BİZANS ANONİM FOLLİSLERİNDE BİTKİSEL BEZEMELİ HAÇ VE AY ÜZERİNDE HAÇ TASVİRİ: H, I, J, M GRUBUNUN DEĞERLENDİRİLMESİ

Year 2021, Issue: 14, 35 - 60, 02.07.2021

Nergis Ataç

https://doi.org/10.23897/usad.961207

Abstract

Bizans sanatında bitki ve ay üzerinde haç motifi sikkelerde yaklaşık 1071-1092 yıllarından önce yalnızca minyatür denilecek boyutta ve tipik bir şekilde imparatora odaklanan bir sahnenin parçası olarak betimlenmiştir. Motif on birinci yüzyıldan önce başkentten ziyade ‘‘Bizans eyalet’’ sanatında yaygın görülmektedir. Ölüm ve yeniden dirilişle ilişkilendirilen motiflerin, on birinci yüzyılda sarayla bağlantılı sanatta yer almaya başlaması, Anadolu’ya akın etmiş çeşitli kültürlerin etkisini ve dönem ortamının yansımasını düşündürür. On birinci yüzyılda artış gösteren bitki ve ay bezemeli haç tasviri Bizanslılar ve yeni kurulan devletler arasında sikke basılması ve sirkülasyonu konusunda çeşitli anlaşmalara mı işarettir? Bu bağlamda anonim follislerin darp yeri konusunda Konstantinopolis monopolü görüşünü kabul etmekle birlikte, Konstantinopolis’in yanı sıra yerel darphanelerin de olabileceği ve imparatorlukla yeni fatihler arasında anlaşmalar ifade etmiş olabileceği savunulmuştur. Çalışmada, bitki ve ay üzerinde haç bezemelerinin İstanbul saray sanatında gelişimin anonim follislerle (Grup H, I ve J, M) bağına ve bu follislerin Gürcü, Ermeni ve Anadolu Türkleriyle ilişkisine dikkat çekilmiştir. Son olarak, çalışmada Bizanslıların, Attaleiates’in öne sürdüğü gibi bir entegrasyon politikası yürütmüş olabileceği tartışılmıştır.

Keywords

Bizans, Anonim Follis, Bitkisel Bezemeli Haç, Ay, Sikke, Orta Çağ Anadolu

THE LEAVED CROSS AND CRESCENT BENEATH THE CROSS ON BYZANTINE ANONYMOUS FOLLES: AN INTERPRETATION OF GROUPS H, I, AND J, M

Abstract

Before the years of approximately 1071-1092, the leaved cross and crescent beneath the cross appeared on Byzantine coins only in miniature size and typically as part of a scene focusing on the emperor. The motifs were generally widespread in the artwork of the provinces rather than the capital, Constantinople. Signifying death and resurrection, their appearance in the eleventh century in imperial Byzantine artwork points to influences of diverse cultures flocking to Anatolia and reflects the political and economic climate in the region. Did the increasing prominence of the leaved cross and the crescent beneath the cross in the eleventh century signal some type of agreements between the Byzantines and other new states to mint and circulate anonymous folles? While I support past theories that these folles were minted in Constantinople, some coins may have been minted in provinces and signified agreements between the empire and the new conquerors. This paper highlights the development of the leaved cross and crescent beneath the cross in Byzantine imperial art and draws attention to the non-Byzantines (e. g. Armenians, Georgians, Turks) in Anatolia in relation to the Byzantine anonymous folles (Group H, I and J, M) in eleventh-century Anatolia. Furthermore, I question whether the Byzantines might have implemented an integration policy as the Byzantine historian Michael Attaleiates put forward.

Keywords

Byzantine, Anonymous Folles, Leaved Cross, Crescent, Coins, Medieval Anatolia

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