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Romanos lekapenos'un meşruiyet inşasında mimari patronajın oynadığı rol: Myrelaion örneği

The role of architectural patronage in the legitimacy-building of romanos lekapenos: The case of the myrelaion

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  1. Tez No: 972887
  2. Yazar: ÖMER FARUK ULUSOY
  3. Danışmanlar: DOÇ. DR. BİLGE AR
  4. Tez Türü: Yüksek Lisans
  5. Konular: Mimarlık, Architecture
  6. Anahtar Kelimeler: Belirtilmemiş.
  7. Yıl: 2025
  8. Dil: Türkçe
  9. Üniversite: İstanbul Teknik Üniversitesi
  10. Enstitü: Lisansüstü Eğitim Enstitüsü
  11. Ana Bilim Dalı: Mimarlık Ana Bilim Dalı
  12. Bilim Dalı: Mimarlık Tarihi Bilim Dalı
  13. Sayfa Sayısı: Belirtilmemiş.

Özet

Bu çalışma Myrelaion'un dışarıdan algılanışından başlayarak patronun olası isteklerine doğru uzanan bir fikir pratiğinden çıkmıştır. Tezin yola çıkış noktası, yapıların yalnızca onları belirlenmiş işlevleri çerçevesinde deneyimleyen kullanıcıları değil aynı zamanda yapının görüntüsüne maruz kalan insanları da etkilemesidir. Özel olarak bu tezin konusu ise, İTÜ Mimarlık Tarihi Programı'nda Bilge Ar tarfından açılan, içeriğinde yapıların dışarıdan algılanış biçimlerine odaklanılan“Special Topics in Architecture History”dersinde ortaya çıkmıştır. Ders içeriğindeki bu kasıtlı kısıt (yalnızca dışarıdan görünüşe odaklanma), yapıların kendi çevrelerini maruz bıraktıkları etkiyi daha algılanır hale getirmiştir. 10. yüzyılda Romanos Lekapenos tarafından inşa edilen Myrelaion Kompleksi'nden bugün günümüze yalnızca kilise yapısı kalmıştır. Kilise yapısı bugün çevresini saran apartman blokları yüzünden görünürlüğünü önemli derecede yitirmiştir. Öyle ki yapının bulunduğu adayı çevreleyen sokaklardan bile kiliseyi görmek mümkün değildir. Ancak yapı, konumu ve yüksekliği sayesinde, inşa edildiği dönemde ve sonrasında yüzyıllarca yakın çevresinin en belirgin ve görünür yapısı olmuş olmalıdır. Bu çalışma, Myrelaion'un görünürlüğünü sağlayan unsurların yalnızca topografik avantajlara değil, aynı zamanda bilinçli mimari tercihlere dayandığını öne sürer. Yapının alışılmışın dışında bir alt yapı üzerine inşa edilmiş olması, yalnızca arazi koşullarına verilen teknik bir yanıt olarak değil, aynı zamanda yapının kentsel siluetteki etkisini artırma amacı güden kasıtlı bir strateji olarak da değerlendirilmiştir. Bu bağlamda Myrelaion'un mimarisi, onu inşa ettiren patronun (Romanos Lekapenos) kişisel, siyasal ve ideolojik hedefleriyle doğrudan ilişkilendirilmiştir. Yapının dışa dönük etkisini belirleyen en önemli unsur, üzerine oturtulduğu masif bodrum katıdır. Bu alt yapı, yalnızca kiliseyi saray kompleksiyle aynı kota taşımamış, aynı zamanda yapının Marmara kıyısından rahatlıkla görünmesini sağlayacak bir platform işlevi de görmüştür. Yapının yüksekliği, ona çevresi üzerinde bir hâkimiyet sağlamış; bu da kiliseyi yalnızca bir ibadet mekânı değil, aynı zamanda kamusal alanda imparatorluk gücünü ve meşruiyetini temsil eden bir anıt haline getirmiştir. Tez kapsamında bu özgün mimari tercihin yalnızca yapısal zorunluluklardan mı, yoksa bilinçli bir görsellik stratejisinden mi kaynaklandığı sorusu çeşitli yöntemlerle tartışılmıştır. Öncelikle, Konstantinopolis'in topografyası ve bu topografya üzerinde büyük yapıların nasıl konumlandığına dair genel bir çerçeve çizilmiş; ardından, Myrelaion'un alt yapı sistemi, benzer dönemde inşa edilen diğer yapılarla karşılaştırmalı olarak analiz edilmiştir. Bu bağlamda Theotokos Peribleptos Manastırı, Mangana'daki Hagios Georgios Kilisesi, Gül Camii, Nea Ekklesia Kilisesi, Chalke Şapeli gibi örnekler incelenmiştir. Karşılaştırmalı analizler, Myrelaion'un alt yapı çözümünün dönemin genel mimari eğilimlerinden ayrışan bir nitelik taşıdığını göstermektedir. Bu farklılık, yapının banisi olan Romanos Lekapenos'un bireysel tercihlerinin ve siyasal hedeflerinin mimariye nasıl yansıdığı sorusunu gündeme getirmiştir. Bu nedenle tezin bir diğer bölümü, Romanos'un politik kariyerini ve meşruiyet stratejilerini inceleyerek, mimari tercihler ile siyasal motivasyonlar arasındaki ilişkiyi ortaya koymaya çalışmaktadır. Romanos'un soylu bir kökenden gelmeyen bir figür olarak imparatorluğa yükselmesi, onun iktidarını pekiştirmek adına farklı araçlara başvurmasını gerekli kılmıştır. Bu tezin hipotezi; Myrelaion'un konumu, yüksekliği ve anıtsal etkisinin, bu meşruiyet arayışının mimari düzlemdeki karşılığı olarak yorumlanabileceğidir. Yapının, saray kompleksi ile beraber şehir dokusuna hâkim bir noktaya yerleştirilmesi, yalnızca bir kilise inşası değil, aynı zamanda bir tür“görsel iktidar ilanı”olarak okunabilir. Bu nedenle tez, yalnızca mimari biçimlerin ya da strüktürlerin analizine odaklanmakla kalmaz; aynı zamanda mimarinin tarihsel bağlam, topografya, patronaj ve kent algısı ile olan çok katmanlı ilişkisini görünür kılmayı amaçlar. Myrelaion örneği, Bizans mimarlığının yalnızca dini veya estetik motivasyonlarla değil, aynı zamanda politik stratejilerle de şekillendiğini ortaya koyarak, mimarlığın temsil gücünü ve meşruiyet üretme kapasitesini sorgular.

Özet (Çeviri)

This thesis examines the architectural, symbolic and political strategies of the Myrelaion Church built in Constantinople by Emperor Romanos I Lekapenos in the first half of the 10th century. Today known as the Bodrum Mosque, the building has become almost completely invisible because it is surrounded by dense apartment blocks. However, this invisibility belongs to the modern period. At the time of its construction, the church was one of the most dominant and visually striking structures in the Vlanga (now Langa) region. Through a multi-faceted analysis of the structure's substructure, location, visibility and relationship to imperial patronage, this study demonstrates that the Myrelaion was not only a place of worship but also a means of political representation. The main argument of the thesis is that the unusual architectural form of the Myrelaion, especially its massive substructure, cannot be explained solely by topographical or functional reasons. On the contrary, these choices are directly related to Romanos Lekapenos' political ambitions and struggle for legitimacy. It is argued that Romanos, who had a non-dynastic origin, tried to make his legitimacy visible, especially through religious structures that were elevated and dominated the city skyline, in order to reinforce his rising power. The starting point of the research is the idea that structures are not only places experienced in the interior, but also objects that are observed from the outside and produce meaning through this observation. In this context, architecture, especially when positioned in public spaces, becomes a media through which abstract concepts such as power, piety and legitimacy are conveyed. The study reveals how structures are seen in the city and how this visibility can carry political meanings with a method supported by theories of visual perception and critical space. Myrelaion is strategically placed at the transition point between the flat Vlanga plain and the slopes of the third hill of Constantinople. This location gave the structure visual dominance over the Theodosian Port. This port was one of the most active commercial and social centers of the capital and was the scene of great human movement. Historical maps and written sources show that the structure maintained this visual superiority from the period it was built until centuries later. For example, on the 16th century Vavassore maps, Myrelaion was drawn higher than all the surrounding structures and the circular structure (rotunda) beneath it was emphasized. On the 19th century Kauffer map, the map notes show that the structure was still easily noticeable from the sea. The most important factor that provided this visibility of the structure was the massive substructure built on a rotunda from the late antique period. Romanos converted this rotunda into a cistern and had his palace built on it and the Myrelaion Church next to it. This practice elevated the structure not only physically but also symbolically. The substructure detached the structure from the street level and transformed it into an“artificial platform”. Thus, the church served not only functional requirements but also the goal of establishing visual dominance. As a result of this unusual substructure application, the visibility of the building increased significantly. In order to speculate on the reasons for this application, it may be useful to look at other substructure applications in Constantinople. Due to the hilly geography of Constantinople, terraces are frequently encountered. Substructures are built to create a flat area suitable for construction on sloping land. The purpose of these substructures is generally to create a level area for construction and to facilitate access to it. The Monastery of Theotokos Peribleptos, the Monastery of St. George in Mangana, the Gül Mosque, and the Church of Nea Ekklesia are some of the other substructured churches in Constantinople that have been examined. The Peribleptos Monastery, like the Myrelaion, also has a massive substructure visible from the outside. However, unlike the Myrelaion, this substructure was built to create a flat ground on a sloping terrain. The monastery was built on the terrace thus created. This massive substructure is visible only on the lower side of the slope. On the higher side of the slope, the terrace is at street level and thus accessible on foot. The Church of St. George in Mangana has a substructure similar in principle to that of Peribleptos. Located at the eastern tip of the peninsula, the church has a massive substructure visible from the eastern side facing the sea. The entrance on the elevated western side, however, is accessible on foot. Contemporary sources write that the construction of this church was considered very important by Emperor Constantine IX Monomachos and that the construction was personally supervised by him. In these sources, it is mentioned that the construction was demolished several times because the church was not impressive enough, and the construction was restarted in a more magnificent way. One of these changes was the substructure of the church. According to the sources (Michael Psellos), Monomachos halted the construction of the church on the grounds that the foundations were not impressive enough and ordered the foundations to be rebuilt“so that they would be seen above ground.”From this command, it is understood that the dimensions of the foundations were important for the“more magnificent”model envisioned by Monomachos. The substructure application in the Gül Mosque is somewhat different compared to the previous two examples. The terrace on which the Gül Mosque sits was built on a small hill located on the slope descending to the Golden Horn. The highest point of this hill was determined as the terrace level, and a terrace was built at this level. The platform is accessible only on foot from the highest point of this small hill. Apart from this point, since the ground level decreases, the part of the terrace walls above the ground begins to grow. The point where this substructure application differs from other examples is that pedestrian access to the terrace is possible only from a single street. It was also possible to flatten the small hill on which the terrace sits and obtain a flat ground, which would have been a much less costly solution. However, the construction of a terrace with massive substructures was the preferred solution. This form of substructure must have made the building much more visible from the Golden Horn. The example of Nea Ekklesia examined within the scope of the thesis requires a separate parenthesis. Unlike the other examples, not enough information is available about the plan types and façades of this building to allow comparison. However, it can be easily stated through primary sources that the building was raised on a massive substructure. Considering the similarities between the power struggles and methods of seizing the throne of Romanos I and the career of Basil I, the fact that both buildings were elevated with substructures is an important point. As far as can be understood from the depictions, the seaward appearance of the Nea Ekklesia was quite massive. With its location and massive substructure, the Nea must have been one of the large and important buildings seen in the silhouette of the city by those arriving by sea. Romanos may have wanted to imitate the effect created by the Nea Ekklesia at the tip of the peninsula as seen from the Sea of Marmara. Like the other examples mentioned above, the Myrelaion also has a massive substructure visible from the outside. However, what distinguishes the substructure of the Myrelaion from all the examples above is that the substructure is detached from the ground on all sides. Even in the example of the Gül Mosque above, the terrace created by the substructure at least touches the ground at one point, and from this point it is possible to reach the terrace on foot. There is no record that access to the Nea Ekklesia was provided by stairs either, so it can be assumed that at least the western façade entrance was at street level. The Myrelaion, with its massive substructure, was completely detached from the street level, making access more difficult. Therefore, unlike in the other examples, the substructure of the Myrelaion did not create an easily accessible and convenient flat area for construction. In this context, the thesis argues that the architectural form of the building was influenced not only by the common architectural practices practised by the master-builders, but also directly by the specific wishes of the patron. For this reason, the thesis includes a comprehensive section focusing on the political career of Romanos Lekapenos and the political atmosphere of the period. As a figure from the common class, Romanos rose in the Byzantine navy and seized power by marrying his daughter to Constantine VII. However, this rise was not welcomed in aristocratic circles, and Romanos was heavily criticized, especially in sources such as De Administrando Imperio, written by Constantine VII. Despite this negative image in aristocratic circles, Romanos seems to have been perceived by the lower classes of the capital as a pious and philanthropic emperor. Sources such as Theophanes Continuatus record Romanos' social charities, such as the distribution of bread, the construction of hospitals and homes for the elderly and shelters for the homeless. The architectural reflections of these philanthropic policies can be seen in the buildings built by Romanos. The role of architectural patronage in the construction of this philanthropic profile involves not only the providing of spatial requirements, but also the creation of symbolic scenes. The Chalke Chapel, known through written sources but lost, has similar strategies. This small church, placed at the Chalke Gate, is physically difficult to reach. Nevertheless, it served as a stage backdrop for an important public performance in the square in which Romanos announced the pardon of the public's debts. During this speech, accompanied by the cheers of the people, the chapel became an architectural element representing Romanos' philanthropy and piety. This scene demonstrates the propaganda value of architecture. The Chalke Chapel and the Myrelaion complex have serious similarities in terms of construction principles. Both buildings were elevated by being built on the massive ancient structures of the city. This elevation made access to both buildings difficult as they were detached from the street level. There are significant similarities between the Chalke Chapel and the Myrelaion not only in form but also in representation. It is noteworthy that both buildings have narrow terraces in front of them, creating the image of a sacred building behind a figure addressing the audience from above. The fact that Romanos followed similar strategies in both buildings strongly suggests that he used architecture as a means of constructing legitimacy. The thesis argues that Myrelaion is not just a church, but an architectural tool used by Romanos Lekapenos in the production of public legitimacy. The unusual substructure, location and height of the structure indicate that it is not only a place of worship but also a“visual manifesto”. Thanks to its location overlooking the Theodosian Harbor, the structure was seen by thousands of people every day; this caused the structure to have a kind of visual propaganda function. In conclusion, this thesis shows that architecture in 10th-century Byzantium was shaped not only in line with belief or function, but also in line with representation, perception and political goals. The Myrelaion example proves that architecture is a narrative tool that addresses not only the interior but also the exterior. Romanos' struggle for power was not only carried out within the palace, but also on the streets, in the square and in the city skyline; architecture became the carrier of this struggle.

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