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Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article deals with a few different artistic themes represented by mosaicists in both the eastern and western halves of the Roman empire. The themes I discuss are the Triumph of Dionysos and the subject of the hunt, both of which were popular primarily for decorating the main reception room of private homes. Dionysos’s triumph evokes worldly happiness and prosperity, and the hunt, of either realistic or mythological type, reflects a popular aristocratic pastime as well as the manly quality of courage in the face of danger, or virtus. In general, the direction of artistic influence flowed from west to east, but in at least one instance, the trend in imagery moved in the opposite direction. It is shown how eastern and western craftsmen developed regional preferences in the ways they depicted the shared themes, partly shaped by local historical and economic circumstances.

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mosaic floor in Alaşehir (Manisa) was unearthed in an illicit excavation. In the ruins which seem to be of a monumental building, two rooms with floor mosaic and a cellar can partly be followed. The building continues underneath the modern constructions around. Therefore the general limits of the building and its function can be clarified after possible future excavations. Geometric, floral and figurative scenes are seen on the floors of the both rooms which are numbered as 1 and 2. The floor mosaic of the room Nr.1 consists of three panels. In the panels besides geometric and floral designs, there are representations of “Seasons”, “Okeanos and Tethys”. In the room Nr. 2 which is a bit smaller, the traces of repair on the mosaic panel calls our attention. The color, design and style difference points out two different periods. In this study our aim is to present the building with mosaic of which only a small part could be recovered today and also compare it with its contemporary examples.

Mosaic floor in Alaşehir (Manisa) was unearthed in an illicit excavation. In the ruins which seem to be of a monumental building, two rooms with floor mosaic and a cellar can partly be followed. The building continues underneath the modern constructions around. Therefore the general limits of the building and its function can be clarified after possible future excavations. Geometric, floral and figurative scenes are seen on the floors of the both rooms which are numbered as 1 and 2. The floor mosaic of the room Nr. 1 consists of three panels. In the panels besides geometric and floral designs, there are representations of "Seasons", "Okeanos and Tethys". In the room Nr. 2 which is a bit smaller, the traces of repair on the mosaic panel calls our attention. The color, design and style difference points out two different periods. In this study our aim is to present the building with mosaic of which only a small part could be recovered today and also compare it with its contemporary examples. [ABSTRACT FROM AUTHOR]