Design in Ephesus

Daily Life and Design in Ancient Ephesus

The concept of design in the ancient city of Ephesus was evident not only in the magnificent architectural structures but also in everyday items and interior decoration. The Ephesians prioritized the interior layout of their homes over their exterior appearance; they adorned their walls with frescoes depicting nature scenes, mythological themes, and depictions of daily life. On the floors, mosaics composed of colorful stone, glass, and ceramic pieces were used. These mosaics, covering the floors of homes, baths, and other spaces, were considered indicators of wealth and grandeur. Ranging from mythological figures to scenes of daily life, and motifs of animals and plants, these designs reflected the aesthetic taste and lifestyle of the people of ancient Ephesus. Design in Ephesus was intertwined with the lifestyle of the society, playing both a functional and an artistic role.

Materials and Aesthetic Functionality

In Ephesus, everyday design products were commonly made from materials such as wood, metal, ceramics, glass, and stone. Most household furniture was made of wood; however, even this simple material was adorned aesthetically using carving and inlay techniques. For instance, even the legs of an ordinary table could be carved with animal figures, richly complemented by fabric covers and embroidery. Beds (kline couches) and divans were made of wood, onto which wool-stuffed cushions and embroidered covers were placed for comfort. On floors, sometimes woven or leather rugs and woven carpets were laid to add both warmth and decoration. In addition to wood, materials like ivory, bronze, glass, and marble were also used in interior decoration; from wall ornaments to furniture coverings, these valuable materials met functionality with aesthetics in a variety of areas. Even everyday utensils contained ornate examples like bronze kitchen vessels parallel to this richness. The purpose of design was to ensure the items served their functions while also appealing to the eye.

Symbols and Motifs

Cultural and religious symbols held significant importance in the design of ancient Ephesus. Symbols attributed to the city's patron goddess, Artemis, were frequently used: For example, the symbol of the bee, which became a symbol of Ephesus and even appeared on coins minted as a symbol of democracy in the city. The figure of the deer, the sacred animal of Artemis, was one of the most commonly seen motifs on coins; from the Hellenistic period to the Roman period, the motif of the deer showed continuity on Ephesian coins. The deer was sometimes depicted carrying or standing beside Artemis, symbolizing the protective nature of the huntress goddess. The bee figure was also valued as a motif representing abundance and spirituality—having a special place in the rituals of the Artemis cult. Furthermore, images belonging to the Dionysos cult could be found in home mosaics and other decorations. Particularly in the mosaics of rich Ephesian homes, lively motifs like Eros’ chariot drawn by panthers, roosters, peacocks, vine leaves, grape clusters, and portraits of Dionysos and Ariadne were used. These motifs added an artistic atmosphere to the home by referencing mythological stories, and also reflected the beliefs and tastes of the homeowner. In addition, inscriptions and epigraphs were also part of the design; writings on tombstones or votive stones were often processed with embossed embellishments and frame motifs, making the writing itself a decorative element. In short, the language of design in ancient Ephesus expressed the beliefs, status, and aesthetic understandings of society visually through symbols and motifs.

Everyday Items and Interior Design

The items used in the daily life of Ephesus society drew attention not only to their functionality but also to their elegant designs. The most important piece of furniture was the kline (divan/bed), which was both a couch for reclining to eat and a flashy decorative item, taking the prime position in homes. In wealthy dining areas, usually arranged in a U shape with three klines, there would be single-legged service tables (trapeza) made of bronze or marble beside them. These tables, with single-legged column-shaped bodies, could be decorated with various reliefs and small statues. Houses also included backed and backless chairs, folding stools, and wooden chests (used as clothing and item storage). At first glance, these seemingly simple items achieved aesthetic character through detailed carving motifs, fabric upholsteries, or metal accessories.

Pottery and ceramic containers produced for everyday use, plates, and pitchers reflected the design understanding of the era. Some bowls and vases featured botanical decorations or deity figures, and even embossed oil lamps depicting the Ephesus Artemis could be found. Especially terra-cotta lamps, which were the most common lighting tools in Ephesus, featured motifs such as stars, flowers, and animals, serving both as a light source and ornamental items. For instance, a Terra-cotta lamp featuring the multi-breasted Artemis figure in its central medallion showcased how a religious symbol could converge with an everyday item. In wealthy homes, bronze appliques, lamp decorations, and candlesticks added splendor to lighting. Among women’s personal items, there were mirrors with ivory handles, engraved jewelry boxes, and glass cosmetic bottles; these objects were designed to be both functional and ostentatious. Indeed, excavations at the Ephesus Terrace Houses have revealed a plethora of jewelry boxes, cosmetic containers, and weights for scales like everyday items. Archaeological finds demonstrate that every type of household item, from kitchenware to decorative objects, contained aesthetic details. In summary, daily design elements in ancient Ephesus served as narrative tools reflecting the social status and cultural values of their users.