Papers by İlkgül Kaya
Aktüel Arkeoloji 84, 2022
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Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, Apr 29, 2021
The invasion of Constantinople, the capital of the Byzantine Empire, by the Crusaders in 1204 nec... more The invasion of Constantinople, the capital of the Byzantine Empire, by the Crusaders in 1204 necessitated the administration
of the state from a new center. In Trebizond, one of these centers, the foundation of a new state was laid by two members from
the Comnenian dynasty, Alexios and David Comnenos. As a part of the construction activity that ongoing in the 13th century in
Trebizond, several churches with rich decoration including mural painting, stonework and pavement were built. These buildings
and their decorations are a continuation of the architectural and artistic style of the capital. The geometric compositions draw
attention on the pavements of the Trapezuntine monuments reflecting the metropolitan style that occur both in the capital and
the buildings reflecting the Constantinopolitan style. In this context, the pavement of St. Sophia Church in Trebizond is the one
of the high quality examples reflecting the capital‟s style. The pavement placed in the naos of the church is in the 6.20 square
meter section between the four columns carrying the main cuppola. There was a round omphalion in the center of the floor. This
plate was removed from its place in the 1860s and was kept in the Church of the Nativity of the Virgin in Kromni for a while. In
1924, the omphalion was carried to Thessaloniki by the Pontic Greeks who left the Black Sea region; the work, which was kept in
the archaeological collection of the Rotunda of St. Georgios for a while, was later brought to its current location, the Museum of
Byzantine Culture in Thessaloniki. The aim of this study is to mention that the omphalion is not lost, but dismantled from its
original place, and to address the iconography and the origin problem of “the eagle hunting a hare” on Byzantine pavement,
which we have not seen elsewhere. In this context, in this study, a general evaluation is made with the help of parallel depictions
of eagle and hunter eagle in different artifacts from both the Ancient and Byzantine period.
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Avrasya Terim Dergisi, Apr 30, 2021
The Byzantine Empire was one of the most important states that shaped the religious, political, c... more The Byzantine Empire was one of the most important states that shaped the religious, political, cultural and artistic environment of the Middle Ages. Thousands of manuscripts had been scribed or copied from the beginning of the empire to its collapse. Although the examinations on manuscripts have an important place in the art history studies; a terminological dictionary on manuscripts has not been created yet. In the Turkish academic studies, some of the Ancient Greek and Latin terms related to Byzantine Art can be seen, but those terms have no Turkish translation. Most of the terms associated with Byzantine MSS do not have Turkish either. The main reason of this problem can be explained by the lack of need for the terms related to manuscripts to
be used outside of the academic studies. Manuscripts are examined in several ways. Codicological investigation is based on the material-technical characteristics of the manuscripts, the dimensions, the form of a book, the sewn gatherings (quires), the stitches, the binding, the cover, etc. Palaeographic studies focus on aspects related to the text and page layout, such as the forms of the letters in the text of the MS, the typeface, the characteristic of handwriting, the forms of majuscule or minuscule, the arrangement of row and column, the title, the abbreviations, the bracket and the marker. Iconographic studies are based on miniatures of a book. Based on the relationship established between text and image, the iconography interprets the paintings by considering elements such as the selection of
subjects, the origin, the artistic style, the ratio-proportion and the perspective.
In this study, the terms related to the Medieval and specifically the Byzantine MSS, their abbreviations in international catalogue and inventory systems, and the problem of terminology in the academic literature related to manuscripts in general are discussed.
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Trakya Üniversitesi Edebiyat Fakültesi Dergisi, Jan 31, 2021
This study discusses the iconography of Hades, who appears as an allegorical figure in Byzantine ... more This study discusses the iconography of Hades, who appears as an allegorical figure in Byzantine Art, in the light of canonical, apocryphal and literary sources. The god of the underworld -or the land of the dead- known from his ancient “cult” based on depictions and literary sources, Hades and his legendary existence in the Middle Ages has found its place as an allegorical image of the theme of death and hell in Byzantine depictions. The allegorical image of Hades in Byzantine Art appears in many marginal illuminations in
the copies of Psalterium -based on the Septuagint- from the 9th century and later. Byzantine marginal illuminations are associated with the psalm verses and also serve as a kind of marker for particular verses to be sung at certain service (orthros, vespers etc.) in Byzantine liturgy. In the manuscripts, Hades is depicted in different scenes sourced from Byzantine literature, such as the stories in Barlaam and Ioasaphat’s Vita, in addition to familiar subjects such as Hades receiving sinners, the raising of Lazarus, and the Anastasis. Sometimes the conceptual meaning in a psalm verse is explained with the help of scenes including Hades and the dead. The figures in these scenes represent sinners, while Hades symbolises Hell, holding the
sinners in his arms. In the Byzantine church painting program, Hades appears only in the Anastasis stage. However, Hades as a figure is not always a traditional component in the Anastasis, contrary to Adam, Eve and the king prophets, David and Solomon. Although there is no certain standard type of Hades’s image in the depictions, it is emphasized that the figure is a pagan and he has a sinful, threatening and terrible nature.
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Sivas Cumhuriyet Üniversitesi Edebiyat Fakültesi Sosyal Bilimler Dergisi, 2020
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Ortaçağ Araştırmaları Dergisi, Dec 27, 2020
In this study, the protector saint of Thessaloniki, St. Demetrios’s life story, his miracles, cul... more In this study, the protector saint of Thessaloniki, St. Demetrios’s life story, his miracles, cult and depictions are discussed in the context of the Byzantine hagiographic literature. In the Byzantine theological literature, St. Demetrios first appeared in the “Miracula of Saint Demetrios” written by Archbishop John of Thessaloniki in the 7th century. However, there is no information about the saint’s biography until
the 9th century. Three versions of Demetrios’s life story emerged from the 9th century onwards. According to the traditional narrative, St. Demetrios was the son of a senatorial class family from Thessaloniki. He was killed on the orders of the Roman emperor Maximianus at the beginning of the 4th century. In the 6th century, after the eparkhos of Thessaloniki attributed his miraculous recovery from his disease to St. Demetrios, with Leontios’s initiative, a church was built in the place where the body of Demetrios was considered to be buried. The monument suffered a fire after an earthquake that occurred in the region after 603 or before 649. Then, preserving the original plan, it was rebuilt during Iustinianos’s visit to the city in 688/689. The first phase of the building points to the beginning of the 6th century, based on written sources and archaeological evidence. St. Demetrios is presented in two basic types in Byzantine art, as a civilian or a soldier. The saint is seen in the wall mosaics and frescoes, reliefs, manuscript illuminations, icons, coins, seals, koutrouvia (pilgrim flask), enkolpia and later glazed ceramics. He was widely depicted as a soldier-saint from the 11th century onwards.
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Tokat Gaziosmanpaşa Üniversitesi Sosyal Bilimler Araştırmaları Dergisi-SBAD, 2020
In this study, an icon of Virgin in the Museum of Byzantine Culture in Thessaloniki made with tem... more In this study, an icon of Virgin in the Museum of Byzantine Culture in Thessaloniki made with tempera on wood is discussed. The
work was produced in a Cypriot workshop, in the early 1200s, while the island was in the hands of the Lusignans. The icon portrays the
Virgin in the iconographical type of Hodegitria Dexiokratousa holding the Christ-child in her right side. Examples of the Hodegetria
Dexiokratousa type in Byzantine Art begin to be seen from the 11th century onwards. The wall-mosaic depicting Hodegitria Dexiokratousa in
the lunette on east wall of south cross-arm in the Katholikon of Hosios Loukas in Boiotia belongs to the first quarter of 11th century.
Encolpion and seal samples with Hodegetria Dexiokratousa portrayals in various collections are between the 11th and 12th centuries. A
unique mosaic icon portraying Hodegetria Dexiokratousa and reflecting the Byzantine artistic style is now in the Saint Catherine’s
Monastery collection in Sinai, and the work belongs to the first quarter of the 13th century. Hodegetria Dexiokratousa appears in an example
of a mid-14th century wooden icon in the Hilandar Monastery in the Holy Mountain. The wooden icon portraying Hodegetria Dexiokratousa
in the narthex of the Church of the Acheiropoiitos in Thessaloniki is a work from the Late Byzantine and dates back to the 14th century/the
second quarter of the 14th century. In the 13th century, many icons portraying the Virgin in this type were produced in Cypriot workshops.
Most of the Cyprus icons are characterized by the style of the figure reflecting the Byzantine style and the preferred colour tones. The
examples of the Hodegetria Dexiokratousa Virgin type in Crusader Art, in Franco-Byzantine and Italo-Byzantine styles have been
encountered from the 13th century onwards. There are similar examples of icons and mural paintings portraying this type of the Virgin in
post-Byzantine art, reflecting the Byzantine art style.
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Hitit University Journal of Social Sciences Institute, Symposium of AAHA, Special Issue, October, 2018,, Oct 2018
Constantinople or İstanbul has been the subject of many travelers and
painters throughout centuri... more Constantinople or İstanbul has been the subject of many travelers and
painters throughout centuries. Especially since the first half of the 15th century,
depictions of Constantinople are important in terms of proving existences of
buildings surviving in the city and following the development process of the
urbanization. This study examines panoramic pictures of Constantinople shown
in a bird's-eye view in the work known as "Schedel's World Chronicle" (lat. Liber
Chronicarum) or "the Nuremberg Chronicles" written by Hartmann Schedel in
Latin in Nuremberg in the late 15th century.
There are 1804 illustrations made of 643 different woodprintings. Moreover,
there is a panorama of Constantinople on folyo 129verso-130recto, 249recto,
257recto and 274recto. The illustrations in folyo 129verso-130recto, 249recto
and 274recto were made with the same woodprinting. It is possible to perceive
the historical peninsula and a part of Pera, Propontis Sea, the double land walls
and the sea walls that surround the city, columns, Hagia Sophia Church and
some buildings in folyo 129verso-130recto, 249recto and folyo 274recto. Besides,
on folyo 257recto, the eastern part of the historical peninsula, Hagia Sophia
Church and some buildings draw attention. This work aims analyzing pictures
in the Nuremberg Chronicles and presenting a comparative assessment of the
depictions on Constantinople in several works of Cristoforo Buondelmonti in the
early 15th century.
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Ortaçağ Araştırmaları Degisi, 3(1), Jun 25, 2020
Thessaloniki was in a geopolitically substantial position on one of the two main road connecting ... more Thessaloniki was in a geopolitically substantial position on one of the two main road connecting the Byzantium to the west. The city earned the titles of "symvasilevousa" and "symproteuousa" as a co-reigning city of the Byzantine Empire besides the capital Constantinople. During the Byzantine period, many churches were built in the city. In terms of plan type, design of outer walls and specifically brickwork, the churches would seem to be a provincial representative of the metropolitan style of Constantinople. There were 53 churches and urban monasteries located within the centre of the Middle Byzantine Thessaloniki, however, 29 of them are still maintained, either in integral form or in ruinous condition as a result of excavations, although 24 are known only from the written sources. This study focuses on transfer of Constantinopolitan architectural style to a building of Byzantine province exemplifying Panagia ton Chalkeon Church in Thessaloniki. The monument is registered among the most prominent and well preserved buildings of the middle Byzantine period in Thessaloniki; in other words, the most important religious building of the so-called 'Macedonian Renaissance' in the second substantial city of the empire. The building is identified by two dedicatory inscriptions, one on the marbel lintel over the western entrance and the other on arch of a barrel-vault inside of the monument. It was built in 1028 by Christophoros, katepano of Thessaloniki, Bulgaria and -soon- Longobardia, epi tou konos and royal protospatharios, his wife Maria, and their children Nikephoros, Anna, and Katakali and was dedicated to Mother of God. The church is located in Byzantine city-walls, on the west of Roman agora shaped in late 2nd-early 3rd century, and on a central area of the lower part of old Byzantine city. The Byzantine name of the Panagia ton Chalkeon is not known. This name echoes the Turkish designation 'Kazancilar' or 'Bakircilar', deriving from the fact that from the Byzantine period until present day there have been copper-smith's workshops around the building. Furthermore, as mentioned in modern sources, the church at Byzantine period was probably called Panagia ton Chalkoprateion, like the church of that name in Constantinople. Panagia ton Chalkeon Church is an example of domed and inscribed-cross with a single narthex. Most of the buildings with similar plan of core plan of our example are dated to the middle Byzantine period. The outer walls, pilasters, niches, arched windows, stepped arches surrounding the windows, multilateral drum, dog-tooth bands of Panagia ton Chalkeon Church reflect the typical façades of the middle Byzantine period.
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International Journal of Social and Humanities Sciences Research vol. 5 / iss. 29, pp. 3881-3894, 2018
ÖZET
Bizans el yazmaları, İmparatorluğun başkenti Konstantinopolis'te saray ve özel atölyelerin y... more ÖZET
Bizans el yazmaları, İmparatorluğun başkenti Konstantinopolis'te saray ve özel atölyelerin yanısıra manastırlardaki atölye veya yazıcı odalarında üretildi. R. Janin'in belirttiği üzere 6. yüzyılın ilk yarısında varlık gösteren ve kentin bugünkü tarihi yarımada kısmında kurulmuş olduğu tahmin edilen Galakrenai Manastırı bu kuruluşlar arasında yer alıyordu. Manastırın 11. yüzyılın üçüncü çeyreğinde el yazması üretiminde faaliyet gösterdiğine ilişkin kanıt olarak günümüze ulaşan -bilinen- tek eser bulunmaktadır. Eser günümüzde Vat. Gr. 463 envanter numarasıyla Vatikan Kütüphanesi'nde (BAV) yer alır. Bu eser tarihli bir kolophonla birlikte 4. yüzyılın Kilise Babaları'ndan Gregorios Nazianzenos'un Liturjik Homiliyelerini içerir. El yazması manastırın presbyteros'u Theodoros'un isteği üzerine onun çırağı keşiş Symeon tarafından miniskül harflerle özenle kopya edilmiştir. Eser zengin bir işçilikle yapılmış bir tam sayfa minyatür, inisyal ve tezhiplerle süslenmiştir. Eserin minytürlerinde iki ressam çalışmıştır. Ressamlardan birinin aynı zamanda bugün Vatikan Kütüphanesi'nde Vat. Gr. 333 envanter numarasıyla korunan Eski Ahit-Krallar kopyasının minyatürlerini yaptığı belirlenmiştir.
ABSTRACT
Byzantine manuscripts were produced in workshop at palaces, and private or monastic scriptoria in the capital city of the Byzantine Empire. Galakrenai Monastery was among these institutions as, R. Janin indicated, the monastery existed in the first half of 6th century and location of the monastery was probably in historical peninsula of Constantinople. There is an evidence associated with Galakrenai Monastery was active as a scriptorium in the third quarter of 11th century. The evidence is MS Vat. Gr. 463 in Biblioteca Apostolica Vaticana (BAV), contains a dated colophon, and an illustrated text of the so-called "liturgical homilies" by the 4th-century Church Father Gregorios Nazianzenos. The codex was scribed by monk Symeon, pupil of Theodoros. The colophon indicates that the presbyter Theodoros of the Galakrenai monastery. The text is written in an elegant miniscules referring to Symeon's training. Moreover, the decoration of MS consists of one full-page miniature, a series of initials and headpieces. Two painters participated at the decoration of the work. One of the painters was the master of the miniatures in MS Vat. Gr. 333 in BAV.
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SOBİDER, iss. 30, 2018
Özet
Bizans manastırları dini, sosyal, kültürel, ekonomik ve politik bağlamda Bizans toplumunu e... more Özet
Bizans manastırları dini, sosyal, kültürel, ekonomik ve politik bağlamda Bizans toplumunu etkileyen oldukça önemli kurumlardı. Manastırlar Bizans toplumunun farklı sınıflardan gelen bireylerine pek çok yönden hizmet ettiler. Manastırlarda sürdürülen zanaatsal işler arasında el yazması üretiminin yeri ise bir manastırı diğer manastırlar arasında öne taşıması ve özel kılması nedeniyle önemliydi. Özellikle imparatorluğun başkentinde, Konstantinopolis'te, saray atölyesinin yanı sıra, bazı manastırlar kitap üretim işini üstlenmişti. Orta Çağın koşulları gözönüne alındığında, manastırda kopya edilecek ya da doğrudan yazılacak bir eser için gereken malzemelerin üretilmesi, elde edilmesi ve temini; ayrıca eserin yazımı ve resimlenmesine ilişkin süreç oldukça zahmetliydi. Malzemeler muhtemelen pahalıydı. Dolayısıyla el yazması hazırlama işi diğer Bizans zanaatları arasında saygın ve önemli bir yere sahipti. Bu makalede Orta Çağda el yazması üretiminde kullanılan Bizans parşömeni, mürekkep, pigment gibi temel malzemelerin hazırlanmasına yönelik yöntemler ve yazım işinde yararlanılan yardımcı enstrümanların özellikleri ele alınmaktadır. Buna ek olarak katip ve ressamların çalışma yöntemleri, minyatür hazırlanması ve altın varak kullanımı, renk seçkisinin minyatür kompozisyonundaki figür ve objelere dağılımı, tam sayfa ve marj minyatürleri, kodeks ve Bizans ciltciliği gibi diğer konulara da yer verilmektedir. El yazması üretiminin Bizans manastırlarında oldukça ciddi ve organize bir iş olduğu, yazıhanelerde üretim işinin belli kural ve cezalara dayandığı bilinmektedir.
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Dance is a conscious movement sequences having certain aims, and a part of human life. All the rh... more Dance is a conscious movement sequences having certain aims, and a part of human life. All the rhythmic and certain order movements, as we called dance, were reproduced, changed and developed into a stylistic and conceptual context with various meanings from prehistoric times till present at the history of human. Generally speaking, dance is composed of direct or indirect religious, certain local-traditional beliefs, rituals, cults, mythology, legendary stories and rituals. It is known that dancing is affiliated with rituals in communities throughout prehistoric times. These ceremonies shaped by new experiences and new beliefs contributed to new forms of dancing. During ancient cultures, dance was a section of customs akin to mythology, cults, hunting and pre-war exercises, in addition to, traditional-secular ceremonies. Some dance styles based on ancient folk entertainment spread in nearly whole Europe in the Middle Age; some variations of these traditional folk dances became partial formal changes continued to exist from Middle Ages up to now. In the second half of the 17th century, when Louis XIV on power, establishing of the Académie Royale de Danse was the most significant step for the development of dance as an academic art. Besides, new dance academies continued to be established in Europe; books about the dance history and dance were written in the 18th century. In the 19th century, especially in Europe, dance contained in the entertainment culture, as an ordinary act at the theaters and cabarets, the balls, festivals of palaces and aristocrats, in the education programmes of academies as well. This article examines some dance images being analyzed in terms of conceptual and iconographical on the chronological lines surviving from prehistoric dates until the end of the 19th century. Moreover, the purpose of this work is to convey historical development of the dance exemplifying some of the art works and literary texts belong to different periods and unlike cultures. In this context, miniature copies of various literary works, including dance scenes, were also examined and included in the study. The most distinguished thing here is some of the popular dance genres of a period are mentioned in literary texts at the same epoch, and these dance genres are accepted as art works.
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Özet: Orta Çağ'a tarihlenen Bizans el yazmalarında görülen örgü kompozisyonları erken dönemlerden... more Özet: Orta Çağ'a tarihlenen Bizans el yazmalarında görülen örgü kompozisyonları erken dönemlerden itibaren süsleme amacıyla kullanılmıştır. El yazmalarındaki örgü kompozisyonlarının biçimsel açıdan, çoğu zaman birbirini tekrar ettiği ya da birbirine çok benzediğini görmek mümkündür. Bu özellik, Bizans sanatının özgün karakterini yansıtmaktadır. Burada, Bizans sanatında sıklıkla kullanılan örgü kompozisyonlarının minyatürlü el yazmalarındaki örnekleri ele alınmıştır. Bazı örnekler, üst marjda yer alır, bir metnin giriş sayfasını süsler ve bir geometrik formun etrafında birbirini tekrar ederek diyagonal örgüler oluşturan karmaşık kompozisyonlar meydana getirir. Bazı örnekler ise farklı konuları içeren metinler arasında bir ayraç görevi görür ve ikili ya da üçlü örgülerden oluşan basit ve tipik kompozisyonlar olarak karşımıza çıkar. Bazı örgü motiflerinin bitkisel motiflerle kombinasyon oluşturduğu örnekler de vardır. Araştırmamızda örgü motifleri kategorize edilmektedir. Ele alınan örnekler 11. yüzyıl-15. yüzyıl arasında kaleme alınan el yazmalarındaki örgü kompozisyonlarından oluşmaktadır.
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Eurasian Art&Humanities Journal (ARTHUM) / Eurasian Academy of Sciences - Austria, 2016
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(ASOS Journal), 2014
Turkish-Russian diplomatic relations officially began in the 15th century, and the two countries ... more Turkish-Russian diplomatic relations officially began in the 15th century, and the two countries encountered in the wars and the treaties between the 18th-19th centuries. While the Turkish-Russian relations were going on in the First World War, this relation gained a new direction with the 1917 October Revolution that caused the Russian tsarist regime collapsed. In 1920, the first Russian embassy building was opened in Ankara; then, because of various reasons, Soviet Russia were allocated the new buildings in the capital of the Republic of Turkey. In this study, Turkish-Russian political relations and the Soviet Russian embassy buildings in Ankara in the period of the Turkish national struggle will be evaluated.
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Book Chapters by İlkgül Kaya
Prof. Dr. Engin Beksaç'a Armağan: Tarih Sanat Tarihi Görsel Kültür Yazıları, 2023
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"Bizans Sarayında Bir Kadının Esareti, Yaşamı, Mucizeleri ve Bizans Sanatındaki Temsili", Hareketliliğin Doğası Antikçağdan Günümüze İnsanlar, Fikirler ve Nesnelerin Dolaşımı, Eds. Emine Bilgiç Kavak, Hatice Demir, Esen Kaya, İstanbul: Alfa, Ocak 2023, s. 323-350. Hareketliliğin Doğası Antikçağdan Günümüze İnsanlar, Fikirler ve Nesnelerin Dolaşımı, 2023
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Sosyal Bilimler Perspektifinde Cinsiyet ve Toplumsal Cinsiyet Tartışmaları, 2023
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Türkiye Turizm Ansiklopedisi-XV, 2022
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Türkiye Turizm Ansiklopedisi-XI, 2022
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Papers by İlkgül Kaya
of the state from a new center. In Trebizond, one of these centers, the foundation of a new state was laid by two members from
the Comnenian dynasty, Alexios and David Comnenos. As a part of the construction activity that ongoing in the 13th century in
Trebizond, several churches with rich decoration including mural painting, stonework and pavement were built. These buildings
and their decorations are a continuation of the architectural and artistic style of the capital. The geometric compositions draw
attention on the pavements of the Trapezuntine monuments reflecting the metropolitan style that occur both in the capital and
the buildings reflecting the Constantinopolitan style. In this context, the pavement of St. Sophia Church in Trebizond is the one
of the high quality examples reflecting the capital‟s style. The pavement placed in the naos of the church is in the 6.20 square
meter section between the four columns carrying the main cuppola. There was a round omphalion in the center of the floor. This
plate was removed from its place in the 1860s and was kept in the Church of the Nativity of the Virgin in Kromni for a while. In
1924, the omphalion was carried to Thessaloniki by the Pontic Greeks who left the Black Sea region; the work, which was kept in
the archaeological collection of the Rotunda of St. Georgios for a while, was later brought to its current location, the Museum of
Byzantine Culture in Thessaloniki. The aim of this study is to mention that the omphalion is not lost, but dismantled from its
original place, and to address the iconography and the origin problem of “the eagle hunting a hare” on Byzantine pavement,
which we have not seen elsewhere. In this context, in this study, a general evaluation is made with the help of parallel depictions
of eagle and hunter eagle in different artifacts from both the Ancient and Byzantine period.
be used outside of the academic studies. Manuscripts are examined in several ways. Codicological investigation is based on the material-technical characteristics of the manuscripts, the dimensions, the form of a book, the sewn gatherings (quires), the stitches, the binding, the cover, etc. Palaeographic studies focus on aspects related to the text and page layout, such as the forms of the letters in the text of the MS, the typeface, the characteristic of handwriting, the forms of majuscule or minuscule, the arrangement of row and column, the title, the abbreviations, the bracket and the marker. Iconographic studies are based on miniatures of a book. Based on the relationship established between text and image, the iconography interprets the paintings by considering elements such as the selection of
subjects, the origin, the artistic style, the ratio-proportion and the perspective.
In this study, the terms related to the Medieval and specifically the Byzantine MSS, their abbreviations in international catalogue and inventory systems, and the problem of terminology in the academic literature related to manuscripts in general are discussed.
the copies of Psalterium -based on the Septuagint- from the 9th century and later. Byzantine marginal illuminations are associated with the psalm verses and also serve as a kind of marker for particular verses to be sung at certain service (orthros, vespers etc.) in Byzantine liturgy. In the manuscripts, Hades is depicted in different scenes sourced from Byzantine literature, such as the stories in Barlaam and Ioasaphat’s Vita, in addition to familiar subjects such as Hades receiving sinners, the raising of Lazarus, and the Anastasis. Sometimes the conceptual meaning in a psalm verse is explained with the help of scenes including Hades and the dead. The figures in these scenes represent sinners, while Hades symbolises Hell, holding the
sinners in his arms. In the Byzantine church painting program, Hades appears only in the Anastasis stage. However, Hades as a figure is not always a traditional component in the Anastasis, contrary to Adam, Eve and the king prophets, David and Solomon. Although there is no certain standard type of Hades’s image in the depictions, it is emphasized that the figure is a pagan and he has a sinful, threatening and terrible nature.
the 9th century. Three versions of Demetrios’s life story emerged from the 9th century onwards. According to the traditional narrative, St. Demetrios was the son of a senatorial class family from Thessaloniki. He was killed on the orders of the Roman emperor Maximianus at the beginning of the 4th century. In the 6th century, after the eparkhos of Thessaloniki attributed his miraculous recovery from his disease to St. Demetrios, with Leontios’s initiative, a church was built in the place where the body of Demetrios was considered to be buried. The monument suffered a fire after an earthquake that occurred in the region after 603 or before 649. Then, preserving the original plan, it was rebuilt during Iustinianos’s visit to the city in 688/689. The first phase of the building points to the beginning of the 6th century, based on written sources and archaeological evidence. St. Demetrios is presented in two basic types in Byzantine art, as a civilian or a soldier. The saint is seen in the wall mosaics and frescoes, reliefs, manuscript illuminations, icons, coins, seals, koutrouvia (pilgrim flask), enkolpia and later glazed ceramics. He was widely depicted as a soldier-saint from the 11th century onwards.
work was produced in a Cypriot workshop, in the early 1200s, while the island was in the hands of the Lusignans. The icon portrays the
Virgin in the iconographical type of Hodegitria Dexiokratousa holding the Christ-child in her right side. Examples of the Hodegetria
Dexiokratousa type in Byzantine Art begin to be seen from the 11th century onwards. The wall-mosaic depicting Hodegitria Dexiokratousa in
the lunette on east wall of south cross-arm in the Katholikon of Hosios Loukas in Boiotia belongs to the first quarter of 11th century.
Encolpion and seal samples with Hodegetria Dexiokratousa portrayals in various collections are between the 11th and 12th centuries. A
unique mosaic icon portraying Hodegetria Dexiokratousa and reflecting the Byzantine artistic style is now in the Saint Catherine’s
Monastery collection in Sinai, and the work belongs to the first quarter of the 13th century. Hodegetria Dexiokratousa appears in an example
of a mid-14th century wooden icon in the Hilandar Monastery in the Holy Mountain. The wooden icon portraying Hodegetria Dexiokratousa
in the narthex of the Church of the Acheiropoiitos in Thessaloniki is a work from the Late Byzantine and dates back to the 14th century/the
second quarter of the 14th century. In the 13th century, many icons portraying the Virgin in this type were produced in Cypriot workshops.
Most of the Cyprus icons are characterized by the style of the figure reflecting the Byzantine style and the preferred colour tones. The
examples of the Hodegetria Dexiokratousa Virgin type in Crusader Art, in Franco-Byzantine and Italo-Byzantine styles have been
encountered from the 13th century onwards. There are similar examples of icons and mural paintings portraying this type of the Virgin in
post-Byzantine art, reflecting the Byzantine art style.
painters throughout centuries. Especially since the first half of the 15th century,
depictions of Constantinople are important in terms of proving existences of
buildings surviving in the city and following the development process of the
urbanization. This study examines panoramic pictures of Constantinople shown
in a bird's-eye view in the work known as "Schedel's World Chronicle" (lat. Liber
Chronicarum) or "the Nuremberg Chronicles" written by Hartmann Schedel in
Latin in Nuremberg in the late 15th century.
There are 1804 illustrations made of 643 different woodprintings. Moreover,
there is a panorama of Constantinople on folyo 129verso-130recto, 249recto,
257recto and 274recto. The illustrations in folyo 129verso-130recto, 249recto
and 274recto were made with the same woodprinting. It is possible to perceive
the historical peninsula and a part of Pera, Propontis Sea, the double land walls
and the sea walls that surround the city, columns, Hagia Sophia Church and
some buildings in folyo 129verso-130recto, 249recto and folyo 274recto. Besides,
on folyo 257recto, the eastern part of the historical peninsula, Hagia Sophia
Church and some buildings draw attention. This work aims analyzing pictures
in the Nuremberg Chronicles and presenting a comparative assessment of the
depictions on Constantinople in several works of Cristoforo Buondelmonti in the
early 15th century.
Bizans el yazmaları, İmparatorluğun başkenti Konstantinopolis'te saray ve özel atölyelerin yanısıra manastırlardaki atölye veya yazıcı odalarında üretildi. R. Janin'in belirttiği üzere 6. yüzyılın ilk yarısında varlık gösteren ve kentin bugünkü tarihi yarımada kısmında kurulmuş olduğu tahmin edilen Galakrenai Manastırı bu kuruluşlar arasında yer alıyordu. Manastırın 11. yüzyılın üçüncü çeyreğinde el yazması üretiminde faaliyet gösterdiğine ilişkin kanıt olarak günümüze ulaşan -bilinen- tek eser bulunmaktadır. Eser günümüzde Vat. Gr. 463 envanter numarasıyla Vatikan Kütüphanesi'nde (BAV) yer alır. Bu eser tarihli bir kolophonla birlikte 4. yüzyılın Kilise Babaları'ndan Gregorios Nazianzenos'un Liturjik Homiliyelerini içerir. El yazması manastırın presbyteros'u Theodoros'un isteği üzerine onun çırağı keşiş Symeon tarafından miniskül harflerle özenle kopya edilmiştir. Eser zengin bir işçilikle yapılmış bir tam sayfa minyatür, inisyal ve tezhiplerle süslenmiştir. Eserin minytürlerinde iki ressam çalışmıştır. Ressamlardan birinin aynı zamanda bugün Vatikan Kütüphanesi'nde Vat. Gr. 333 envanter numarasıyla korunan Eski Ahit-Krallar kopyasının minyatürlerini yaptığı belirlenmiştir.
ABSTRACT
Byzantine manuscripts were produced in workshop at palaces, and private or monastic scriptoria in the capital city of the Byzantine Empire. Galakrenai Monastery was among these institutions as, R. Janin indicated, the monastery existed in the first half of 6th century and location of the monastery was probably in historical peninsula of Constantinople. There is an evidence associated with Galakrenai Monastery was active as a scriptorium in the third quarter of 11th century. The evidence is MS Vat. Gr. 463 in Biblioteca Apostolica Vaticana (BAV), contains a dated colophon, and an illustrated text of the so-called "liturgical homilies" by the 4th-century Church Father Gregorios Nazianzenos. The codex was scribed by monk Symeon, pupil of Theodoros. The colophon indicates that the presbyter Theodoros of the Galakrenai monastery. The text is written in an elegant miniscules referring to Symeon's training. Moreover, the decoration of MS consists of one full-page miniature, a series of initials and headpieces. Two painters participated at the decoration of the work. One of the painters was the master of the miniatures in MS Vat. Gr. 333 in BAV.
Bizans manastırları dini, sosyal, kültürel, ekonomik ve politik bağlamda Bizans toplumunu etkileyen oldukça önemli kurumlardı. Manastırlar Bizans toplumunun farklı sınıflardan gelen bireylerine pek çok yönden hizmet ettiler. Manastırlarda sürdürülen zanaatsal işler arasında el yazması üretiminin yeri ise bir manastırı diğer manastırlar arasında öne taşıması ve özel kılması nedeniyle önemliydi. Özellikle imparatorluğun başkentinde, Konstantinopolis'te, saray atölyesinin yanı sıra, bazı manastırlar kitap üretim işini üstlenmişti. Orta Çağın koşulları gözönüne alındığında, manastırda kopya edilecek ya da doğrudan yazılacak bir eser için gereken malzemelerin üretilmesi, elde edilmesi ve temini; ayrıca eserin yazımı ve resimlenmesine ilişkin süreç oldukça zahmetliydi. Malzemeler muhtemelen pahalıydı. Dolayısıyla el yazması hazırlama işi diğer Bizans zanaatları arasında saygın ve önemli bir yere sahipti. Bu makalede Orta Çağda el yazması üretiminde kullanılan Bizans parşömeni, mürekkep, pigment gibi temel malzemelerin hazırlanmasına yönelik yöntemler ve yazım işinde yararlanılan yardımcı enstrümanların özellikleri ele alınmaktadır. Buna ek olarak katip ve ressamların çalışma yöntemleri, minyatür hazırlanması ve altın varak kullanımı, renk seçkisinin minyatür kompozisyonundaki figür ve objelere dağılımı, tam sayfa ve marj minyatürleri, kodeks ve Bizans ciltciliği gibi diğer konulara da yer verilmektedir. El yazması üretiminin Bizans manastırlarında oldukça ciddi ve organize bir iş olduğu, yazıhanelerde üretim işinin belli kural ve cezalara dayandığı bilinmektedir.
Book Chapters by İlkgül Kaya
of the state from a new center. In Trebizond, one of these centers, the foundation of a new state was laid by two members from
the Comnenian dynasty, Alexios and David Comnenos. As a part of the construction activity that ongoing in the 13th century in
Trebizond, several churches with rich decoration including mural painting, stonework and pavement were built. These buildings
and their decorations are a continuation of the architectural and artistic style of the capital. The geometric compositions draw
attention on the pavements of the Trapezuntine monuments reflecting the metropolitan style that occur both in the capital and
the buildings reflecting the Constantinopolitan style. In this context, the pavement of St. Sophia Church in Trebizond is the one
of the high quality examples reflecting the capital‟s style. The pavement placed in the naos of the church is in the 6.20 square
meter section between the four columns carrying the main cuppola. There was a round omphalion in the center of the floor. This
plate was removed from its place in the 1860s and was kept in the Church of the Nativity of the Virgin in Kromni for a while. In
1924, the omphalion was carried to Thessaloniki by the Pontic Greeks who left the Black Sea region; the work, which was kept in
the archaeological collection of the Rotunda of St. Georgios for a while, was later brought to its current location, the Museum of
Byzantine Culture in Thessaloniki. The aim of this study is to mention that the omphalion is not lost, but dismantled from its
original place, and to address the iconography and the origin problem of “the eagle hunting a hare” on Byzantine pavement,
which we have not seen elsewhere. In this context, in this study, a general evaluation is made with the help of parallel depictions
of eagle and hunter eagle in different artifacts from both the Ancient and Byzantine period.
be used outside of the academic studies. Manuscripts are examined in several ways. Codicological investigation is based on the material-technical characteristics of the manuscripts, the dimensions, the form of a book, the sewn gatherings (quires), the stitches, the binding, the cover, etc. Palaeographic studies focus on aspects related to the text and page layout, such as the forms of the letters in the text of the MS, the typeface, the characteristic of handwriting, the forms of majuscule or minuscule, the arrangement of row and column, the title, the abbreviations, the bracket and the marker. Iconographic studies are based on miniatures of a book. Based on the relationship established between text and image, the iconography interprets the paintings by considering elements such as the selection of
subjects, the origin, the artistic style, the ratio-proportion and the perspective.
In this study, the terms related to the Medieval and specifically the Byzantine MSS, their abbreviations in international catalogue and inventory systems, and the problem of terminology in the academic literature related to manuscripts in general are discussed.
the copies of Psalterium -based on the Septuagint- from the 9th century and later. Byzantine marginal illuminations are associated with the psalm verses and also serve as a kind of marker for particular verses to be sung at certain service (orthros, vespers etc.) in Byzantine liturgy. In the manuscripts, Hades is depicted in different scenes sourced from Byzantine literature, such as the stories in Barlaam and Ioasaphat’s Vita, in addition to familiar subjects such as Hades receiving sinners, the raising of Lazarus, and the Anastasis. Sometimes the conceptual meaning in a psalm verse is explained with the help of scenes including Hades and the dead. The figures in these scenes represent sinners, while Hades symbolises Hell, holding the
sinners in his arms. In the Byzantine church painting program, Hades appears only in the Anastasis stage. However, Hades as a figure is not always a traditional component in the Anastasis, contrary to Adam, Eve and the king prophets, David and Solomon. Although there is no certain standard type of Hades’s image in the depictions, it is emphasized that the figure is a pagan and he has a sinful, threatening and terrible nature.
the 9th century. Three versions of Demetrios’s life story emerged from the 9th century onwards. According to the traditional narrative, St. Demetrios was the son of a senatorial class family from Thessaloniki. He was killed on the orders of the Roman emperor Maximianus at the beginning of the 4th century. In the 6th century, after the eparkhos of Thessaloniki attributed his miraculous recovery from his disease to St. Demetrios, with Leontios’s initiative, a church was built in the place where the body of Demetrios was considered to be buried. The monument suffered a fire after an earthquake that occurred in the region after 603 or before 649. Then, preserving the original plan, it was rebuilt during Iustinianos’s visit to the city in 688/689. The first phase of the building points to the beginning of the 6th century, based on written sources and archaeological evidence. St. Demetrios is presented in two basic types in Byzantine art, as a civilian or a soldier. The saint is seen in the wall mosaics and frescoes, reliefs, manuscript illuminations, icons, coins, seals, koutrouvia (pilgrim flask), enkolpia and later glazed ceramics. He was widely depicted as a soldier-saint from the 11th century onwards.
work was produced in a Cypriot workshop, in the early 1200s, while the island was in the hands of the Lusignans. The icon portrays the
Virgin in the iconographical type of Hodegitria Dexiokratousa holding the Christ-child in her right side. Examples of the Hodegetria
Dexiokratousa type in Byzantine Art begin to be seen from the 11th century onwards. The wall-mosaic depicting Hodegitria Dexiokratousa in
the lunette on east wall of south cross-arm in the Katholikon of Hosios Loukas in Boiotia belongs to the first quarter of 11th century.
Encolpion and seal samples with Hodegetria Dexiokratousa portrayals in various collections are between the 11th and 12th centuries. A
unique mosaic icon portraying Hodegetria Dexiokratousa and reflecting the Byzantine artistic style is now in the Saint Catherine’s
Monastery collection in Sinai, and the work belongs to the first quarter of the 13th century. Hodegetria Dexiokratousa appears in an example
of a mid-14th century wooden icon in the Hilandar Monastery in the Holy Mountain. The wooden icon portraying Hodegetria Dexiokratousa
in the narthex of the Church of the Acheiropoiitos in Thessaloniki is a work from the Late Byzantine and dates back to the 14th century/the
second quarter of the 14th century. In the 13th century, many icons portraying the Virgin in this type were produced in Cypriot workshops.
Most of the Cyprus icons are characterized by the style of the figure reflecting the Byzantine style and the preferred colour tones. The
examples of the Hodegetria Dexiokratousa Virgin type in Crusader Art, in Franco-Byzantine and Italo-Byzantine styles have been
encountered from the 13th century onwards. There are similar examples of icons and mural paintings portraying this type of the Virgin in
post-Byzantine art, reflecting the Byzantine art style.
painters throughout centuries. Especially since the first half of the 15th century,
depictions of Constantinople are important in terms of proving existences of
buildings surviving in the city and following the development process of the
urbanization. This study examines panoramic pictures of Constantinople shown
in a bird's-eye view in the work known as "Schedel's World Chronicle" (lat. Liber
Chronicarum) or "the Nuremberg Chronicles" written by Hartmann Schedel in
Latin in Nuremberg in the late 15th century.
There are 1804 illustrations made of 643 different woodprintings. Moreover,
there is a panorama of Constantinople on folyo 129verso-130recto, 249recto,
257recto and 274recto. The illustrations in folyo 129verso-130recto, 249recto
and 274recto were made with the same woodprinting. It is possible to perceive
the historical peninsula and a part of Pera, Propontis Sea, the double land walls
and the sea walls that surround the city, columns, Hagia Sophia Church and
some buildings in folyo 129verso-130recto, 249recto and folyo 274recto. Besides,
on folyo 257recto, the eastern part of the historical peninsula, Hagia Sophia
Church and some buildings draw attention. This work aims analyzing pictures
in the Nuremberg Chronicles and presenting a comparative assessment of the
depictions on Constantinople in several works of Cristoforo Buondelmonti in the
early 15th century.
Bizans el yazmaları, İmparatorluğun başkenti Konstantinopolis'te saray ve özel atölyelerin yanısıra manastırlardaki atölye veya yazıcı odalarında üretildi. R. Janin'in belirttiği üzere 6. yüzyılın ilk yarısında varlık gösteren ve kentin bugünkü tarihi yarımada kısmında kurulmuş olduğu tahmin edilen Galakrenai Manastırı bu kuruluşlar arasında yer alıyordu. Manastırın 11. yüzyılın üçüncü çeyreğinde el yazması üretiminde faaliyet gösterdiğine ilişkin kanıt olarak günümüze ulaşan -bilinen- tek eser bulunmaktadır. Eser günümüzde Vat. Gr. 463 envanter numarasıyla Vatikan Kütüphanesi'nde (BAV) yer alır. Bu eser tarihli bir kolophonla birlikte 4. yüzyılın Kilise Babaları'ndan Gregorios Nazianzenos'un Liturjik Homiliyelerini içerir. El yazması manastırın presbyteros'u Theodoros'un isteği üzerine onun çırağı keşiş Symeon tarafından miniskül harflerle özenle kopya edilmiştir. Eser zengin bir işçilikle yapılmış bir tam sayfa minyatür, inisyal ve tezhiplerle süslenmiştir. Eserin minytürlerinde iki ressam çalışmıştır. Ressamlardan birinin aynı zamanda bugün Vatikan Kütüphanesi'nde Vat. Gr. 333 envanter numarasıyla korunan Eski Ahit-Krallar kopyasının minyatürlerini yaptığı belirlenmiştir.
ABSTRACT
Byzantine manuscripts were produced in workshop at palaces, and private or monastic scriptoria in the capital city of the Byzantine Empire. Galakrenai Monastery was among these institutions as, R. Janin indicated, the monastery existed in the first half of 6th century and location of the monastery was probably in historical peninsula of Constantinople. There is an evidence associated with Galakrenai Monastery was active as a scriptorium in the third quarter of 11th century. The evidence is MS Vat. Gr. 463 in Biblioteca Apostolica Vaticana (BAV), contains a dated colophon, and an illustrated text of the so-called "liturgical homilies" by the 4th-century Church Father Gregorios Nazianzenos. The codex was scribed by monk Symeon, pupil of Theodoros. The colophon indicates that the presbyter Theodoros of the Galakrenai monastery. The text is written in an elegant miniscules referring to Symeon's training. Moreover, the decoration of MS consists of one full-page miniature, a series of initials and headpieces. Two painters participated at the decoration of the work. One of the painters was the master of the miniatures in MS Vat. Gr. 333 in BAV.
Bizans manastırları dini, sosyal, kültürel, ekonomik ve politik bağlamda Bizans toplumunu etkileyen oldukça önemli kurumlardı. Manastırlar Bizans toplumunun farklı sınıflardan gelen bireylerine pek çok yönden hizmet ettiler. Manastırlarda sürdürülen zanaatsal işler arasında el yazması üretiminin yeri ise bir manastırı diğer manastırlar arasında öne taşıması ve özel kılması nedeniyle önemliydi. Özellikle imparatorluğun başkentinde, Konstantinopolis'te, saray atölyesinin yanı sıra, bazı manastırlar kitap üretim işini üstlenmişti. Orta Çağın koşulları gözönüne alındığında, manastırda kopya edilecek ya da doğrudan yazılacak bir eser için gereken malzemelerin üretilmesi, elde edilmesi ve temini; ayrıca eserin yazımı ve resimlenmesine ilişkin süreç oldukça zahmetliydi. Malzemeler muhtemelen pahalıydı. Dolayısıyla el yazması hazırlama işi diğer Bizans zanaatları arasında saygın ve önemli bir yere sahipti. Bu makalede Orta Çağda el yazması üretiminde kullanılan Bizans parşömeni, mürekkep, pigment gibi temel malzemelerin hazırlanmasına yönelik yöntemler ve yazım işinde yararlanılan yardımcı enstrümanların özellikleri ele alınmaktadır. Buna ek olarak katip ve ressamların çalışma yöntemleri, minyatür hazırlanması ve altın varak kullanımı, renk seçkisinin minyatür kompozisyonundaki figür ve objelere dağılımı, tam sayfa ve marj minyatürleri, kodeks ve Bizans ciltciliği gibi diğer konulara da yer verilmektedir. El yazması üretiminin Bizans manastırlarında oldukça ciddi ve organize bir iş olduğu, yazıhanelerde üretim işinin belli kural ve cezalara dayandığı bilinmektedir.
Buyuk Istanos was an Ottoman Turkish and Armenian settlement. Only few remains survived. Evliya Celebi observed many famous rope acrobats in Buyuk Istanos when he reached the area and he presented interesting rocks of the place by exaggerating in his travel notes. Istanos was the stopover point where 19th century travelers and foreign missionaries drank grape juice on their routes to the west as they passed through Ankara and rested in the shade of a willow by the Engurusu (Zir Stream). Moreover, Ankara's white goats with their silky white hair were the livelihood for the people of the settlement and Istanos had a significant role in the production of fleece wool in 19th century Ankara. We do not have the opportunity to make a clear inference as to population at the settlement, but the majority of the people were Armenians subordinating to the Ottomans and this was an Anatolian town in its own way. Furthermore, in 1934, a black-and-white documentary named
"Turkey's Heart: Ankara" was directed by Russian directors S. Yutkevich and L. O. Arnstam. At the first moments of the film, Istanos as a small town of Anatolia was appeared with its two-to-three storey mudbrick houses adjacent to each other next to Zir Stream, and its narrow streets. The town was completely abandoned after a major inundation and landslide in 1957.
A rock-carved monastery from Byzantine period, a stone bridge from the Ottoman era, a destroyed Armenian cemetery, a ruined house, most of remained beneath the ground or a number of building remains have been examined. In this research, history of the location is mentioned within the framework of historical and modern sources, cartographic sources, travel notes and mission reports written about the town, Armenian cemetery and other ruins are mentioned. Besides, it is noteworthy that no comprehensive study of the settlement has been referring up to date. This study aims to document the last remains of the destroyed area.
Anadolu’nun kuzey kesiminde, Karadeniz’in güney doğu kıyısındaki Trabzon’un Ortaçağdaki önemli liman yerleşimlerinden biri olan Platana’da, bugünkü adıyla Akçaabat’ta, Ortaçağ-Doğu Roma İmparatorluğu kültür mirasının bir parçası olan Başmelek Mikhail Kilisesi’ni 2002 ve 2003 yılında iki kez araştırma amacıyla ziyaret etmiştim. Esasen oldukça iyi korunmuş bir Ortaçağ mimari örneği olmasına rağmen, Karadeniz’in kıyı yerleşimlerindeki acımasız iklim koşullarından olumsuz anlamda etkilenmekte olduğu göze çarpmaktaydı ve yapının bu kendi kaderine terkedilmiş olma durumu, yapının doğru bir biçimde belgelenmesi zorunluluğunu ortaya koyuyordu. Başmelek Mikhail Kilisesi’nin mimarisine ilişkin yayınlar sınırlı sayıda olmakla birlikte, monografik bir yayın henüz literature girmemişti. 1960 yılında Selina Balance tarafından yazılmış ve artık güncelliğini yitirmiş bir makalede Başmelek Mikhail Kilisesi’nden kısaca söz edilmekteydi. Bu bağlamda yapıyı her ayrıntısıyla belgeleyen ilk monografik yayın olan bu kitabı bilim dünyasıyla paylaşmak benim için gerçekten büyük bir mutluluk olacaktı.
Başmelek Mikhail Kilisesi inşaat tarihi ve kullanım dönemleri açısından “tarihlendirme” sorunu taşıyan bir yapıdır. Mimari veriler gözardı edilerek ve benzer mimari özellik gösteren yapılarla karşılaştırma yapılmadan, yapı için doğrudan kesin tarihler belirtilmesi, bu konudaki eksikliği ve yanlışlığı beraberinde getirir. Monografik bir yayın niteliği taşıyan bu çalışma Başmelek Mikhail Kilisesi’nin benzer örneklerle karşılaştırılmasını, mimari verilerinin değerlendirmesini ve tarihlendirilmesi sorununu ele almaktadır.
Burada irdeleyeceğimiz konu, Ortaçağ-Doğu Roma İmparatorluğu mimarisine ilişkin incelemelerde genellikle yüzeysel olarak ele alınan “tek nefli kilise mimarisi”ni baz almaktadır. Tek nefli kiliseler, boyutlarına bakılacak olursa; bir yerleşimde küçük bir cemaati biraraya toplamak üzere inşa edilmiş izlenimi uyandırırlar ve daha çok bir şapel görünümündedirler. Platana yerleşimindeki Başmelek Mikhail Kilisesi de, bu anlamda bize iyi bir örnek teşkil eder. Esasen, Doğu Roma’nın son dönemlerinde hayatta kalma çabalarını sürdürdüğü Pontos bölgesinde yerel mimari özelliklerin imparatorluğun mimari üslubuyla birleştiği, birbirinden farklı plan şemasında inşa edilmiş sayısız kilise mevcuttur ve mimarlık tarihi açısından belgelenmeleri kaçınılmazdır. Nitekim bu yapıların sadece bazıları günümüze değin ayakta kalabilmiştir. Çalışmamızda bu yapılardan da sözedilmektedir.
Bu çalışmanın, Ortaçağ içinde Doğu Roma İmparatorluğu Pontos bölgesi yerel mimari üslubunu inceleyen bilimadamlarına katkısı olması dileğimle…
İlkgül KAYA ZENBİLCİ
Ankara Kasım 2015.
Terra sigillata seramiklerde, Doğu Sigillata A, Doğu Sigillata B, Doğu Sigillata C (Çandarlı Sigillata), Doğu Sigillata D (Kıbrıs Sigillata) ve Batı (Đtalyan) Sigillataları olmak üzere beş mal grubu ve yedi hamur, red slip seramiklerde ise Geç Roma A-B (Afrika Red Slipleri), Geç Roma C (Foça Red Slipleri), Geç Roma D (Kıbrıs Red Slipleri), Mısır A (Kopt/Asuan Red Slipleri), Mısır B ve Myra üretimi yerel red slip seramikleri olmak üzere altı mal grubu ve altı hamur belirlenmiştir.
Terra sigillata ve red slip seramiklerin çarkta, kulpların elde, yalnızca Kıbrıs üretimi red slip hacı matarası (ampullae) parçalarının kalıpta üretildiği tespit edilmiştir.Yapılan tipolojide terra sigillata seramiklerde varyasyonları ile birlikte yirmi altı ağız, on dört halka dip tipi, red slip seramiklerin ithal mal gruplarında varyasyonları ile birlikte seksen sekiz ağız, üç düz dip, on beş halka dip tipi, iki tip kulp, Myra üretimi yerel red slip seramiklerde ise varyasyonları ile birlikte dokuz ağız, iki düz dip ve iki halka dip tipi, bir kulp tipi ve bir kapak tipi belirlenmiştir.
Yemek servisine yönelik tabak, çanak, kâse, sıvı servisi için testi, sürahi, hem terra sigillata hem red slip seramiklerde, sebze-meyve ezme, hazırlama ve belki de kurutmada kullanılan mortarium, leğen, yemek pişirilen çömlek, yiyecek depolamaya yönelik küpler, ayrıca bir kapak ve hacı mataraları (ampullae) ise yalnızca red slip seramiklerde belirlenen türlerdir.
Terra sigillata örneklerin astarları kap yüzeyine ince ya da kalın sürülerek düzgün bir biçimde uygulanmış, mat ya da parlak niteliklidir. Bezemelerde mühür baskı tekniğinde bitkisel motiflerle rulet baskı tekniğinde çentik bezeme ve geometrik motifler görülür. Red slip seramiklerin astarları da kap yüzeyine ince ya da kalın sürülerek düzgün bir biçimde uygulanmış, mat ya da parlak niteliklidir. Bezemelerde mühür baskı tekniğinde haç motifi, rulet baskı tekniğinde çentik bezeme, damla, dalga ve çizgi motifleri, kabartma tekniğinde figürlü ve geometrik bezemeli örnekler görülür, ayrıca aplik üzerine parmak baskı tekniği ile bezenen bir örnek, astar üzerine akıtma tekniğinde bej renkli astar üzerine kahverengi boya ile bezenen iki örnek vardır.
Mal grupları, Myra’nın Roma döneminde, diğer yerleşimlerle olan seramik ticaretine işaret eder. Myra’da henüz bu döneme ait seramik fırını tespit edilmemiş olmasına rağmen, seramiklerin hamurları incelendiğinde, yerel örnekler ayırt edilebilir.
ISBN: 9786257845786