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P. 1-27 Sait Başaran, Ainos: History and Archaeology………….....…P Conference Papers……………………………………..…….. p. 1-27 Sait Başaran, Ainos: History and Archaeology………….....…p. 28-45 Helmut Brückner, Geoarchaeology…………………….……..p. 46-95 Conference Papers Sait Başaran, Anca Dan, Hebros, the River-God ...................................................................... ………..2 Mustafa Sayar, Historical Geography of the Hebros Valley ................................................................... 5 Şahin Yıldırım, Hadrianopolis, the City at the Intersection of the Rivers .............................................. 6 Sevilay Zeynep Yıldız, River Transportation in Cilicia and the Amuq in the Second Millennium BC .. 6 Éric Jean, Between forest and coast: Why should we talk about the flotation of logs in Protohistoric Cilicia? .................................................................................................................................................... 7 Richard Talbert, Rivers as Pre-Modern Cartographic Challenge: The Case of Asia Minor .................. 8 Benet Salway, Rivers as Political and Cultural Frontiers between the Provinces of Roman Asia Minor ................................................................................................................................................................. 8 Catherine Saliou, The Antiochean Orontes: a city and its river, facts and myths ................................... 9 Stéphanie Anthonioz, Crossing Rivers in Antiquity: A Sign of Conquest and Victory ......................... 12 Yigit Erbil, Performing Imperial Cult: The Archaeological Survey of Fasıllar and its contribution to Hittite Cult Practices ............................................................................................................................. 25 İlgi Gerçek, Treaty, Ritual, Ordeal: Rivers in Hittite Anatolia ............................................................. 26 1 Sait Başaran (University of Istanbul, [email protected]), Anca Dan (CNRS, École Normale Supérieure, [email protected]) Hebros, the River-God ῎Εβρε, κ[άλ]λιστος ποτάμων πὰρ Α̣[ἶνον Hebros, the most beautiful of rivers, past Ainos ἐξί[ησθ' ἐς] πορφυρίαν θάλασσαν you flow into the purple sea, surging through Θραικ[...ἐρ]ευγόμενος ζὰ γ̣αίας the land of Thrace... .]ιππ[.].[..]ι̣· καί σε πόλλαι παρθένικαι πέ.[ ....]λων μήρων ἀπάλαισι χέρ[σι and many maidens visit you (to bath) their ....]α· θέλγονται το ο̣ν ὠς ἄλει[ (lovely) thighs with tender hands, they are θή[ϊο]ν ὔδωρ enchanted (as they handle) your marvelous water like unguent... Alcaeus of Mytilene fr. 45 Lobel-Page (end of the 7th cent.-beginning of the 6th cent. BC) By the end of the 7th century, the lyric poet Alcaeus, born on the Lesbos island, sang the river Hebros flowing into the northern Aegean near the city of Ainos, a foundation of his compatriots (cf. Scymnos of Chios 696-697). Although exceptional by its early date and by the importance of the river, these verses are not more than a miscellany of common places: like other Greek rivers, the Hebros is “the most beautiful”, an attribute confirmed by the vivid image of the maidens taking their bath into its sweet waters. For a modern reader, this is nothing more than an idyllic landscape. For the ancient public, however, this was a reference to an essential moment in the life of a community and of its members: the ritual immersion of a maiden who, before her marriage, would have washed herself into the river. As a “kourotrophos”, the river was not only responsible for the well-being of boys and girls, born and raised thanks to its generosity. He would have also assisted the young men and women in their passage to the adult life. Thus, by giving their virginity, symbolically, to the river, the maidens would have benefit from the river’s exceptional fertility and of his care, throughout their lives. At the end of the 1st century BC, Ovid, the Roman poet, seems to confirm this sacred image of the Hebros, for the people living on its banks. Phyllis, the Thracian princes in love with Theseus’ son, Demophon, describes the dominion she put at the disposal of the Athenians as: …latissima regna Lycurgi… The very large kingdom of qua patet umbrosum Rhodope glacialis ad Lycurgus… Haemum, Where the frozen Rhodope extends et sacer admissas exigit Hebrus aquas… itself until the Haemos covered by forests, and where the holy Hebrus discharges the waters received…. Ovid, Heroids 2.111-113 Are these passages just pure poetry, images taken from other rivers and artificially applied to the Hebros, or do they refer to a real cult of the biggest river of the Aegean Thrace? Until now, only the Roman provincial coinage of several Thracian cities – like Trajanopolis (ancient Doriskos, modern Loutra Traianoupoli, 12 km NE of today’s Alexandropolis, in Greece), Plotinopolis (near the modern Didimochito, Greece), Hadrianopolis (modern Edirne, 2 Turkey), Philippopolis-Trimontium (modern Plovdiv, Bulgaria) and Augusta Traiana-Beroe (modern Stara Zagora) – offered some clues about the perception and representation of the Hebros as a deity. By the number of his representations on bronze coins, between the 1st and the 3rd century AD, the Hebros is the most illustrated river-god, after the Nile. Most of the time, the anthropomorphic river-god is reclining to the right, with his attributes of fertility (plants, branches, “palm-trees” or poppies), navigation (prow) and source of drinkable water (overturned urn). Sometimes he passes near a fortified city (Augusta Traiana, under Septimius Severus), other times he is honored by the Tychè of one of his cities (Philippopolis, under Domitian and Hadrian). He may also lay at the foot of a Tychè, alone or with a tributary (in Hadrianopolis and Philippopolis, under Antoninus Pius and Caracalla), following the iconographic schema of Orontes and Antiochia, which goes back to the 3rd century BC. However, until today, we had no clear proof that the river was indeed honored as a god. Yet, the river-god Hebros is never represented on the coins of Ainos and, thus, never associated to Ainos’ gods. This requires a serious explanation, since the cult of the Nymphs and of Pan is one of the best attested in Ainos. From Cyriacus of Ancona until today, the Grotto of Pan on the south-western slope of the Acropolis and the niches excavated on the northern side of the bedrock, in what we suppose today to be the river’s northern harbor, drew the attention of travelers and archaeologists. In 1987, during the excavations in the Taşaltı Nekropolis, Sait Başaran and his team discovered two fragments of a marble relief which could be joint together. The restored piece, preserved today in the Edirne Museum, measures 19, 5 x 17, 5 cm; the inferior part is rectangular, and the superior part is vaulted. Inside a frame ca. 5cm large, there is the anthropomorphic representation of a reclined river-god, from which we can still see the lower part of the body: the left hand was put on the reversed urn, from which water flows along the covered legs of the god; the right hand rises a “palm-tree” or rather a bunch of poppies – as many other river-gods on Roman coins. At his foots, three women, dressed in the traditional Greek chiton, are staying and looking ahead: they represent a group of nymphs, often depicted and honored together in Thrace, in cities which benefited from natural sources with curative functions (and thus baths). On the upper part of the frame which is still preserved, one can read the dedication to “Kyrios Hebros” (in dative), the master river god of Hebros; on the lower base, there is the name and the patronym of the one who made the vow (εὐχήν): the son of Ioulios, Chrêstos (?). The shape of the letter, as the general aspect of the sculpture, corresponds to the 3rd century AD. The closest parallel to this scene is a bronze coin of Traianopolis, stuck under Septimius Severus (193-211), by the hêgemôn Statilus Barbarus. The three nymphs – often interpreted as “Charites”, although they are dressed, are situated beyond the reclining river-god and bear specific objects; moreover, the two lateral feminine figures look toward the central one, making the scene more vivid and more complex than on the Ainos relief. Given the lack of space on the coin, the river god bears no attribute in his right-hand. On the basis of this documentation, our preliminary conclusion is that the Ainos relief is a copy of a previous model. There are three possible models: 1. the coin of Traianopolis (with the addition of the “palm-tree”, a common attribute of rivers); 2. another monument famous enough in Traianopolis in order to be copied on the provincial coins of the city; 3. another common model of votive reliefs which are now completely lost. 3 If the Ainos relief is the first representation of the Hebros river-god on another support than the coins, the three nymphs are often illustrated in Thrace, not only on coins, but also on marble or stone reliefs. As Louis Robert noticed almost 50 years ago, these three nymphs are associated with cults of springs, in particular with the hot springs, used in Roman spas – like in the nymphaeum of Burdapa (modern Ognyanovo, in the Bulgarian district of Pazardzhik, in the ancient territory of Philippopolis, on the upper course of the Maritza/Meriç/Hebros) where dozens of votive plaques bearing dedications to the three nymphs and dating back to the 3rd century AD have been discovered and published since the end of the 19th century. In several cases, these healing nymphs are adored as “masters, kyriai”, exactly like our Hebros-god. To our
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