• Roman Sebasteion relief  sculpture of Polyphemos and Galatea Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
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Another mythological love story affirms the power of Aphrodite. The sea nymph Galatea resists the lustful advances of the beastly cycolps Polyphemas in his cave. Polyphemos sits on a rock and tries to pull Galatea between his legs. His right arm is round her back: note the huge hand on her backside.
  • Roman Sebasteion relief  sculpture of Apollo and a Muse Aphrodisias Museum, Aphrodisias, Turkey. <br />
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On the left stood Apollo, one foot raised on a rock, playing his lyre which rests on top of the omphalos (the earth’s navel stone, tied down at Delphi(. On the right stands a muse holding one arm of Apollos lyre.
  • Roman Sebasteion relief  sculpture of  Bellerophon Aphrodisias Museum, Aphrodisias, Turkey.<br />
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Bellerophon was a Lykian hero and was claimed as a founder of Aphrodisias. He holds his winged horse Pegasos. The deign was modelled on another relief panel in the series “Royal hero with Dod Hunting”. The carving is poor and the sculptor may have been a novice.modelled
  • Roman Sebasteion relief  sculpture of  Three Heroes and a Dog Aphrodisias Museum, Aphrodisias, Turkey.  Against a black background.<br />
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Two heroes stand in front of a third hero who ia seated on a rock and pats the head of a bitch hound. They are hunters and the relief is partnered by the reliefs of Melager and Atalante and Meleaner and boar
  • Roman Sebasteion relief  sculpture of  Three Heroes and a Dog Aphrodisias Museum, Aphrodisias, Turkey. Against a grey background.<br />
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Two heroes stand in front of a third hero who ia seated on a rock and pats the head of a bitch hound. They are hunters and the relief is partnered by the reliefs of Melager and Atalante and Meleaner and boar
  • Roman Sebasteion relief  sculpture of Meleager and Atalante  Aphrodisias Museum, Aphrodisias, Turkey.<br />
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Meleager sits on a rock tying his sandal. Below him lies a fierce hunting dog with a broad collar. On one side a god or another hero wearing a rounded hat was crowning Meleager ( arm missing). On the other side stands the huntress Atalante, Meleager’s lover: she wears a short dress and quiver, and lifts her cloak at the shoulder in a gesture of modesty.
  • Detail of a Roman Sebasteion relief sculpture of Zeus and Prometheus, Aphrodisias Museum, Aphrodisias, Turkey.   Against an art background.<br />
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Prometheus is screaming in pain. Zeus had given him a terrible punishment for giving fire to man: he was tied to the Caucasus mountains and had his liver picked out daily by an eagle. Herakles shot the eagle and is undoing the first manacle. He wears his trade mark lion-skin and thrown his club to one side. A small mountain nymph, holding a throwing stick appears amongst the rocks.
  • Close up of a Roman Sebastian relief sculpture of Zeus and Prometheus, Aphrodisias Museum, Aphrodisias, Turkey.      Against a white background.<br />
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Prometheus is screaming in pain. Zeus had given him a terrible punishment for giving fire to man: he was tied to the Caucasus mountains and had his liver picked out daily by an eagle. Herakles shot the eagle and is undoing the first manacle. He wears his trade mark lion-skin and thrown his club to one side. A small mountain nymph, holding a throwing stick appears amongst the rocks.
  • Roman Sebasteion relief sculpture of Zeus and Prometheus, Aphrodisias Museum, Aphrodisias, Turkey.    Against a black background.<br />
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Prometheus is screaming in pain. Zeus had given him a terrible punishment for giving fire to man: he was tied to the Caucasus mountains and had his liver picked out daily by an eagle. Herakles shot the eagle and is undoing the first manacle. He wears his trade mark lion-skin and thrown his club to one side. A small mountain nymph, holding a throwing stick appears amongst the rocks.
  • Close up of a Roman Sebasteion relief sculpture, Aphrodisias of Dionysus as a baby, Aphrodisias Museum, Aphrodisias, Turkey.      Against a white background.<br />
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Baby Dionysus is handed from one nymph to another for suckling. A bearded Silenos gestures excitedly. The scene is set at Nysa in the Meander Valley, where Zeus had his gifted child Dionysos, born to him by Semele and brought up in the wilds out of the view of Hera.
  • Close up of a Roman Sebasteion relief sculpture, Aphrodisias of Dionysus as a baby, Aphrodisias Museum, Aphrodisias, Turkey.  <br />
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Baby Dionysus is handed from one nymph to another for suckling. A bearded Silenos gestures excitedly. The scene is set at Nysa in the Meander Valley, where Zeus had his gifted child Dionysos, born to him by Semele and brought up in the wilds out of the view of Hera.
  • Pictures of a geometric Roman mosaics with animals & fruit, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a geometric Roman mosaic, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics from an apse depicting a fan of multicoloured triangles and vine foliated scrolls, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting Orpheus, god of music, playing his lyre,  from the ancient Roman city of Thysdrus, Bir Zid area. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, In this mosic medallion Sienus is carrying a lyre, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
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In this mosic medallion Sienus is carrying a lyre
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background<br />
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In the central panel of this Roman mosaic the  teacher of Dionysus, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
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In the central panel of this Roman mosaic the  teacher of Dionysus, Silenus, is being carried towards a donkey.
  • Picture of a Roman mosaics design depicting scenes from the Life of Dionysus, a scene with Ichthyocentaurs, fish tailed centaurs and Nereids, from the ancient Roman city of Thysdrus, House of Silenus. Late 2nd to early 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the cupid owner of a cockerell at a cock fight, from the ancient Roman city of Thysdrus. 2nd half of the 2nd century AD, House of Tertulla. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting scenes from mythology, from the ancient Roman city of Thysdrus. End of 2nd century AD, House in Jiliani Guirat area. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
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This Roman mosaic depicts Aurore enticing Cephane, Apollo enticing Cyrene and Apollo persuing Daphne
  • Picture of a Roman mosaics design depicting animals killing people in an ampitheatre, from the ancient Roman city of Thysdrus. End of 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting the Abduction of Ganymede, from the ancient Roman city of Thysdrus. End od 2nd century AD, Sollertiana Domus. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting  panthers, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a geometric Roman mosaics design using dolphins and swans designs, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a geometric Roman mosaics design using dolphins and swans designs, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a geometric Roman mosaics design using dolphins and swans designs, from the ancient Roman city of Thysdrus. 3rd century AD, House of Dolphins. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against an art background
  • Picture of a Roman mosaics design depicting Silenus and fishing cupids, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman Dionysiac mosaics design depicting masks and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Silenus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting a lion attacking two onagers or Asiatic wild ass, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a grey background
  • Picture of a Roman mosaics design depicting Dionysus riding a lion; from the ancient Roman city of Thysdrus. 2nd century AD House of the Dionysus Proccession. El Djem Archaeological Museum; El Djem; Tunisia. Against a black background
  • Picture of a Roman mosaics design depicting Lions eating a boar, from the ancient Roman city of Thysdrus. 2nd century AD, House of the Dionysus Proccession. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting shells and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Selinus. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting shells and birds, from the ancient Roman city of Thysdrus. 3rd century AD, House of Selinus. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Dionysus, God of wine, surrounded by women's busts representing the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Picture of a Roman mosaics design depicting Dionysus, God of wine, surrounded by women's busts representing the Four Seasons, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a geometric border Roman mosaics design from a mosaic depicting lions hunting animals, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting the Muses inside medallions, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a Roman mosaics design depicting Silenus and Cupids showing 2 figures, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a Roman mosaics design depicting Silenus and Cupids showing a baby elephant, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a Roman mosaics design depicting Silenus and Cupids showing a cupid and a camel, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Detail of a Roman mosaics design depicting Silenus and Cupids showing cupids amongst vines, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Picture of a Roman mosaics design depicting Silenus and Cupids, from the House of Sienus, ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background<br />
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The Silenus Roman mosaic depicts multiple scenes : the tying up of Silenus, who is permanently drunk, and is depicted in the middle of the mosaic lying on a bed of leaves. Around him children are trying to tie his hands and legs with garlands of flowers.
  • Pictures of a Roman mosaics design depicting Dionysus Riding a Panther, from Abdel Jelil. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a Roman mosaics design depicting Dionysus Riding a Panther, from Abdel Jelil. 2nd century AD. El Djem Archaeological Museum, El Djem, Tunisia. Against a white background
  • Detail of a  Roman mosaics design depicting the nine muses, from the Maison du Mois, ancient Roman city of Thysdrus. 2nd half of 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.<br />
The Roman mosaic depicts the nine muses and their attributes: Clio the muse of history ; Uranie the muse of Astronomy; Melpomene, tragedy; Thalie, comedy; Terpsichore, dancing; Calliope, epic poetry; Erato, love poetry; Polymnie, religious songs and rhetoric; Euterpe, lyrical poetry and music
  • Pictures of a geometric detail of a Roman mosaics design, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Pictures of a geometric  Roman mosaics design depicting peacock tail feathers, from the ancient Roman city of Thysdrus. 3rd century AD. El Djem Archaeological Museum, El Djem, Tunisia.
  • Wide picture of the Ambulatory corridor of the Great Hunt Roman mosaic and the entrance to the audience hall, room no 28, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
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The Great Hunt ambulatory is around 60 meters long (200 Roman feet) and connects the master’s northern apartments with the triclinium in the south. The door in the centre of the the Great Hunt ambulatory leads to audience hall. <br />
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The Great Hunt Roman mosaic depicts African animals being hunted and put onto ships to be taken to the Colosseum.
  • Close up picture of the Roman mosaics of the Kitchen floor depicting geometric mosaic patterns, room no 19 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
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The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Wide picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
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The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting hunters with a dead boar and hunters making an offering at an altar, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
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The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting deer being caught in a net trap, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
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The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting a hare about to be speared,  room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
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The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Wide picture of the Roman mosaics of the Semi Circular Room, depicting cupids fishing from boats, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Close up detail of the Roman mosaics of the Vestibule of Eros & Pan, room no 43  at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
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The Vestibule of Eros and Pan Roman floor mosaic at the Villa Romana del Casale depicts a scene that is intended to show how difficult it is for someone like Pan , who is ugly but has a good heart, to conquer love, represented by Eros. Between the two divinities are a palm leaf and a coin symbolising the prizes to be awarded to the winner of the contest.
  • Ambulatory of the Great Hunt Roman mosaic, room no 28, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
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The Great Hunt ambulatory is around 60 meters long (200 Roman feet) and connects the master’s northern apartments with the triclinium in the south. The door in the centre of the the Great Hunt ambulatory leads to audience hall. <br />
<br />
The Great Hunt Roman mosaic depicts African animals being hunted and put onto ships to be taken to the Colosseum.
  • Ambulatory of the Great Hunt Roman mosaic, Wagons being pulled by bullocks, room no 28, at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
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The Great Hunt ambulatory is around 60 meters long (200 Roman feet) and connects the master’s northern apartments with the triclinium in the south. The door in the centre of the the Great Hunt ambulatory leads to audience hall. <br />
<br />
The Great Hunt Roman mosaic depicts African animals being hunted and put onto ships to be taken to the Colosseum.
  • Roman mosaics - Rooms of an excavated villa from Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.
  • Roman mosaics - Achilles Mosaic.  Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.
  • Roman mosaics - Geometric Mosaic. Dionysus Villa Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.
  • Roman mosaics - Metiochus and Parthenope Mosaic.  2nd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a white background.<br />
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Metiochus and Parthenope, famous with their legendary love for eat: torn apart and then unified after years, they seem to represent the According to the myth, Parthenope is the sister of Polycrat e Ki taken an oath of virginity upon the Heraion which symbolizes the Metiochus is invited to the royal court and meets Parthenope Burin fails in love with Metiochus but in order to keep the oath she has taken, she and chooses to go exile. In this mosaic, we see the two figures sfttngsitting upon an In compliance with the story, the face of Metiochus is directed towards Part e whom he fell in love and the eyes of Parthenope stares at an indeterminate area due to the love she feels yet sees impossible. The mosaic is surrounded by triangular, double mesh ttke, and pyramidal borders. The piece was discovered during the rescue excavation conducted. in 1993. When exposed, it was understood that the main figures used to be at the middle of the mosaic were stolen the tomb-robbers. <br />
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The mosaic was brought to Gaziantep Museum with a question mark labeled on it saying "Who knows where? In which country?" and began to be displayed temporarily after restoration. From the photographs sent by the Canadian Archaeologist Sheila Campbell, it was found out that the stolen parts were in the Merin collection in Houston USA and with the initiatives of the Ministry of Culture, the missing parts were brought In 2000 and the mosaic was put on display following the restoration. Those two eternal lovers, who were torn apart by traffickers of historical artefacts and kidnapped separately, have been unified after years.
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.<br />
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It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
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There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
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The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics - The Gypsy Girls. The House of Menad. Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a grey background.<br />
<br />
It was discovered in the building called the House of Menad during the excavations conducted by the Gaziantep Museum. As the excavations continued, it was understood that almost all the mosaics inside the building had been stolen by historical _artifact; traffickers. The figure, called the Gypsy. Girl, was fortunately under the soil extracted from the illegal diggings and unseen by the traffickers; then it was brought to our Museum. She was liken to a Gypsy Girl as a joke during the excavations when she was unearthed with her uncombed hair, salient cheekbones, round face and earrings, and then has kept to be called with that name. <br />
<br />
There is no illuminating data regarding her identity but some scholrs claim that she is one of the -mnads present in  Dionysus festivals because of the tendrils near her 1.71eado, and others suggest that this is a portrait of Alexander the Great The most interesting feature of the mosaic is that it follows the beholder in every direction. A special technique was used in the mosaic in order to make her eyes more realistic. On the other hand, the fact that both joy and sorrow are reflected in her face indicates the stage reached in the art of portx4it. <br />
<br />
The piece was made, via the technique -called "three look" in the art of painting during the Hellenistic period. This technique was used by great painters as well. Da vincrs'Mona Lisa is an example for such paintings. With those characteristics, the piece has become the symbol of Zeugma and Gaziantep
  • Roman mosaics -  The Bath House. The House of Oceanos, Ancient Zeugama. 3rd Century AD. Zeugma Mosaic Museum, Gaziantep, Turkey.  Against a grey background.
  • Roman mosaics - Dionysus Mosaic. Poseidon Villa Ancient Zeugama, 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against an art background.
  • Roman mosaics - Birth of Aphrodite (Venus) Mosaic.  Poseidon Villa Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.   Against a black background.
  • Roman mosaics - Satyros & Antiope Mosaic. Poseidon Villa Ancient Zeugama, 2nd - 3rd century AD . Zeugma Mosaic Museum, Gaziantep, Turkey.
  • Roman statue of Sabina .Marble. Perge. 2nd century AD. Inv no 3066-3086. Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of Emperor Hadrian .Marble. Perge. 2nd century AD. Inv no 3861-3863 .Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of young Faustina. Marble. Perge. 2nd century AD. Inv no 3045 . Antalya Archaeology Museum; Turkey. Against a grey background
  • Roman statue of Asklepios. Marble. Perge. 2nd century AD. Inv no . Antalya Archaeology Museum; Turkey. Against a white background.<br />
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Asclepius was a hero and god of medicine in ancient Greek religion and mythology.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey. Against a black background.<br />
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 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Emperor Trajan . Marble. Perge. 2nd century AD. Inv no . Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of Emperor Trajan . Marble. Perge. 2nd century AD. Inv no . Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue of Aphrodite. Marble. Perge. 2nd century AD. Inv no 2014/191 . Antalya Archaeology Museum; Turkey.<br />
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Aphrodite is an ancient Greek goddess associated with love, beauty, pleasure, and procreation. She is identified with the planet Venus, which is named after the Roman goddess Venus, with whom Aphrodite was extensively syncretized. Aphrodite's major symbols include myrtles, roses, doves, sparrows, and swans.
  • Roman statue of Alexander The Great. Marble. Perge. 2nd century AD. Inv no 2.23.93. Antalya Archaeology Museum; Turkey. Against a black background.
  • Roman statue of Emperor Trajan. Marble. Perge. 2nd century AD. Inv no . Antalya Archaeology Museum; Turkey. Against a black background.<br />
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Trajan Roma Emperor  from 98 to 117 AD.
  • Roman statue of Antinous. Marble. Perge. 2nd century AD. Inv no . Antalya Archaeology Museum; Turkey.
  • Roman statue of Asclepius. Marble. Perge. 2nd century AD. Inv no .Antalya Archaeology Museum; Turkey. Against a white background.<br />
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Asclepius was a hero and god of medicine in ancient Greek religion and mythology. Asclepius represents the healing aspect of the medical arts, one of his his daughters is Hygieia
  • Roman statue of Aphrodite. Marble. Perge. 2nd century AD. Inv no 2014/196. Antalya Archaeology Museum; Turkey. Against a warm art background.<br />
<br />
Aphrodite is an ancient Greek goddess associated with love, beauty, pleasure, and procreation. She is identified with the planet Venus, which is named after the Roman goddess Venus, with whom Aphrodite was extensively syncretized. Aphrodite's major symbols include myrtles, roses, doves, sparrows, and swans.
  • Roman statue of Aphrodite. Marble. Perge. 2nd century AD. Inv no 2014/191 . Antalya Archaeology Museum; Turkey.<br />
<br />
Aphrodite is an ancient Greek goddess associated with love, beauty, pleasure, and procreation. She is identified with the planet Venus, which is named after the Roman goddess Venus, with whom Aphrodite was extensively syncretized. Aphrodite's major symbols include myrtles, roses, doves, sparrows, and swans.
  • Roman statue of Apollo .Marble. Perge. 2nd century AD. Antalya Archaeology Museum; Turkey.
  • Roman statue of Apollo .Marble. Perge. 2nd century AD. Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman statue of Nemesis. Marble. Perge. 2nd century AD. Inv no 3310 . Antalya Archaeology Museum; Turkey.
  • Roman statue of Hygieia. Marble. Perge. 2nd century AD. Inv no .Antalya Archaeology Museum; Turkey.  Against a grey background<br />
<br />
 Hygieia was one of the Aeclepiadae; the sons and daughters of the god of medicine; Asclepius; and the goddess of healing; Epione. She was the goddess of health; cleanliness and hygiene.
  • Roman statue of a Dancing Woman . Marble. Perge. 2nd century AD. Inv no 10.29.81 . Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue of The Three Graces. Marble. Perge. 2nd century AD. Inv no 17.29.81. Antalya Archaeology Museum; Turkey. Against a warm art background.<br />
<br />
The Three Graces iRoamn statue is of the mythological three charites, daughters of Zeus,  Euphrosyne, Aglaea and Thalia , who were said to represent youth/beauty (Thalia), mirth (Euphrosyne), and elegance (Aglaea).
  • Roman statue of Emperor Septimus Severus. Marble. Perge. 2nd century AD. Inv no 3266 . Antalya Archaeology Museum; Turkey.
  • Roman statue of Emperor Hadrian. Marble. Perge. 2nd century AD. Inv no 3053. Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman statue of Emperor Hadrian. Marble. Perge. 2nd century AD. Inv no 3730-3728. Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue of Nemesisgoddess of  retribution. Marble. Perge. 2nd century AD. Inv no 28.23.79. Antalya Archaeology Museum; Turkey. Against a warm art background.
  • Roman statue of women. Perge. 2nd century AD. inv 3270 . Antalya Archaeology Museum; Turkey. Against a white background.
  • Roman relief decorated garland osthotek cremation container, 2nd century AD. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Adana Archaeology Museum, Turkey. Against a white background
  • Roman relief decorated garland osthotek cremation container, 2nd century AD. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Adana Archaeology Museum, Turkey. Against a grey background
  • Roman relief decorated garland osthotek cremation container, 2nd century AD. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Adana Archaeology Museum, Turkey
  • Roman relief decorated garland osthotek cremation container, 2nd century AD. An ostothec is used to preserve the ashes and bones of the dead bodies after their cremation, takes its form from a small sarcophagus. This ostothec is a miniature example of the garland sarcophagus. Adana Archaeology Museum, Turkey. Against a warm art background
  • Roman relief sculpted garland sarcophagus with cherubs, 3rd century AD. Adana Archaeology Museum, Turkey. Against a white background
  • Roman relief sculpted sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 3rd Century AD, Konya Archaeological Museum, Turkey.
  • Close up of a side of a Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey.
  • Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background.
  • End panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a black background
  • End panel of a Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey. Against a warm art background.
  • End panel of a Roman relief sculpted sarcophagus with kline couch lid with a reclining male figuer depicted, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a warm art background.
  • Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey. Against a grey background
  • Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey. Against a black background
  • Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey. Against a grey background
  • Side panel of a Roman relief sculpted Hercules sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 250-260 AD, Konya Archaeological Museum, Turkey.
  • Roman relief sculpted sarcophagus with kline couch lid, "Columned Sarcophagi of Asia Minor” style typical of Sidamara, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a white background.
  • Side panel of a Roman relief garland  sculpted sarcophagus, style typical of Pamphylia, 3rd Century AD, Konya Archaeological Museum, Turkey. Against a warm art background.
  • End of Roman relief sculpted Herakles (Hercules)  sarcophagus, 2nd century AD, Perge, inv 2017/400. Antalya Archaeology Museum, Turkey. Against a warm art background.
  • Close up picture of Roman relief sculpted Sarcophagus of Garlands, 2nd century AD, Perge. This type of sarcophagus is described as a “Pamphylia Type Sarcophagus". It is known that these sarcophagi garlanded tombs originated in Perge and manufactured in the sculptural workshops of Perge. Antalya Archaeology Museum, Turkey.. Against a warm art background.
  • Close up picture of Roman relief sculpted Sarcophagus of Garlands, 2nd century AD, Perge. This type of sarcophagus is described as a “Pamphylia Type Sarcophagus". It is known that these sarcophagi garlanded tombs originated in Perge and manufactured in the sculptural workshops of Perge. Antalya Archaeology Museum, Turkey.
  • Roman relief sculpted sarcophagus with winged youths, 2nd century AD, Perge, inv 380. Antalya Archaeology Museum, Turkey
  • Picture of Roman relief sculpted Sarcophagus of Garlands, 2nd century AD, Perge. This type of sarcophagus is described as a “Pamphylia Type Sarcophagus". It is known that these sarcophagi garlanded tombs originated in Perge and manufactured in the sculptural workshops of Perge. Antalya Archaeology Museum, Turkey.
  • Roman relief sculpted sarcophagus depicting a scene with Dionysus made in a Greek Attica workshop, 3rd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.<br />
<br />
The lid of the sarcophagus is sculpted into the form of a “Kline” style Roman couch on which lie Julianus &  Philiska. This type of Sarcophagus is also known as a Sydemara Type of Tomb. Against a black background.
  • Roman relief sculpted sarcophagus of Aurelia Botiano and Demetria, 2nd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.
  • Roman relief sculpted sarcophagus of Aurelia Botiano and Demetria, 2nd century AD, Perge Inv 1.35.99. Antalya Archaeology Museum, Turkey.. Against a grey background.
  • Roman relief sculpted Herakles (Hercules)  sarcophagus, 2nd century AD, Perge, inv 2017/400. Antalya Archaeology Museum, Turkey. Against a grey background.
  • Roman relief sculpted Herakles (Hercules)  sarcophagus, 2nd century AD, Perge, inv 1,11,81-1.3.99-2.3.99.. Antalya Archaeology Museum, Turkey. Against a warm art background.
  • Picture of Roman relief sculpted Sarcophagus of Garlands, 2nd century AD, Perge. This type of sarcophagus is described as a “Pamphylia Type Sarcophagus". It is known that these sarcophagi garlanded tombs originated in Perge and manufactured in the sculptural workshops of Perge. Antalya Archaeology Museum, Turkey. Against a black background.
  • Roman relief sculpture funerary stele. Late Roman Period. Hierapolis Archaeology Museum, Turkey. Against a grey background
  • Bronze Age Beak Spout Pitcher in red terra cotta. 1900-1400 BC. Hierapolis Archaeology Museum, Turkey. Against an white background
  • Roman statue of Demiougous, 2nd century AD from Hierapolis. Hierapolis Archaeology Museum, Turkey . Against an black background
  • Roman statue of Arris, 3rd century AD from Hierapolis. Hierapolis Archaeology Museum, Turkey. Against an art background
  • Roman relief sculptures of gladiator fights 3rd century AD from Hierapolis Northern Necropolis. Hierapolis Archaeology Museum, Turkey. Against a grey background
  • Roman relief War of the Giants and The Gods. Roman 2nd century AD, Hierapolis Theatre.. Hierapolis Archaeology Museum, Turkey. Against an white background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind.  . Against an black background
  • Roman relief sculpture of the Coronation of Hierapolis. Roman 2nd century AD, Hierapolis Theatre.. Hierapolis Archaeology Museum, Turkey. Against an art background
  • Roman relief sculpture of the Myth of Marsyas. Roman 2nd century AD, Hierapolis Theatre.. Hierapolis Archaeology Museum, Turkey
  • Roman statue fragment of Triton son of Poseidon. Roman 2nd century AD, Hierapolis Theatre.. Hierapolis Archaeology Museum, Turkey
  • Roman sarcophagus with garland reliefs sculptures, 3rd century AD made in Laodicea on the Lycus from Hierapolis Necropolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Sarcophagus With Garland.<br />
<br />
They were widely used in the valley of Menderes from the beginning of the 2nd century A.D. The Nike on the edges and the Eros in the middle of the long sides carry the garlands. There are Medusa masks on the upper spaces of the garlands, sometimes the portraits of the owners of the tombs and some mythological descriptions take place here. Medusa masks symbolise the protection of the tomb where as the garlands symbolise the meeting of the owner in the other world. Ostoteks are also made in the some manner. . Against an white background
  • Roman sarcophagus with garland reliefs sculptures, 3rd century AD made in Laodicea on the Lycus from Hierapolis Necropolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Sarcophagus With Garland.<br />
<br />
They were widely used in the valley of Menderes from the beginning of the 2nd century A.D. The Nike on the edges and the Eros in the middle of the long sides carry the garlands. There are Medusa masks on the upper spaces of the garlands, sometimes the portraits of the owners of the tombs and some mythological descriptions take place here. Medusa masks symbolise the protection of the tomb where as the garlands symbolise the meeting of the owner in the other world. Ostoteks are also made in the some manner. . Against a grey background
  • Roman sarcophagus with garland reliefs sculptures, 3rd century AD made in Laodicea on the Lycus from Hierapolis Necropolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Sarcophagus With Garland.<br />
<br />
They were widely used in the valley of Menderes from the beginning of the 2nd century A.D. The Nike on the edges and the Eros in the middle of the long sides carry the garlands. There are Medusa masks on the upper spaces of the garlands, sometimes the portraits of the owners of the tombs and some mythological descriptions take place here. Medusa masks symbolise the protection of the tomb where as the garlands symbolise the meeting of the owner in the other world. Ostoteks are also made in the some manner. Against an art background
  • Roman sarcophagus with garland reliefs sculptures, 3rd century AD made in Laodicea on the Lycus from Hierapolis Necropolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Sarcophagus With Garland.<br />
<br />
They were widely used in the valley of Menderes from the beginning of the 2nd century A.D. The Nike on the edges and the Eros in the middle of the long sides carry the garlands. There are Medusa masks on the upper spaces of the garlands, sometimes the portraits of the owners of the tombs and some mythological descriptions take place here. Medusa masks symbolise the protection of the tomb where as the garlands symbolise the meeting of the owner in the other world. Ostoteks are also made in the some manner.
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. . Against a grey background
  • Roman sarcophagus with relief sculptures from Hierapolis . Hierapolis Archaeology Museum, Turkey<br />
<br />
Columned Sarcophagus Sarcopinagu of Euthios Pyrrnon, Asian Archon (ruler), Roman Period First quarter of third century A.D. Loadicea. <br />
 <br />
Four sides of these sarcophagi are all in relief. They appear like a columned temple. The reliefs between the grooved columns are related to the private life of the individual. His/her education, heroic scenes and plant or mythological motifs are decorated in relief. The cover of the sarcophagus is arranged like a bed and it is depicted as the wife and the husband as lying on it. The name of the individual and some mythological reliefs are found in the surrounding of the cover. The two sarcophagi in the hall are of this kind. Against an art background
  • Picture of a Roman raised sarcophagus of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • The Roman Ionic Stoa forms a colonnade 99 m long & 9 m high at the beginning of the Sacred Way to Didyma. An Ionic portica at its centre which served as a grandstand during ceremonial processions on the street in front of it. 1st century AD, Miletus Archaeological Site, Anatolia, Turkey.
  • Roman Baths of Faustina established by Faustina the Younger, wife of the Emperor Marcus Aurelius (161-180 AD). Miletus Archaeological Site, Anatilia, Turkey.
  • Roman Baths of Faustina established by Faustina the Younger, wife of the Emperor Marcus Aurelius (161-180 AD). Miletus Archaeological Site, Anatilia, Turkey.
  • Picture of a  column frieze from the ruins of the Ancient Ionian Greek  Didyma Temple of Apollo & home to the Oracle of Apollo.  Also known as the Didymaion completed circa 550 BC. modern Didim in Aydin Province, Turkey.
  • Picture of the ruins of the Ancient Ionian Greek  Didyma Temple of Apollo & home to the Oracle of Apollo.  Also known as the Didymaion completed circa 550 BC. modern Didim in Aydin Province, Turkey.
  • Toprak Bagis Belgesi  cuneiform donation document. Hittite Period 1600 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite bronze decorated sword blade. Hittite Period 1650 - 1450 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey
  • Hittite terra cotta fragmants of a defenive wall tower shaped vessel . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hittite terra cotta red glazed beak spout pitcher . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hittite terra cotta side spout with stainer basket handles pitcher . Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey
  • Hittite terra cotta two handled pitcher. Hittite Period, 1600 - 1200 BC.  Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hittite orthostat relief depicting a god. Hittie Period 1450 - 1200 BC. Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hittite orthostat relief depicting a god. Hittie Period 1450 - 1200 BC. Hattusa Boğazkale. Hattusa Boğazkale. Çorum Archaeological Museum, Corum, Turkey. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Hittite terra cotta four handled pot. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey
  • Hittite terra cotta long necked pitcher on base. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta pi;grim flask. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hittite terra cotta cube shaped libation vessel. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey
  • Hittite terra cotta cooking pot with perforated lid on a charcoal burner pot stand. Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Hittite terra cotta ceremonial libation rhython in the shape of an anmial . Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hittite terra cotta ceremonial libation rhython in the shape of an anmial . Hittite Empire, Alaca Hoyuk, 1450 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Hittite axe head mould and bronze axe heads. Hittite Period 1600 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hittite axe head mould and bronze axe heads. Hittite Period 1600 - 1200 BC. Alaca Hoyuk. Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Hittite terra cotta cult side handled spouted jug. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuvwa .  Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hittite terra cotta cult vessel decorated with a goat relief. Hittite Period 1650 - 1450 BC, Ortakoy Sapinuva . Çorum Archaeological Museum, Corum, Turkey. Against a grey bacground.
  • Hittite long neck pointed base terra cotta vessel. Hittite Old Period, 1650 - 1450 BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Assyrian Traders terra cotta imported teapot with side spout . 1900 - 1600 BC. Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Assyrian Traders terra cotta imported two handled pointed base vase. 1900 - 1600 BC. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hüseyindede vases, Old Hittite Po;ychrome Relief vessel, partially finished, 16th century BC. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hüseyindede vases, Old Hittite Po;ychrome Relief vessel, partially finished, 16th century BC. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, third freeze down depicting a man leading a bull, 16th century BC. Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a black bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel, close up depicting a bull being led to be sacrificed, following Hittite convention of sacrificing an animal of the same gender as the God this bull indicates the sacrifice is to a male god, 16th century BC.. Çorum Archaeological Museum, Corum, Turkey. Against a warm art bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel close up  depicting top and second friezes showing a procession of musicians and dancers moving towards a temple building, 16th century BC. Huseyindede. Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • Hüseyindede vases, Old Hittite Polychrome Relief vessel depicting a procession of musicians and dancers, ox wagon, bulls and sacrificial altar, 16th century BC.  Huseyindede . Çorum Archaeological Museum, Corum, Turkey. Against a white bacground.
  • The Buruciye Medrese (Madrasah) built in 1271 by Dr. Muzaffer Burucerdî of Iran as a school teach physics, chemistry and astronomy. Its magnificent crown gate is one of the best examples of Seljuk architecture in Anatolia. The islamic Muqarnas corbelled vault is made up of a large number of miniature squinches, producing a sort of cellular structure. Sivas, Turkey
  • Close up of the Crown Gate of the Buruciye Medrese (Madrasah) built in 1271 by Dr. Muzaffer Burucerdî of Iran as a school teach physics, chemistry and astronomy. Its magnificent crown gate is one of the best examples of Seljuk architecture in Anatolia. The islamic Muqarnas corbelled vault is made up of a large number of miniature squinches, producing a sort of cellular structure. Sivas, Turkey
  • Close up of the Crown Gate of the Buruciye Medrese (Madrasah) built in 1271 by Dr. Muzaffer Burucerdî of Iran as a school teach physics, chemistry and astronomy. Its magnificent crown gate is one of the best examples of Seljuk architecture in Anatolia. The islamic Muqarnas corbelled vault is made up of a large number of miniature squinches, producing a sort of cellular structure. Sivas, Turkey
  • Royal rock tombs of Pontus including Mithridates I, died 266 BC. Amasya, Turkey
  • Close up of the Inandik Hittite relief decorated cult libation vase decorated with relif figures coloured in cream, red and black. The processional figures include musicians and acrobats, mid to late 16th century BC - İnandıktepe, Turkey. Against a black background
  • Close up of the Inandik Hittite relief decorated cult libation vase decorated with relif figures coloured in cream, red and black. The processional figures include musicians and acrobats, mid to late 16th century BC - İnandıktepe, Turkey . Against a grey background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. The processional figures include musicians and acrobats processing to an altar, mid to late 16th century BC - İnandıktepe, Turkey. Against a white background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. In the top register is a couple having sex along with musicians and acrobats processing to an altar that can be seen in the second register, mid to late 16th century BC - İnandıktepe, Turkey . Against a grey background
  • Inandik Hittite relief decorated cult libation vase with four decorative friezes featuring figures coloured in cream, red and black. The processional figures include musicians and acrobats processing to an altar, mid to late 16th century BC - İnandıktepe, Turkey . Against a grey background
  • Terra cotta side spouted pitcher with lid - 1700 BC to 1500 BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Two decorated terra cotta seashell shaped vessels found in the house of Assyrian trader, Elamma, at the second level of the Karum of Kultepe. - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Two decorated terra cotta seashell shaped vessels found in the house of Assyrian trader, Elamma, at the second level of the Karum of Kultepe. - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian decorated terra cotta tea pot with strainer - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Bronze Age Anatolian terra cotta three spouted teapot - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Bronze Age Anatolian four headed alabaster Goddess figurine - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Bronze Age Anatolian terra cotta antilope shaped ritual vessel- 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.  Against a warn art background.
  • Decorated terra cotta tree handled vessel with a spout - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.
  • Bronze Age Anatolian terra cotta side spouted pitcher with bill shaped end - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background.
  • Assyrian Trader Colony Bronze Age terracotta sandal shaped ritual vessed. This cult pot is boat shaped with an animal head at the front. Inside the vessel is god. The deities associated with the ritual vessel were associated with trade and transportation in Ancient Mesopotamia and Summerian literature. The vessel signifies a religious river trip.  - 19th  century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey.. Against a white background.
  • Bronze Age Anatolian terra cotta wolf shaped ritual vessel - 19th to 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey background.
  • Bronze Age Anatolian four handled terra cotta vase with reliefs - 19th - 17th century BC - Kültepe Kanesh - Museum of Anatolian Civilisations, Ankara, Turkey. Against a grey background.
  • Bronze Age Hattian gold belt buckle from Grave L, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold necklace from Grave E,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold necklace from Grave MA,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold necklace from Grave MA,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold flask from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian ceremonial bull statuette in bronze from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian ceremonial bull statuette in bronze from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Bronze Age Hattian ceremonial standard known as "Sun Disks" from possible Royal Bronze Age grave (2500 BC - 2200 BC)- Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian ceremonial bull statuette in bronze from a possible Bronze Age Royal grave L (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian ceremonial standard known as "Sun Disks" from possible Royal Bronze Age grave (2500 BC - 2200 BC)- Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian ceremonial standard known as "Sun Disks" from Bronze Age grave BM (2500 BC to 2250 BC), possibly a Royal grave - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Alaca Hoyuk - Hittite lion sculpture corner Stone . Andesite. Alacahoyuk, 1399 - 1301 B.C. Anatolian Civilisations Museum, Ankara, Turkey.<br />
<br />
Corner stone with sculpted lion, bull and winged sun disk. It was discovered at the right side of the Alacahoyuk sphinx door. The lion puts his front legs on a small bull. There is a Hittite winged sun disk on the abdomen of the lion, which can be seen from a lower location. The position of the sun course indicates that the stone is situated in a high place.
  • Hittite Terra cotta lion shaped ritual vessel - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Hittite terra cotta ritual vessel in the shape of a duck with two heads - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against white background
  • Hittite terra cotta long neck pitcher - 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against grey art background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against gray background
  • Terra cotta ritual bull pots, probably of Hurri & Serri, the bulls of Teshup the Storm God. produced as pairs only differing in the direction of their tails, the spouts on their backs indicate that they were offering vessels- 16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey
  • Hittite Terracotta statue of a bull - 17th-16th century BC - Hattusa ( Bogazkoy ) - Museum of Anatolian Civilisations, Ankara, Turkey . Against gray background
  • Black obsidian blades. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a white background
  • Brown obsidian dagger with a bone handle carved into the shape of a snake. It is believed this may have been a ritual dagger. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a white background
  • Brown obsidian dagger with a bone handle carved into the shape of a snake. It is believed this may have been a ritual dagger. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Bone necklace. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Hunting scene. A deer and wild boar are depicted being hunted with people using bows and arrows. One person is depcted trying to net the boar. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Terracotta Vase with female face. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a grey background
  • Seated marble goddess. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a grey background
  • Neolithic decorative hand print from the inside wall of a house. 7000 BC to 5000 BC . Catalhoyuk collection, Konya Archaeological Museum, Turkey. Against a black background
  • Neolithic necklace, 7000 BC to 6500 BC . Catalhoyuk collection, Konya Archaeological Museum, Turkey
  • Neolithic terracotta bowl. Catalhoyuk collection, Konya Archaeological Museum, Turkey. Against a white background
  • Neolithic terracotta pot . Catalhoyuk collection, Konya Archaeological Museum, Turkey. Against a white background
  • Chalcolithic decorated terra cotta basket pot. Circa 5000BC. Catalhoyuk collection, Konya Archaeological Museum, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A clay oven below a ladder which led to the main entrance via the roof, which also allowed smoke out. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Building 321. Empty burial pit in the floor of the Neolithic remains of mud brick house. In the top right is a darker area which was the midden or refuse pile from the house. North ecavation area, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Protective roof constructed to protect the north excavation area, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Hittite monumental statue probably of Tarhunda, the Storm God, standing on a cart being pulled by two bulls. Adana Archaeology Museum, Turkey. Against a black background
  • Hittite monumental statue probably of Tarhunda, the Storm God, standing on a cart being pulled by two bulls. Adana Archaeology Museum, Turkey. Against a white background
  • Hittite monumental relief sculpture of a lion. Adana Archaeology Museum, Turkey. Against a grey art background
  • Hittite monumental relief sculpture of a lion. Adana Archaeology Museum, Turkey.
  • Hittite monumental relief sculpture of a seated figure holding a bunch of grapes. Adana Archaeology Museum, Turkey.
  • Hittite monumental relief sculpture of a god probably about to kill a lion (missing) with his axe. Late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a grey background
  • Hittite monumental relief sculpture of a lion. Late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a white background
  • Hittite cuneiform tablet. Adana Archaeology Museum, Turkey. Against a grey background
  • Hittite baslat sculptute of a male, late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a grey background
  • Hittite monumental statue probably of Tarhunda, the Storm God, standing on a cart being pulled by two bulls. Adana Archaeology Museum, Turkey.
  • Hittite monumental relief sculpture of a God hunting, its hieroglyphic symbol is above its head. Late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a grey background
  • Hittite monumental relief sculpture. Late Hittite Period - 900-700 BC. Adana Archaeology Museum, Turkey. Against a white background
  • Sculpture of the twelve gods of the underworld from the 13th century BC Hittite religious rock carvings of Yazılıkaya Hittite rock sanctuary, chamber B,  Hattusa, Bogazale, Turkey.
  • Sculpture of  god Sharruma and King Tudhaliya from the 13th century BC Hittite religious rock carvings of Yazılıkaya Hittite rock sanctuary, chamber B,  Hattusa, Bogazale, Turkey.
  • Procession of female Gods in the 13th century BC Hittite religious rock carvings of Yazılıkaya Hittite rock sanctuary, chamber A,  Hattusa, Bogazale, Turkey.

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