Related Papers
Zeynep Akture
On 18 September 1956, Franz Miltner, head of the Austrian team of archaeologists working at the ancient site of Ephesus, near modern Selçuk in the Izmir province of Turkey, was informed by an enthusiastic Turkish excavation worker about the unearthing of a golden statue in the Prytaneion. On closer examination, the statue turned out to be not gold but, most probably, coated in gold on the upper half. The perfectly worked marble statue was named ‘Artemis the Beautiful’ by Miltner on the basis of its high-quality workmanship, distinguishing it from the later-discovered ‘Artemis the Colossal’, again from the Prytaneion, thus named because of its size. A third, smaller-than-life-size statue again from the Prytaneion would soon join the two. Thought to be Roman period copies of cult statues in the Artemision, the three statues are currently on display in the Artemis Hall of Efes Museum in Selçuk, which was specially designed for the purpose. In this chapter, I will try to examine the possibilities encouraged by the architecture and contents of this hall for an interpretation of the enigmatic Artemis Ephesia.
Artemis Ephesia in Apulum. Biography of a Roman statuette
Csaba Szabó
The first known representation of Artemis from Ephesus in Dacia was recovered in the spring of 2006, the small bronze statuette being part of one of the biggest private, archaeological collections looted from various Roman sites. In this article, the authors present the iconographic features of the statuette, the religious significance of the object and through the modern story of the artefact will reflect on the biography of ancient objects once used in religious contexts.
A New Artemis Ephesia Statuette from Salamis, in: New Studies in Cypriot Archaeology and Art History The Northern Face of Cyprus
Lâtife Summerer
Female statues and figurines in central Macedonia. An iconographical approach. Eleftheria Kakoulidou SCHOOL OF HUMANITIES A thesis submitted for the degree of Master of Arts (MA) in Ancient History and Classical Archaeology of Macedonia
Eleftheria Kakoulidou
Journal of Archeology and Art
The Semiology of Cult-Inspired Souvenirs: Museum Artefacts and the Ephesian Artemis
2023 •
Gizem Vayvay
Müzelerde yer alan kült eserlerin ürünleştirilmesi üzerinden temelde Efes Artemisi'ni odağına alan bu çalışmada, kült bir figürün metalaştırılarak ticari bir ürüne dönüştürülmesi ve kültürel bağlamda üretimi, barındırdığı anlamlar bütünlüğü ekseninde semiolojik bir bakış açısıyla irdelenmektedir. Soyut bir kavramın somut bir ticari ürüne dönüşmesi, kült imgenin replika olarak yeniden üretimi veya yeniden yorumlanması şeklinde gerçekleşmektedir. Nihai ürünler, "özgünlük" vasfına sahip olabilme potansiyellerini, semiyotik olarak kendi bünyelerinde barındırdıkları, eserin orijinalinden ürüne aktarılmış olan anlamlara borçludur. Fiziksel mağazalarda yer alan ve hatıra objesi kimliği altında satılan ürünler, satın alındıkları yer ve tarih itibariyle belirli bir seyahatin anısını temsil etme, yapılan ziyaretin hatırlatıcıları/hatıraları olma özelliğini taşırlar. Öte yandan, internet ortamında satılan veya birine hediye olarak alınan aynı ürünler, yer ve zamandan bağımsız oldukları için artık "hatırlatıcı" niteliğine sahip değillerdir. Dolayısıyla, müzelerde yer alan kült figürlerden ilhamla üretilen ürünlerin hatıra objesi vasfının yanında tüketici için farklı bir çekim veya cazibeye sahip olmaları gerekmektedir. Ürünlerin sahip olduğu bu cazibeyi yaratan etken söz konusu ürünlerin kült eserin veya imgenin Artemis ve onun niteliklerinin taşıdığı anlamların temsilleri olmalarıdır. This study focuses on the types of souvenirs inspired by the artefacts of a cult figure, like the Ephesian Artemis in the Selçuk Ephesus Museum, as outcomes of cultural production. The article discusses the ways in which a mythical goddess archetype -the Artemis cult- is transformed into a commodity. The Ephesian Artemis, a renown cult character which stems from the Aegean region of Anatolia, has unique characteristics in comparison with her classical Greek counterpart. Commodity production of such a cult figure happens as reproduction or reinterpretation of its cult image, and it possesses a semiotically embedded meaning that points to the notion of “authenticity”. Souvenirs inspired by the Ephesian Artemis and sold physically in shops might well be said to act as instant reminders of a vacation in the Aegean region or Ephesus, since they are the representations of where they were bought and the occasion of that specific travel. On the other hand, the ones sold online should possess some other appeal as they cannot be regarded as reminders anymore, but solely replicas or representations of the goddess and her attributions.
Ephesos Artemisionu. The Artemision of Ephesus, in: Y. Ersoy – E. Koparal (Hrsg.), İonialılar: Ege Kıyılarının Bilge Sakinleri. Ionians: The Sages of the Aegean Shore (İstanbul 2022) 378–399.
2022 •
Michael Kerschner
This article gives an overview of the development of the Artemision of Ephesus from its beginnings in the Early Iron Age, through its rise to a sanctuary of international rank through the involvement of the Lydians in the Archaic period, continuity and change under Achaemenid rule, to the construction of Dipteros 2, which was counted among the Seven Wonders of the World.
American Journal of Archaeology (on line review)
Despinis, Giorgos, Artemis Brauronia: Latreutika agalmata kai anathemata apo ta iera tis theas stin Vraurona kai tin Akropoli tis Athinas (Artemis Brauronia: Cult Statues and Dedications from the Sanctuaries of the Goddens in Brauron and the Athenian Acropolis) Athens 2010
Nassos Papalexandrou
The Polymastic Nature of the Diana Ephesia Cult Statue
Anita Radi
Vjesnik Arheološkog muzeja u Zagrebu
Arhivski podaci, mineraloško–petrografska i ikonografska analiza kipa Izide iz Enone. The archival data on, and petrographic, mineral and iconographic analyses of the statue of Isis from Enona*
2020 •
Palma Karkovic Takalic
Given the contrasting views that historiographers and modern and contemporary researchers hold regarding the identification of the statue in the dress of Isis from Nin (Aenona), this paper will analyse the archival sources and museum documentation on the site, circ*mstances of the find, and history of the statue; it will define the area where the statue was found and determine whether there is a “topographic” link with the Julio-Claudian group of imperial statues; in this regard, the results of petrographic, mineral and chemical analyses of the female stone statue, which have recently been completed, will also be discussed, and, along with iconographic, formal and stylistic analyses, our own views will be presented on whether the statue is of Isis or her devotee, when and where the statue might have originated, and how its occurrence fits into the context of the Municipium Aenona in the Principate.
The Annual of the British School at Athens
‘Two late antique statues from Messene’, Annual of the British School of Athens, 100 (2005), 387-405, pl. 10-16
2005 •
Georgios Deligiannakis
