İnceleme Makalesi
BibTex RIS Kaynak Göster
Yıl 2024, Cilt: 14 Sayı: 1, 303 - 313, 08.03.2024
https://doi.org/10.48146/odusobiad.1208767

Öz

Kaynakça

  • Angheben, M. (2002). Les Jugements derniers Byzantins des XIe-XIIe Siécles et L'iconographie du Jugement Immédiat. In Cahiers archéologiques 50, 105-134
  • Angheben, M. (2015). Le Jugement dernier de Fossa: Une vision eschatologique ıntégrant la représentation du jugement ımmédiat. In Hortus Artium Medievalium 21. (pp. 406-420). Brepols Publishers.
  • Bailey, K. E. (2003). Jacob & the Prodigal: How Jesus retold Israel’s story. Illinois: InterVarsity Press.
  • Brenk, B. (1966). Tradition und Neuerung in der christlichen Kunst des ersten Jahrtausends: Studien zur Geschichte des Weltgerichtsbildes. Vienna: Böhlau.
  • Brown, P. (2017). Geç Antikçağ dünyası (Translated by T. Kaçar). Istanbul: ALFA.
  • Caridad, E. C. (2017). El juicio final en textos litúrgicos medievales. Vegueta 17. Universidad de Las Palmas de Gran Canaria.
  • Cavarnos, C. (1993). Guide to Byzantine Iconography. Vol. 1. Boston.
  • Chookaszian, L. (2011). On the Full Page Illustrations of the “Last Judgement” in the Art Armenian Miniaturist of 13th Century Toros Roslin. (V. A. Briskina-Müller, A. Drost-Abgarjan and A. Meißner, Ed.). In Logos im Dialogos Auf der Suche neach der Orthdoxie: Gedenkschrift für Hermann Goltz (1946-2010) (Forum Orthodoxe Theologie). Berlin: LIT Verlag.
  • Grabar, A. (1968). Christian Iconography a Study of Its Origins. New Jersey: Princeton University.
  • Herrmann, J., & Van Den Hoek, A. (2009). Apocalyptic themes in the monumental and minor art of early christianity. R. J. Daly (Ed.), In apocalyptic thought in early christianity. (pp. 33-80). Baker Academic.
  • Jensen, R. M. (2000). Understanding early christian art. London and New York: Routledge.
  • Kartsonis, A. D. (1986). Anastasis: The making of an image. New Jersey: Princeton University Press.
  • Maguire, H. (2018). Why did Hades become beautiful in Byzantine art?. G. Ekroth and I. Nilsson (Ed.), In Round Trip to Hades in the Eastern Mediterranean Tradition: Visits to the Underworld from Antiquity to Byzantium. (pp. 304-321). Leiden: Brill.
  • Marinis, V. (2017). Death and afterlife in Byzantium: The fate of the soul in theology, liturgy, and art. New York: Cambridge University Press.
  • Meyendorff, J. (1974). St. Gregory Palamas and orthodox spirituality. (Translated by A. Fiske). New York: St Vladimir’s Seminary Press.
  • Meyer, M. (2016). Hiding in Plain Sight: The Second Coming and the Last Judgment in the Vatican Psalter, gr. 752. In Cahiers archéologiques 56, 71-86.
  • Morgan, A. (2019, December 10). The Last Judgment in Christian Iconography: Public lecture given in the University of Cambridge, 1987. https://www.alisonmorgan.co.uk/
  • Mouriki, D. (1976). An Unusual Representation of the Last Judgement in a Thirteenth Century Fresco at St. George near Kouvaras in Attica (πίν. 70-93). In Δελτίον XAE 8 (1975-1976), Περίοδος Δ'. Στη μνήμη του Βίκτωρα Λάζαρεφ (1897-1976). (pp. 145-172). Αθηνα.
  • Nilsson, I. (2018). Hades Meets Lazarus: The Literary Katabasis in Twelfth-Century Byzantium. G. Ekroth and I. Nilsson (Ed.), In Round Trip to Hades in the Eastern Mediterranean Tradition: Visits to the Underworld from Antiquity to Byzantium. (pp. 322-341). Leiden: Brill.
  • Peker, N. (2008). Kapadokya Bölgesi Bizans Dönemi Kiliselerinde Son Mahkeme Sahneleri. [Unpublished doctoral dissertation]. Hacettepe University: Social Sciences Institute.
  • Romanos Melodist. (1970). On the Resurrection II. P. L Piana and A. Bellinger (Ed.), In Kontakia of Romanos, Byzantine melodist I: On the Person of Christ. (Translated by M. Carpenter). Columbia: University of Missouri Press.
  • Vikan, G. (Ed.). (1973). Illuminated Greek Manuscripts from American Collections: An Exhibition in Honor of Kurt Weitzmann. Princeton University.
  • Weitzmann, K. (1971). Studies in Classical and Byzantine Manuscript Illumination. Chicago: The University of Chicago Press.
  • Wortley, J. (2001). Death, Judgment, Heaven, and Hell in Byzantine “Beneficial Tales”. A. M. Talbot (Ed.), In Dumbarton Oaks Paper. Vol. 55. (pp. 53-69). Washington, D.C.: Dumbarton Oaks Research Library and Collection.

The connection between Abraham and Hades’s bosom in the context of the last judgment scene

Yıl 2024, Cilt: 14 Sayı: 1, 303 - 313, 08.03.2024
https://doi.org/10.48146/odusobiad.1208767

Öz

One of the most important topics of Christianity is the Last Judgment. The Byzantines, as a Christian society, showed great interest to this subject and produced many pieces of art depicting it. This scene consists of several themes coming together. Among the most important themes of the scene is Abraham and Hades’s Bosom. Using these themes, the artists have kept the event alive in the minds of people about what will happen in the afterlife. While Abraham’s Bosom is depicted to the right of Jesus as the area where those who found salvation are located, Hades’s Bosom is located on his left side and those, who will face their punishment are seen there. The artists depicted the scenes in connection with each other. However, there is an important difference here. While Abraham’s Bosom is an intermediate form for those who will attain salvation, Hades’s Bosom has been the part of eternal fire. To make the picture more dramatic and remarkable, the painter depicted the lake of fire with the dragon of Hades swallowing the dead. Thus, the viewer can now clearly see what kind of suffering human beings will face in afterlife. The artists created a contrast between the two themes by using many permeable structures and transferred this to the paintings.

Kaynakça

  • Angheben, M. (2002). Les Jugements derniers Byzantins des XIe-XIIe Siécles et L'iconographie du Jugement Immédiat. In Cahiers archéologiques 50, 105-134
  • Angheben, M. (2015). Le Jugement dernier de Fossa: Une vision eschatologique ıntégrant la représentation du jugement ımmédiat. In Hortus Artium Medievalium 21. (pp. 406-420). Brepols Publishers.
  • Bailey, K. E. (2003). Jacob & the Prodigal: How Jesus retold Israel’s story. Illinois: InterVarsity Press.
  • Brenk, B. (1966). Tradition und Neuerung in der christlichen Kunst des ersten Jahrtausends: Studien zur Geschichte des Weltgerichtsbildes. Vienna: Böhlau.
  • Brown, P. (2017). Geç Antikçağ dünyası (Translated by T. Kaçar). Istanbul: ALFA.
  • Caridad, E. C. (2017). El juicio final en textos litúrgicos medievales. Vegueta 17. Universidad de Las Palmas de Gran Canaria.
  • Cavarnos, C. (1993). Guide to Byzantine Iconography. Vol. 1. Boston.
  • Chookaszian, L. (2011). On the Full Page Illustrations of the “Last Judgement” in the Art Armenian Miniaturist of 13th Century Toros Roslin. (V. A. Briskina-Müller, A. Drost-Abgarjan and A. Meißner, Ed.). In Logos im Dialogos Auf der Suche neach der Orthdoxie: Gedenkschrift für Hermann Goltz (1946-2010) (Forum Orthodoxe Theologie). Berlin: LIT Verlag.
  • Grabar, A. (1968). Christian Iconography a Study of Its Origins. New Jersey: Princeton University.
  • Herrmann, J., & Van Den Hoek, A. (2009). Apocalyptic themes in the monumental and minor art of early christianity. R. J. Daly (Ed.), In apocalyptic thought in early christianity. (pp. 33-80). Baker Academic.
  • Jensen, R. M. (2000). Understanding early christian art. London and New York: Routledge.
  • Kartsonis, A. D. (1986). Anastasis: The making of an image. New Jersey: Princeton University Press.
  • Maguire, H. (2018). Why did Hades become beautiful in Byzantine art?. G. Ekroth and I. Nilsson (Ed.), In Round Trip to Hades in the Eastern Mediterranean Tradition: Visits to the Underworld from Antiquity to Byzantium. (pp. 304-321). Leiden: Brill.
  • Marinis, V. (2017). Death and afterlife in Byzantium: The fate of the soul in theology, liturgy, and art. New York: Cambridge University Press.
  • Meyendorff, J. (1974). St. Gregory Palamas and orthodox spirituality. (Translated by A. Fiske). New York: St Vladimir’s Seminary Press.
  • Meyer, M. (2016). Hiding in Plain Sight: The Second Coming and the Last Judgment in the Vatican Psalter, gr. 752. In Cahiers archéologiques 56, 71-86.
  • Morgan, A. (2019, December 10). The Last Judgment in Christian Iconography: Public lecture given in the University of Cambridge, 1987. https://www.alisonmorgan.co.uk/
  • Mouriki, D. (1976). An Unusual Representation of the Last Judgement in a Thirteenth Century Fresco at St. George near Kouvaras in Attica (πίν. 70-93). In Δελτίον XAE 8 (1975-1976), Περίοδος Δ'. Στη μνήμη του Βίκτωρα Λάζαρεφ (1897-1976). (pp. 145-172). Αθηνα.
  • Nilsson, I. (2018). Hades Meets Lazarus: The Literary Katabasis in Twelfth-Century Byzantium. G. Ekroth and I. Nilsson (Ed.), In Round Trip to Hades in the Eastern Mediterranean Tradition: Visits to the Underworld from Antiquity to Byzantium. (pp. 322-341). Leiden: Brill.
  • Peker, N. (2008). Kapadokya Bölgesi Bizans Dönemi Kiliselerinde Son Mahkeme Sahneleri. [Unpublished doctoral dissertation]. Hacettepe University: Social Sciences Institute.
  • Romanos Melodist. (1970). On the Resurrection II. P. L Piana and A. Bellinger (Ed.), In Kontakia of Romanos, Byzantine melodist I: On the Person of Christ. (Translated by M. Carpenter). Columbia: University of Missouri Press.
  • Vikan, G. (Ed.). (1973). Illuminated Greek Manuscripts from American Collections: An Exhibition in Honor of Kurt Weitzmann. Princeton University.
  • Weitzmann, K. (1971). Studies in Classical and Byzantine Manuscript Illumination. Chicago: The University of Chicago Press.
  • Wortley, J. (2001). Death, Judgment, Heaven, and Hell in Byzantine “Beneficial Tales”. A. M. Talbot (Ed.), In Dumbarton Oaks Paper. Vol. 55. (pp. 53-69). Washington, D.C.: Dumbarton Oaks Research Library and Collection.
Yıl 2024, Cilt: 14 Sayı: 1, 303 - 313, 08.03.2024
https://doi.org/10.48146/odusobiad.1208767

Öz

Kaynakça

  • Angheben, M. (2002). Les Jugements derniers Byzantins des XIe-XIIe Siécles et L'iconographie du Jugement Immédiat. In Cahiers archéologiques 50, 105-134
  • Angheben, M. (2015). Le Jugement dernier de Fossa: Une vision eschatologique ıntégrant la représentation du jugement ımmédiat. In Hortus Artium Medievalium 21. (pp. 406-420). Brepols Publishers.
  • Bailey, K. E. (2003). Jacob & the Prodigal: How Jesus retold Israel’s story. Illinois: InterVarsity Press.
  • Brenk, B. (1966). Tradition und Neuerung in der christlichen Kunst des ersten Jahrtausends: Studien zur Geschichte des Weltgerichtsbildes. Vienna: Böhlau.
  • Brown, P. (2017). Geç Antikçağ dünyası (Translated by T. Kaçar). Istanbul: ALFA.
  • Caridad, E. C. (2017). El juicio final en textos litúrgicos medievales. Vegueta 17. Universidad de Las Palmas de Gran Canaria.
  • Cavarnos, C. (1993). Guide to Byzantine Iconography. Vol. 1. Boston.
  • Chookaszian, L. (2011). On the Full Page Illustrations of the “Last Judgement” in the Art Armenian Miniaturist of 13th Century Toros Roslin. (V. A. Briskina-Müller, A. Drost-Abgarjan and A. Meißner, Ed.). In Logos im Dialogos Auf der Suche neach der Orthdoxie: Gedenkschrift für Hermann Goltz (1946-2010) (Forum Orthodoxe Theologie). Berlin: LIT Verlag.
  • Grabar, A. (1968). Christian Iconography a Study of Its Origins. New Jersey: Princeton University.
  • Herrmann, J., & Van Den Hoek, A. (2009). Apocalyptic themes in the monumental and minor art of early christianity. R. J. Daly (Ed.), In apocalyptic thought in early christianity. (pp. 33-80). Baker Academic.
  • Jensen, R. M. (2000). Understanding early christian art. London and New York: Routledge.
  • Kartsonis, A. D. (1986). Anastasis: The making of an image. New Jersey: Princeton University Press.
  • Maguire, H. (2018). Why did Hades become beautiful in Byzantine art?. G. Ekroth and I. Nilsson (Ed.), In Round Trip to Hades in the Eastern Mediterranean Tradition: Visits to the Underworld from Antiquity to Byzantium. (pp. 304-321). Leiden: Brill.
  • Marinis, V. (2017). Death and afterlife in Byzantium: The fate of the soul in theology, liturgy, and art. New York: Cambridge University Press.
  • Meyendorff, J. (1974). St. Gregory Palamas and orthodox spirituality. (Translated by A. Fiske). New York: St Vladimir’s Seminary Press.
  • Meyer, M. (2016). Hiding in Plain Sight: The Second Coming and the Last Judgment in the Vatican Psalter, gr. 752. In Cahiers archéologiques 56, 71-86.
  • Morgan, A. (2019, December 10). The Last Judgment in Christian Iconography: Public lecture given in the University of Cambridge, 1987. https://www.alisonmorgan.co.uk/
  • Mouriki, D. (1976). An Unusual Representation of the Last Judgement in a Thirteenth Century Fresco at St. George near Kouvaras in Attica (πίν. 70-93). In Δελτίον XAE 8 (1975-1976), Περίοδος Δ'. Στη μνήμη του Βίκτωρα Λάζαρεφ (1897-1976). (pp. 145-172). Αθηνα.
  • Nilsson, I. (2018). Hades Meets Lazarus: The Literary Katabasis in Twelfth-Century Byzantium. G. Ekroth and I. Nilsson (Ed.), In Round Trip to Hades in the Eastern Mediterranean Tradition: Visits to the Underworld from Antiquity to Byzantium. (pp. 322-341). Leiden: Brill.
  • Peker, N. (2008). Kapadokya Bölgesi Bizans Dönemi Kiliselerinde Son Mahkeme Sahneleri. [Unpublished doctoral dissertation]. Hacettepe University: Social Sciences Institute.
  • Romanos Melodist. (1970). On the Resurrection II. P. L Piana and A. Bellinger (Ed.), In Kontakia of Romanos, Byzantine melodist I: On the Person of Christ. (Translated by M. Carpenter). Columbia: University of Missouri Press.
  • Vikan, G. (Ed.). (1973). Illuminated Greek Manuscripts from American Collections: An Exhibition in Honor of Kurt Weitzmann. Princeton University.
  • Weitzmann, K. (1971). Studies in Classical and Byzantine Manuscript Illumination. Chicago: The University of Chicago Press.
  • Wortley, J. (2001). Death, Judgment, Heaven, and Hell in Byzantine “Beneficial Tales”. A. M. Talbot (Ed.), In Dumbarton Oaks Paper. Vol. 55. (pp. 53-69). Washington, D.C.: Dumbarton Oaks Research Library and Collection.

The Connection between Abraham and Hades’s Bosom in the Context of the Last Judgment Scene

Yıl 2024, Cilt: 14 Sayı: 1, 303 - 313, 08.03.2024
https://doi.org/10.48146/odusobiad.1208767

Öz

One of the most important topics of Christianity is the Last Judgment. The Byzantines, as a Christian society, showed great interest in this subject and produced many pieces of art depicting it. This scene consists of several themes coming together. Among the most crucial themes of the scene is Abraham and Hades’s Bosom. Using these themes, the artists have kept the event alive in the minds of people about what will happen in the afterlife. While Abraham’s Bosom is depicted to the right of Jesus as the area where those who found salvation are located, Hades’s Bosom is located on his left side and those, who will face their punishment are seen there. The artists depicted the scenes in connection with each other. However, there is a significant difference here. Whilst Abraham’s Bosom is an intermediate form for those who will attain salvation, Hades’s Bosom has been part of eternal fire. To make the picture more dramatic and remarkable, the painter depicted the lake of fire with the dragon of Hades swallowing the dead. Thus, the viewer can now clearly see what kind of suffering human beings will face in the afterlife. The artists created a contrast between the two themes by using many permeable structures and transferred this to the paintings.

Kaynakça

  • Angheben, M. (2002). Les Jugements derniers Byzantins des XIe-XIIe Siécles et L'iconographie du Jugement Immédiat. In Cahiers archéologiques 50, 105-134
  • Angheben, M. (2015). Le Jugement dernier de Fossa: Une vision eschatologique ıntégrant la représentation du jugement ımmédiat. In Hortus Artium Medievalium 21. (pp. 406-420). Brepols Publishers.
  • Bailey, K. E. (2003). Jacob & the Prodigal: How Jesus retold Israel’s story. Illinois: InterVarsity Press.
  • Brenk, B. (1966). Tradition und Neuerung in der christlichen Kunst des ersten Jahrtausends: Studien zur Geschichte des Weltgerichtsbildes. Vienna: Böhlau.
  • Brown, P. (2017). Geç Antikçağ dünyası (Translated by T. Kaçar). Istanbul: ALFA.
  • Caridad, E. C. (2017). El juicio final en textos litúrgicos medievales. Vegueta 17. Universidad de Las Palmas de Gran Canaria.
  • Cavarnos, C. (1993). Guide to Byzantine Iconography. Vol. 1. Boston.
  • Chookaszian, L. (2011). On the Full Page Illustrations of the “Last Judgement” in the Art Armenian Miniaturist of 13th Century Toros Roslin. (V. A. Briskina-Müller, A. Drost-Abgarjan and A. Meißner, Ed.). In Logos im Dialogos Auf der Suche neach der Orthdoxie: Gedenkschrift für Hermann Goltz (1946-2010) (Forum Orthodoxe Theologie). Berlin: LIT Verlag.
  • Grabar, A. (1968). Christian Iconography a Study of Its Origins. New Jersey: Princeton University.
  • Herrmann, J., & Van Den Hoek, A. (2009). Apocalyptic themes in the monumental and minor art of early christianity. R. J. Daly (Ed.), In apocalyptic thought in early christianity. (pp. 33-80). Baker Academic.
  • Jensen, R. M. (2000). Understanding early christian art. London and New York: Routledge.
  • Kartsonis, A. D. (1986). Anastasis: The making of an image. New Jersey: Princeton University Press.
  • Maguire, H. (2018). Why did Hades become beautiful in Byzantine art?. G. Ekroth and I. Nilsson (Ed.), In Round Trip to Hades in the Eastern Mediterranean Tradition: Visits to the Underworld from Antiquity to Byzantium. (pp. 304-321). Leiden: Brill.
  • Marinis, V. (2017). Death and afterlife in Byzantium: The fate of the soul in theology, liturgy, and art. New York: Cambridge University Press.
  • Meyendorff, J. (1974). St. Gregory Palamas and orthodox spirituality. (Translated by A. Fiske). New York: St Vladimir’s Seminary Press.
  • Meyer, M. (2016). Hiding in Plain Sight: The Second Coming and the Last Judgment in the Vatican Psalter, gr. 752. In Cahiers archéologiques 56, 71-86.
  • Morgan, A. (2019, December 10). The Last Judgment in Christian Iconography: Public lecture given in the University of Cambridge, 1987. https://www.alisonmorgan.co.uk/
  • Mouriki, D. (1976). An Unusual Representation of the Last Judgement in a Thirteenth Century Fresco at St. George near Kouvaras in Attica (πίν. 70-93). In Δελτίον XAE 8 (1975-1976), Περίοδος Δ'. Στη μνήμη του Βίκτωρα Λάζαρεφ (1897-1976). (pp. 145-172). Αθηνα.
  • Nilsson, I. (2018). Hades Meets Lazarus: The Literary Katabasis in Twelfth-Century Byzantium. G. Ekroth and I. Nilsson (Ed.), In Round Trip to Hades in the Eastern Mediterranean Tradition: Visits to the Underworld from Antiquity to Byzantium. (pp. 322-341). Leiden: Brill.
  • Peker, N. (2008). Kapadokya Bölgesi Bizans Dönemi Kiliselerinde Son Mahkeme Sahneleri. [Unpublished doctoral dissertation]. Hacettepe University: Social Sciences Institute.
  • Romanos Melodist. (1970). On the Resurrection II. P. L Piana and A. Bellinger (Ed.), In Kontakia of Romanos, Byzantine melodist I: On the Person of Christ. (Translated by M. Carpenter). Columbia: University of Missouri Press.
  • Vikan, G. (Ed.). (1973). Illuminated Greek Manuscripts from American Collections: An Exhibition in Honor of Kurt Weitzmann. Princeton University.
  • Weitzmann, K. (1971). Studies in Classical and Byzantine Manuscript Illumination. Chicago: The University of Chicago Press.
  • Wortley, J. (2001). Death, Judgment, Heaven, and Hell in Byzantine “Beneficial Tales”. A. M. Talbot (Ed.), In Dumbarton Oaks Paper. Vol. 55. (pp. 53-69). Washington, D.C.: Dumbarton Oaks Research Library and Collection.
Toplam 24 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Sanat Tarihi, Teori ve Eleştiri (Diğer)
Bölüm İNCELEME MAKALESİ
Yazarlar

Sinan Yılmaz 0000-0001-8920-607X

Yayımlanma Tarihi 8 Mart 2024
Gönderilme Tarihi 22 Kasım 2022
Yayımlandığı Sayı Yıl 2024 Cilt: 14 Sayı: 1

Kaynak Göster

APA Yılmaz, S. (2024). The connection between Abraham and Hades’s bosom in the context of the last judgment scene. Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi, 14(1), 303-313. https://doi.org/10.48146/odusobiad.1208767

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