Abstract
Demre’deki Aziz Nikolaos kilisesinin güneyinde yer alan mezar mekanı duvar resimlerinin koruma ve onarım çalışmaları 2001 yılında başlanmış olup, 2004 yılında tamamlanmıştır. Restorasyon sonrası, mekanın kuzey duvarında, doğudan ikinci mezar nişinin kemer yüzeyinde bulunan “Golgota Yolu” sahnesi daha net olarak tanımlanabilmektedir. Aynı zamanda Çarmıhta İsa sahnesi ile bağlantılı olan bu sahne, yeni ikonografik verileri ile dikkati çeker.İncil kaynaklı bu konu, erken dönemlerde pek sık tasvir edilmemiştir. Sahne genelde 12. yüzyıldan sonra yoğun olarak görülür. Araştırmacılar tarafından, Bizans sanatında, Golgota yolu sahnesinde iki ikonografik tür tespit edilmiştir. Sahnenin birinci türünün üç değişik şekilde resmedildiği belirtilir; 1. İsa askerlerle birlikte ve Kirine’li Simon çarmıh taşırken, 2. haç ve Kirine’li Simon’ın tasvir edilmeyip, sadece İsa’nın bulunduğu sahneler, 3. İsa çarmıh taşırken, Golgota yolundadır. İkinci aşamanın erken örneklerinin ise Kapadokya’da görüldüğü bildirilir. Arasıra tasvir edilen bu türde, az figür görülmektedir. Sahnenin ikinci türü ise Golgota yolu’nun son aşaması olarak kabul edilir ve bu sahne “Kristos Elkomenos (Χριστος Ελκοµενος)” olarak tanımlanır. Bu türde, sahnenin merkezinde yer alan çarmıh dikilmek üzere hizmetli figürler tarafından çakılmaktadır. İsa elleri bağlı olarak durmakta ve bir asker ise İsa’nın ellerini bağlayan ipten çekmektedir. Myra’da bulunan sahne ise bu türe girmektedir. Sahnenin son aşaması olan bu türün ikonografisinin 12. yüzyılda oluştuğu ve 13. yüzyıl boyunca görüldüğü bilinir. Bu türün taşradaki anıtsal resim sanatı örneklerinde az görüldüğü ve sahnenin bu ikonografik türünün özellikle başkent sanatına yansıdığı belirtilir. İncelemelerimiz sonucunda, Myra’daki sahne ile Kıbrıs’taki Pelendri manastırındaki (12. yüzyılın son çeyreği/1200) ikona ile benzer paralel özellikler tespit edilmiştir. Sahne benzer örnekler yardımıyla 12. yüzyıla tarihlenmekle beraber, Anadolu için ünik ikonografik özellikler içerir
References
- Albani 1988 Albani, J., “Byzantinische Freskomalerei in der Kirche Panagia Chrysaphitissa” Jahrbuch der Österreichischen Byzantinistik 38, 363-388.
- Carr 1997 Carr, A. W., “Popular Imagery” The Glory of Byzantium, Art and Culture of the Middle Byzantine Era, A.D.843-1261(Ed. Evans,H.
- C., Wixom W.D.), The Metropolitan Museum of Art, New York, 113-182.
- Çorağan 1990 Çorağan, N., “The Wall paintings of St. Nicholas Church in Demre (Myra), Recent Discoveries” Annali di Ca Foscari XXXVIII, 3, 83- 89.
- Demus 1949 Demus, O., The Mosaics of Norman Sicily, London.
- Drandakis1957 Drandakis, B., “Ο Εισ Αρτον Ρετυµνησ Ναισκος του Αγιου Γεοργιου”, Κρητικα Χρονικα 11, 5-161.
- Drandakis 1964 Drandakis, N. B., Βyαντιναι Τοιχογραφιαι τησ Μεσα Μανης, Athen.
- Drandakis 1995 Drandakis, N. B., Βyαντιναι Τοιχογραφιαι τησ Μεσα Μανης, Athen.
- Epstein 1980-81 Epstein, A. W., “The Fresco Decoration of the Column Churches, Göreme Valley, Cappadocia”, Cahiers Archeologiques 29, 27-45.
- Hetherington 1978 Hetherington, P., “Byzantine Enamels on a Venetian Book-Cover”, Cahiers Archeologiques 27, 117-146.
- Karakaya 2005 Karakaya, N., “The Burial Chamber Wall paintings of St. Nicholas Church at Demre (Myra) Following their Restoration”, Adalya VIII, 287-309.
- Katselaki 1996-97 Katselaki, A., O Χριστος Ελκοµενος επι Σταυρου. Εικονογραφια και Τψπολογια της Παπαστασις στη Βψζαντινη Τεχνη ∆ελτιον της Χριστιανικησ Αρχαιολογκης Εταιρειας 19, 167- 200.
- Mathews 1997 Mathews, T. F., “Religious Organisation and Church Architecture” The Glory of Byzantium, Art and Culture of the Middle Byzantine Era, A.D.843-1261 (Ed. Evans, H. C., Wixom W.D.), The Metropolitan Museum of Art, New York, 21-82.
- Millet 1916 Millet, G., Recherches sur l’iconographie de l’evangile, aux XIVe XVe et XVIe siecles, Paris.
- Mouriki 1995 Doula, M., Studies in Late Byzantine Painting, London.
- Ötüken 1996 Ötüken, Y., “1994 Yılı Demre Aziz Nikolaos Kilisesi Kazısı”, (N. Çorağan, Freskolar) Kazı Sonuçları Toplantısı XVII, 382-383.
- Ötüken, Y. – S. Alpaslan – Y. Olcay – M. Acara – N. Çorağan 1998
- Ötüken, Y. – S. Alpaslan – Y. Olcay – M. Acara – N. Çorağan
- “Demre Aziz Nikolaos Kilisesi Kazısının Ortaçağ Araştırmalarına Katkıları”, Sanat Tarihi Dergisi IX, 85-102.
- Restle 1969 Restle, M., The Wall Paintings of Asia Minor, Recklinghausen, I-III. Schiller 1968 Schiller, G. Ikonographie der Christlichen Kunst,II.
- Sophocleous 1994 Sophocleous, S., Icons of Cyprus, 7th to 20th Century, Nicosia. Sotiriou 1956 Sotiriou, G. M., Εικονεσ τησ Μονησ Σινα, Α−Β, Athen.
- Van Os – Jaszai 1970 Van Os, H. W. – Jaszai, G., “Kreuz Legende”, Lexikon der Christlichen Ikonographie 2, 642- 648.
- Weitzmann vd. 1965 Weitzmann, K. – M. Chatzidakis – K. Miatev – S. Radojcic, Frühe Ikonen, Sinai, Griechenland, Bulgarien, Jugoslawien, WienMünchen. Xuggopoulou 1932 Xuggopoulou, A. Ιστορηµενα Εναγγελια Μονης Ιβηρον αγ.Οροϖς, Athen.
Abstract
The restoration and conservation works of the wall painting of the southern burial chamber in St.Nicholas church at Demre, began in 2001 and was completed in 2004. After the restoration, the scene of “Road to Golgotha” which is on the inner surface of the arch at the second burial niche of the north wall, can be defined clearly. This scene which is also connected with the scene of “Crucifixion”, has new iconographic features.The scene of “Road to Golgotha” which is from Bible, hadn’t been depicted frequently in the earliest period of Byzantine art. Two basic iconographical types are determined by the researchers in the scene of “Road to Golgotha”, in Byzantine art. It is said that the fist type of the scene was depicted with three variants; 1. Christ is led to Golgotha by soldiers, while Simon of Cyrene carries the cross, 2. Christ is led to Golgotha without cross and Simon, 3. Christ is led to Golgotha and carries the cross. Also ıt is claimed that the earliest known examples of the second variation occur in Cappadocia. This version which appears sporadically, usually has few figures. Nailing of the cross which is the end of the road to Golgotha, is also been accepted the second variant of the scene. This second variant of the scene is called as “Kristos Elkomenos (Χριστος Ελκοµενος)”. In this variant, servants set up and fix the cross which is generally in the middle of the scene. Christ stand with bound hands and a soldier holds the rope. The scene of Myra is belonged to this variant. This type is believed to be appeared in the 12th century and dominated the iconography throughout the 13th century. Also it is claimed that ın very rare instances it occurs in late provincial ensembles, the presence of this iconographic type in monuments reflecting the art of Constantinople. At the end of our research, we determined that the icon ( last quarter of 12th century or 1200) from Pelendri monastery in Cyprus has some similar iconographic features with the scene of Myra. The scene of Myra whis has also unique iconographic feature in Anatolia, can be dated to 12th century because of density of similar examples
References
- Albani 1988 Albani, J., “Byzantinische Freskomalerei in der Kirche Panagia Chrysaphitissa” Jahrbuch der Österreichischen Byzantinistik 38, 363-388.
- Carr 1997 Carr, A. W., “Popular Imagery” The Glory of Byzantium, Art and Culture of the Middle Byzantine Era, A.D.843-1261(Ed. Evans,H.
- C., Wixom W.D.), The Metropolitan Museum of Art, New York, 113-182.
- Çorağan 1990 Çorağan, N., “The Wall paintings of St. Nicholas Church in Demre (Myra), Recent Discoveries” Annali di Ca Foscari XXXVIII, 3, 83- 89.
- Demus 1949 Demus, O., The Mosaics of Norman Sicily, London.
- Drandakis1957 Drandakis, B., “Ο Εισ Αρτον Ρετυµνησ Ναισκος του Αγιου Γεοργιου”, Κρητικα Χρονικα 11, 5-161.
- Drandakis 1964 Drandakis, N. B., Βyαντιναι Τοιχογραφιαι τησ Μεσα Μανης, Athen.
- Drandakis 1995 Drandakis, N. B., Βyαντιναι Τοιχογραφιαι τησ Μεσα Μανης, Athen.
- Epstein 1980-81 Epstein, A. W., “The Fresco Decoration of the Column Churches, Göreme Valley, Cappadocia”, Cahiers Archeologiques 29, 27-45.
- Hetherington 1978 Hetherington, P., “Byzantine Enamels on a Venetian Book-Cover”, Cahiers Archeologiques 27, 117-146.
- Karakaya 2005 Karakaya, N., “The Burial Chamber Wall paintings of St. Nicholas Church at Demre (Myra) Following their Restoration”, Adalya VIII, 287-309.
- Katselaki 1996-97 Katselaki, A., O Χριστος Ελκοµενος επι Σταυρου. Εικονογραφια και Τψπολογια της Παπαστασις στη Βψζαντινη Τεχνη ∆ελτιον της Χριστιανικησ Αρχαιολογκης Εταιρειας 19, 167- 200.
- Mathews 1997 Mathews, T. F., “Religious Organisation and Church Architecture” The Glory of Byzantium, Art and Culture of the Middle Byzantine Era, A.D.843-1261 (Ed. Evans, H. C., Wixom W.D.), The Metropolitan Museum of Art, New York, 21-82.
- Millet 1916 Millet, G., Recherches sur l’iconographie de l’evangile, aux XIVe XVe et XVIe siecles, Paris.
- Mouriki 1995 Doula, M., Studies in Late Byzantine Painting, London.
- Ötüken 1996 Ötüken, Y., “1994 Yılı Demre Aziz Nikolaos Kilisesi Kazısı”, (N. Çorağan, Freskolar) Kazı Sonuçları Toplantısı XVII, 382-383.
- Ötüken, Y. – S. Alpaslan – Y. Olcay – M. Acara – N. Çorağan 1998
- Ötüken, Y. – S. Alpaslan – Y. Olcay – M. Acara – N. Çorağan
- “Demre Aziz Nikolaos Kilisesi Kazısının Ortaçağ Araştırmalarına Katkıları”, Sanat Tarihi Dergisi IX, 85-102.
- Restle 1969 Restle, M., The Wall Paintings of Asia Minor, Recklinghausen, I-III. Schiller 1968 Schiller, G. Ikonographie der Christlichen Kunst,II.
- Sophocleous 1994 Sophocleous, S., Icons of Cyprus, 7th to 20th Century, Nicosia. Sotiriou 1956 Sotiriou, G. M., Εικονεσ τησ Μονησ Σινα, Α−Β, Athen.
- Van Os – Jaszai 1970 Van Os, H. W. – Jaszai, G., “Kreuz Legende”, Lexikon der Christlichen Ikonographie 2, 642- 648.
- Weitzmann vd. 1965 Weitzmann, K. – M. Chatzidakis – K. Miatev – S. Radojcic, Frühe Ikonen, Sinai, Griechenland, Bulgarien, Jugoslawien, WienMünchen. Xuggopoulou 1932 Xuggopoulou, A. Ιστορηµενα Εναγγελια Μονης Ιβηρον αγ.Οροϖς, Athen.
Details
| Primary Language | Turkish |
|---|---|
| Journal Section | Research Article |
| Authors | |
| Publication Date | May 1, 2007 |
| Published in Issue | Year 2007 Issue: 15 |