BİZANS SANATINDA RHİPİDİON (FLABELLUM) VE GEÇ BİZANS DÖNEMİ (13.-15. YÜZYIL) DUVAR RESİMLERİNDE GÖRÜLEN ÖRNEKLER

Year 2021, , 1 - 31, 26.12.2021

Durmus Gur , Cahit Karakok

https://doi.org/10.17498/kdeniz.1017830

Abstract

Araştırmanın konusunu, Hıristiyan liturjisinde büyük öneme sahip olan rhipidionların (=rhipidia/liturjik yelpaze), geç Bizans dönemi (13.-15. yüzyıl) duvar resimlerinde görülen örnekleri oluşturmaktadır. Rhipidion hakkında ilk yazılı bilgiler, Aziz Clementine’nin metinlerinde (4. yüzyıl sonu) yer almaktadır. 4. yüzyıldan 5. yüzyıla kadar Suriye’deki eski kilise kararnamelerinden derlenen Apostolik Anayasalar’da, rhipidionların liturjideki önemi hakkında bilgilere yer verilmiştir. 500’lerde bir liturji ayini sırasında, sunağın iki yanında sembolik altı kanatlı temsili kıyafetler giyen diyakonların ellerinde rhipidionların bulunduğu, Pseudo Dionysos’un Ecclesiastica Hierarchica’sında anlatılmaktadır. 6. yüzyılın başına tarihlendirilen bir diptikonda da hakkında bilgiler yer alan rhipidionların ilk defa kumaş, deri, ahşap, tavus kuşu tüyü, parşömen ve keten gibi çeşitli malzemelerden yapıldığı bilinmektedir. İlk kullanıldığında liturjik eşyalardan (artos, kalis, haç, kutsal kitap) böcek ve tozları uzaklaştırmaya yarayan rhipidionlar sonrasında liturjinin parçası haline gelmiştir. Daha sağlam olması için madeni örneklerden yapılan rhipidionlar, geç Bizans dönemine kadar liturjinin parçası olarak kullanılmış, günümüzde de kiliselerde kullanılmaya devam etmektedir. Liturjide bir elinde rhipidion diğer elinde ise buhurdan tutan din adamları dışında ellerinde rhipidion taşıyan melek-diyakonlar, ayinde ön sıralarda yer almaktadır. Tek başına yer alabildiği gibi birden fazla rhipidionun da ayinde bulunabileceği tespit edilen örneklerle kanıtlanmıştır. Din adamları rhipidionları, uzun metal ya da ahşap saplar yardımıyla ayine katılanların görebilmesi amacıyla yukarıda tutmaktadır. Bir yüzünde sembolik figürlerin yer alabildiği gibi iki yüzünde de betimlenen sembolik tasvirler (haç, kherub, seraph) ile yazıtlar, rhipidionların üslup ve ikonografik zenginliğini gösterir. Erken Bizans dönemine ait Riha ve Stuma hazinelerindeki (6. yüzyıl) metal rhipidionlarla benzer form ve özellikte rhipidionların geç Bizans dönemine kadar kullanıldığı, günümüz de kullanılmaya devam ettiği belirlenmiştir. Erken Bizans döneminden geç Bizans dönemine kadar liturjik eserlerin dışında minyatür, ikona ve duvar resimlerinde tasvir edilen rhipidionların, 11. yüzyıla tarihlendirilen duvar resimlerinde kullanılmış örneklerinin tespit edilmesi üzerine, 13.-15. yüzyıl arasına tarihlendirilen kilise duvar resimlerindeki tasvirleri kronolojik olarak incelenmiş, form, üslup ve ikonografik özellikleri açısından karşılaştırmalı olarak değerlendirilmiştir.

Keywords

Flabellum, Kilise, Liturji, Rhipidion, 13.-15. Yüzyıl.

RHIPIDION (FLABELLUM) IN BYZANTINE ART AND EXAMPLES SEEN ON LATE BYZANTINE (13th-15th CENTURIES) WALL PAINTINGS

Abstract

The subject of the research is the samples of the rhipidions (=rhipidia/liturgical varieties), which have a great importance in the Christian liturgy, in the wall paintings of the Late Byzantine Period (13th-15th century). The first written information about the Rhipidion is in the texts of St. Clementine (end of the 4th century). The Apostolic Constitutions compiled from the old church decrees in Syria from the 4th to the 5th centuries included information about the importance of rhipidions in liturgy. It is described in Pseudo Dionysus' Ecclesiastica Hierarchica, during a liturgical rite in the 500s, that deacons wearing symbolic six-winged clothing on either side of the altar had rhipidions in their hands. It is known that rhipidions, which have information about it in a dipticon dated to the beginning of the 6th century, were made from various materials such as fabric, leather, wood, peacock feathers, parchment and linen for the first time. Apart from the independent examples made of various materials, it is known that the rhipido is depicted on book covers, on the kiborium and on the altars, and in many other places. These materials turned into metal works with the early Byzantine period and were enriched with precious stones, liturgical and iconographic elements over time. When first used, rhipidions, which were used to remove insects and dust from liturgical objects (artos, kalis, cross, holy book), later became part of the liturgy. Rhipidions, which are made of metal material to be stronger, were used as part of the liturgy until the late Byzantine period and continue to be used in churches today. In liturgy, apart from the clergy holding a rhipidion in one hand and a insence burners in the other, angel-deacons holding rhipidion in their hands are at the forefront of the ritual. It has been proven with the determined examples that more than one rhipidion can be found in the ritual as well as alone. The clergy hold the rhipidions up with the help of long metal or wooden handles so that those who attend the ritual can see them. Symbolic figures (cross, cherub, seraph) and inscriptions on both sides show the stylistic and iconographic richness of the rhipidions. It has been determined that metal rhipidions which are similar in terms of style and features with the Riha and Stuma treasures (6th century) were used until the late Byzantine period and continue to be used today. It is seen that from the early Byzantine period to the late Byzantine period, rhipidions were depicted in miniatures, icons and wall paintings, apart from liturgical works. In this study, the depictions of the Rhipidions on the church wall paintings dated between the 13th and 15th centuries were examined chronologically and evaluated comparatively in terms of form, style and iconographic features.

Keywords

Flabellum, Church, Liturgy, Rhipidion, 13th-15th Centuries.

РИПИДА (ПОКЛОННИК) В ВИЗАНТИЙСКОМ ИСКУССТВЕ И ПРИМЕРЫ ИЗОБРАЖЕНИЙ В ПОЗДНЕВИЗАНТИЙСКОЙ (13-15 ВВ.) НАСТЕННОЙ ЖИВОПИСИ

Abstract

В данной работе предметом исследования являются образцы рипид (= рипидия / литургических разновидностей), имеющих большое значение в христианской литургии, в настенных росписях поздневизантийского периода (13-15 вв.). Первые письменные сведения о рипиде встречаются в текстах святой Клементины (конец 4 в.). Апостольские конституции, составленные на основе старых церковных указов в Сирии с 4 по 5 века, включали информацию о важности рипид в литургии. В книге Псевдо-Дионисия Ареопагита «О церковной иерархии» описывается, что во время литургического обряда в 500-х годах дьяконы, носившие символические шестикрылые одежды по обе стороны от алтаря, держали в руках рипиды. Известно, что рипиды, информация о которых имеется в диптиконе, датируемом началом VI в, впервые были изготовлены из различных материалов, таких как ткань, кожа, дерево, павлиньи перья, пергамент и лен. Помимо самостоятельных образцов, изготовленных из различных материалов, известно, что рипида изображалась на книжных переплетах, кибориумах, алтарях и на многих других предметах. Уже с раннего византийского периода эти материалы уступили место изделиям из металла и со временем стали укарашаться драгоценными камнями, литургическими и иконографическими элементами. Первоначально рипиды использовались для удаления насекомых и пыли с литургических предметов (артос, калис, крест, священная книга), однако позже они стали частью литургии. Рипиды, которые для большей прочности были сделаны из металла, использовались как часть литургии до позднего византийского периода и продолжают использоваться в церквях сегодня. В литургии, помимо духовенства, держащего рипиды в одной руке и кадильницы в другой, ангелы-дьяконы, держащие рипиды в руках, находятся в авангарде ритуала. На конкретных примерах было показано, что более одной рипиды всегда можно найти в ритуале или по отдельности. Священнослужители держат рипиды с помощью длинных металлических или деревянных ручек, чтобы те, кто присутствовал на ритуале, могли их увидеть. Символические фигуры (крест, херувим, серафим) и надписи с обеих сторон демонстрируют стилистическое и иконографическое богатство рипид. Было установлено, что металлические рипиды, сходные по стилю и характеристикам с сокровищами Риха и Стума (6 в.), использовались до позднего византийского периода и продолжают использоваться сегодня. Очевидно, что с ранневизантийского периода до позднего византийского периода рипиды изображались в миниатюрах, иконах и настенных росписях, помимо литургических произведений. В данном исследовании изображения рипид на церковных настенных росписях 13-15 вв. были изучены в хронологическом порядке и прошли сравнительную оценку с точки зрения формы, стиля и иконографических особенностей.

Keywords

поклонник, церковь, литургия, рипида, 13-15 вв.

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