Researchers have revisited the mosaic of the Birds Room in the so-called Villa of the Amazons, excavated between 2006 and 2009 at the archaeological site of Halepli Bahçe in the ancient city of Edessa, located in southeastern modern-day Turkey.
The stunning adorned the floors of all 12 rooms in the Villa of the Amazons, which likely belonged to a high-ranking official of the Eastern Roman Empire during the 5th to 6th centuries AD. The building got its name from the depictions of legendary warrior women.
Scholars have been studying the villa since its discovery, but they have now decided to take a fresh look at one of the mosaic masterpieces of this elite structure.
Lotus Flowers and Marsh Birds
Researchers revealed that the remarkable mosaic on the floor of the Birds Room is a rare example of Nilotic culture. This artwork uniquely blends influences from ancient local peoples, Ancient Egypt, and the Eastern Roman Empire.
Nilotic culture encompasses the various cultures of the peoples inhabiting the Nile River basin and adjacent territories.
The Birds Room, or Room 5, is centrally located in the villa. This largest and most prominent space (10.8 x 16.5 m) likely served as the main reception area in its time.
Although much of the floor mosaic is damaged, the preserved fragments indicate the high skill level of the artist who created it.
In the decorative border of the mosaic, one can see stylized lotuses as well as images of waterfowl, including ducks, cranes, storks, ibises, and coots, which symbolically reference the Nile River and its fertile delta.
Researchers believe that the motifs of the Indian lotus (Nelumbo nucifera) depicted in the mosaic are intentional. The plant, shown at various stages of growth (from buds to seed pods), is closely associated with fertility, rebirth, and abundance in ancient Egyptian beliefs. Lotus imagery is prevalent in Nilotic art, and its presence in the villa in Edessa underscores the far-reaching influence of Egyptian culture on the aesthetics of life in the Eastern Mediterranean at that time.
Unlike earlier Hellenistic mosaics featuring naturalistic river scenes, the floor panel of the Birds Room lacks any depiction of water.
In the western part of the mosaic, one can see one of the most intriguing scenes: in a small chariot lie headless male and female figures. The man is partially naked, while the woman holds a fruit—a traditional symbol of abundance, as reported by Arkeonews.
Scientists believe this scene alludes to the Nile and the ancient Greek goddess Euthenia, who symbolizes prosperity and abundance. Similar depictions can be found in Nilotic mosaics in Syria and the Levant.
If this interpretation is correct, the mosaic in the Birds Room is a rare example of Nilotic symbolism integrated into the context of a private residence in Anatolia.
Researchers also assert that there was once a large hunting scene at the center of the mosaic. Today, only a male figure in a short tunic and trousers (typical attire for hunters in late Roman art) remains, holding a spear. Next to the man are stylized trees, shrubs, and rocky outcrops.
Why This Mosaic Matters
The significance of the mosaic in the Birds Room lies in its rare combination of Nilotic tradition and hunting scenes, which is uncommon for works of late antiquity.
The presence of Nilotic motifs in the villa’s decor, rather than in baths or public buildings as was customary, makes this artistic work particularly unusual.
The mosaic also showcases the artistic sophistication of the inhabitants of Edessa during the time of the Eastern Roman Empire. The high craftsmanship and intricate symbolism indicate the existence of highly skilled mosaic workshops and strong cultural ties in the region.
By blending local traditions with Egyptian and Greco-Roman symbolism, the mosaic highlights Edessa’s role as a cultural crossroads between East and West.
The new research, which offers a fresh perspective on one of the mosaics from the of the Amazons, convincingly demonstrates that even fragmentary works of art can add new dimensions to our understanding of the ancient world.
