Bu çalışma Kemal Uğurbil Koleksiyonu'ndaki Batı Anadolu kökenli Erken Tunç Çağı'na tarihlenen bir grup gaga ağızlı testiyi içermektedir. Çalışmamıza konu olan testilerin sayısı sekizdir. Tamamı koleksiyona satın alma yolu ile kazandırılmıştır. Testilerin ikisi düz dipli, altısı ise üç ayaklıdır. Farklı hamur, renk ve tekniklerde üretilmiş olan eserlerin tamamı perdahlıdır. Testilerin hepsi el yapımıdır. Farklı tarihlerde satın alma yoluyla koleksiyona kazandırılan eserlerin pek çoğunun geliş yeri belli değildir. Buna karşın örneklerin hemen tamamı Troia-Yortan Kültür Bölgesi etkileri taşır. Bu bağlamda söz konusu seramiklerin Yortan ve yakını arkeolojik sahalardan elde edildiği düşünülebilmektedir. Bu çalışmada incelenen testiler, geniş bir zaman diliminde, salt üretim noktalarında değil, aynı zamanda Batı ve İç Batı Anadolu'nun çeşitli kültür grupları ve adalarda, Anadolu ile bağlantılı bir kültürel yapılanma izleyen yerleşimlerde karşımıza çıkmaktadır.
Recent surveys conducted in Sarıkale Tepe and Kocakale Tepe in 2018 and 2019 yielded some findings that shed light on the transition from the Late Bronze Age to the Early Iron Age in the Aeolis region. This study examines and broadly evaluates a bronze fragment belonging to a curved knife, pottery that has stylistically similar examples found in the Late Bronze Age layers of the city of Troy, gray ware which has an important place in the local tradition of the region, and a pendent semi-circle pottery sherd, found during the course of these seasons. The reflections of the external influences in Northern Aeolis, the continuation of the local traditions in the Early Iron Age and the existence of the Aegean origin influences in the beginning of the first millennium BC were examined.As a result, the mentioned finds in Tisna reveal supportive results in addition to the new and known ones regarding the transition from the Late Bronze Age to the Early Iron Age in Aeolis. It is thought that the archaeological excavations to be carried out in Tisna in the coming years will provide new evidence to support these findings.
Six examples of Mycenaean pottery in the Sadberk Hanım Museum collection, were produced for transportation and seven of them for service purposes. Similar to the stirrup jar no.1 and no. 2 in which olive oil was preserved, were commercially marketed over a wide geographic area in the LH IIIA2-IIIB periods. While the examples of the feeding bottle left in children's graves of two types are included in the collection, the feeding bottle no. 3 and no. 4 must have been produced in local workshops during the LH IIIC period. Similarly, the kylix no. 5 is the product of the same period. The piriform jars in the collection show elements characteristic of its LH IIIA2 period counterparts. The squat alabastrons were produced in the LH IIIA2-IIIB periods and must have been used for storing viscous scents. The small jugs, which were employed intensively in the Mycenaean pottery repertoire, are represented in the collection by the FS 114 form. The body of this pottery expanding towards the belly and the rising base can be observed in other jug forms as a distinctive feature. The juglet no. 13, the origin of which can be traced back to the Minoan pottery tradition, is one of the rare examples with its short beak part. Öz: Sadberk Hanım Müzesi koleksiyonu içerisinde yer alan Miken seramiklerinden altısı taşıma amaçlı, yedisi ise servis amaçlı üretilmiştir. İçerisinde zeytinyağı muhafaza edilen 1 ve 2 no'lu üzengi kulplu testilerin benzerleri GH IIIA2-IIIB dönemleri içerisinde geniş bir coğrafyada ticari olarak pazarlanmıştır. Çocuk mezarlarına bırakılan emzikli kapların iki ayrı forma ait olan örnekleri koleksiyonda yer alırken, 3 ve 4 no'lu emzikli kaplar GH IIIC döneminde yerel atölyelerde üretilmiş olmalıdırlar. Benzer biçimde 5 no'lu kylix de aynı dönemin ürünü olmalıdır. Koleksiyondaki piriform kaplar, GH IIIA2 dönemi benzerleri ile tipik unsurlara sahiptir. FS 85 formundaki bodur alabastronlar ise GH IIIA2-IIIB dönemleri içerisinde üretilirken, içerisine kıvamlı kokuların saklanması için kullanılıyor olmalıydı. Miken seramik repertuarı içerisinde yoğun bir kullanımı bulunan tek kulplu küçük testiler ise koleksiyonda FS 114 formu ile temsil edilirken bu formun karna doğru genişleyen gövdesi ve yükselen kaidesi ayırıcı bir özellik olarak diğer testi formları arasında izlenebilmektedir. Bununla birlikte kökeni Minos seramik repertuvarına kadar geriye giden formlar içerisinde yer alan 13 no'lu testicik, kısa gaga kısmıyla ender ele geçen örneklerden biridir.
Although Mycenaean pottery was found in many settlements in Western Anatolia, Mycenaean female figurines were not encountered evenly. Despite the existence of pottery which may be a proof of commercial relations, the presence of figurines were not encountered in many settlements can be explained by the fact that they were not a commercial commodity in every situation, not preferred by local elites or the absence of Mycenaean presence in the settlement. While the Mycenaean pottery were preferred on the coasts of Western Anatolia by commercial relations, at least in the commercial sense these figurines were not preferred. Considering the finds of female figurines found in Western Anatolia -including evidence of Aegean origin such as Miletos and Limantepe-, the questioning of the presence of Mycenaean can not be inaccurate. In the Eastern Mediterranean, although the Mycenaean female figurines are numerically less, it is seen that the situation is different in the example of Ugarit. The fact that Mycenaean female figurines were found in civil architecture was probably the result of a long period of relations established by the Aegean kingdoms with Ugarit. When we compare the distribution of Mycenaean pottery and female figurines in general, it is seen that pottery were found in a wide area in the Eastern Mediterranean, while female figurines do not have a similar distribution. This is not related to the fact that female figurines were not able to carry the meaning of the Aegean people to the East Mediterranean coasts within the LBA. It must be due to the fact that figurines were not a strong commercial instrument within the Mycenaean commercial activities. In spite of this, it is seen that the peoples of Aegean origin carrying some of their basic cultural elements to the shores of the Eastern Mediterranean along with the migrations at the end of Late Bronze Age produced female figurines like pottery with the cultural elements they had brought from their ancestral lands.
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