摘要: Justification of Outstanding Universal Value　　Zeugma is home to archaeological remains that reflect the complicated, sometimes ambiguous, yet extremely varied character of the ethnicities which mingle

Justification of Outstanding Universal Value

　　Zeugma is home to archaeological remains that reflect the complicated, sometimes ambiguous, yet extremely varied character of the ethnicities which mingled within the city to form new syntheses. Most of these remains date from the period between the first century BCE (the time of Antiochus, king of Commagene) and the third century CE, when the city was sacked by the Sassanian King Shapur in 253 CE.

　　The site is the foremost city of the eastern frontier of the Hellenistic and Roman worlds possesses structures which shape and decoration were formed by that unique position such as two syncretistic sanctuaries that attained unparalleled features under the Commagene Kingdom (64 BCE-72 CE) and Roman houses decorated with exquisite mosaics mostly dated to the 2nd and 3rd centuries CE.

　　Zeugma has a unique position in Commagene since syncretised cults and the ruler cult of the Commagene kingdom are represented by two sanctuaries consecrated by Antiochus in the city. These are the main sanctuary on top of Belkıs Hill and the sanctuary in the Hellenistic Agora. Archaeological findings unearthed during the excavations carried out in these sanctuaries show that the city played a key role in Antiochus’ efforts to link the Greek and Persian cultural spheres, in accordance with the kingdom’s key position between these two worlds, on the Euphrates. On Belkıs Hill, where the city's foremost sanctuary is perched, three colossal cult statues have been discovered, while many others were found in pieces on the slopes of the hill. These statues most probably belong to the deities of the Commagenian pantheon. This sanctuary is the single example in Commagene where both Antiochus' syncretised Commagenian pantheon and his ruler cult are represented with several cult statues in a temple or a temenos (sacred enclosure wall).

　　The Roman houses of Zeugma are in the style of city villas with courtyards, covering around 600-800 square meterseach. What makes the houses especially important is that after being demolished during the devastating Sasanian sack of the city in 253 CE, they were mostly uninhabited and kept intact. As such, in a way comparably to Pompeii, due to its dramatic end, the site is a depository of invaluable information on daily life in a major Roman frontier city in the mid-third century.

　　The architectural decoration of the houses mainly consists of exquisite mosaics and frescoes. Zeugma mosaics are a unique collection of pictorial art reflecting private taste in a cosmopolitan city in the Hellenistic and Roman East. The figural mosaics include unique pictorial renderings of ancient literature and mythology. The mosaics found in the Roman houses at Zeugma date to the 2nd and 3rd centuries CE, and depict scenes from Greek and Greco-Roman mythologies and popular novels, some with captions in Greek. Some also bear signatures of mosaicists as well as names of patrons who commissioned the implementation of the mosaics. Most representations of mythological scenes in Zeugma mosaics are so far ichnographically unknown, unique depictions that might be emulating famous works of the Roman World.

　　Criterion (ii): The archaeological site of Zeugma is of immense historical significance for understanding the ancient integration of Hellenistic and Semitic cultural spheres and the birth of syncretistic hybrid cultures in the region.

　　Zeugma has a unique position in Commagene since syncretised cults and the ruler cult of the Commagene kingdom are represented by two sanctuaries consecrated by Antiochus in the city. These are the main sanctuary on top of Belkıs Hill and the sanctuary in the Hellenistic Agora. Excavations carried out in these sanctuaries revealed important findings such as the dexiosis stelai showing Antiochus in hand-shaking position with the Gods, which have intrinsic importance for the cult of the Commagenian pantheon and Antiouchus' ruler cult. On Belkıs Hill, where the city's foremost sanctuary is perched, three colossal cult statues have been discovered, while many others were found in pieces on the slopes of the hill. These statues most probably belong to the deities of the Commagenian pantheon. This sanctuary is the single example in Commagene where both Antiochus' syncretised Commagenian pantheon and his ruler cult are represented with several cult statues in a temple or a temenos (sacred enclosure wall).

　　Archaeological finds from both sanctuaries in Zeugma show that the city played a key role in Antiochus’ efforts to link the Greek and Persian cultural spheres, in accordance with the kingdom’s key position between these two worlds, on the Euphrates.

　　Criterion (iii): There are many Roman houses decorated with exquisite mosaics and frescos mostly dated to the 2nd and 3rd centuries CE. Zeugma mosaics are a unique collection, of pictorial art reflecting private taste in a cosmopolitan city in the Hellenistic and Roman East. The figural mosaics include unique pictorial renderings of ancient literature and mythology. The mosaics found in the Roman houses depict scenes from Greek and Greco-Roman mythologies and popular novels, some with captions in Greek. Some also bear signatures of mosaicists as well as names of patrons who commissioned the implementation of the mosaics. Most representations of mythological scenes in Zeugma mosaics are so far ichnographically unknown, unique depictions that might be emulating famous works of the Roman World. Zeugma is home to an immense treasury of ancient pictorial arts.

　　The Roman houses of Zeugma are in the style of city villas with courtyards, covering around 600-800 square meterseach. What makes the houses especially important is that after being demolished during the devastating Sasanian sack of the city in 253 CE, they were mostly uninhabited and kept intact with all their finds. As such, in a way comparably to Pompeii, due to its dramatic end, the site is a depository of invaluable information on daily life in a major Roman frontier city in the mid-third century.

　　Criterion (iv): On Belkıs Hill, where the city's foremost sanctuary is perched, three colossal cult statues have been discovered, while many others were found in pieces on the slopes of the hill. These statues most probably belong to the deities of the Commagenian pantheon. This sanctuary is the single example in Commagene where both Antiochus' syncretised Commagenian pantheon and his ruler cult are represented with several cult statues in a temple or a temenos (sacred enclosure wall).