Bizans maden sanatında dini törenler sırasında kullanılan (liturjik) eserler
Liturgical objects in the Byzantine metalwork
- Tez No: 63775
- Danışmanlar: PROF.DR. S. YILDIZ ÖTÜKEN
- Tez Türü: Doktora
- Konular: Arkeoloji, Archeology
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 1997
- Dil: Türkçe
- Üniversite: Hacettepe Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Arkeoloji ve Sanat Tarihi Ana Bilim Dalı
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 659
Özet
iv vessels. Except 20 of them, that is 117 vessels have been worked on and analysed in this study for the first time» One other aspect that took our interest, during our research in the museums was the fact that vessels made out of precious metals, like gold and silver, were very rare and were displayed in European and American museums, like most other finds from Anatolia. In this study we have tried to analyse the liturgical function of the vessels. There is a catalogue in which each vessel is classified according to its function and form. A detailed description of each vessel, followed by its technical and material speciality and the style of the decorative element have been given. A comparative study has been made to date the 13? vessels and to find their place in the Byzantine metalwork. Liturgical objects made out of metal, ivory, ceramic and sculpture as well as miniatures and paintings, especially to solve the problems of style in decoration have been observed. The objects selected for comparison have been observed in the museum and exhibition catalogues all over the world and almost all of the principal publications in metalwork have been consulted. ¥e hope this pioneer work in which the unpublished liturgical vessels in Turkish museums are presented and analysed according to this function and their place in Byzantine art can be helpful to anyone interested in Byzantine metalwork and is aware of fact that religion and art are inseperable and wish that it will lead to further research work on this subject.iv vessels. Except 20 of them, that is 117 vessels have been worked on and analysed in this study for the first time» One other aspect that took our interest, during our research in the museums was the fact that vessels made out of precious metals, like gold and silver, were very rare and were displayed in European and American museums, like most other finds from Anatolia. In this study we have tried to analyse the liturgical function of the vessels. There is a catalogue in which each vessel is classified according to its function and form. A detailed description of each vessel, followed by its technical and material speciality and the style of the decorative element have been given. A comparative study has been made to date the 13? vessels and to find their place in the Byzantine metalwork. Liturgical objects made out of metal, ivory, ceramic and sculpture as well as miniatures and paintings, especially to solve the problems of style in decoration have been observed. The objects selected for comparison have been observed in the museum and exhibition catalogues all over the world and almost all of the principal publications in metalwork have been consulted. ¥e hope this pioneer work in which the unpublished liturgical vessels in Turkish museums are presented and analysed according to this function and their place in Byzantine art can be helpful to anyone interested in Byzantine metalwork and is aware of fact that religion and art are inseperable and wish that it will lead to further research work on this subject.
Özet (Çeviri)
İÜ SUMMARY Eucharist is one of the basic liturgical events in Christendom. During an Eucharist service bread and wine, symbolising the body and blood of Christ are blessed. Likewise the ceremony and the prayers symbolise Passion and Crucifi cation of Christ. Liturgical vessels employed during Eucharist service have symbolic functions as well. The paten, in which bread is served, and the chalice holding wine represent Chri3t sacrificing himself for his people. Before Eucharist service a priest washes his hands using an ewer and a basin, repeating the act of Gove me r Pilatus, who washed his hands before Christ's Crucification in order to prove his innocence. Similarly, the smoke coming up from the censer is used to bless the church and the 3acred belongings on the altar and at the same time, is believed to help to bring the prayers to God. The flabellum used to wipe away the dust and against insects is to be the symbol of the angels presence near the altar. Crucifix is the symbol of Christendom and the death of Christ. In Turkey and abroad examples of Eucharist vessels are being displayed in museums. Archaeological excavations, especially in Syria, give evidence about liturgical vessels that are used in churches during an Eucharist service. In many publications on Byzantine metalwork, usually silver church treasures and decorated bras3 finds have been dealt with. Except for the museum and exhibition catalogues, there is hardly any research work about the liturgical vessels made out of different material and having a different function. The liturgical vessels in the Turkish museums have deserved even less attention until now. During our research in 26 museums, we have observed and studied 137 liturgicaliv vessels. Except 20 of them, that is 117 vessels have been worked on and analysed in this study for the first time» One other aspect that took our interest, during our research in the museums was the fact that vessels made out of precious metals, like gold and silver, were very rare and were displayed in European and American museums, like most other finds from Anatolia. In this study we have tried to analyse the liturgical function of the vessels. There is a catalogue in which each vessel is classified according to its function and form. A detailed description of each vessel, followed by its technical and material speciality and the style of the decorative element have been given. A comparative study has been made to date the 13? vessels and to find their place in the Byzantine metalwork. Liturgical objects made out of metal, ivory, ceramic and sculpture as well as miniatures and paintings, especially to solve the problems of style in decoration have been observed. The objects selected for comparison have been observed in the museum and exhibition catalogues all over the world and almost all of the principal publications in metalwork have been consulted. ¥e hope this pioneer work in which the unpublished liturgical vessels in Turkish museums are presented and analysed according to this function and their place in Byzantine art can be helpful to anyone interested in Byzantine metalwork and is aware of fact that religion and art are inseperable and wish that it will lead to further research work on this subject.
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