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

Year 2021, Issue: 52, 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.

References

• Referans1 Acara, M. (1998). Bizans Ortodoks Kilisesinde Liturji ve Liturjik Eserler. Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, Cilt, 15, Sayı, 1, Ankara, 183-201.
• Referans2 Acara-Eser, M. (2020). Bizans Maden Sanatı, Dini Törenlerde Kullanılan (Liturjik) Eşyalar. Ankara: Bilgin Yayınları.
• Referans3 Akyürek, Engin. (1996). Bizans’ta Sanat ve Ritüel. İstanbul: Kabalcı Yayınevi.
• Referans4 Ballian, A. (2004). Liturgical Implements. Byzantium: Faith and Power (1261-1557), (Edit.: H. C. Evans). New York, 132-133.
• Referans5 Betancourt, R. (2015). The Thessaloniki Epitaphios: Notes on Use and Context May. Greek, Roman and Byzantine Studies, 55(2), 489-535.
• Referans6 Dimitrova, E. (2015). The Church of Saint Panteleimon at Nerezi. Skopje: Office for Protection of Cultural Heritage.
• Referans7 Doğan, S. & Ünser, Ş. (2011). Bizans Sanatında Kherub ve Seraph İmgeleri. Anadolu Kültüründe Süreklilik ve Değişim, Dr. A. Mine Kadiroğlu’na Armağan (Edit.: A. Ceren Erel, Bülent İşler, Nilüfer Peker, Güner Sağır). Ankara. 199-218.
• Referans8 Djuric, M. T. (2014). To Picture and to Perform: The Image of the Eucharistic Liturgy at Markov Manastir (I). Zograf, 38, 123-141.
• Referans9 Djuric, M. T. (2015). To Picture and to Perform. The Image of the Eucharistic Liturgy at Markov Manastir (II). Zograf, 39, 129-149.
• Referans10 Drandaki, A. (2017). Piety, Politics, and Art in Fifteenth-Century Venetian Crete. Dumbarton Oaks Papers, 71, 367-406.
• Referans11 Gerstel, S. E. J., Kyriakakis, C., Antonopoulos, S., Raptis, K. T. & Donahue, J. (2021). Holy, Holy, Holy: Hearing the Voices of Angels. Gesta, Vol.: 60 (1), 31-49.
• Referans12 Gillette, A. (2018). The Music of Angels in Byzantine and Post-Byzantine Art. Journal of Medieval Art and Architecture, 6 (4). 26-78.
• Referans13 Green, R. B. (1951). The Flabellum of Hohenbourg. The Art Bulletin, 33 (3), 153-155.
• Referans14 Greenwood, T. (2015). A Corpus of Early Medieval Armenian Silver. Dumbarton Oaks Papers, Vol.: 69, Washington, 115-146.
• Referans15 Jolivet-Lévy, C. (2012). Militaires et Donation en Cappadoce (IXe –XIe siècle). Donation et Donateurs Dans le Monde Byzantin, Réalités Byzantines, Vol.: 14, Paris. 141-161.
• Referans16 Jolivet-Lévy, C. (2017). Bezirana Kilisesi (Cappadoce). Un Exceptionnel Décor Paléologue en Terres de Rūm. Nouveau Témoignage sur les Relations Entre Byzance et le Sultanat. ЗОГРАФ, Vol.: 41. 107-142.
• Referans17 Kessler, H. L. (2012). Images Borne Ona Breeze: The Function of the Flabellum of Tournus as Meaning. Charlemagne et Les Objets. 1-22.
• Referans18 Kriza, A. (2017). Visualizing a New Orthodox Identity: The Sanctuary Decorations of the Sophia Churches in Ohrid and Kiev. Mount Athos-the Light of the Orthodox Christianity: Interaction of Cultures International Conference (Post Prints 5-7 October 2016). 91-105.
• Referans19 Kroos, R. & Wirth, K. (1991). Flabellum. RDK, IX, 428-507. https://www.rdklabor.de/wiki/Flabellum_(und_Scheibenkreuz)
• Referans20 Lidov, A. (1998). Heavenly Jerusalem: The Byzantine Approach. Jewish Art, Vol.: 23/24 (1997/1998). 340-353.
• Referans21 Mango, C. (1962). Materials for the Study of the Mosaics of St. Sophia at Istanbul. Dumbarton Oaks Research Library and Collection.
• Referans 22 Mango, M. M. (1991). Rhipidion. Oxford Dictionary of Byzantium, I.II.III (Edit: Alexander Kazhdan), Oxford. 1790-1791.
• Referans23 Meyendorff, P. (1984). On the Divine Liturgy, St. Germanus of Constantinople. New York: St. Viladimir’s Press.
• Referans24 Pentcheva, B. V. (2014). Mirror, Inspiration, and the Making of Art in Byzantium. Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Mediterranean, CONVIVIUM, I, II. Université de Lausanne-Academy of Sciences of the Czech Republic-Masaryk University, 10-39.
• Referans25 Pentcheva, B. V. (2016). Liturgy and Music at Hagia Sophia. Oxford Research Encyclopaedia. 1-27.
• Referans26 Popova, A. (2015). The Representation of Christ as the Great Archpriest and King in the Decoration of St. Georges at Pološko. Patrimonium, 10, 161-170.
• Referans27 Šakota, M. (2004). Rhipidion. Byzantium: Faith and Power (1261-1557). New York: Metropolitan Museum of Art. 133-134.
• Referans28 Schroeder, R. B. (2008). Images of Christ Emmanuel in Karanlık Kilise. Studies in Iconography, Vol.: 29. 23-54.
• Referans29 Snelders, B. & Immerzeel, M. (2004). The Thirteenth-Century Flabellum from Deir al-Surian in the Musée Royal de Mariemont (Morlanwelz, Belgium). ECA, 1. 113-139.
• Referans30 Stylianou, A. & Stylianou, J. A. (1997). The Painted Churches of Cyprus. Cyprus: A.G. Leventis Foundation.
• Referans31 Tribe, S. (2018). A Brief History of the Flabellum. Liturgical Arts Journal, 1. https://www.liturgicalartsjournal.com/2018/07/a-brief-history-of-flabellum.html
• Referans32 Vasileski, A. (2016). The Most Significant Values of the Cultural and Natural Heritage. Skopje: The Monastery of Treskavec.
• Referans33 Vikan, G. (1979). Rhipidion With Tetramorph. Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century (Edit.: Kurt Weitzmann). New York: The Metropolitan Museum of Art. 617-618.
• Referans34 Von Fürstenberg, M. F. (1979). Das Flabellum in der Kirche des Westens. Westfälische Zeitschrift, 129, 157-192.
• Referans35 Wessel, K. (1971). Flabellum. Reallexikon Zur Byzantinischen Kunst, Band: II. Stuttgart: Anton Hiersemann. 550-555.
• Referans36 Woodfin, W. T. (2010). Celestial Hierarchies and Earthly Hiearchies in the Art of the Byzantine Church. The Byzantine World (Edit.: Paul Stephenson). 303-319.
• Referans37 Woodfin, W. T. (2015). Disjuncture between Text and Image: Mystagogy and the Embroidered Iconography of Byzantine Vestments. Clothing the Sacred. Medieval Textiles as Fabric, Form, and Metaphor, Textile Studies 8 (Edit.: Mateusz Kapustka and Warren T. Woodfin). Berlin. 13-32.