Artvin ve Erzurum merkezli tarihi
Tao-Klarceti bölgesi, 8. yy. dan 14.yy. a kadar Gürcü Bagratlı (Bagrationi)
Krallığı’nın yönetim merkezi olmuştur. Bölgede 4. yy. dan itibaren yayılmaya
başlayan Hristiyanlıkla beraber halk, pagan inançları terk edip bu yeni dini
kabullenmeye başlamıştır. 7-8. yy. den itibaren bölge dini mimarisi,
Hristiyanlık temelinde manastırlar ve kiliseler olarak şekillenmeye
başlamıştır. Tamara döneminde (12.yy. sonu-13. yy. başları) krallık her anlamda
altın çağını yaşamış; bölgedeki bu dini mimari yapılara yenileri eklenmiş ve
onarım gerektiren yapılarda restore edilmiştir. Bagratlılar, Hristiyan
gelenekleri konusunda, sınır komşuları olan ve dönemin güçlü devletlerinden
Doğu Roma’dan (Bizans) beslenmişlerdir. Hıristiyan sanatında ikonografik anlamı
olan Orans Duruş gibi birçok gelenek, Tao-Klarceti mimarisinde de anlam
bulmuştur. Dönemin güçlü sanatsal ifadesini yansıtan ender manastır
kiliselerinden biri olan Öşki Manastır Kilisesi’nde, Orans Duruşlu birçok sahne
tespit edilmiştir. Başta melek figürleri
olmak üzere, aziz ve azizeler ile kral tasvirlerinin orans duruş pozisyonunda
sahnelendiği görülmektedir. Bu çalışmamızda, Tao-Klarceti Bölgesi taş
bezemelerinde karşımıza çıkan söz konusu bu orans duruş tasvirleri incelenmeye
çalışılmıştır.
The historical Tao-Klarceti
region centered between Artvin and Erzurum was the administrative centre of the
Georgian Bagratian Kingdom from the 8th century until the 14th century. With
the beginning of the spread of Christianity in the region since the 4th
century, the people abandoned pagan beliefs and started to accept this new
religion. From the 7th and 8th century onwards, the religious architecture of
the region began to take shape of monasteries and churches on the basis of
Christianity. During the Tamara period (late 12th and early 13th centuries),
the kingdom experienced its golden age in every sense; new religious buildings
were constructed in the region and those in need were restored. Bagratis, as to
Christian traditions, were fed from Eastern Rome (Byzantine), the neighbour,
one of the strongest powers of the period. Such many traditions as Orans
Position having an iconographic meaning in Christian art, also found meaning in
Tao-Klarceti architecture. There are many scenes with Orans Position in the
Oski Monastery Church, one of the rare monastic churches that reflect the
strong artistic expression of the period. The depictions of the saints and the
kings, especially the angel figures, are staged in the orans position. The aim
of this study is to analyze the depictions of the orans position in the stone
decorations in Tao-Klarceti region.
Primary Language | Turkish |
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Journal Section | Articles |
Authors | |
Publication Date | October 26, 2019 |
Submission Date | March 7, 2019 |
Published in Issue | Year 2019 Issue: 43 |
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