Gulyás Katalin et al. (szerk.): Tisicum. A Jász-Nagykun-Szolnok megyei Múzeumok évkönyve 27. (Szolnok, 2019)
A Közel-Kelet régészete - Kalla Gábor: A kert, az állatok és a vadászat szimbolikája a kora bizánci templomok mozaikpadlón Ikonográfiai motívumok értelmezése és átérelmezése
KALLA GÁBOR: A KERT, AZ ÁLLATOK ÉS A VADÁSZAT SZIMBOLIKÁJA A KORA BIZÁNCI TEMPLOMOK MOZAIKPADLÓIN. IKONOGRÁFIÁI MOTÍVUMOK ÉRTELMEZÉSE ÉS ÁTÉRTELMEZÉSE VIDA Tivadar 2017. Die frühbyzantinische Messingskanne mit Jagdszenen von Budakalász. Budapest. WINTER, Irene 1981. Royal Rhetoric and the Development of Historical Narrative in Neo-Assyrian Reliefs. Studies in Visual Communication 7., 2-38. (^WINTER, Irene, On Art in the Ancient Near East I. Of the First Millennium B.C.E. Leiden - Boston 2010,3-70.). WISSKIRCHEN, Rotraut 2009. Zum „Tierfrieden“ in spätantiken Denkmälern (nach Gen 1,29, Jes 11,6/8 und 65,25). Jahrbuch für Antike und Christentum 52 (2009) 142-163. WRIGHT, James C. 2004. A Survey of Evidence of Mycenaean Feasting. In: WRIGHT, James C. (ed.) The Myceanean Feast. Princeton. 13-58. GÁBOR KALLA The symbolism of the garden, animals and hunting on the floor mosaics of early Byzantine churches The interpretation and reinterpretation of iconographie motifs In early Byzantine iconography the dichotomy of bloody animal fights, hunts and animals living next to each other in peace in a paradisiac scene is discernible. This contrast does not only come from the difference between the spheres of the profane and the sacral, but can be found in the pictures’ programs on the floor mosaics of the churches as well. One starting point of the paper is a work of art of outstanding quality found in the Carpathian Basin, the jug of Budakalász, the side of which is ornamented with hunting scenes, and the other is a floor mosaic with a scene of paradisiac harmony, found in the vestibule of a Syrian monastery church (Tell BT’a). The manifold iconographie programs of the churches satisfied many needs, and accordingly they drew from several different sources. The essence of early Christian visual symbols was that they implied truths that are not obvious, invisible and undetectable by the senses and they made the believers think. Ail this made the motifs of profane origins usable as well, reinterpreting their message. In hunting or animal fighting there already lied the duality of life and death, and this, in opposition with the vision of prophet Isaiah, who described eternal peace brought by the Messiah as the peaceful co-existence of ruminants and carnivores in a paradisiac garden, warned about the transitory character of earthly existence, and it evoked death and passing, over which only divine salvation can triumph. 139
