TAILIEUCHUNG - PREHISTORIC & PROTOHISTORIC CYPRUS Phần 6

Tham khảo tài liệu 'prehistoric & protohistoric cyprus phần 6', ngoại ngữ, anh ngữ phổ thông phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả | 240 ProBA Cyprus 202 . Some may refer back to earlier monuments or structures to remembered places eliciting a memory of landscape or recalling ancestral traditions. Others are built in new settings that both draw upon and alter the meanings of the landscape. Monumental buildings and public monuments can help to form and express a long-term link between the social memory or ideology of an elite group and a certain place they also serve to represent and promote that group s identity power and authority DeMarrais et al. 1996 18-19 . On Cyprus Webb 1999 157-61 argues that ritual monuments and buildings had assumed their own distinctive traditions and style by the ProBA 2 period LC IIA . These monumental structures which reveal their clearest form in Cyprus s town centres during the ProBA 3 period . Kition temples Enkomi s sanctuaries were rectangular buildings some freestanding situated within or next to an open unroofed courtyard often termed a temenos . These courtyards are thought to have served multiple functions . separating the sacred from the profane providing access to the actual sanctuary or temple . Alternatively they may have served as a meeting place for specific social occasions or as a gathering place for more transient incidental exchanges on the distinction see Fisher 2006 125 . Most of the so-called sanctuaries are two-roomed structures with a roofed hall and another roofed room termed an adyton or cella and referring to a small space where the image of a deity and or other related cult apparatuses were stored . Webb also notes the existence of three- four- and even five-room sanctuaries the other rooms usually defined as vestibules or additional adyta. At times the general characteristics of Late Cypriot cult buildings discussed by Webb seem to have as many exceptions as rules. Moreover she consciously seeks to establish her case for ritual architecture by the repeated use of terms rendered in quotation marks here that define classical Greek .

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