Kariye parekklesionu: Bir mezar şapeli olarak ikonografik programının yorumlanması ve işlevi
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- Tez No: 41927
- Danışmanlar: PROF.DR. AYLA ÖDEKAN
- Tez Türü: Doktora
- Konular: Sanat Tarihi, Art History
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 1995
- Dil: Türkçe
- Üniversite: İstanbul Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Sanat Tarihi Ana Bilim Dalı
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 228
Özet
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Özet (Çeviri)
224 SUMMARY Parecclesion of Khora monastery in Istanbul, known as Kariye Camisi today, was built and decorated by Theodoros Metochites as a burial chapel, during his construction campaign of the monastery in 1315-1321. The early history of the monastery is supposed to go up to the fith century. It was found on a holy burial site, where St. Babylas and his disciples was buried after being martyred in early fourth century. In the process of the history, some other important persons, such as Patriarch Germanos in the eighth century, Theophanes of Nicea in the nineth century, have been buried in the monastery. We have no archeological evidence on the early history of Chora monastery up to the nineth century. The cleaning and restoration campaign of the Byzantine Institute of America in between 1947-1958, archaeologically identified five periods of construction, the first being in the sixth century, and following phases from the nineth, eleventh, twelfth- and fourteeth centuries. Two narthexes, northern annex and the parecclesion, which is the subject of this study, was built completely in the fourteenth century by Metochites. In the fourteenth century, the Byzantine empire was struggling to survive against very severe military, economic, political and social problems. But, besides this hopeless situation, especially in Constantinople, fourteenth century witnessed a revival of intellectualism and arts. Byzantine court and the aristocratic elit?, enthusiastically supported arts and scholarship. Metochites was one of those high bureaucrats who supported art and intellectualism, spending relatively huge amonts of money. Besides bearing the highest court titles and being an active politician, Metochites himself was an intellectual and scholar, with very wide fields of interest After his political fortune turned upside down, he retired to his monastery, Chora, following his return from an exile of two years, and lived several years in the monastery as Monk Theoloptes until he died and buried in the parecclesion in 1332. His intellectualism; his style of expressing his ideas which was sophisticated, indirect and 'ungraspable at the first sight1; his self-centered, anxious and sensitive personality; and, as a patriotic statesman, his fears about the future of the Empire and Constantinople, has their marks in the iconographic program of the parecclesion. The parecclesion Metochites was built as his burial chapel, runs along the south side of the church. It is a single-aisled rectangular building, formed of two square bays, the one at the east covered by a domic-vault, and the other with an impessive dome, resting on four pendentives. The chapel has a monumental apse, which is as wide as the nave itself, and pierced from the east end by a tripartite, long window. The main entrance to the parecclesion is from the east end of the exonarthex through a tripartite portal. The chapel also communicates with the nave through a narrow passageway from the north west side, and with the diaconicon chamber through a gate at the north side of bema. The building is lid by two tripartite windows, each centered on the southern tympanums of each bay, and by twelve long window openings on the drum of the dome. Between the parecclesion and naos, a very narrow and inaccessable passage at gallery level runs along the north wall, with only two openings, one to the exterior at the east end, and the other to the worth-west of the chapel, above Tomb I. Two small broadly constructed rooms without any decoration signs flank the passageway from the parecclesion to the nave. The diakonikon room is connected to the parecclesion and acess from the nave was blocked in the fourteenth century constructions. The parecclesion houses four tomb arcosolias, two on each bay, one being on the north wall and the other on the south wall of the bays.225 The parecclesion is completely decorated in frescoes, which survived up to today in a very good situation, almost completely. On the semi-dome of the apse, is the monumental anastasis painting. On the south of bema arch is depicted Christ's raising of Jairus' daughter, and on the north part of the arch is raising of the widow's son from Nain. On the center of the bema arch, is the big medallion-portrait of Archangel Michael. The domic-vault of the east bay is completely covered with the scene of the Last Judgement with several episodes: In the geometric center being the impressive Scroll of Heaven and just west of it Christ in Judgement, flanked by the Virgin and John on each side, and apostles and an army of the angels standing behind; just below Christ's throne, etimassia and weighing of souls; and fiery steam and lake of fire at the south-west part of the vault; finally, five Choirs of the Elect, grouped on five clouds and arranged in a way to form a circle around the Last Judgement composition. On the north-east pendentive of the domic-vault is the Lazarus in the Bosom of Abraham, followed clockwise by the scenes of Rich man in the Hell, Land and Sea Giving their Deads, and Angel and a Soul, on each pendentive of the vault. On the north lunette of the east bay is the scene of Entry of the Elect to the Paradise; and on the south lunette, Torments of Damned at the east of the central window, and Bearing of the Ark on the west On the cuppola of the dome, is the medallion portrait of the Virgin and the Child, surrounded by twelve angels each over one window of the drum. On the four pendentives of the dome, are depicted four hymnographers, St John Damascene being on the north-east pendentive, and followed clockwise by StCosmas the Poet St. Joseph the Poet, St Theophanes; each -except Cosmas- with liturgical inscriptions related to the funeral. On the upper walls of the west bay, there is a cycle of Old Testament events, each being a prefiguration of the Virgin: On the west part of the northern lunette is the Jacob's Ladder and Jacob Wrestling with the Angel, on the east part of the lunette is Moses and the Burning Bush, on the northern soffit of the central arch is Moses Hiding his Face, on the western part of the east bay's southern tympanum is the Bearing of the Ark of Covenance, on the southern soffit of the central arch is the Bearing of the Sacred Vessels, on the eastern half of the southern lunette is the Solomon and all Israeli, on the western half of the same lunette is the Installation of the Ark to the Holy of Holies, on the southern soffit of the west arch is Isaiah Prophesying and Archangel Smithing Assyrians before Jarusalem, and on the northern suffit of the same arch is Aaron and his Sons before the Temple. The scene of The Souls of the Righteous in the Hand of God is on depicted on the crown of the western arch and on the lunette above the main entrance. On the lower walls of the east and west bay are the full figures _or medallion portraits- of the martyrs. In the apse, there are full figures of six church fathers. On the south templon wall is the Virgin Eleousa. Two tomb arcosolia on the south wall preserves portraits of those who buried there, on their niche walls. In interpreting the iconographic program of the parecclesion; its function as a burial chapel, the social and private practices with regard to the performance of this function, the contemporary beliefs concerning death and afterlife, the personality of the founder, social and political situation of that time, and finally how people of that time saw their icons should be taken into consideration. In Byzantine theology, death was a kind of transitionary sleep, during which, the soul was waiting in Abraham's Bosom, while the body was in the tomb. In the second coming of Christ the body was believed to be resurrected, and re-united with its soul before being accepted to the Kingdom of Heaven for an eternal life. While waiting this final resurrection, preyings of other people and intermediations of the saintly persons, would improve the position of the deceased before God. In Byzantine theology of death, body was considered as an equal of the soul, and the resurrection of the body has a prominent role. The interpretation of the iconographic program of the parecclesion, as a building sheltering tombs, as well as housing the rites related to burials and regular commemorative services of those buried there, should begin with the“Anastasis”scene.226 The Anastasis scene, being located on the apse semi-dome, focal point of the building in terms of architectural and liturgical semantics, as well as the by-standers; being in conformity with the contemporary aproach to death and expectations of the deceased buried there; being connected with the second coming of Christ, instead of being a chain in a feast cycle as it was usual, is the“key scene”in the entire program, and reflects its main theme to the rest of the program. As an event in the past, as it is narrated in the Gospel of Nicodemus, Anastasis is Christ's descent into Hell to resurrect the Old Testament righteous and ascend them to heaven. It is an event between Christ's crucifixion and his resurrection. Later on, this event was associated with the feast of Easter. But, in funerary context the image was not used as a referance to the Easter, rather to the expectation of future resurrection. In Kariye parecclesion the association of the image with the final resurrection was made clear by linking the scene with adjacent Last Judgement composition. Relatively big portrait of Archangel Michael, serves as a chain in connecting those two scenes. In the scripture itself, there are some clues -such as the destruction of Hades for ever- to lead us to conclude that the Anastasis, far beyond being an event in the past, represents the victory of Christ over death on behalf of the human being. So, Anastasis icon in this context, refers to the second coming of Christ and the final resurrection of the deads, i.e. a future expectation. Two other resurrection miracles from the life of Christ in the apse program, satands as the“worldly proofs”of the resurrection promise in future, and reinforces the theme of resurrection originating in the apse and radiating to the rest of the program. The Last Judgement, covering the vault and the upper walls of the east bay, was an important concept in the future expectations of the deceased, since the soulless bodies of those who were buried in the parecclesion were waiting to be resurrected on that day. The deesis scene in the center of the composition, plays an important role in the program of the parecclesion. Byzantines were usually preferred to approach their God through some mediators, whom they believe were closer to God. The supreme mediator was the Virgin, since she was His mother and closest earthly borned to God, as well as, being a mother, she was expected to be more mercyfull to the people. The other important mediator was St. John the Baptist, who, in the Last Judgement day, together with the Virgin intercess on behalf of the human being through their preyers to Christ Though its origin is the Last Judgement scenes, the deesis depictions were not limited to Virgin and St John flanking the Judge Christ; Two archangels turned towars Christ in a gesture of praying, as it is in the reliefs of marble archivolts crowning arcosolia I and n, as well as the frescoe on the suffit of the arch of arkosolium HI, should be interpreted as deesis scenes. Angels, prophets, martyrs, bishops, even ordinary monks were considered as mediators between God and men. In parecclesion's program, the bishops in the apse -since they have no liturgical function in the program- and the martyrs surrounding the nave below the corniche level, serves as intermediator icons to God, on behalf of those who are buried in the parecclesion. In the overall composition of the Last Judgement, the awards offered for the righteous occupies a painting surface almost double of the punishment scenes, which usually were depicted equal in other examples. Also, in the scene of Weighing of Souls, the scale's weighting in favour of the soul, as well as the angel's compassionate touch to a soul in the Soul and an Angel scene, makes the Last Judgement scene an optimistic one, and is a reflection of the optimism generated in the apse program. One important aspect with regard to the composition of the Last Judgement scene, is its unique“circular”composition as opposed to the traditional rectangular compositions. This circular composition practically serves to“create”a dome, or rather to stress the“domic”character of the domic- vault, which actually has characteristics of a vault When the significance of the dome as“heaven”over the tombs -throughout the history of architecture, in so many civilizations dome was associated with the tomb227 architecture and attached meanings with regard to burials- is considered, such an attempt to shape an architectural unit by painting seems meaningfull. The iconographic program of the west bay is dominated by the Virgin, as it is signalled by the big medallion portrait of the Virgin and Child on the center of the dome covering west bay. Virgin Mary had an important role in the death cult of the Byzantines as the supreme intercessor. On the other hand, she was the supreme defender of Constantinople. Especially in the last centuries of the Byzantine Empire, as people got more and more hopeless, Virgin's cult steadily developed to meet the personal and collective needs of Constantinopolitans. Metochites, being experienced the severe conditions that the Empire faced, and suffered of this situation as a patriotic statesman, should need the Virgin's help; similarly, as a Christian, he needed the Virgin's intercession on his behalf, before God. So, the Virgin, as a compassionate mother, occupied the cuppola of the dome, which was also the top of the spiritual hierarchy followed in the west bay from the center of the dome (i.e. the most spiritual part of the“heaven”), down to the material sarcophagi on the floor. Mariological program of the west bay continues in the Old Testament scenes, a unique pictorial cycle in the Byzantine monumental painting with three different levels of meaning read in the same cycle. The first level of meaning that could be read in the cycle is the“literal meaning”; each scene in the cycle narrates an event from the Old Testament The second level of meaning in the same pictorial cycle is Virgin Mary's role as an material instrument of the incarnation; all the scenes depicted here are the Old Testament prefigurations of the Virgin, stressing her being the“material”which embodies or brings forth the“immaterial”. Material ladder of Jacob is an instrument through which God came down to the Earth, material bush of Moses was the instrument through which God communicated to him, material ark of the covenance was embodying the spiritual“Word of God”in, golden stamnos was to embody the spiritual food manna in, the seven branched candlestick was bringing the spiritual light, Solomon's material temple was embodying the God in it, and the Holy city Jarusalem was the city in which God dwelt. Actually, Old Testament itself was considered as the“material”history of menkind embodying the seeds of the“spiritual”New Testament with Christ's coming, and the Virgin was the instrument of this transformation from the material Old Testament to the Spiritual new one. This level of meaning read in the iconography of the Old Testament Cycle, on the other hand connects the Mariology of the west bay's program to the general idea of redemption and human salvation, which most explicitly depicted in the apse program and determines the main theme of the overall program, since incarnation is the first step in human redemption. The third level of meaning in the cycle could be called as the liturgical level of meaning, since, there are references between each frescoe in this cycle and certain stanzas of the Akathistos hymn of the Virgin, which was an important liturgical text narrating the incarnation and was read in the Byzantine monasteries during the commemorations of the dead. Moses and the burning bush is the prefiguration of the Annunciation to the Virgin which is told in the first three stanzas of the hymn; in the third stanza Mary is called as the“heavenly ladder”; the fifth stanza where Mary is hailed as“God-bearing womb”going to visit EHsabeth can be matched with the journey of the ark with Word of God in it; fresco of Aaron and sons presenting their gifts to god might be matched with the offerings of three Magi told in the nineth stanza (Aaron and his sons prefigure three Magi); in the eleventh stanza manna urn is referred; seventeenth stanza is about the wisdom brought by the Virgin, which was prefigured by Solomon; stanza nineteen of the hymn hails Mary as the“wall to protect anybody who fly to her”, as“gate of safety”and as“shelter”, which corresponds the walled city of Jarusalem protected by the Virgin; stanza twentyone calls Mary as the“lamp of the living light”, which is referred by the fresco of the menorah; and finally in stanza twentythree the Virgin is praised as the“Living temple”,“tabernacle of God”and as“holy of holies”, which was depicted in the fresco of deposition of the ark to Solomon's temple.228 With regard to the function of the parecclesion, we can say that the building, besides being a shelter for the tombs and the bodily remains of those who were buried there, was used to perform burial rites and the commemorative services for those who were buried there. Evidence shows that the parecclesion was not used for ordinary liturgy of the Church. Our information on the Byzantine burial practices and and commemorative rites for the deceased, comes in general from the hagiographic texts, monastic typicons and some liturgical texts; the first usually telling about the death time of a saint and the miracles afterwards, while the typicons, more reliable texts in this sense, tells about the commemorative rites required by the founder for himself or herself. Unfortunately, the typicon of the Chora monastery is not surviving. Another source is the visual material, miniatures and monumental painting depicting certain practices related to death and burial. The preparation of the corpse for burial, i.e. closing the eyes and the mouth, washing and annointing the body, wrapping and dressing for the rite of prothesis (laying in state) were done at the house of the deceased, or in his cell at the monastery in case deceased was a monk. The rite of prothesis, laying out the dressed body for viewing by the relatives and friends and for giving the last kiss, was being performed in the parecclesion, under the dome. Prothesis was the final rite of the church before burying the corpse, and was usually performed before the tomb, also, iconographic references in the chapel supports this idea: The inscriptions on the fresco of St. John Damascene on the north-east pendentive, and on the fresco of Theophanes on the north-west pendentive, are from their cannons read during the prothesis rite. During the prothesis, the corpse dressed according to his status and rank (monks in their monastic grab) was laid in a prone position on a casket high enough for the attendents to kiss the deceased, the body faced to east and the head elevated by a pillow. Facing to east, was related to the expectation of the coming resurrection, and in the parecclesion, the deceased set in such a position was directly looking to the Anastasis fresco in the apse. Though we lack any strong evidence, it can be suggested that not only the prothesis rites of those who were buried in the parecclesion, but also the prothesis of others who brought to the church for the official rite were being performed in the parecclesion. The shape of the rite of prothesis could be dramatized from the iconography of the Virgin's death (koimesis) scenes, or frescoes depicting prothesis of saints, like the one depicting death of Ephrem in Monastery of Barlaam, Meteora. Regular commemorative services of the deceased were also held in the parecclesion. In monastic typicons, the founders usually list in details the commemorations which should be performed by the monks on behalf of themselves. This was related to the notion of holy intercession between God and men. Though required rites show great variety, some common points could be identified. On the third, nineth and fortieth days after death a commemoration was held. Also, there were some regular commemorations on the anniversary of death, and on feast days. In monasteries, every Friday evening a commemoration for the dead was held by the monks, during which Akathistos hymn was sung and tombs were visited. During the commemorations, the expectation of future resurrection was stressed with the contends of the hymns chanted, as well as the use of symbols of endless life like massively lighted candles and offer of a sweet food called kollyba. Expectation of resurrection for the endless life, and the intercession of the holy persons on behalf of the deceased before God, were the main themes of the iconographic program, as well as the burial practices and commemorations performed on behalf of the deceased.
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