Adrassos’da (Isauria) Paganizm ve Hıristiyanlık Arasında Bir Lahit

Abstract

Two sarcophagi, nos. 40 and 51 in the necropolis of Adrassos, constitute the scope of thisarticle. While a new iconographic interpretation is proposed for them, the Silifke relief is alsopresented here for the first time thanks to its similar iconography. The reliefs, architecturaldecor and inscription of sarcophagus no. 51 provide us with important clues.In the Late Roman/Early Byzantine period scenes of surrender, without a particular triumph,were identified with universal hegemony, while Persians and Germans started to symbolize thefrontiers of the land ruled by the Roman emperor. On sarcophagus no. 51 the figure comingfrom the left wears a costume, whose sleeves are hanging down loose, which suggests aPersian costume. However, this person should be considered a local Isaurian, considered a“barbarous oriental” by the Romans, and not a Persian. The figure in the centre is a vassal rulerof the Romans. The scene thus depicts him receiving the new “decrees” from this ruler. Indeedthe Isaurians committed many rebellions and riots that destroyed Isauria and its environs in the4th century A.D.Both the iconographic narration and architectural décor of sarcophagus no. 51 place thissarcophagus at a special position among fourth-century A.D. sarcophagi. The iconographicnarration here is a rare example of the process of iconographic transfer from the East to theWest. It is of importance for it shows the continuity between pagan Roman land and ChristianRavenna. This sarcophagus, representing the last round of a pagan sarcophagus series thatpaves the way for new Christian iconography, should be considered among the latest pagansarcophagi. This is because paganism retained its existence in the mountainous parts of Isauriawhere Adrassos is located. Therefore, the concerned sarcophagus bears an iconography notrelated to Christianity at the end of the fourth century at a time when Christian iconography isobserved on sarcophagi and other archaeological realia in other localities.The survival of classical forms in architecture is also parallel to the iconographic narrationnot Christianised yet. This is important, for it sheds light onto the fourth-century decorationin Asia Minor by filling a gap. The style here continues the characteristics of the precedingperiod. Furthermore, the décor on the sarcophagus is pioneering for fifth- and sixth-centurydecoration in Isauria.