Lycian tombs in the Kibyratis and the extent of Lycian culture

Gay, Kirsten A.; Corsten, Thomas

doi:10.1017/s0066154600000740

Cited by 5 publications

(3 citation statements)

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“…124), Pinara, and Mira, and also the rock-cut tombs of Telmissos and Antiphellos, and the Lycian tombs in the Kibyratis (fourth century B.C.) (Gay and Corsten 2006: figs. 2.3.7, 12.16, 17).…”

Section: Qizqapan Dating Based On Its Componentsmentioning

confidence: 99%

Qizqapan: A Rock-Cut Tomb From the Median, Achaemenid, Seleucid or Parthian Period?

Rezaei¹

2021

Iraq

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More than eight decades have passed since Edmonds's introduction to the rock-cut Tomb of Qizqapan, yet there are still ambiguities and questions regarding a number of aspects, specifically its dating. Different dates from the Median, Achaemenid, Seleucid, and Parthian periods have been proposed for this monument. However, out of all the proposed eras, none has been fully accepted by the majority of archaeologists, and disagreements regarding the date still continue. This article reviews and analyses previous proposals and discusses and evaluates other elements which affect the dating of this monument. The results show that by taking into account several factors, the most probable date for this tomb is the fourth century B.C., contemporaneous with the late Achaemenid and the early Seleucid period. The conclusion is that Qizqapan does have a Median identity but not a Median period date.

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Section: Qizqapan Dating Based On Its Componentsmentioning

confidence: 99%

Qizqapan: A Rock-Cut Tomb From the Median, Achaemenid, Seleucid or Parthian Period?

Rezaei¹

2021

Iraq

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“…The house tomb is the most abundant and famous of the Lycian monumental tombs, and new tombs are still periodically discovered in the regions around Lycia, with nearly 1000 known examples to date (e.g., Gay and Corsten 2006). House tombs were built in the shape of small buildings, with crossbeams and roof beams carved in imitation of wood, and false windows and doors along the sides.…”

Section: House Tombsmentioning

confidence: 99%

Of Winged Women and Stone Tombs: Identity and Agency through Iron Age Lycian Mortuary Architecture

Selover¹

2021

Religions

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The people collectively named the Lycians in modern scholarship are the best represented of the western Anatolian first millennium BC cultures in terms of philological, historical, and archaeological data. This article seeks to better understand the meanings behind Iron Age Lycian mortuary monuments and religious images, and how they reflect Lycian identity and agency in a time of political turmoil. By studying the Lycian mortuary landscape, tombs and images, we can begin to comprehend Lycian perceptions of the afterlife, religion and cultural identity. In particular, we look to the images of the so-called “Harpies” and “Running Men” to better understand evidence of the afterlife, connections to the past and the creation of their own identity of what it means to be Lycian. The study of Lycian mortuary trends, monumental architecture, and religion gives us a small but tantalizing view into the Lycian understanding of religion and death, and how they wielded their own culture as a tool for survival in a politically fraught world.

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“…Shortly afterward, Perikle and the younger Trebennimi (possibly Perikle's brother) emerged as the joint rulers of Limyra in the east (Keen 1998: 156, 166-67). After the death of Trebennimi, Perikle became the sole ruler of Limyra and established his military power in eastern and central Lycia (Milyas, Rhodiapolis, Korydalla, Phaselis and the Lycian cities of northern Cibyra are listed as among the cities captured by Perikle; see Borchhardt 1999a: 40-43;Gay, Korsten 2006). Perikle then moved west, defeating Xanthian Arttumpara (the new ruler of western Lycia, appointed by the Persian satrap Autophradates after the death of Erbinna) and annexing Telmessos, and thus uniting most of Lycia under his rule.…”

Section: Fig 1 Map Of Lycia (By Onur Bamyacı)mentioning

confidence: 99%

The sculpture of the Heroon of Perikle at Limyra: the making of a Lycian king

Şare¹

2013

Anatol. Stud.

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As one of the many monumental tombs of fourth-century BC Anatolia, the Heroon of Perikle at Limyra is usually overshadowed by the earlier and better preserved Nereid Monument of Xanthos. Its owner, Perikle, is seen as either a mediocre pro-Achaemenid dynast or a fan of his namesake, the Athenian strategos, a view reflected in previous assessments of the stylistic pedigree of the tomb’s ornamentation. But a re-examination of the Heroon’s sculptural programme that places the cella friezes, karyatids and akroteria within their historical context shows the tomb to be Perikle’s announcement of his status as the first military king of Lycia. The Heroon of Perikle reflects associations with both the buildings of the Athenian Akropolis and Persian iconography, but these elements were appropriated to serve the political agenda of Perikle and his later hero cult.

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Lycian tombs in the Kibyratis and the extent of Lycian culture

Cited by 5 publications

References 5 publications

Qizqapan: A Rock-Cut Tomb From the Median, Achaemenid, Seleucid or Parthian Period?

Qizqapan: A Rock-Cut Tomb From the Median, Achaemenid, Seleucid or Parthian Period?

Of Winged Women and Stone Tombs: Identity and Agency through Iron Age Lycian Mortuary Architecture

The sculpture of the Heroon of Perikle at Limyra: the making of a Lycian king

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