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At the site of Naldöken Kayasi, 10 km. west of Bayır village in the Seydikemer District of the Mugla Province, there is a rock mass lying in a row, forming a front towards the plain to the north. At the lowest part of the rock mass, there is a natural hollow, popularly known as "Bahattin Haystack" with a circular arrangement and a wide opening. The interior of this natural hollow, which was used without any additions, is decorated with a non-figurative painting programme in fresco technique, starting from the upper cover up to a height of 1 m above the floor. The upper cover, which is completely covered with a layer of soot, was surrounded by a circular form with double bands. The lower part of the circular form is surrounded by a border in which geometric arrangements are decorated with floral motifs. In the lower part of the border, there are 6 panels in different forms with crosses, floral and geometrical arrangements, separated from each other by bands. Three of the panels are complete and the other three are partially extant. The cross, floral motifs and inscription in the northwest of the lower row of this section and the partially preserved geometrical ornaments in the southeast constitute the two separate panels of the last decoration belt of the space. In the preserved sections of the wall paintings covering the interior of the Bahattin Samanlığı Cave, a decoration programme showing the characteristics of the aniconic was applied, including crosses, floral and geometric motifs as well as inscriptions. As in other Iconoclastic examples, the dominant element in the decoration is the cross. The cross has been widely used as a symbol of fertility, immortality, life, spirit, etc. since the earliest times, with varying meanings according to the cultures in which it was found. In the wall paintings of the Bahattin Samanlığı rock carving, the most common ornamentation after the cross motif consists of geometric forms around the cross motifs in some panels, sometimes alone in others, and sometimes accompanied by stylised floral motifs. Like the cult of the cross, the repertoire of geometric and floral ornamentation is not unique to the age of iconoclasm. Although they show similarities in terms of motif and stylistic characteristics with the iconoclast paintings we have analysed, the letter characters in the inscriptions, the remains of crosses and motifs, which show that the paintings belonging to the first phase also consisted of aniconic motifs, indicate that the wall paintings in Bahattin Samanlığ may have been painted in a period before iconoclasm or in the early 7th century to the early 8th century, which constitutes the first phase of the iconoclastic movement. [ABSTRACT FROM AUTHOR]

It is quite likely that all five inscriptions from Neoklaudiopolis/Vezirköprü presented in this paper are acclamations. They originate from Christian context. The objects on which they are placed – apart from one capital – cannot be identified with absolute certainty. In one case, it is probably a sarcophagus, in another a part of a pilaster, in the other two cases plinths – or, although less likely, weights of wine or oil presses. Four of the objects are decorated with crosses, whereby in two cases the cross is interpreted as The Tree of Life. The motif ›The Cross as Tree of Life‹ is quite common in Neoklaudiopolis. It is depicted in several designs, especially on sarcophagi and on architectural elements such as capitals and on a slab that may be regarded as an altar screen. This is documented by photographs. The sarcophagi that are known from the territory of Neoklaudiopolis and that can be identified as Christian are compiled in an appendix. They are all decorated with crosses in different design varieties. In one extraordinary case, the head of a bovine is depicted between two crosses. In a second appendix, stones decorated with crosses originating from the territory of Neoklaudiopolis are presented. It is certain that two of them are press weights, another two are very likely to be press weights, and with others it is at least arguable. The recording of the inscriptions, sarcophagi and press weights was done by Eckart Olshausen and Gerhard Kahl between 1988 and 1990.

Russia's expansionist policy towards the Ottoman lands led to many wars between the two states. One of these wars was the Crimean War, which took place between 1853 and 1856. In order to legitimize this war and to get public support, Russia announced that the Orthodox Christians living in the Ottoman Empire were living under pressure and that it was a holy war had started to save them. This propaganda was voiced by Tsar Nicholas I, included in his war manifestos and published in the newspapers of the period. It was tried to give the image that Muslim Turks are a savage, barbaric nation that oppresses Christians and destroys holy temples. As a result of this propaganda, the "crescent moon" symbolizing Islam and Turkishness, as an enemy symbol, was brought to the fore, and many poems were written against it. In this article, it will be discussed how the "crescent moon" in Russian poems written during the Crimean War was used as a symbol of the enemy. Our article discusses poems about the Crimean War, which lasted from 1853 to 1856. As a result of this research, it has been determined that there are many references to the crescent moon-cross war in the poems. However, the crescent moon represented the Ottoman Empire against the double-headed eagle that Russia inherited from Byzantium. Therefore, references were made to the Byzantine-Ottoman battle. Adjectives such as "rabid, bloody, black, lowly" were used for the crescent moon, which is an enemy symbol. The crescent moon symbol has been likened to the horn of wild animals, the sickle - an edge tool. The weak state of the Ottoman state was symbolized by the diminution of the crescent moon. The British and French were criticized in many poems for supporting the Ottoman Empire and accused of betraying Christianity under the flag of the crescent moon. Our research has shown that poetry was used as a powerful propaganda tool by the Tsarist Russian government. We believe that this article will be a valuable contribution to the study of war literature and propaganda literature. [ABSTRACT FROM AUTHOR]

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat 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 Art-Sanat Journal / Art-Sanat is the property of Art-Sanat 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 Art-Sanat Journal / Art-Sanat is the property of Art-Sanat 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 Art-Sanat Journal / Art-Sanat is the property of Art-Sanat 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 Art-Sanat Journal / Art-Sanat is the property of Art-Sanat 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 Cumhuriyet Ilahiyat Dergisi / Cumhuriyet Theology Journal is the property of Cumhuriyet Universitesi, Ilahiyat Fakultesi / Cumhuriyet University, Faculty of Theology 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.)

Bu çalışma kapsamında Erimtan Arkeoloji ve Sanat Müzesi koleksiyonunda yer alan ve oldukça iyi durumda olan toplam on bir adet maden haç ele alınmıştır. Ele alınan eserlerin yedisi röliker haç olup, ikisi tören / takdis haçı, diğer ikisi de kolye uçlarına asılan pandantif haçlardan oluşur. Ayrıca koleksiyonda yer alan haçlardan sadece biri demir, diğerleri bronzdur. Neredeyse tamamının Orta Bizans Dönemi’ne ait olduğunu söyleyebileceğimiz eserler üzerindeki süsleme ve bezeme özellikleri, bu eser grubunun niteliğini arttıran başlıca özelliktir. Nitekim, bronzdan yapılmış olan tören haçı ender rastlanan formu ile öne çıkarken, büyük olasılıkla takdis amaçlı kullanılmıştır. Demirden yapılmış olan tören haçı ise, üzerindeki altın yaldızlar ile oldukça önemli bir örnek olup, diğer eserlerden bu yönüyle ayrılır. Yine koleksiyonda yer alan rölikerler üzerindeki figür bezemeler ve kazıma süslemeler, bu eserleri nitelikli kılar. Yakın benzerlerinin çeşitli müze ve kolleksiyonlarda karşımıza çıkması ise Bizans Sanatı’nda oldukça sevilen bir sanatsal üslubu temsil ettiklerini gösterir.

Karabuk is located in the Northwestern Black Sea and surrounded by Zonguldak to the west, the Black Sea to the north, Kastamonu to the east, Cankırı to the south. Ucboluk (Ilbarit) Village that located 20 km southeast of Safranbolu district of Karabuk, is a historic settlement founded on the slopes of Soganli Valley. Within the scope of the scientific project "Surveys in Roman and Byzantine Periods of Karabuk Province and its Districts", which started for the first time in 2017, research has been carried out in Safranbolu and surrounding settlements. Through this study, finding the rock-cut tomb, altar and wine presses, columns, double columns, column headings, inscriptions dated to Roman and Early Byzantine Periods and many archaeological data around Ucboluk (Ilbarıt) Village in Soganli Valley were examined and recorded. Archeological artifacts found in Ucboluk Village, which included in the borders of the region called Paphlagonia in history, shed light on the historical, architectural and socio-economic structure of the area from the Roman and Early Byzantine Periods. Ucboluk village and surrounding areas, which attracted the attention of many researchers and travellers since the 19th century such as Leonhard (1915), Gökoğlu (1952), Belke (1996), Dökü (2008), Laflı and Christof (2009, 2012), were examined in detail by us with together archaeological and art history experts for the first time in 2017. When evaluation on historical data of Ucboluk Village, having abundant water resources, which located on the southern slope of the Soganli Valley is considered to be an intensive agricultural activity based on wine production in the region. The finding vine branches and agricultural tools on the rock-cut tombs and grave stalks and especially rock-cut wine presses in Ucboluk (Ilbarıt) and around it, are indicative of this. Within the scope of this paper, the rock-cut tombs previously found and the rock-cut wine presses, rock-cut altar, cross sacred rock structure and architectural plastic artifacts that were first detected by us in Ucboluk village, which is one of the rural settlements in southern Paphlagonia, are evaluated in general perspective. Also, under the light of those finding artifacts, the architecture, the religious and social economic structure of the rural settlements in the region during the Roman and Early Byzantine periods were tried to be identified. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters 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.)

Long before the spread of Christianity the cross was used to bound on condemned criminals for punishment. But only through the crucifixion of Jesus Christ, the cross became a religious symbol of loyalty. The Christian cross represents different values and is used in different ways. Accordingly it can vary in shape. The appearences of the.cross as a motif in its various forms and in different places between the 4rd and 7th century AD and its stylistic development is the subject of this work. These objects with crosses are arranged by genre, catalogued chronologically and evaluated. There are eight main forms, which in turn can be divided into different types. In this work, each object is treated in its main group and compared with other objects in other genres in order to follow the changes of the form and to trace a historical development. That is as well an attempt to determine criteria for dating crosses, based on typological characteristics. [ABSTRACT FROM AUTHOR]

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 International Social Research is the property of Journal of International Social Research 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 International Social Research is the property of Journal of International Social Research 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.)