Rezan Has Museum has conducted a collective work aiming to present a seamless historical process with works covering a broad period from the Prehistoric Age to the Seljuk Empire. In the exhibition, besides displaying the works pertaining to various civilizations that has settled in and around Anatolia between 6500 B.C.- 1500 A.D. chronologically, they are also exhibited thematically within their own historical processes with arms, figurines, idols and lighting tools. In the exhibition, a bronze bathtub, Urartian pins, obsidian arrow tips, harnesses for horses, devotional sculptures, oil-lamps and terra-cotta sculptures may be seen besides the authentic works that have never been exhibited before.
Image of a group of ornamental pins.Decorative pins constitute an important group among Urartian jewelry types. Urartians developed and diversified the earlier tradition of decorative pins and added new products to the repertoire. Urartian decorative pins are generally cast. Bronze is the most preferred metal, followed by silver, gold, gold-plate and bone.
A belt composed of five fragments. All the fragments were attached together and the missing parts were completed. The outer border is perforated with small string holes with short gaps between them. A studded molding delimits the outer border of the decoration scene. The figures on the decoration surface proceed toward each end from the center of the belt, in three rows of similar type, one on top of the other. The figures were generally arranged symmetrically. The figures and cavalry on the hunter vehicle hunt mythological creatures as well as lion and bull. Hunting chariots and cavalry are hunting lions, bulls and mythological creatures. In addition, some mythological creatures are depicted hunting their own kind. The figures are placed alternately one after another, in a line. Three-foot soldiers with hunting equipment are placed on top of each other at the right end of the belt. Three winged divine figures with hunting equipment are placed on top of each other at the left end of the belt. A total of 99 figures are depicted in 33 successive columns on the belt. There is a loop-shaped buckle at the right end of the belt.
Cross made of silver and glazed with gold with carved decoration of Jesus Christ at the center, Virgin Mary at the left arm and Ioannes Prodromos at the right arm. There are inscriptions above each figure saying "IC XC / Ihtus Christus= Christ the Redeemer above the Christ; Meter Theou= Mother of God above Mary and Ioannes Prodromos above Ioannes".
Marble idol of a mother goddess. Mother goddess idols are the reflections of the fertility. In the ancient world, these figurines were the main emblems symbolizing woman's fertility, her social status ans sanctity which may still be attributed to her. In general,, breasts and hips are depicted in an exaggrated manner. There are also depictions of goddess figurines shown while giving birth. It is obvious that the figurines depicted with leopards on both sides, as symbol power, represent a holy power which dominates nature. Fertility, the descendance of the line or the symbols of plenty are the concepts that have shaped the faith in the manner of goddess in Anatolia, reflecting a tradition thousands of years old. Together with the farming societies appeared in Anatolia for the first time, this concept is identified with the fertility of the earth. Woman's fertility was matched with the fruitfulness of the earth. These figurines, especially known by the examples coming from Neolithic and Chalcolithic layers in centers like Çatalhöyük and Hacılar, were schematized in time and continued to be used.
Project Manager: Zeynep Çulha
Academic Advisory Board: Prof. Önder Bilgi, Prof.Gülgün Köroğlu, Assoc.Prof Rafet Çavuşoğlu, Gülcan Kongaz, Haluk Perk