ABSTRACT BOOKLET
ABSTRACT BOOKLET KEY-NOTE SPEAKERS Nüket GÜZ Sequences of Life at Serail Solomon MARCUS Cultural Heritage: Traps and Dramatic Choices Eero TARASTI On the possibility of Existential Semiotic Theroy of culture Vilmos VOIGT A Truly Semiotic Understanding of Cultural Heritage
COMMITTEES HONORARY BOARD Mahmut Ak Eero Tarasti Solomon Marcus in behalf of his 90th anniversary Sıddık Yarman Mustafa Özkan H. Rıza Güven Nüket Güz Ş. Teoman Duralı H. Şafak Ural CHAIRS Eero Tarasti Sevinç Gülseçen Ayşe Zeynep Onur ORGANIZING COMMITTEE CHAIRS Şevket Dönmez F. Deniz Özden Zerrin Ayvaz Reis ORGANIZING COMMITTEE Sevinç Gülseçen Şevket Dönmez Zeynep Onur F. Deniz Özden Zerrin Ayvaz Reis Murat Gezer Ekin Öyken İsmail Özmen F. Feyza Aksu Hidayet Arslan Teri Sisa Mason Selin Gürses Şanbay SCIENTIFIC COMMITTEE Rimantas Astrauskas, Lithuanian Academy of Music and Theater Krstian Bankov, New Bulgarian University Şevket Dönmez, Istanbul University Çiğdem Dürüşken, Istanbul University Melahat Küçükarslan Emiroğlu, Bahçeşehir University Seher Er, Istanbul University Anuar Galiev, Al-Farabi Kazakh National University Rahilya Geybullaeva, Baku Slavic University Sevinç Gülseçen, İstanbul University V. Doğan Günay, Dokuz Eylül University, İzmir Simten Gündeş, Maltepe University Aki-Mauri Huhtinen, Finnish School of Defense Nazlı İnönü, İstanbul University Jean-Marie Jacono, Université d Aix-Marseille Seema Khanwalkar, Ahmedabad University Evangelos Kourdis, Aristotle University of Thessaloniki Pirjo Kukkonen, University of Helsinki Altti Kuusamo, University of Turku Rengin Küçükerdoğan, Istanbul Kültür University Massimo Leone, University of Turin Solomon Marcus, Bucharest, Rumania Dario Martinelli, Technological University of Kaunas Jean-Claude Mbarga, Université de Yaoundée, Cameroun Ricardo Monteiro, Universidade Anhembi Morumbi São Paulo Zeynep Onur, Çankaya University, Ankara Ekin Öyken, Istanbul University F. Deniz Özden, Istanbul University İsmail Özmen, Istanbul University Nedret Öztokat, İstanbul University Malgorzata Pankowska, University of Economics in Katowice Maja Angelovska Panova, Institute of National History, Skopje, Republic of Macedonia Zerrin Ayvaz Reis, Istanbul University Nilüfer Sarı Sezer, Istanbul University Hamid Reza Shairi, Université Tarbiat Modares, Teheran Eva Alexandrou Şarlak, Işık University Eila Tarasti, University of Helsinki Daina Teters, Latvian Academy of Culture, Latvia Mieczyslaw Tomaszewski, Cracow Music Academy Igifeneia Vamvakidou, University of Western Macedonia, Greece Patrizia Violi, University of Bologna Vilmos Voigt, Eötvös Loran University, Budapest Zdislaw Wasik, Poznan University Asnu Bilban Yalçın, Istanbul University Melda Yıldız, Kean University 3 Henry Zhao, University of Sichuan, China
Cultural Heritages, From Cultural Heritages is an international research project founded by Professor Eero Tarasti in 2013. It is largely based upon his theory of existential semiotics. All can and have to agree that our global world has undergone enormous changes and crises in many aspects. There is a hypothesis that societies undergo three phases: first: archaic in which people and communities live still nature-bound life with cyclical time and with mythological worldview and traditions; second: socio-semiotic which was the avenue chosen by the Western world in the emergence of modernity, leading to certain stratified social structures, class, industrialization, democratic institutions, enlightenment, humanistic Bildung idea, in one word a certain historic development. The third one is techno-semiotic, the society under modern electronic and computer technology, with internet, increasing communication, the 'extase' of communication, changing radically the previous structures of social organization. If this idea is taken seriously, it certainly means that we should not straight ahead reject the cultural traditions and achievements of the past. Some of them should be preserved which means that we consider some of them to represent such values which are worth to be believed in still in our techno-period and even to serve as a kind of 'lived-in' models as Claude Lévi-Strauss once said. That part of our social practices which we find worthwhile to be maintained we can call a cultural heritage. Such a heritage can be as to its size and scale of whatsoever nature: it can be an entire living form, culture, it can be a nation, it can be a language almost disappearing (like there can be languages spoken only by one or two persons), it can be a certain behaviour, rite, manner, myth, value, object, genre, fest, any type of material or spiritual culture of any quantity. So any sign and particularly its signified, the idea, or value which it represents. For any such type of conduct or material or spiritual thing as cultural heritage we can also distinguish among four modes of 'being' so to say to borrow from the theory of existential semiotics (Tarasti 2012) Body: how single individuals physically carry the heritage, which kind of corporeal activities it presupposes to be functional Identity: which kind of personality or 'habit' is presumed to be enjoying the heritage, which kind of stable or less stable identity is necessary for its living and survival Social practice: how the heritage is shared by members of a certain community, how it is enacted by given social roles within it, how it exists as a routine, almost unnoticeable practice and tradition, and how it is supported by discourse(s) around it, how it is integrated as a part of social life, which profession, which groups exercise it Values, norms: which kind of more abstract value and norm system it is manifesting, from which kind of epistemic ideas it is originating, is it in harmony or in conflict with dominant belief systems of the society
Kültürel Mirasın Semiyotiği : Otantikten Enformatiğe Kültürel mirasın göstergebilimi, Eero Tarasti tarafından iki yıl önce başlatılmış ve Tarasti'nin Varoluşcu Göstergebilim teorisinden temellenen uluslararası bir araştırma projesidir. Küreselleşen dünyamızın birçok alanda büyük değişimler ve krizler geçirdiği bir gerçektir. Semiyotik perspektifden bakıldığında toplumların üç aşamadan geçtiği ileri sürülmüştür: Bunlardan ilkini oluşturan arkaik aşamada insanlar ve topluluklar döngüsel zamanın egemen olduğu, mitolojik dediğimiz dünya kavrayışı ve gelenekler çerçevesinde, doğayla iç içe bir yaşam sürdürmektedir; sosyo-semiyotik olarak tanımlanan ikinci aşama ise modernitenin ortaya çıkışıyla Batı dünyasının seçtiği, sınıflı toplum yapılarına, sanayileşmeye, demokratik kurumlara, aydınlanmaya, humanistik olgunlaşma hümanist bir ilerleme düşüncesine ülküsüne kısacası belirli bir tarihsel gelişime yönelen temel çizgidir. Üçüncüsü teknosemiyotik aşamadır; bu aşamada toplum modern elektronik ve bilişim teknolojisinin güdümündedir: Başta internet olmak üzere, giderek çoğalan haberleşme ve 'çılgınlığa' dönüşmüş iletişim olanaklarının etkisiyle toplumsal yapının alışılmış düzenleniş biçimleri kökten değişime uğramaktadır. Bu görüşü kabul ediyorsak geçmişin kültürel gelenek ve kazanımlarını da bütünüyle reddedemeyeceğimizi kabul etmeliyiz. Bu da kültürel miras konusunun önemini ortaya koyar. Toplumsal pratiklerin sürdürülmeye değer bölümünü kültürel miras olarak tanımlayabiliriz. Bu tür bir miras büyüklük ve ölçek açısından farklılık gösterebilir: Başlı başına bir yaşama biçiminden, bir kültürden, bir milletten, yok olma sürecine girmiş bir dilden, belirli bir davranış biçiminden, ayinden, tarzdan, mitostan, değerden, nesneden, üsluptan, şölenden, kısacası maddi ve manevi kültürün herhangi bir öğesinden ibaret olabilir. Bunların her biri birer gösterge dizgesidir. Ne var ki, içinde bulunduğumuz tekno-semiyotik süreçte kimi gelenekler yok olma tehdidi altındadır. Bununla birlikte elektronik ve teknik çağ bize söz konusu geleneklerin korunması, yerine konulması, ve yenilenmesi için etkili araçlar sunabilir. Dolayısıyla bu noktada önemli olan sadece geçmişin izini sürmek değil, seçilen mirası geleceğin bir parçası kılmaktır. İşte, kültürel miras niteliğindeki bu tür yaşam tarzlarını fiziksel ve ruhsal olguları varlık biçimi açısından dörde ayırabiliriz. Bu olgular Eero Tarasti'nin varoluşçu semiyotik kuramından hareketle şöyle sınıflandırılmaktadır: Beden: Tek tek bireyler işlevsel olması gereken bedensel etkinliklerle kültürel mirası fiziksel olarak nasıl taşır? Kimlik: Kültürel miras hangi tür kimlik ya da tutum (Ch. S. Peirce) için avantaj sağlar, bu mirasın yok olmaması ve sürmesi için, değişmeyen ya da az değişen, ne tür bir kimlik gereklidir Toplumsal pratik: Kültürel miras belirli bir topluluğun üyeleri tarafından nasıl benimsenir, topluluğun bünyesindeki belirli toplumsal roller tarafından nasıl hayata geçirilir, bir rutin, belli belirsiz bir uygulama ve gelenek olarak nasıl var olur, etrafında ne tür destekleyici söylemler oluşur, toplumsal yaşama nasıl katılır, hangi meslek ve gruplar tarafından kullanılır? Değerler ve normlar: Kültürel miras daha soyut değer ve normlardan hangilerini gösterir, hangi bilgiden doğar, toplumun egemen inanç sistemleriyle uyumlu mudur?
La sémiotique des héritages culturels, de l évocation, de la rénovation et de la réparation La sémiotique des héritages culturels est un projet de recherche international initié et dévéloppé par la théorie de la sémiotique existentielle d'eero Tarasti. Tout le monde peut et doit reconnaitre que notre monde global a subi d'énormes changements et crises dans de nombreux aspects. Il y a une hypothèse qui dit que toutes sociétés subissent trois stades: au premier, ce qui est archaïque, les gens et les communautés vivent toujours liés à la nature dans le cadre du temps cyclique, selon une vision du monde mythologique et les traditions; le second, ce qui est socio-sémiotique, est la route principale prise par le monde occidental, conduisant à certaines structures sociales stratifiées, aux classes, à l'industrialisation, aux institutions démocratiques, au Siècle des lumières et à l'idée humanistique de Bildung, en bref, à un certain développement historique. Le troisième est le stade techno-sémiotique, auquel la société est sous la domination de l'électronique moderne et de la technologie informatique, avec internet, la communication accrue et l'extase de la communication qui changent radicalement les structures précédentes d'organisation sociale. Si cette idée est approuvée, ça signifiera qu'il ne faut pas entièrement rejeter les traditions et les réussites culturelles du passé. Certaines doivent être préservées, ce qui signifie qu'on estime qu'elles représentent des valeurs dignes d'être appréciées même aujourd'hui dans notre période techno et qu'elles sont mêmes capables de servir des modèles habités, comme Claude Lévi-Strauss l'avait jadis indiqué. On peut appeler cette partie de nos pratiques sociales que nous considérons comme dignes d'être conservé, un héritage culturel. Un tel héritage peut avoir de différentes natures selon la portée et la proportion: il peut consister dans toute une forme de vie, toute une culture, il peut être une nation, une langue en danger d'extinction, un certain comportement, un rite, une manière, un mythe, une valeur, un objet, un genre, un festival, tout type de culture matérielle ou spirituelle de n'importe quelle quantité. Ce qui veut dire, tout signe et son signifié en particulier, l'idée ou la valeur qu'il représente. Dans notre phase techno-sémiotique ces traditions sont souvent en constant danger de disparaitre, d'être détruites ou tout simplement oubliées par notre temps, particulièrement par ce qu'on considère comme le future. Mais il est en même temps possible que notre technotemps électronique nous offre des outils efficaces et inconnus jusqu'alors pour la préservation, la restauration, et la rénovation des traditions. Donc, il ne s'agit pas ici de rechercher le temps perdu au sens proustien mais plutôt de faire l'héritage choisi partie de la tradition vivante de l'avenir. Nous pouvons séparer ces styles de vie, ces notions physiques et psychiques en quatre parties selon les modalités d'existence. Ces notions sont catégorisées de manière suivante sous la lumière de la sémiotique existentielle d'e. Tarasti : Le corps : Comment chaque personne se porte physiquement le patrimoine culturel qui doit être fonctionnel par l'activité corporel? L'identité : Pour quelle identité ou attitude le patrimoine culturel offre de l'avantage? Quel type d'identité stationnaire ou peu fluctuante est nécessaire pour que le patrimoine ne disparaisse pas et qu'il continue à être? La pratique sociale : Comment est assimilé le patrimoine culturel par les membres d'une certain communauté? Comment il est réalisé par les rôles définis dans le cadre de la communauté? Comment il existe en tant que routine, que pratique vague? Quels types de discours subsidiaires se forment autour de lui? Comment il se mêle à la vie sociale? Par quels métiers et groupes il s'utilise? Les valeurs et les normes : Parmi les valeurs et les normes abstraites, le patrimoine culturel présente lesquelles? Il se pose du quel savoir? Est-ce qu'il convient aux systèmes dominants de la croyance de la société?
SUBTOPICS ALTBAŞLIKLAR AXES Ÿ Cultural Heritages in Dialogue Ÿ Renewing Cultural Heritages Ÿ Cultural Heritages as Ÿ Diyaloglarda Kültürel Miras Ÿ Kültürel Mirasın Yenilenmesi Ÿ Değer Temsilcileri Olarak Ÿ Les Rubriques de la conférence Ÿ Renouvellement du patrimoine Represantations of Values Ÿ Cultural Heritages and Their Ÿ Ÿ Ÿ Ÿ Communities Body Person and Values in Cultural Heritages Cultural Heritages as Sign Systems and Processes Cultural Heritages Lost Cultural Heritages Based on Istanbul Kültürel Miraslar Ÿ Ÿ Kültürel Miras ve Ÿ Ÿ Ÿ Ÿ Topluluklar Kültürel Miras; Kişi ve Değerler İşaret Sistemleri ve Süreçleri Olarak Kültürel Miras Kaybedilmiş Kültürel Miraslar İstanbul un Kültürel Mirası Ÿ Ÿ Ÿ Ÿ Ÿ culturel Patrimoines culturels en tant que représentations des valeurs Patrimoines culturels et leurs communautés Patrimoines culturels ; acteurs et valeurs Patrimoines culturels en tant que systèmes de signes et processus Patrimoines culturels perdus Patrimoines culturels d Istanbul
M. Selen ABBASOĞLU ERMİYAGİL Cultural Sign on the Facades of Traditional Houses: Walled City Nicosia North Cyprus........... 15 Alla ABLOVA Bell stone from Russian Karelia: A Semiotic View......................................................... 16 Eva ALEXANDROU ŞARLAK A Cultural Journey on Iconography of The Old Testament Prophets: A Case Study on Solomon Depictions. 17 Galiev ANUAR Baksy (Shaman) And World Model Of Kazakh People..................................................... 18 Alessandro CAMIZ contradiction in cultural heritage. Memory vs. Verdinglichung................................ 19 Renk DİMLİ ORAKLIBEL Tracking cultural myths in Anadol commercials.................................................. 20 Papatya Nur DÖKMECİ YÖRÜKOĞLU Soundscapes of Heritage Sites: Semantic Evaluation of the Sound Environment in Ulus, Ankara. 21 Abijit DUTTA War as cultural heritage and the inauthenticities of constant preservation..................................... 22 Karen GERSON ŞARHON The Ladino Database Project Results As Insight To The Current Situation Of Judeo-Spanish In Turkey....... 23 Rahilya GEYBULLAYEVA Deciphering of contemporary words: from modern to the past..................................... 24 Tania Letizia GOBBETT Iconic Cathegorisation in Art History as a Matter of Research 'Experiment Critical' Methods in Building Theory 25 Mustafa GÜLEÇ Difference of system and structural transformation in perceiving of cultural heritage as a sign: an example of Van Nelle Factory (Rotterdam, The Netherlands) and Sümerbank Bursa................................................. 26 Uğur GÜNDÜZ Latmos: Looking For The Prints of The Past............................................................ 27 Selçuk GÜRIŞIK Social Semiology Readings Through Design Language Of The Cultural Heritage Object.......................... 29 Sari HELKALA KOİVİSTO Musical sign - A Nature-bound foundation of Cultural Heritages.................................... 30 Bujar HOXA Multilingualism in a Semiotic Context: Sameness vs. Otherness.............................................. 31 Seema KHANWALKAR Cultural Heritages as sign systems and Process................................................... 32 Pirjo KUKKONEN Translation as Semiotics and Cultural Heritages Processes of Intra- and Intersemiotic Translation: Authenticity, Interpretation, and Imitation................................................................................... 33 Altti KUUSAMO The Tradition, the Work of Art and New Identifications as Discoveries. The Changed Original Meaning of the Work: How to Revive and Place the new Historical Meaning of a Changed Sign system?.......................................... 35
Fahriye Oya KUYUMCU Did Abstractıon in Terms Of Geometric Patterns in Islamıc Art And Architecture Cause Problem in Providing Sustainability Of Cultural Heritage............................................................................... 36 Melahat KÜÇÜKARSLAN EMİROĞLU An Attempt For Creating Value For Cultural Heritage: Neighbourhood Culture............... 37 Altan A. MARÇELLİ Anatolıan Ceramics: A Case Study Of Number Symbolısm In A Socıo-Relıgıous Context....................... 39 Roberto MASTROIANNI Cultural Heritage. Existential semiotics, Philosophical Anthropology and Anthropo-semiotics............. 40 Joseph MBONGUE Topic: Hypocrisy and lie as symbolism of two merging concepts of reality and appearance: the paradox syndrome of a psychosemiosis................................................................................... 42 Morsaleh Ranjbar MOGHADDAM Street's Play as a Vanishing Cultural Heritage Zograscope which called in Iran Shahr e Farang ﻓرﻧﮓﺷﻬر.... 43 Maria NOEL DO Monument of Christopher Columbus at Buenos Aires City: memory, space and semiotics....................... 44 Zeynep ONUR The Language Of Abstract As A Lost Cultural Heritage.................................................... 45 Ian PAGDETT The Evocative Visual............................................................................... 46 Lazaros PAPOUTZIS Athens Olympic Games Opening Ceremony, 2004. The the Ancient Greek Spirit.................. 47 Nilüfer PEMBECİOĞLU The Doorknobs Of The Past.................................................................. 48 Nidal SEİDE Old wine in useless bottles........................................................................... 50 Takemi SOSA Symphonic Narrative: Space and Synthesis in Magnus Lindberg's AURA (1994)................................. 51 Bianca SUAREZ The Inception Of Technological Development Through Art................................................ 52 Merve TAŞTAN Courtyard Style Architecture as a Cultural Heritage for Communal Life...................................... 53 Ozan ÜNSALAN Hidden Spectral Signs on the Valens Aqueduct columns by means of Semiotics and Molecular Physics in Cultural Heritage........................................................................................... 54 Elżbieta Magdalena WASIK On the notion of the linguistic self within the framework of existential semiotics.................... 55 Zdzislaw WASIK A solipsistic paradigm in the semiotics of nature and culture its roots and prospects......................... 57 Ebru YENER GÖKŞENLİ The Image of the Bull in Spanish Culture and the Importance of Bullfights in Spanish Society.............. 59
Tolga AKAGÜN İstanbul Üniversitesi'nin Bilişim Mirasının Yaşatılması: Sanal Bilişim Müzesi Çalışmaları......................... 63 Olcay AKDENİZ Milas'ta Macar Mimarisi Ve Macar Evleri............................................................. 64 Arda ARŞIK İmzadan e-imzaya.................................................................................. 66 Şeniz ATİK İstanbul Küçükçekmece Bathonea Kazıları................................................................ 67 Hasan BİNAY Neolitik Yerleşimden Bizans 12. Bölgesi Ve Langa Bostanı'na Yenikapı'nın 8 Bin Yıllık Kültürel Ve Topografik Değişimi : Son Arkeolojik Kazılar Ve Kentsel Dönüşüm Projeleri Kapsamında İstanbul Yenikapı Semtinin Ele Alınması........................... 69 Aydan BİRDEVRİM Anadolu Kapı Tokmaklarının Çağdaş Yorumları...................................................... 70 Fatma Banu ÇAKAN Feyhaman Duran Evi Örneğinde Dokuma Eserler İçin Sergileme Önerileri................................ 71 Hasan Fırat DİKER Kültürel Miras Olarak Ayasofya................................................................... 72 Fatih ELCİL İstanbul Üniversitesi Feyhaman Koleksiyonu Hatlarından Yazı-Resim Levha Örnekleri.............................. 73 Tolga ERGÜL Sivas Alibaba Mahallesi Alevilerinde Bağlama: 'Telli Kur'an'................................................. 74 Namık KILIÇ Sualtı Kültürel Mirasın Korunmasında Yenikapı Batıkları Örneği.............................................. 75 Remziye KÖSE ÖZELÇİ Kültürel Mirasın Aktarılma Çabası Olarak Simgesel Gerçeklikten (Yitik Kent Zeugma Belgeseli) Fiziksel Gerçekliğe (Zeugma Mozaik Müzesi) Doğru Bir Yolculuk............................................................... 77 Nisan LORDOĞLU Antik Byzantıon ve Kalkhedon'un Şehircilik Açısından İncelenmesi: Kuruluşlarından Roma İmparatorluk Dönemi'ne Kadar............................................................................................ 78 İsmail Hakkı NAKİLCİOĞLU Yerel kültürel mirasın yenilenmesi ve Afyonkarahisar'da yaşatılmaya çalışılan Âdine geleneği......... 79 Elif OKUR TOLUN Ağaç İmgesinin Anlamlandırılması: Temur Köran'ın Ağaç Sergisine Göstergebilimsel Bakış.................... 81 F. Deniz ÖZDEN Feyhaman Duran Evi - Yeri......................................................................... 82 F. Deniz ÖZDEN İstanbul Yoros Kalesi Kazıları....................................................................... 83 Yüksel DEDE Arkeolojik Buluntuların Değerlendirmesinde Deneysel Arkeolojik Yöntemlerin Önemi Ve Yeniden Üretimin Kültür Mirasının Korunması Bilincine Katkıları...................................................................... 84
Juan David BARRERA Forme et signification dans le discours musical des organistes français du «Grand Siècle» : vers l'établissement d'une nouvelle typologie...................................................................... 87 Jean-Marie JACONO Héritage culturel et globalisation: la chanson française à texte depuis 1980.............................. 89 Jean-Marie JACONO Representation of Retour a la Willa Nevski (Novel by Eero Tarasti)..................................... 90 Monire KHALVATI Poésie comme quête de la présence............................................................... 91 Marzieh Athari NIKAZM L'analyse des différents modèles de l'énonciation chez les soufis et les mystiques persanophones : Sama, verset labial et la poésie mystique.......................................................................... 92 Kalliope STİGA Musique et Idéologie vue à travers l'œuvre artistique et l'action sociopolitique de Mikis Theodorakis.............. 93 Daina TETERS Prédestination Métaphorique Du Patrimoine Culturel.................................................... 94
Abstracts in English
Cultural Sign on the Facades of Traditional Houses: Walled City Nicosia North Cyprus 1 M. Selen ABBASOĞLU ERMİYAGİL, Department of Interior Architecture, European University of Lefke, TRNC, sabbasoglu@eul.edu.tr 2 Cemaliye SUNALP GÜRÇINAR, Department of Architecture, European University of Lefke, TRNC, csunalp@eul.edu.tr 3 Dr. Ömer EREM, Department of Architecture, Istanbul Technical University, TRNC, omer.erem@itu.edu.tr The purpose of this study is to identify and interpret the signs on the facades of traditional houses. Walled City Nicosia region is one of the most important location where historical and cultural character identity is still continuing. Multi-cultural identity is the reason for choosing this area to study. Walled City Nicosia which was built six thousand years ago is a multi-cultural Turkish town which reflects the sign of Byzantines, Lusignans, Venetians, Ottomans, British and Greek cultures. This multi- cultural identity of the town has been influencing its development. Cultural signs are the compositional expression of the recognizable and generic characteristics of cultures. Thus, cultural signs can be used to create an architectural language. Due to variety of the cultural signs the study required a careful evaluation. Accordingly, physical analysis approach was used to make proper definitions. The study consists of three parts, literature review, physical analyses and evaluation. The date obtained from literature review analyses to identify cultural signs as architectural elements on the building facades. In the final part the framework of the signs are discussed and related to the architectural language. Revealing existing cultural signs on traditional building facades would help sustaining architectural language despite urban development pressures. 15
Bell stone from Russian Karelia: A Semiotic View Alla ABLOVA, University of Helsinki, Finland, ablova@mappi.helsinki.fi Lithophones are potentially durable musical instruments1, which consist of single (or a set of) raw stones/slabswhich resonate when struck. Information about their physical and musical qualities and about the role they played in now extinct societies is limited. Some archeological musical stones still remaining in their place of use can provide us with valuable information about the methods and places chosen for sound production as well as about the acoustic aspects of the life ofpast worlds.in this report we study the Звонкой камень (=Ringing stone) lithophone (1st century BC, the Early Iron Age), discovered in 1966 in Russian Karelia. When struck with another stone it produces high melodic sounds similar to the sound of a small metal bell. As an integral part of the musical stone there is a big resounding cavity (50-60 cm2). The report deals with an attempt to reconstruct the music texts played on theringing stone.similar acoustic phenomena are constructive elements of a cultural setting which are involved in creating social reality. Studying the lithophones enables us to extend the modern image of past societies on both a sensory and cognitive level.1in our context the termmusical instrumentrefers toanytoolused for a non-verbal sound activity of man.
A Cultural Journey on Iconography of The Old Testament Prophets: A Case Study on Solomon Depictions Eva ALEXANDROU ŞARLAK, Faculty of Fine Arts, Isik University, Turkey, eva@isikun.edu.tr The biblical King Solomon, the twentieth and youngest son of King David is accepted as one of the most important leaders of the Hebrew History. When he tookeover the throne from his father in 973 BC., he did not only constructed a new path for the political situation of the Hebrew society by expanding the borders of his Kingdom but with his mercantile navy he also constitued commercial relationships with neighbour Kingdoms, and his power attracted the rulers of different civilizations, like the Queen of Sheba. His powerful kingdom influenced numerous emperors to create their own ideal rule and to offer and introduce it to their society. Besides to his brilliant and successful kingship he is distinguished with his prophetic characteristic as well. Furthermore, his prophecy came into the prominence in the world of civilizations. His legendary identity, his wisdom, and his wise judgements are mentioned on remarkable historical, literary, various legends, religious works and in holy books: the Old Testament, Bible, Qur'an. Consequently Prophet Solomon will take an important role for the history of art and architecture. His temple, his famous throne, and his magic ring still continues to be an important topic for the historians and art historians. However he will consitute a significant place as a figure in the art of painting and iconography. He will be depicted in icons, western european paintings and in the Islamic miniatures. Obviously it has to be noted that the data of Solomon's miscellaneous life form, donated with supernatural powers and miraculous abilities, will be the main basis for the variety of his depictions: sometimes as a young ruler, sometimes as old Rabbi and sometimes as an Islamic Sultan in traditional costumes. In spite of the numerous researches and surveys on Solomon's depictions under separate cover in the context of Islamic, European art and Christian iconography, a comparison on typological characteristics of the prophet between icons and Ottoman miniatures is not revealed. The focus of the paper is to analyze and construct a comparative study and realise a typological observation on the depictions and illustrations of the Prophet Solomon in Christian art of iconography and Ottoman miniatures. By emphasizing the differences or similarities of Solomons's depictions in two distinctive traditions, primarly the reflections of the written sources and holy books will be determined. In addition to the holy texts, the development of the iconography and of the Ottoman miniature art will become the strengtening factors in the survey and will aid to clarify the comparison of Solomon depictions in both traditions. Besides to the main focus of the survey, on the prophet depictions produced by various iconographers and painters, the characteristics such as scene compositions, colour arrangements, posture and positions examined in the light of period and geography, will be argued. 17
Baksy (Shaman) And World Model Of Kazakh People Galiev ANUAR, Kazakhstan, agaliev@hotmail.com Saikeneva DINARA, Kazakhstan Shaman in traditional society has many functions. To serve he need to appeal spirits, that live in other world, because of that shamans have to have mystical travel. One of the earliest illustration of such travel is on Kargaly diadem, which is found on Kazakhstan territory. The history of its exploration was described in book of Soviet writer Yuriy Dombrovskiy Guardian of antiquity. This diadem belongs to Scythian period. Historians consider, that diadem performs that shaman's travel. For having such travel shaman has to good orient in different worlds. Knowledge of geography of those worlds shaman gets during shaman sickness. Specialists consider, shaman sickness is one of the stages of rite de passage. Such shamans travel allows us to image the structure of other worlds. Fairytales show, that Kazakhs think, that Universe has three levels (Up, Middle and Down worlds). The model of the world of Turkic Peoples (including Kazakhs) can be reconstructed with ancient Turkic epos Dede Korkut. This epos describes mystical travel of first Shaman Korkut. Escaping from the death Korkut runs away to different worlds and meets everywhere people who are digging his grave. In the North, it is a man in black cloth, in the South in red cloth, in the West in white, in the East in blue. Tradition to mark four directions with colors goes back to Xiongnu (3rdcentury B.C.). Xiongnu's army divided to four parts and color of their horses corresponds to the world direction of their part. It is not clear which color of horse corresponds to East. One Japanese annals shows, that it is grey color. Xiongnu tradition was accepted by ancient Turks, who called themselves Kok-turks - Heaven, east Turks. The East has particular meaning in the world image of Turk people. Kazakhs always orient entrance of Yurta to the East, and Mongolian people to the South. Thereby, Kazakh culture keeps conception about the structure of the Universe, that is largely contributed with shaman's relics.