Design is a creative thought process that brings together function and aesthetics. In Ephesus, design manifests in every aspect of life, from architecture to everyday items, from sculptures to textiles; every line and form conveys the city's creativity and aesthetic understanding to the present day.
Everyday Life and Design in Ancient Ephesus
In the ancient city of Ephesus, the concept of design was not only evident in magnificent architectural structures but also in everyday objects and interior decoration. The people of Ephesus prioritized the interior arrangement over the exterior appearance of their homes; they adorned their walls with frescoes depicting natural landscapes, mythological scenes, and depictions of daily life. For floors, mosaics composed of colorful stones, glass, and ceramic pieces were used. These mosaics, covering the floors of houses, baths, and other spaces, were a symbol of wealth and grandeur. From mythological figures to scenes of daily life, and animal and plant motifs, these designs reflected the aesthetic taste and lifestyle of ancient Ephesians. Design intertwined with the lifestyle of Ephesian society, playing both a functional and artistic role.
Materials and Aesthetic Functionality
In Ephesus, everyday design products were typically made from materials such as wood, metal, ceramic, glass, and stone. Most household items were made of wood; however, even this simple material was embellished with carving and inlay techniques to become aesthetic. For instance, the legs of a simple table could be carved with animal figures, enriched with fabric covers and embroidery. Beds (couches) and sofas were made of wood, with wool-filled cushions and embroidered coverings added for comfort. On floors, sometimes woven and leather covers or woven rugs were laid to add warmth and decor. Furthermore, not only wood but also materials such as ivory, bronze, glass, and marble were used in interior decoration; these precious materials combined functionality with aesthetics in various areas, from wall decorations to furniture veneers. Everyday items even included showy examples such as bronze kitchenware, paralleling this richness. The aim of design was to ensure that while these objects fulfilled their functions, they also appealed to the eye.
Symbols and Motifs
Cultural and religious symbols held an important place in ancient Ephesus design. Symbols attributed to the city's protective goddess Artemis were frequently used: For example, the symbol of Artemis, the bee, became a symbol of Ephesus itself and was even featured on coins minted in the city as a symbol of democracy. The other most seen motif on coins was the figure of a deer, sacred to Artemis; this motif persisted on Ephesian coins from the Hellenistic period to the Roman period. The deer was sometimes depicted carrying or standing next to Artemis as a representation of the hunter goddess's protection. The bee figure was also valued in Ephesus as a motif representing fertility and spirituality – even in the rituals of the cult of Artemis, the bee held a special place. Additionally, images belonging to the Dionysian cult were found in house mosaics and other decorations. Especially in the mosaics of Ephesus's wealthy homes, lively motifs like Eros's chariot drawn by panthers, roosters, peacocks, vine leaves, grape clusters, and portraits of Dionysus and Ariadne were used. These motifs not only referenced mythological stories, adding an artistic atmosphere to the home but also reflected the beliefs and tastes of the homeowner. Moreover, inscriptions and tablets were also part of the design; writings on tomb steles or votive stones were mostly carved with decorative embellishments and frame motifs, making the writing itself a decorative element. In short, the design language in ancient Ephesus visually expressed the society's beliefs, status, and aesthetic understanding through symbols and motifs.
Everyday Items and Interior Design
The objects used in the daily life of the Ephesian community were noteworthy for their elegant designs in addition to their functionality. Among furniture, the kline (divan/bed), considered the most important piece, was both a couch on which to recline and dine and a prominent decorative element in homes. At the luxurious tables, usually arranged in a U-shape with three klinai, single-legged service tables (trapeza) made of bronze or marble were present. These tables could be adorned with various reliefs and small statues on their single-legged column-like bodies. Additionally, homes featured chairs with and without backs, folding stools, and wooden chests (used as wardrobes and storage for items). These seemingly simple items gained an aesthetic identity through detailed carving motifs, fabric upholstery, and metal accessories.
Pottery and ceramic vessels produced for daily use, plates, and pitchers also reflected the design understanding of the period. Some bowls and vases were decorated with vegetal ornaments or goddess figures, and even embossed oil lamps depicting Artemis of Ephesus were found. Particularly, terracotta lamps were the most common lighting tools in Ephesus, many adorned with motifs like stars, flowers, and animals, serving as both light sources and decorative objects. For example, a terra-cotta lamp featuring a multi-breasted Artemis in its central medallion shows how a mundane object met a religious symbol. In wealthy homes, bronze sconces, lamp decorations, and chandeliers were used, adding grandeur to lighting. Among women's personal belongings were ivory-handled mirrors, carved jewelry boxes, and glass cosmetic bottles; these objects were designed to be both useful and showy. Indeed, excavations in the Terrace Houses of Ephesus have uncovered abundant everyday items such as jewelry boxes, cosmetic containers, and weighing weights. Archaeological findings reveal that every kind of household item, from kitchenware to decorative objects, contained aesthetic details. In summary, everyday design elements in ancient Ephesus were like narrative tools reflecting the social status and cultural values of their users.
