Dress and Identity in the Arts of Western Anatolia: The Seventh through Fourth Centuries BCE

288 Pages·2011·12.67 MB·English

by  Şare

2011

TUNA ŞARE

ALL RIGHTS RESERVED

DRESS AND IDENTITY IN THE ARTS OF WESTERN ANATOLIA: THE SEVENTH THROUGH
FOURTH CENTURIES BCE
By
TUNA ŞARE
A Dissertation submitted to the
Graduate School-New Brunswick
Rutgers, The State University of New Jersey
in partial fulfillment of the requirements
for the degree of
Doctor of Philosophy
Graduate Program in Art History
written under the direction of
Dr. John F. Kenfield III
and approved by
________________________
________________________
________________________
________________________
New Brunswick, New Jersey
May, 2011
UMI Number: 3475028
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ABSTRACT OF THE DISSERTATION
DRESS AND IDENTITY IN THE ARTS OF WESTERN ANATOLIA: THE SEVENTH THROUGH
FOURTH CENTURIES BCE
By TUNA ŞARE
Dissertation Director:
Dr. John F. Kenfield III

This dissertation investigates the variety of clothing options available to the
ancient Western Anatolians from the seventh through the fourth centuries BCE as
evidenced by archaeological remains, visual representations, and rare written sources.
The body of the dissertation includes an analysis of the textile industries, a typological
examination of the dress items, and three case studies of the tomb imagery in Western
Anatolia. Given the lack of first hand evidence for the social history of the region,
especially of its non-Greek populations, this examination reveals the important position
articles of dress occupied in conveying social roles and status in Western Anatolia.
Through an analysis of the ‗language of dress‘ this dissertation reaches two conclusions.
First, there existed a distinctive ‗Anatolian‘ dress fashion shared among the various
ethnic groups of Anatolia during the time in question. Second, the Western Anatolian
elite adjusted borrowed dress fashions from the Persian court in order to show their status
claims within the local socio-historical circumstances.

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Acknowledgement and Dedication
My interest in classical archaeology and in the art and archaeology of ancient
Anatolia goes back to my college years in Ankara. My professors in the Archaeology and
History of Art Program at Bilkent University had a big influence in turning this interest
into a life-long passion to pursue. The idea for the current project came after a research
trip to Lycia with the members of the ASCSA under the leadership of Dr. John Camp in
the spring of 2007. My first encounter with the Antalya figurines in Antalya Museum
during this trip turned into a research paper, and then into an article published in the first
issue of Hesperia in 2010. A different version of that article also forms the fourth chapter
of this dissertation.
I presented different aspects of my research on the Antalya figurines as well as the
new methodological approaches to Anatolian art and archaeology in several conferences.
These conferences include: the Annual Meeting of Classical Association of Canada in
May 2009, the Annual Meeting of ASOR in November 2009, and the Annual Meeting of
AIA in 2010.
A great number of people and institutions helped me to write this dissertation.
Here, I would like to record my indebtedness to them; first my advisor Dr. John Kenfield,
who always encouraged me and my committee member Dr. Clemente Marconi, who
always inspired me. I am especially grateful to Dr. Larissa Bonfante and Dr. Catherine
Draycott for their inspirational studies and friendly advice. Dr. Nicholas Cahill, Dr. Maya
Vassileva, Dr. Latife Summerer, Dr. Fahri Işık provided information and shared their
work with me. Three institutions that have pivotal importance in the research and writing
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phases of this dissertation are the ASCSA, the Marquand Library at Princeton University,
and the Alexander Library at Rutgers University. My fellow graduate student friends
Susannah Fisher, Barbara Werther, Angela Oh, and Patrick Coleman and the most
precious member of the Art History Program at Rutgers University, Geralyn Colvil were
always there when I needed their help.
Finally, there are the people who supported me outside of academia; my dearest
brother Ersin Şare, my mum and my dad, Ayşe and Arif Şare, friends in Turkey, and
friends in New Brunswick, especially Azize, Alev, Pınar, Eleni, Jin Young, Evren,
Erman, Oylum, Özlem, Bahar, Banu, Aslı, Meriç, and my dear Gökçe.
This dissertation is dedicated to my son, my source of life, Can Aras Ağtürk and
my husband Hakan Ağtürk, without whose love and support I could not finish this
project. I extend apologies to anyone who have been inadvertently overlooked in my
acknowledgment. I, alone am responsible for any errors. Also, I hope that readers will not
be overly disappointed for the absence of museum inventory numbers for some of the
illustrations.

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Table of Contents
Abstract................................................................................................................................ ii
Acknowledgement and Dedication .................................................................................. iii
Table of Contents ............................................................................................................... v
List of Illustrations ............................................................................................................. vii

Chapter 1: Introduction .................................................................................................. 1
1.1 Organization .............................................................................................. 2
1.2 Historical Background .............................................................................. 5
1.3 Historiography and Methods Adapted ...................................................... 9

Chapter 2: Textile Production and Textiles (Fabrics and Patterns) ......................... 15

Chapter 3: Popular Dress Items and Their Social Significance ................................. 41
3.1 Headdresses .............................................................................................. 41
a) Polos .............................................................................................. 41
b) Griffin Crown ............................................................................... 51
c) Veil and Veiling ............................................................................ 53
d) Bashlyk ......................................................................................... 62
e) ‗Phrygian Cap‘: Myths and Facts ................................................. 77
3.2 Tunics, Overcoats, and Pants ................................................................... 79
a) Sleeved Tunics .............................................................................. 79
b) Kandys .......................................................................................... 82
c) Tight Pants (Anaxyrides) .............................................................. 89
3.3 Belts ......................................................................................................... 92
a) Urartian Type ................................................................................ 92
b) Phrygio-Ionian Type ..................................................................... 95

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Chapter 4: Dress and Identity: The Antalya Figurines- Sixth Century BCE ......... 104

Chapter 5: Dress and Identity: The Tatarlı Paintings - Fifth Century BCE .......... 136

Chapter 6: Dress and Identity: The Friezes of the Heroon of Perikle at Limyra-
Fourth Century BCE ................................................................................................... 160

Bibliography ................................................................................................................... 184

Curriculum Vitae ............................................................................................................ 208

Illustrations .................................................................................................................... 212

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List of Illustrations
CHAPTER 2
Fig 2.1 Zincirli funerary relief, late eight century BCE, Adana Regional Museum, inv.
no.1756, after Özgen and Öztürk 1996, p. 62, fig. 143.
Fig 2.2 A square golden costume appliqué from a burial at Sardis, seventh century BCE,
Uşak Museum, inv. no. 1.92.96, after Özgen and Öztürk 1996, p. 166, cat. no. 117.
Fig 2.3 Toprakkale Medallion, 600 BCE, Vorderasiatische Museum, after Özgen and
Öztürk 1996, p. 166, fig 158.
Fig 2.4 Apadana Group III-Armenians, between 522 and 465 BCE, after Schmidt 1955,
pl. 29.
Fig 2.5 Apadana Group VIII- Cilicians, between 522 and 465 BCE, after Schmidt 1955,
pl. 34.
Fig 2.6 Apadana Group IX- Cappadocians, between 522 and 465 BCE, after Schmidt
1955, pl. 35.
Fig 2.7 Apadana Group XII- Ionians and Lydians, between 522 and 465 BCE, after
Schmidt 1955, pl. 38.
Fig 2.7a Apadana Group XII- Ionians and Lydians, detail of the textile bearers, between
522 and 465 BCE, after Schmidt 1955, pl. 38.
Fig 2.8 Harta Fresco, late fifth century BCE, Uşak Museum, inv. nos. (fragments) 1.3.96,
1.4.96, 1.5.96, after Özgen and Öztürk 1996, p. 39, fig 65.

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