u015faret; di\u011fer bir deyi\u015fle graph\u0113<\/em>\u2019dir (\u03b3\u03c1\u03b1\u03c6\u1f75); ve epigrafi hem \u015fekil hem de renkle ilgilenmektedir \u2013 daha ziyade ilgilenmelidir<\/em>. Bu durum g\u00f6steriyor ki, vurgulama, onaylama ve hitap ili\u015fkileri birtak\u0131m renklerin ve renk kombinasyonlar\u0131n\u0131n kullan\u0131m\u0131na dayand\u0131r\u0131lmaktad\u0131r. Yaz\u0131t\u0131n son hali ve okunabilir olmas\u0131 a\u00e7\u0131s\u0131ndan boyan\u0131n \u00f6nemli olmas\u0131n\u0131n yan\u0131nda, bu renkler ve kombinasyonlar, birlikte, antik\u00e7a\u011fda metin okuman\u0131n ayr\u0131lmaz bir par\u00e7as\u0131n\u0131 olu\u015fturmaktad\u0131rlar. Sunulan \u00f6rnek yaz\u0131tlar\u0131 olu\u015fturan i\u015faretlerin renkleri yenilenmekteydi ve, bir epigrafik kal\u0131p veya estampaj almak amac\u0131yla ta\u015f\u0131n temizlenmesi sonucunda boya kal\u0131nt\u0131lar\u0131n\u0131n yok olmas\u0131 iletilmek istenen anlam\u0131n, ta\u015fta g\u00f6lgeler b\u0131rakmak \u00fczere temizlenen renk kan\u0131tlar\u0131n\u0131n silinmesine neden olmu\u015ftur.\u00a0
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Anahtar S\u00f6zc\u00fckler:<\/span> <\/strong><\/span>Renkli Yaz\u0131tlar \u00b7 Graph\u014d – \u03b3\u03c1\u03ac\u03c6\u03c9 \u00b7 Epigrafi \u00b7 Estampaj \u00b7 Kal\u0131plar \u00b7 Al\u00e7\u0131 Kal\u0131p \u00b7 Lateks – Silikon<\/p>\n

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