Anadis | Ananva 40,2014 T SareAgoink HEADDRESS FASHIONS AND THEIR SOCIAL SIGNIFICANCE IN ANCIENT WESTERN ANATOLIA: THE SEVENTH THROUGH FOURTH CENTURIES BCE “Bu serbusin adina sapkea desler” 27 Ajystes 1925, M. Kemal Atativk Tuna SARE AGTURK” Key Words. Costas History * Anant Handdress Fashions * Polos * Vaiing * Ancient Anatolia Abaract: This study awestgates the most popular henddtess chions in ancient Wester Anatolia as detected a the sate of the sepion from seventh to fourth cenfune: BCE, The orgie ofeach headrests porible meng within, the socioultunl context, ands oocmence a Greek and Near Eastem ioonogmply ae ako dscwied The eam ston of the most popubr hex daerses i chased under five typologeal categorer, ple, vel, Bilis gf rou, andthe Pluygan cap. Examples come fom mprerentations mt dierent meda, nuging fom wall punting and ach tectunl sept to seuiprive ithe round and sony statuettes "The study reveake tint some ofthe henddzeres sth ae the ate and vel oighate in Bronze Age Atatoln, wile others Ue Jae was strodneed to Aratolan costume ‘Schion and amagery though the Achiemenid sufuence Besides providing 2 typologial chesifiation of Anatelaa. Deaddzers smagey, the clove exmumation of the “hngiage of hesdévers” in ancient Anatol hints at the s0ci- cul and rebigiowe associations ofthe exch sion ar wes the roles and state ofthe weer. The pate and ve, forexamples, cold be seited tothe popubty ofthe fetty cus in Anatolia and matronly state, whe the bate ‘Schion among anstocratic men awakes the wets’ assocation wath the Pema nobilty or cowtly-aiaty state KIYAFETIN DILL: ANTIK BATI ANADOLU'DA SAPKA VE BASORTUSU MODALARI Anahtar Kelimeler Kostins Tari * Sapa Modolan * Polos * Bazortiasi* Artie Anodolt Gx: Bu galgmads Annik Bit Aradohfé MO 7. ve 4 yizyllan aneaid popiler ol sapka ve bagdriet geste, saiutal tsvaierden yoh gintink ieeenmti Calg Japramunds inindan twirl, dovar vemiden, memer Iejlellere, minan sislemeerden, igs heykelitere cok csith wulzemelerden sepimigtr Pople bask cept ‘beg am tipoloikiategonde ele almmghr pues, pon cy, bagertati/duwnk, wants bash ve Fog saplast Ele luo eibir bap modiet gin Koken angtuman yap, gaplanm Yun ve Yakm Doga deonogadsandehi vert aneelenerek, Amdoht Jlncel ortamanda sembolze effi mmitemel sosjal kinkidere definimigur Bu anstma sone fale ve bagOrtin gibi baz baghk modalamun Teng Gags Anadohettma dayacken, uaatisbaphkobinke adndmian modanu 5 yinglda Pers ete sonic givim rpertaima gadgi gordighis Bu glam, Ante Amado Janet tavierine upolojik bir smuflndima Yazandamacmn yas sm, Jayatetin QW yap dan yok ciara, kk modal sosyo-hiftel we pote Paghnitiay, bu modabia wp gyms oink svi eden glen role ve tater incelayeek antic Amado soraltaau de aydaistmaya galzar Bu baghunda, pales ve bagdxtit Amadot popstar oln beret nied ve aul stiri de, azstolntexkeker anu mods olin Want bagi ie Pere Jalen yank ve asker aml de detent “Tima Sar Ainink, Assiront Prefisar of Art Histey at Canatéale Onuki, Mart Univrsiy, emai amasare@goral come 6Headdras Fashions and Thor Social Sigufcnce in Anciot Wester Anatiia Introduction This asticle examines the most popu- lacheadekess fashions in ancient Wester Anatolian att from seventh to fousth centusies BCE! By the end of seventh century, Westem Anatolia was populated by a number of ethnic groups including Phaygians, Lydians, Lycians, Eastem Greeks, Casians, Mysians, and Pessians From the mid sixth century to the con quests of Alexander the Great in the late fourth, the egion semained under the political hegemony of the Achaemenid Pessians* These is little lterasy evidence for the Anstolians dusing this time, what exists tends to descuibe the people and society from an outsiders pespective and mainly focuses on political develop- ments,’ Archaeological evidence from the segion, however, provides useful infor mation about this culturally divesse socie- ty. Especially impostant is the figural imagery, which represent Anatolians clad in different costumes. A buief seview of this imagery is enough to hint at the im- pottance of distinctive headdeesses Ana- toliane chose to wear Much information can be gained by analyzing these images as “indigenous” sources for understand ing how Anatolians defined themselves and responded to the socio-political in- fluences through their costume fashions This investigation of the popular headdsesses is classified under Sve typo- logical eategouies; polos, veil, bashivh, griffon From now on allt dite ae BCE, rales and cated othersise © Athowgh Perian sataps were the central power, Toca) rales gained and lost andependent contol oftheir tenifone: from tane to tne Hrodotte Histories Book I crowm, and the Phaygian cap. The study teaces the osigins of each headdsess and its existence in Greek and Near Eastem iconogsaphy. Through the seading of the “language of dress”, this examination also explores different social soles and status each headdsess conveyed within the so- cio-cultural context. Examples come from sepresentations in different media, ranging fom wall painting and architec~ tural sculpture to sculptuse in the round and ivory statuettes. Overall, the typolog- ical discussion of the popular headdress fashions seveal the existence of a distine~ tive “Anatolian” dress fashion shared among the vasious ethnic groups of Ana~ tolia dusing the time in question. Some of the headdsess fashions such as the poles and veil otiginate in Bronze Age Anato- lia, while othess like bashiyk seem to have been introduced to Anatolian costume fishion and imagery through the Achaemenid influence. Besides providing a typological classification of Anatolian headedsess imagery, this study ceveals why Anatolians chose to wear cestain head- duesses of be represented as weaning them and to what kind of a social or a seligious statement did a gament allude to. The polos and veil, for examples, seem to have been wom in association wath the popular festility cults in Anatolia and ‘while the bashiyk fashion among asisto- cratic men invokes nobility or coustly- aailitary status, 1) Polos A cylindsical headdress without a bbsim, the polos is one of the most popular headdkesses wom continuously by Ana- tolians throughout the ages. The early occussence goes back to the sepresenta-Anadis | Ananva 40,2014 tional ast of the Bronze Age. The Hittite goddesses on the 14" centusy relief at Yaziidkaya, for example, wear a high- polos* Later depictions of the poles, wom both by men and women, susvive in undid of images from Archaic to Roman times on a vasiety of monuments ranging fiom sculpture to mosaics, The headdzess is still in use today as past of a ceremonial dkess, especially in nuptial contexts, in the villages of central Anato- lia? As is the case today the poles in an~ tiquity must have been made usually of felt or leather orin some cases, of woven, plant tenduils. Representations indicate vasiations in size and decomation. The height of a poles could be just a few cen- timetes, of it could assume considerable proportions, as in the headdress of Kybele (Fig. 1a). The floral or geometsic pattems on some indicate that the oxig- nal folbi wese embroidered or decorated with appliqués An eadly example of a polos with em- broidesed os appliqué decoration appears on the head of Kubaba from the Long Wall selief& of late tenth century Car chemish (Fig. 1b). The polos, the goddess weas undemeath her long veil, projects upon an enclosed band, from which the goddesses’ hom extends at the forehead. Almost thee centusies later a similar polos appeass on the wooden statuette presum- ably of Hesa from Samos, an Aegean island with close cultural ties to Archaic Anatolia (Fig 1c)‘ Since the Samian © See Alzugal 1962, Pg 77 © Repecilly a: part of the bridal corte, see Gzder 1998, Pig 73-8 © Decovered in 1961 i German excavations of the T SareAgoink xeanan, the cult image after which the statuette is presumably modeled was dissed with seal clothing and jewels, this poles almost cestainly seflects an actu- al ceremonial poles wom by the cult im- age” The tall headdsess makes up almost cone fousth of the height of the statuette (which is 28 ce). Like the Caschemish poles, the long body of the Samian pales, ‘which site on an enclosed cap, is decorat- ed-with squates containing floral designs and is open at the back Though this con- figuration is unique in the Anatolian sep- estoixe, reptesentations of similar poli, hollow of open at the back, susvive in seventh centusy Crete Since itis open at the back, Ridgway calls the Samian head- ddsess a “mitsa” sather than a polas and she considess this arrangement of the head- dusss as indicative of pesishable of se movable precious matenal’ The meaning of the Greek word “mitts,” howeves, is problematic. It was used to sefer to vasi- cous shapes of clothes wom over different patts of the body by either sexe in antiqui- ty." The shield-like tall appeatance of the Samian headdsess may signify the sole of the goddess as the protector of the cita- Hlenion I, the wooden stmette was dated to round 640, It aesumed tht the mate sat sett based on the orga xoanon kept side the temple, s08 Kyrie 1990 and ako Ridgway 1993, 28-28 Ridgeay (993, 28-28) points out tht the exly date ofthe wooden statuette, 640, assumes i oig- faa prototype a2 wooden. onion, ota stone seclptiue, since stone carving was 3¢ ie exhest stage m the mid event cetay Kies 1990, 99 Nr 51-39. Ako a female Sgsae om a mid seventh centay reef amphora from (Melos clay wear 2 vitor Wee polor xeag only cm the front of the herd. Broneer 1971, 31, PZ Se Ridguay 1990, 27, Hiren 3000, 292-203. 4