Aedikula mimarisinin orijini ve mimari ikonografisi üzerine bir gözlem

M.Ö. 1. yüzyılın erken dönemlerinde tarihlenen sahne binası tasvirlerini içeren rölieflere dayanarak, bilinen en erken aedikula tasarımlı mimarinin İtalya coğrafyasını işaret ettiği ileri sürülebilir. Bunun yanında antik yazarların kayıtları zamansal olarak arkeolojik malzemeyi destekleyen veriler sunmaktadır. Antik yazarların kayıtlarına dayanarak bu mimari tasarımın çıkış noktası olarak dönemin siyasi ve ekonomik yönden güçlü kişilerinin kendi propagandalarını heykeller aracılığıyla yapmak istedikleri fikri ileri sürülebilir. Bu kişilerin siyasi başarılarını gözler önüne serecek somut araçlara olan ihtiyaçları, bu heykelleri yerleştirecekleri mekanların yer aldığı bir mimari tasarıma yol açmış olmalıdır.

Based on reliefs from the early 1st century B.C. depicting stage buildings, it can be argued that the earliest material to our knowledge exemplifying aedicule design point to the Italian geography. Along with that, the records of antique authors provide data that temporally suggest the same conclusion. Departing from these sources, the origin of the aedicule architecture can be traced back to the idea that politically and economically significant persons of the time wished to carry out their own propaganda through sculptures to be placed within the aedicule. In other words, the reason why such an architectural design which offered space to place sculptures in was invented, must have been this need to make use of certain medium to denote these persons’ political achievements.

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