Anatolian art and architecture
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Anatolian art and architecture, the art and architecture of ancient Anatolian civilizations.
Anatolia is the name that is currently applied to the whole Asian territory of modern Turkey. Its western half is a broad peninsula connecting the continent of Asia with Europe. Because the country lacks geographic unity, its component regions being widely differentiated in climate and economy, early students of antiquity doubted the probability of its ever having acquired an overall cultural identity and considered its contributions to ancient art to have been provincial and intermittent. Archaeological research in more recent years, however, revealed in Anatolia a deep-seated aboriginal culture productive of ideas that are reflected in the art of the peninsula throughout its history.
Written history in Anatolia commences with the introduction of cuneiform writing (composed of wedge-shaped characters) by Assyrian merchants resident at Kanesh (Kültepe) and elsewhere in the 19th and 18th centuries bc. A conventional terminology is used in reference to the previous ages, knowledge of which is entirely dependent on the results of archaeological excavations. The earliest of these periods, the chronology of which is still imprecisely defined, are the Neolithic and the Chalcolithic. An Early Bronze Age takes up the greater part of the 3rd millennium bc. During the Middle Bronze Age the central Anatolian principalities with whom the Assyrian merchants were in contact were amalgamated in the Hittite old kingdom (c. 1700–c. 1500 bc), and in the Late Bronze Age they made up the homeland of the Hittite empire (c. 1400–c. 1190 bc). The seven centuries that followed are loosely referred to as the Iron Age.
Neolithic and Chalcolithic periods
Anatolian excavations have done much to illuminate the genesis of visual arts in the earliest settled communities. In a Neolithic setting, at ?atalhüyük in the Konya plain, a township covering more than 15 acres (6 hectares) and dating from the 7th millennium bc was found. The houses, already built of sun-dried brick, were contiguous, each having several rectangular rooms similarly planned and accessible only by a wooden ladder from a flat roof. These interconnected roofs provided space for the communal life of the inhabitants. Religious shrines were elaborately ornamented with animal heads or horns, either real or imitated in plaster. Walls were decorated with coloured murals, repeatedly repainted after replastering. The subjects of the paintings were ritual hunting scenes or obscure occult imagery, both themes recalling those of Paleolithic cave paintings. Sculpture in bone or stone was fashioned with remarkable skill, either as ornament or as cult effigy.
At Hac?lar, a Chalcolithic site near Burdur, Turkey, village houses were entered at ground level; their standard plan shows the first evidence of conscious architectural symmetry. Much in evidence among the contents of these houses is pottery painted with extremely decorative designs. The same ornament was applied to anthropomorphic jars and stylized human idols found in graves. A higher standard of modeling, however, was attained in unpainted clay figurines—steatopygous females, some seated or reclining, others holding a child or tame animal.
At Hac?lar some provision was made for communal defense by the strengthening of contiguous buildings on the periphery of the settlement. In a 5th-millennium level at Mersin, in Cilicia, there is a purposefully planned military fortress, with slit windows in its protective wall, a towered gateway, and standardized accommodation for the garrison.
Early Bronze Age
In the Early Bronze Age the further development of military architecture is best illustrated at Troy, where parts of a fortress were uncovered. The most convincingly reconstructed plan dates from the second phase of the Early Bronze Age (c. 2700–c. 2500 bc). It shows a polygonal enclosure, hardly 300 feet in diameter, surrounded by heavy mud-brick walls on a stone substructure. There is a single gateway, with strongly built flanking towers and gate chambers, guarding the approach through a narrow sloping corridor. Most prominent within the enclosure is a large public building thought to be an assembly hall, built to the so-called megaron plan, which two millennia later was to dictate the form of a Greek temple. Approached through an open portico, the building consists of a megaron—a wide rectangular hall with an enormous central hearth. Near it is a second, less substantially constructed building that is thought to have been the residential palace, since hoards of gold ornaments and other precious objects were discovered buried beneath it; the archaeologist Heinrich Schliemann named these objects Priam’s Treasure.
At Beycesultan, buildings that were almost certainly religious shrines were uncovered—a find of some interest, since temples are virtually unknown in Anatolia at this period. Rectangular shrine chambers seemed to be arranged in pairs, with ritual installations recalling the Horns of Consecration and Tree, or Pillar, cults of Minoan Crete. A palace building at the same site, dating from the Middle Bronze Age (c. 1750 bc), had reception rooms at first-floor level, also in the Minoan manner. In common with most other Bronze Age buildings in Anatolia, its walls were composed of a brick-filled timber framework on stone foundations. The private houses of this period at Beycesultan were all built on the megaron plan.
The art of the Anatolian Early Bronze Age is best represented by metalwork from royal tombs at Alaca Hüyük, in the bend of the Halys River (modern K?z?l River), and from two minor sites in Pontus—Horoztepe and Mahmatlar. At Alaca Hüyük, in particular, members of a ruling family were buried among the paraphernalia of funerary ritual, accompanied by their personal possessions: weapons, ornaments, toilet articles, domestic vessels, and utensils (made of gold, silver, and bronze). One dagger has a crescent-shaped handle and a blade of iron—a metal known to have had many times the value of gold at this time—and among the ornaments there is a fine gold-filigree (openwork made with metal wire) diadem. Equally striking was the variety of objects associated with the funerary ritual: figures of animals (such as stags), finely wrought in bronze and inlaid with silver, and strange openwork grills of bronze, sometimes adorned with animals (see ). These objects were probably mounted at the heads of poles supporting a catafalque or canopy. There are also freestanding metal figurines, one of bronze with boots and breasts enriched with silver.
From these luxury objects found at Alaca Hüyük, together with those found at Troy and elsewhere, scholars have concluded that processes known to the Anatolian metalsmiths of the Early Bronze Age included casting by cire perdue, hammering or repoussé work, sweating or soldering, granulation (decoration consisting of tiny spheres of gold soldered onto a background), filigree, and cloisonné inlay. Carnelian, jasper, nephrite, obsidian, and meerschaum were all used for ornament.