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Immutatıo Imperıı: 13-16. yüzyıllarda İtalya'dan Bizans imgesine bakışın tarihi

Immutatio Imperii: A history of the Italian gaze toward Byzantine imagery, 13th-16th centuries

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  1. Tez No: 932155
  2. Yazar: EMİR ALIŞIK
  3. Danışmanlar: PROF. DR. UŞUN TÜKEL
  4. Tez Türü: Doktora
  5. Konular: Sanat Tarihi, Art History
  6. Anahtar Kelimeler: Bizans Sanatı, Ortaçağ, Rönesans, İtalyan Yarımadası, Bizantinizm, Byzantine Art, Middle Ages, Renaissance, Italian Peninsula, Byzantinism
  7. Yıl: 2025
  8. Dil: Türkçe
  9. Üniversite: İstanbul Üniversitesi
  10. Enstitü: Sosyal Bilimler Enstitüsü
  11. Ana Bilim Dalı: Sanat Tarihi Ana Bilim Dalı
  12. Bilim Dalı: Belirtilmemiş.
  13. Sayfa Sayısı: 186

Özet

Doğuya Haçlı Seferleri'nin başlaması ve IV. Haçlı Seferi, II. Lyon Konsili ile Ferrara/Floransa Konsili, 1453, İtalyan Yarımadası'nda şehir devleti mefhumunun yükselişi ile Bizans İmparatorluğu'nun de facto şehir devletleşmesine karşın Kutsal Roma İmparatorluğu, Papalık, Moğol ve Türk devletleri benzeri emperyalist oluşumlar gibi siyasi gelişmeler ve yapılanmalar, İtalyan Yarımadası'ndan Bizans'a bakışın yaklaşık üç yüz yıllık bir dönemini şekillendirdi. İtalyan Rönesans sanatının kaynakları, Bizans'ın bu tarihsel süreçteki rolü ya da bunun Bizans'ın reddiyesi üzerine yükselen bir sanat oluşu yorumlarının arasında salınan bu ilişki ortaçağ Akdeniz havzasındaki fikirsel ve fiziksel hareketlilikler üzerinden yürüyen nüanslı konulardır. Çalışma, bu hareketliliğin aktörlerine bakarak, materyal kültür ve zihin dünyalarının çapraz ilişkileri üzerine düşünür ve tüm bu etkiler dünyasının kavramsal, materyal ve aktörlere yönelik tarihini birlikte yazmaya çabalar. Bu tarihsel süreç, kopuşlar ve yakınlaşma çabaları, alımlama, alıntılama, ikame etme, hayranlık ve hayal kırıklıkları ile tanımlanan ve dönüşen bakışlar ve görsel üretimler hizipçi bir itikatla mücadele etme ile otantik Hristiyanlık tarihine ulaşmada işlevsellik ikircikliği ve geriliminde şekillendi. Öte yandan meşruiyetine dayanak bulamayan yeni bir seçkin sınıf ve yeni bir siyasi birim olarak şehir, merkeziyetçi emperyal güçlerle mücadelesinde pagan ve erken Hristiyan dünyanın siyaseti ve doktrininde kendine pay aradı. Çalışma, Bizans'ın İtalya Rönesans'ı üzerindeki etkisini ölçmekten ziyade, geç ortaçağda İtalya'da üretilen resimlerde Bizans dünyasında yaşanan çeşitli teolojik ve politik gelişmelerin nasıl algılandığı, ne tip düşüncelerin yer bulup görsel tasarıma evrildiği üzerinde durur. Rönesans şaşırtıcı bir şekilde dönüştürme sürecini genellikle de geç Bizans dönemi eserlerinin ikonografik öğeleri ile apostolik ve patristik bilginin geç dönem Bizans yazınındaki haliyle alımladı. Bizans'ta ortaya çıkan fikirlerin ve Bizans'ın kendisinin geç ortaçağ İtalya resminde alımlanışını inceleyen bu çalışma, alımlama teorisi ve spolia üzerine araştırmaları bir arada düşünerek seçilen ikonografik öğeleri ve betim tiplerini inceleyerek Bizans'a dair nostaljinin ortaya çıktığını ve Bizans'ı anakronik bir biçimde otantik bir Hristiyanlık, özellikle de apostolik ve patristik dönemleri tasvirin aracına dönüştürdüğünü öne sürüyor. Böyle bir tarihyazımı İtalya'da Bizans'a yönelik farklı dönemlerde gelişen algıların nüanslarını ortaya koyacak, uzun yıllar tarihyazımında bir reddediliş ilişkisi olarak tarif edilen İtalya-Bizans sanat ve düşünce trafiğinin çatallanan yollarını gösterecektir.

Özet (Çeviri)

The Crusades to the East, the Fourth Crusade, the Second Council of Lyon, and the Council of Ferrara-Florence, the fall of Constantinople in 1453, the rise of city-states on the Italian Peninsula, and the de facto city-state formation of the Byzantine Empire, alongside political processes and developments such as the Holy Roman Empire, the Papacy, and the Mongol and Turkish states, shaped a roughly three-hundred-year period of the Italian Peninsula's view of Byzantium. The sources of art in Italian Peninsula, the role of Byzantium in this historical process, or the notion that Renaissance art arose in reaction to Byzantium, oscillate within this relationship, nuanced by the intellectual and physical mobilities across the medieval Mediterranean basin. This study delves into the cross-relations between material culture and intellectual worlds by examining the actors of this mobility, striving to compose a joint history of this world of influences in terms of concepts, materiality, and individuals. This history, defined and transformed by ruptures and attempts at rapprochement, appropriation, quotation, substitution, admiration, and disappointments, took shape within the ambiguity and tension of combating schismatic beliefs while striving to reach an authentic Christian history. Meanwhile, as a new political entity, the city—lacking a basis for legitimacy—sought its share in the politics and doctrines of the pagan and early Christian worlds in its struggle against centralized imperial powers. The study focuses not on measuring Byzantium's influence on the Italian Peninsula but on how various theological and political developments in the Byzantine world were perceived in the paintings produced in late medieval Italy, and what types of ideas took root and evolved into visual grammar. The Renaissance surprisingly often appropriated elements of this transformative process through the iconographic elements of late Byzantine works and the apostolic and patristic knowledge as it appeared in late Byzantine literature. This study, examining how the ideas originating in Byzantium and Byzantium itself were appropriated in late medieval Italian painting, argues that by considering reception theory and research on spolia together, a nostalgia for Byzantium emerged, and Byzantium became an anachronistic means of portraying an authentic Christianity, particularly the apostolic and patristic periods. Such a historiography will reveal the nuances of different perceptions of Byzantium developed in Italy at various times, and demonstrate the diverging paths of the Italo-Byzantine artistic and intellectual traffic, which has long been described in historiography as a relationship of rejection. The relationship between Byzantium and the Latins, and vice versa, was almost Machiavellian in nature, particularly in the diplomacy of Michael VIII Palaiologos and Manuel II Palaiologos with the Papacy, as well as in the form embodied by humanists in the West who hosted Byzantine delegations in church councils or came to the Aegean to collect Greek manuscripts. This relationship was highly pragmatic, leading to an eclectic reception that involved the transformation, fragmentation, pastiche, and distortion of the appropriated iconographic elements, concepts, and texts in creative ways, engaging with them at different levels of meaning. In the first part, the study examines how the Byzantine tradition of urban ekphrasis was transported to and practiced on the Italian Peninsula, creating the foundation for the invention of a new form of depiction, the city portrait. The city portrait was not a functional map; rather, it was a highly selective and often glorifying or nostalgic depiction, serving as material for humanist contemplation and political rhetoric. The city portrait was also recycled in later art, and its pieces were used to decorate the spaces of Christian history, thereby producing visual agendas concerning both the past and contemporary theology and politics. In the second chapter, the study focuses on the theology of light in Byzantium, particularly its formulation around the nature of Christ and its dialectical development in both iconographic and literary explanations. In this way, the physicality in the depiction of Christ's Transfiguration as a saturated phenomenon was seen to be materialized through the elements of mountain and light. The effect of the physicality of these two elements on the other figures in the scene contributed to a perception of the entire phenomenon as a saturated one. This concept was interpreted in the thirteenth century on the Italian Peninsula in an extreme way, followed in the fifteenth century by a different approach where the scene—particularly the manifestation of light—was portrayed as a metaphorical (and metaphysical) phenomenon rather than a naturalistic reality, utilizing Byzantine ideas. In the third chapter, the political role of the Virgin Mary, especially in the variations of depictions of the Virgin and Child—one of the most widespread scenes in medieval religious art in the Mediterranean basin—is traced from Byzantium to the Italian city-states. With the spread of the Marian cult, the Virgin Mary was positioned as a figure who regulated affairs between the divine and public spheres and as an intercessor for humanity. A historical process emerged, marked by the conscious and eclectic reception of elements thought to be Byzantine, followed by meanings imbued with nostalgia and recollection. This process is also evident in the historiographical confusion surrounding the origins and affiliations of Virgin and Child depictions, which, despite their frequent and systematic use of Byzantine elements, were distributed almost homogeneously across the aforementioned geographic area. Finally, the last chapter discusses how the Greek language was perceived on a scale between literacy and illiteracy, and how artists and viewers utilized language both semantically and decoratively. First, the relationship between scripture and visual depiction is discussed, focusing on how Byzantine and both Latin and Orthodox theologians, considered authoritative by both worlds, responded to iconoclastic arguments by justification based on analogies with the scripture. This is followed by an analysis of the methods by which visual depictions incorporated script. The use of emblematic formulations and visual elements seemingly for decorative purposes (and sometimes indeed for that purpose) yet aiming to convey meaning, is scrutinized, exploring the entangled relationship between decoration and meaning. The hierarchy among Latin, Greek, and Hebrew languages, and the temporality and spatiality of these languages in the Latin mind, is examined through efforts at translation, abbreviation, juxtaposition, and deformation. The functions of these inscriptions and pseudo-inscriptions in religious, political, and social contexts are also discussed.

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