Teos

THE CULT OF DIONYSOS IN ASIA MINOR
IN THE ROMAN IMPERIAL AGE

Making his presence, which can be traced long before the Archaic Age, deeply felt mainly in Hellas, Asia Minor and then in Rome throughout the ancient world, Dionysos, depending on the place and time, appears before us sometimes as a god of grape-wine, sometimes as a god of theatre and acting arts and sometimes as a religious power shaped according to the local needs, however, he has generally been a god of nature representing the fertility and abundance. According to the inscriptions, Dionysos was mentioned with many epithetons in Asia Minor of the Roman Imperial Age, and that he was a god of nature bringing abundance-fertility and his many other features can be observed by these epithetons. Depending on the long stated customs, the cult of Dionysos in Asia Minor survived throughout the Roman Imperial Age (especially in the II-III. Century A.D. with festivals, cult associations and structuring, artists (musicians, players, dancers) that served his cult. According to the written records, festivals such as Dionysia, Lēnaia, Anthestēria, Trietēris organized in the name of Dionysos were celebrated. Dance, music and play competitions were made in these festivals maintained by the rich citizens or directors and not commonly known cult rituals were performed. Besides the associations of synodos artists called by different names in different times in the large cities of the west, cult associations broad in scope such as thiasos, speira or cult member groups with large audience in various names were active both in worshipping and these festivals. In order to achieve this, undoubtedly, both artist associations and cult associations had to have a well organized governing structure. Names were given to the cult members according to the task taken. These members also had to pay a membership fee in order to be a member or to continue to be one. Actually, these fees were as important as the epimeletes in the mainta-nance of these associations. In addition, they were supported both mate-rially and spiritually by the Roman emperors or provincial governors. Although the paganic religious activities in the lands of Asia Minor under the control of Rome were left to the free will of the cities, they would not be strong without the respect shown for the cults of the emperors, emperor and the Roman goddess (Dea Roma). The worshipping of Dionysos could only develop with the close relations with the emperors and the Roman Empire. Correspondingly, supporting a paganic cult significant for the people, the Roman Empire gained the sympathy of the people and also kept them loyal to Rome. The deification of the Roman emperors began with General Marcus Antonius, who was wellcomed as “New Dionysos” on his arrival to Ephesos, and continued in the Roman Imperial Age. During this period the associations in Anazarbos, Ankyra, Ephesos, Teōs, Aphrodisias and Sardeis characterised Emperor Hadrianus, Commodus and Caracalla by this epitheton. Thus, they deified them by considering them equal with Dionysos. Dionysos also had common worship with imperial or Dea Roma cult besides the common paganic worship of Zeus and Dēmētēr. Like all other paganic religions, the cult of Dionysos broke down with the strengthening Christianity with which it had opposite doctrines and finally with the acceptance of Christianity as the official religion of the state. However, many features of the Dionysos cult continued to exist in Asia Minor both in Christian features and local cultures and traditions. Today it still continues this effect.

Arkaik Çağ’dan çok daha eskilere götürebildiğimiz varlığını, coğrafi olarak başta Hellas, Küçükasya ve sonraları Roma olmak üzere tüm Antik Çağ coğrafyasında etkin bir şekilde hissettiren Dionysos, yer ve zaman farkına bağlı olarak, bazı yerlerde üzüm-şarap tanrısı, bazılarında tiyatro ve sahne sanatlarının tanrısı, bazılarında ise yerel ihtiyaçlar doğrultusunda şekillendirilmiş dinsel bir güç olarak karşımıza çıkmıştır. Ama genel olarak bereket ve bolluğu temsil eden bir doğa tanrısı kimliğine sahip olmuştur. Yazıtlardan anlaşıldığına göre Roma İmparatorluk Çağı Küçükasyası’ nda birçok epitheton ile anılan Dionysos’un, bolluk-bereket getiren bir doğa tanrısı olduğu ve diğer başka özellikleri gene bu epitheton’larından anlaşılmaktadır. Küçükasya’daki Dionysos kültü Roma İmparatorluk Çağı boyunca (bilhassa M.S. II-III. yüzyılarda), öncesinden gelen bir geleneğe bağlı olarak şenlikleri, kült dernekleri ve yapılanması, kültüne hizmet eden sanatçıları (müzisyenler, oyuncular, dansçılar) ile varlığını sürdürmüştür. Yazılı belgelerden bu dönemde büyük ve zengin kentlerde hâlâ Dionysia, Lēnaia, Anthestēria, Trietēris gibi Dionysos adına tertiplenen şenliklerin kutlandığını; masrafları, epimeletes olarak bildiğimiz kentin zengin vatandaşları ya da yöneticileri tarafından karşılanan bu şenliklerde külte ilişkin dans, müzik ve oyun yarışmaların yapıldığını ve herkesçe bilinmeyen kült ritüellerinin uygulandığını öğrenmekteyiz. Bilhassa batı kesimlerdeki büyük kentlerdeki, farklı dönemlerde farklı isimlerle anılan synodos sanatçı derneklerinin yanında thiasos, speira gibi daha geniş kapsamlı kült dernekleri ya da en yaygını mystai olan çeşitli adlar altında toplanan geniş kitleli kült üye grupları hem tapınımda, hem de bu şenliklerde aktif olmuşlardır. Şüphesiz ki bunu gerçekleştirebilmek adına gerek sanatçı dernekleri gerekse kült dernekleri, iyi organize olmuş bir idari yapılanmaya sahip olmak durumundaydı. Bu derneklerde üstlendikleri görevlere göre adlandırılan kült üyelerinin, üye olabilmeleri veya üyeliklerini sürdü-rebilmeleri için ödemek zorunda oldukları aidatlar da vardı. Esasen bu derneklerin finansmanının karşılanmasında bu aidatlar, en az epimeletes’ ler kadar önemliydi. Ayrıca Roma imparatorlarının ya da eyalet yöneticilerinin hem manevi hem de maddi desteğini alıyorlardı. Zira bu dönemde Roma egemenliği altında bulunan Küçükasya topraklarındaki pagan dinsel yaşam her ne kadar kentlerin özgür iradesine bırakılmışsa da, imparatorlara, imparator ve Roma Tanrıçası (Dea Roma) kültüne gösterilen saygı olmaksızın güçlü kalamazdı. Küçükasya Dionysos tapınımı da, tamamıyla imparatorlar ve Roma İmparatorluğu ile kurulan güçlü bağlar sayesinde gelişebilmiştir. Bununla paralel olarak da Roma İmparatorluğu, halk için önemli olan pagan bir kültü destekleyerek, hem halkın sempatisini kazanmakta, hem de böylece onların Roma’ya olan bağlılığını sürdürmek amacını gütmekteydi. General Marcus Antonius’un Ephesos’a gelişinde “Yeni Dionysos” olarak karşılanmasıyla başlayan Romalı devlet adamlarını tanrılaştırma geleneği, Roma İmparatorluk Çağı’nda da sürmüş; bu dönemde özellikle Anazarbos, Ankyra, Ephesos, Teōs, Aphrodisias ve Sardeis’teki dernekler, İmparator Hadrianus, Commodus ve Caracalla’yı bu sıfatla nitelendirmişler, böylece onları Dionysos ile bir tutarak tanrılaştırmışlardır. İmparatorluk veya Dea Roma kültü ile ortak tapınımı da görülen Dionysos’un Zeus ve Dēmētēr gibi pagan tanrı-tanrıçalarla da ortak tapınımı söz konusudur. Diğer pagan dinler gibi Dionysos kültünün yıkımı da, öğretilerinin birbirine tamamen ters düştüğü Hıristiyanlık dininin güçlenmesiyle ve nihayetinde M.S. 391’de imparatorluğun resmî dini olmasıyla gerçekleşmiştir. Ancak Dionysos kültünün birçok unsuru, Küçükasya topraklarında, gerek Hıristiyanlık unsurlarında gerekse halk kültür ve geleneklerinde yaşamaya devam etmiştir. Bugün de bu etkisini göstermeye devam etmektedir."

SEG 60-1998. Religion. Dionysos: his cult in Asia Minor, Imperial period:
On the basis of archaeological, numismatic, and (mainly) epigraphic attestations, B.Öztürk,Roma imparatorluk çağı Küçükasaysı’nda Dionysos kültü (Istanbul 2010), studies the cult ofΔιόνυσος in Roman Asia Minor. After general remarks about the god, he presents a geographically arranged catalogue of the relevant inscriptions with brief comments (ph. of some texts). On 196-209, Ö. provides a register with explanations of the most important terms found in the inscriptions, and on 210/211 a list of epithets.

Teos Boiotia'daki Orkhomenos'tan gelen Minyas halkı tarafından kurulmuştur. Teos antik kenti, Ionia kentlerinin en
zenginlerinden, en güçlülerinden biri olmasına rağmen Batı Anadolu bölgesinin genel özelliklerini taşımaktadır. Kentin
zenginleşmesi kuruluşunun ilk zamanlarında başlamış, denizaşırı ülkelere kolonistler göndermiştir. Bu kolonilerle ilgili
ise pek fazla bilgi yoktur. Alışılan şehir planı dışında bir şehir planı kullanmışlardır. Panionion Birliği'nin bir üyesi olan
ve iyi bir coğrafi konumda bulunan Teos edebiyat ve felsefe alanında ilerlemiş ve değerli isimler yetiştirmiştir. Örneğin;
Anakreon Teos’lu olup Aiollerin Melos türü lyrik şiirini Ionia'ya sokan ozandır. Protogoras, Demokritos ve Leukippos
Teos’lu filozoflardır. Leukippos, Protogoras ve Demokritos’un hocasıdır. Düşünce ve eserleri birbirinden ayrılmayan
Leukippos ve Demokritos’un öğretileri, günümüzde atom kuramı olarak anılmakta ve felsefe tarihi açısından büyük bir
önem taşımaktadır. Leukippos, Yunan dünyasında ilk kez atom ve boşluk kuramını ortaya atan ve nedensellik ilkesini
formüle eden filozoftur. Yunanistan’da birlik ile çokluk arasındaki ilişkinin neden meydana geldiği ve neyin gerçekten
var olduğu sorunu üzerine yoğunlaşmış olan Atomcu Okul’u kurmuştur. Çalışmada Teos antik kentinin tarihsel
süreçleri anlatılmış olup Teos’un yetiştirdiği ve felsefe alanında önemli bir filozof olan Leukippos’un hayatına
değinilmiştir.

Airai, a Geometric, Archaic and Classical city in Çeşme Peninsula in Ionia, was located between Teos and Clazomenae. This tiny ancient Greek city is only known from very few coins and scattered surveys. Airai existed only for a very short time before being conquered by their neighbours from Teos in c. 370 BC and disappearing in Late Classical-Early Hellenistic period.

The preference for certain marble varieties played an important role in the monumental architecture of the ancient cities. in this paper, different marble sorts used in some architectural structures, such as the Gerontikon and the theatre at nysa on the maeander as well as some other buildings at teos in ionia have been discussed. the local marble in nysa appears to have been used particularly in the 1st century Bc, whereas in the 2nd century ad, marble seems to have been imported from the nearby quarries of the region. in teos, most of the marbles used in the buildings were quarried locally, such as marble luculleum (africano) and bi- gio (bigio antico and bigio morato), and recently their quarry was epigraphically attested and localized. on the other hand, thanks to archaeometric analyses, the origin of some of the marbles varieties used in the buildings at teos was determined to be from near- by quarries, whereas the white marble of the late archaic ionic temple at the site did not coincide with any known quarries on the ionian mainland.

A necropolis area that was used between the 2nd half of the 5th century BC and the first half of the 2nd century BC was unearthed during the rescue excavations in the west of Teos ancient city. 3 burial phases were identified in the necropolis. The earliest burial phase, dated at 5th century BC and the first years of the 4th century BC, is the subject of this study. The majority of the burials in this burial phase are terracotta Clazomenian sarcophagi. A small number of cist graves, pithoi and cremation graves were observed. It was documented that the production and use of the Clazomenian sarcophagi lasted until the end of the 5th century BC thanks to the contexts containing Attic pottery which could be dated more safely. Although their preservation is not good, the available data indicate that these sarcophagi were decorated with figures. Alabaster alabastrons were placed inside the graves as gifts, pottery were left near the edges of tomb or on the lids. It is noteworthy that the local pottery have traces of Archaic form and decoration traditions. The continuation of the production of banded skyphoi, which are classified as “Sub-Geometrical”, will contribute to Ionian archeology as a new data. The findings of the Western Necropolis of Teos, have become meaningful in the problem of 5th century BC culture of the Ionia, which was missing due to the abandonment of cities after Ionian Revolt and/or not being able to excavate on the related layers and publish.

This study is constructed upon the question of “How should we approach to a building in an archaeological site for its compatible and sustainable utilization?” as a contemporary phenomenon which was and still has been considered for ancient places of performances and Bouleuterion in Teos Archaeological site - an architectural remain in excavation process, is assessed as the case of the study.
For this reason, starting with a generic research on ‘reusing’ of historic buildings, the research on the utilization of ancient places of performance is made including international documents and projects where the ATHENA project – Ancient theaters enhancements for new actualities is considered as a reference for collecting data on Bouleuterion and Teos Archaeological Site.  The final target is constituted as criteria and proposal for reusing Bouleuterion within the frame of sustaining the balance between the conservation of the building and public needs.


Keywords: Bouleuterion, Teos Archaeological Site, Ancient places of performance, Reusing Historic Buildings, ATHENA Project

Regional styles of early Greek pottery have played a major role in discussion of the construction of identities in Early Iron
Age communities. Methodologically, it is necessary to differentiate historical from ‘analytical’ regions, the latter being defined by
the distribution of certain kinds of artefacts. The major production centres of East Greek pottery have mostly now been located,
thanks to archaeometric analyses and the excavation of kiln sites. Eastern Aegean potters were involved in a discourse at an intraregional
level as well as with other regions of the Aegean and of Western Anatolia. Archaeometric analyses help us to understand
these interactions and to trace the mobility of individual craftsmen or the foundation of branch workshops.

An Abderite honorific decree for Teos, passed around 166 BC, suggests that the calendar year at Abdera began with the autumn month Apatourion, while the Teians set the start of the year in the summer month Leukatheon. Every year in the month Apatourion, the Abderites appointed two ambassadors, who travelled to Teos in the summer month Leukatheon to perform sacrifice at the [Leukatheia] in honour of the Demos of Teos, now the subject of cultic honours. The choice of festival can be explained by the role of Ino-Leukathea, ancestral mother of the Teians, in Teian civic identity. The authors go on to discuss the other months attested at Teos. The month Boedromion is now attested at Teos in a fragmentary decree in honour of an anonymous agonothete. This results in the sequence Leukatheon-Heraion-Boedromion-Trygeter-Apatourion-Posideon for the first half of the year. The second half of the calendar year is only partially preserved; we propose the sequence [Lenaion]-Anthesterion-[Artemision]-unknown month-[Thargelion]-Demetrion. The last month was probably introduced in honour of Demetrios Poliorketes and was still in use in the second century BC. The wine-miracle of Teos described by Diodorus was probably staged at the Lenaia. The victory-monument CIG 3089, previously known only through a poor copy, mentions not only pyrrhic dances, but also comedies and (in the lost part) probably tragedies also; the monument has been rediscovered, and is reedited here. Three fragments of a building-inscription demonstrate the existence of a temple of Demeter and Kore. A further new find edited here is a fragment belonging to the ‘pirates inscription’, containing the names and contributions of around nine creditors who made loans to Teos for ransoming the city, probably from mercenaries of Lysimachos.

Onur ve ün gibi kavramlara sosyal hayatlarının merkezinde rol veren Hellen ve Roma toplumları, geleneklerini ve kentlerini bu çerçevede geliştirmişlerdir. Oluşturulan onurlandırma geleneği içerisinde, onur elde etmek isteyen insanlar kamu ve kent yararına işler yapmış, bunun sonucunda birçok hizmet şekli ortaya çıkmıştır. Kentlerin en önemli alanları, en görünür yerleri; hükümdarlara, komutanlara, rahiplere ve soylarının bilinir sürekliliğini sağlamak isteyen birçok soyluya göz önünde olmak, nüfuz kazanmak, hatırlanmak ve propaganda yapmak için alan sağlamıştır. Onurlandırma geleneğinin günümüze ulaşan en güzel kanıtları olan heykeller ise onurlandırılan kişilerin statüsüne göre farklı şekillerde işlenmiş ve sergilenmişlerdir. Bu çalışma, kimlerin nasıl onurlandırıldığı, Hellenistik ve Roma Cumhuriyet-İmparatorluk Dönemleri içerisinde onurlandırma geleneğinin nasıl geliştiği, Batı Anadolu’da bulunan kentlerde hangi alanların onurlandırmalar için kullanıldığı ve de onurlandırma portre heykellerinin nasıl işlendiğine dair bilgiler sunmaktadır.

Bu bağlamda bilimsel açıdan değerlendirildiğinde neden Teos?
1- 1962-1966 yıllarında tespit edilen Protogeometrik Dönem seramiklerinin ait
olduğu yerleşim alanının tespit edilmesi?
2- Olası Myken yerleşiminin araştırılması?
3- Protogeometrik Dönem’den Roma Dönemi sonuna kadar kentsel gelişimin
araştırılması?
4- 1962-1966 kazılarında tespit edilen Hellenistik Dönem sivil mimarlık
örneklerinin araştırılması (Hellenistik Evler)?
5- Hellenistik Dönem’in en önemli mimarlarından olan Hermogenes probleminin
Dionysos Tapınağı örneğinde araştırılması?
6- Roma Dönemi Yapıları ve Kentsel Gelişimi ile sosyo-kültürel yapı bilimsel
olarak araştırılacaktır.

During the Archaic Period, from the middle of the 7th Century BC to the Ionian Revolt, there was a continuous transport amphora production in the Northern Ionian region. Excavations and the clay analysis carried out in the last forty years proved that the most important amphora production centers of the region were Chios and Klazomenai. Especially systematical excavations of Teos and recent clay analysis denote that Teos was a significant pottery production center in the Archaic Period. A group of transport amphorae, found especially in the centers around the Black Sea and also in some Egyptian settlements, generally classified as Clazomenean amphora. This group has typical shape characteristics: very sharp shoulder-body transition, lower bodies which rapidly narrows towards the foot. Up to the present day, no complete or almost complete examples of this type have been encountered in the excavations in Klazomenai. In this respect, it has been understood that they are not Clazomenian products. Teos, which was located in the same geographical region as Klazomenai and which produced pottery of similar types, is one of the strongest candidates for the producer of this type. Teos transport amphorae were produced between the late 7th century BC and the middle of the 6th century BC.

Apart from grey-bluish marble (bigio), coloured marble (africano), which was highly valued as building and decoration material by the Romans, was obtained from the quarries of Teos. Owing to the great demand for Teian coloured marble in Rome, the quarries are likely to have come under imperial control as early as under Augustus. Since the pertinent passage by
Pliny (nat. hist. 36, 49–50) is corrupted, the question as to whether the «marmor Luculleum», introduced into Rome by and named after the general Lucius Licinius Lucullus, actually stemmed from the quarries at Teos and can be identified with the so-called Africano marble has hitherto remained moot. A newly found inscription from Teos finally answers it in favour
of this Ionian city. Said inscription is a dedication to Venus Pontia by the imperial freedman Communis, who mentions «a lapicidinis Luculleis» as his official title. In this capacity he probably supervised work in the quarries of Teos. The extraction of coloured marble was apparently limited to five archaeologically verified quarries in the hinterland of Teos. Compared with other imperial quarries, those at Teos were rather small-scale sites. In addition, the quantity of this sought-after coloured marble extracted
from these quarries was not very high, as this marble was found in close association with grey marble. The quantity of grey marble extracted there appears to have been several times higher. In the 2nd century AD the quantity of coloured marble being extracted was in rapid decline,
and by 166 AD this type of marble seems to have been used up completely. Consequently, the quarries were closed, which is confirmed by the archaeological evidence as well as by dated inscriptions
found on marble blocks left behind in the quarries of Karagöl and Kesikkaya. Today, traces of coloured marble can be found only in the rubble from extraction at said quarries, whereas the extraction walls themselves consist of grey marble. The great demand in the capital for coloured marble from Teos resulted in most of the quarried material being to be shipped to Rome and Italy. However, cities in Asia Minor do not appear to
have been entirely excluded from access to the Africano. In Teos itself small vestiges of the Africano from the bouleuterion prove that this marble was used as cladding material. The revision of a hitherto unsatisfactorily edited dedicatory inscription (PHI Teos 100) also shows that
the strategos Kleonaios had the floor of a public building laid out with coloured marble. Said floor was dedicated to an emperor whose name is erased (perhaps Domitian), to the city god Dionysus and to the demos of Teos.

In this article a general overview of the road network connecting ancient Teos
(Sığacık/Seferhisar) with the neighbouring cities (Klazomenai and Lebedos) is given on the basis
of two milestones which were recently discovered in the vicinity of Teos and Lebedos; and
a catalogue of all the milestones published to date is given in an appendix. The first milestone
in the village of Turgut dates from the reign of Constantius I. and gives the same distance of 5
miles as another milestone which was found nearby at the beginning of the 20th century. The
other milestone from near Lebedos (Ürkmez) is noteworthy, as it was inscribed in at least three
different periods (i.e. during the reign of Constantinus I., Justinian, and under Valens and
Valentinianus). The position of the inscriptions on this stone indicates that it was used twice
during the reign of Constantinus I. (324–326 A.D. and 333–337 A.D.) and was later turned upside
down for reuse. The scratches or ambiguous letter traces, not least the mile distance, clearly
visible on the lower part of the stone, but unrelated to any inscription, indicates tha it was also
inscribed at some earlier date. The attempt is made in this article to establish the ancient
route leading from Teos to Klazomenai and to Lebedos on the basis of both the already published
and these two new milestones and from observations made, although it should be noted
that the traces of the ancient roads in this region are somewhat difficult to discover, due to
modern road construction and agricultural activity. The only visible trace of the Teos road today
is by the ancient quarry in Karagöl. It was unearthed beneath an orange garden by a local
constructing a house, and this solitary in situ trace of the Teos road is also briefly presented in
this article.

Ionian Relief Ware: Seventh and Sixth Centuries BCE

Summary:
It should be noted that the distribution of the wares with mythological scenes and ornamental decorations in relief from the East Greek Region is a remarkable class among the local wares of the Ionian Archaic pottery. Up to now, many examples of this class have been found in Chios, Erythrai, Teos, Old-Smyrna, Phokaia and a significant number of the pieces were recorded especially from Klazomenai. These centres in North Ionia demonstrate how widespread this class was in the Archaic Period.
The production technique, the iconography of mythological scenes and typology of this class have been fully studied. Despite the lack of chemical analyses on the fabrics, the stylistic and technical features of the relief decorations strongly indicate local production centres in the North Ionia. In this period these centres exhibit a stylistic koine, which may be named as North Ionian. The discovery of numerous examples of this class in Klazomenai supports the fact that the city was one of the principal manufacturing centres in Ionia beside Chios. The Ionian relief ware is characterized by different shapes that include decorated basins, stands, bathtubs, storage jar (pithoi), sarcophagi, mortaria and deep bowls.
The aim of this paper is to develop a common understanding and definition for relief wares and ware families of potential workshops associated with Ionia from the end of the 7th century to the end of the 6th century BCE. Considering the many studies, which have been published until now, a few words should be said to gain consistency in definition of the class and clarification of its terminology. The terminology is an expression of certain conceptions, which is exemplified by the researchers depending on diversity of finds and different regions in a vast geography. This study concerns with the classification of many relief wares taking into consideration the existing ware families from the East Aegean Region.

The relations as well as the tensions between Greeks and Thracians must have been more frequent between colonists and local tribes that resided in the Xanthi plain where many conflicts of interest existed. The available land and its resources in the modern Xanthi area was an issue of hostility from the 7th c. BCE until ca. 350 BCE. Perhaps this feeling of insecurity along with the tendencies towards land expansion that the colonists had, made the Thracians of the Xanthi plain to resist Greek cultural influence, until the time of Philip II.

The paper seeks to analyse some peculiar features in the manner in which both the rounds of Cretan grants of asylia to Teos (late 3rd and ca middle 2nd century BC) are formulated, by replacing them in their socio-economic as well as geographical context. In fact, the use or the absence of expression τὰ σώματα καὶ χρήματα in the safeguard clause may reflect a structural evolution of the slavery occurring on the island in the middle Hellenistic period, it means the transition from traditional and dominant serfdom to chattel slavery.

http://www.ejournals.eu/electrum/