The Iconography and the Origin of Koimesis (The Dormition of Virgin Mary) in Byzantine Art

Year 2012, , 67 - 72, 30.04.2014

Ferda Barut

https://doi.org/10.29135/std.172560

Cited By: 1

Abstract

In Orthodox Byzantine Empire, Virgin Mary had been venerated with great
respect due to her participation of Jesus’ Incarnation and so she had been accepted as an
intercessor for the salvation of the mankind. Because of her important place in Orthodox
Christian faith, Virgin Mary’s passing away (Koimesis) is one of the most important
Orthodox feasts. The iconographic elements of the scene are Mary on her death-bed,
Jesus holding Mary’s soul in his arms, Mary’s soul as a baby (eidolon), angels, apostles,
church fathers, theologians, houses, mourning women, Jewish man who aims to attack
Mary’s body and an angel who cuts the Jewish man’s hands

Keywords

Iconography, Byzantine Art, Mary, The Dormition, Orthodox Christianity

Bizans Sanatında “Koimesis” (Meryem’in Uykusu) Tasvirlerinin Kökeni ve İkonografisi

Abstract

Ortodoks Hıristiyan inancı üzerine temellenen Bizans İmparatorluğu’nda, İsa’nın bedenlenmesine aracı olması nedeniyle büyük hürmet gören ve şefaatçi kabul edilen Meryem’in bu dünyadan göçmesi (Koimesis), önemli Ortodoks bayramları arasında yer alır. Sahnenin ikonografik ögeleri; döşekte yatan Meryem, Meryem’in ruhunu teslim almak üzere göklerden gelmiş olan İsa, İsa’nın ellerinde tuttuğu ve Meryem’in ruhunu simgeleyen bebek (eidolon); Meryem’in ruhunu cennete götürmek üzere gelen melek(ler); Meryem’in döşeğinin etrafını sarmış olan havariler, kilise babaları ve teologlar; evler, yas tutan kadınlar, Meryem’in bedenine zarar vermek üzere döşeğin yanına gelmiş olan Yahudi ve onu engellemek için ellerini kesen melekten oluşur.

Keywords

İkonografi, Bizans Sanatı, Meryem, Meryem'in Ölümü, Ortodoks Hıristiyanlık

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