Kappadokia Bölgesi Göreme Vadisi Azize Barbara Kilisesi Resim Programına Yeniden Bakış

Year 2022, , 615 - 633, 30.12.2022

H. Ceylan Karaca

https://doi.org/10.32600/huefd.1053719

Cited By: 1

Abstract

Çalışma, Kappadokia Bölgesi’nde, Nevşehir sınırları içindeki Göreme Vadisi’nde bulunan Azize Barbara Kilisesi’ni konu almaktadır. Kilise bugün birçok kilise, yemekhane ve ek mekanın bulunduğu Göreme Açık Hava Müzesi içerisindedir. Yapı, hem mimari planıyla, hem de aşı boyası motiflerin yoğunluğuyla kendine özgü bir konumdadır. Başka bir evreye ait olan figürlü duvar resimleri, aşı boyası motiflerin üzerini örtmemenin yanı sıra, duvarların aşı boyası motif barındırmayan kısımlarında görülür. Bununla birlikte, neredeyse tüm motiflerin birbirlerinden ayrıntıda farklılaştığı ve belli motiflerin yapının belli noktalarında betimlendiği dikkat çeker. Bu nedenle, motif ve kompozisyonların kilise içinde hiyerarşik olarak konumlandırıldığı, farklı ayrıntıların tüm motiflere kendine ait bir anlam kazandırdığı ve hatta tümünün ‘aşı boyası resim programı’ biçiminde isimlendirilebileceği açıktır. Bu program, kiliseyi ilk kullananlar tarafından kabul edilip anlaşılmış, sonraki dönemde figürlü duvar resimlerini yapanlar tarafından da anlaşılıp korunmuş olmalıdır. Örtü sistemi ve serbest desteklerin yer aldığı bölümle Azize Barbara Kilisesi’ne benzeyen tek örnek aynı müze içerisindeki Çarıklı Kilise’dir. Mimari planlarıyla bu derece benzer, duvar resimleriyle bu kadar farklı iki kilisenin, nasıl organize olduğu kesin olarak bilinmeyen Açık Hava Müzesi’ndeki bir aradalığı ilginçtir. Yine de, detaylı, kendine özgü ve anikonik resim programının sonraki bir dönemde üzerinin kapatılmaması, müze alanının hiyerarşik yapılanması içerisinde kabul gördüğünü gösterir. Bu çalışma, bölgedeki anikonik motif repertuarını, kilisenin mimari planını, İkonoklast dönem ve sonrasının figürlü betimlemeye yönelik düşüncelerini inceleyerek, Azize Barbara Kilisesi’nin müze alanı içerisinde nasıl bir anlama sahip olduğunu ve nasıl bir inanan topluluğu tarafından kullanıldığını değerlendirmeye çalışmaktadır.

Keywords

Kappadokia, Göreme Açık Hava Müzesi, Azize Barbara Kilisesi, aşı boyası bezeme, anikonik sembolizm

Readdressing the Painting Programme of the Church of St. Barbara in the Göreme Valley, Cappadocia

Abstract

The article focuses on the Church of St. Barbara in the Göreme Valley in Nevşehir, Cappadocia. Today the church is within the borders of the Göreme Open Air Museum which is a cluster of many churches, refectories and additional units. The church is unique with its architectural plan and elaborate nonfigurative elements in red ochre. Painted panels of a secondary phase do not cover up this red paint decoration but they are on the already-vacant parts of the naos. Remarkably, almost all motifs differ from each other in detail or in form. Furthermore, certain compartments of the building are reserved for certain motifs. Thus, it becomes clear that ruddled motifs and compositions can be named as parts of a ‘red ochre painting programme’ in which they are hierarchically arranged in the naos and each of them gain their specifical meaning thanks to the detailing. Such a programme must have been comprehended by the first users and accepted and vindicated by the painters of the second layer. The only church exactly similar to the Church of St. Barbara in its plan type is the Çarıklı Church in close proximity in the same museum. It is interesting that the churches exactly similar in architecture but totally dissimilar in painting programme are coexistent in the Göreme enclave on whose institutional organization so little is known. Still, that the panel paintings did not cover up the detailed red paint decoration indicates that the ruddled programme was approved or appreciated by the hierarchical order of the Göreme enclave. This study intends to examine the nonfigurative repertoire of the region, the architectural plan of the church and intends to shortly evaluate iconoclast and iconophile way of thought on figural imagery. By doing this, the study aims to comment on the meaning the church had in the Göreme circuit, and to hypothesize on the congregation who used the church.

Keywords

Cappadocia, Göreme Open Air Museum, the Church of St. Barbara, red ochre motifs, aniconic symbolism

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