Barberini Mezmuru’nda (Barb. gr. 372) Lazarus’un Diriltilmesi ve Edebî Kaynaklarla İlişkisi

Öz

Yeni Ahit’in dört kanonik İncil’inden biri olan Yuhanna İncil’inde (11:1-4) anlatılan Lazarus’un diriltilmesi hikâyesi, Hristiyan teolojisinde önemli bir yere sahiptir. Bu konu, İsa’nın dirilişiyle özdeşleştirilmiştir. İsa’nın gerçekleştirdiği diğer mucizeler gibi, bu anlatı, edebiyatta ve sanat eserlerinde detaylı bir şekilde tasvir edilmiştir. Bizans Dönemi sanatında Lazarus’un diriltilmesi konusu genellikle başta İsa ve Lazarus olmak üzere, Lazarus’un kız kardeşleri Martha ve Meryem ile olayın tanıklarını içeren kompozisyonlarla resmedilir. Bu görsel temsil, Yuhanna İncili’ndeki anlatıyı etkili bir şekilde özetler. Orta Bizans Dönemi’ne ait marj minyatürlü Mezmurlar Kitabı (Septuagint LXX) el yazmalarında, Lazarus’un diriltilmesi sahnesine Ölüler Diyarı’nı temsil eden alegorik bir figür dahil edilmiştir. Bu figürün tasviri, Antik Dönem’in Bizans sanatı üzerindeki etkisini göstermektedir. Barberini Mezmuru’ndaki (Barb. gr. 372, Vatikan Apostolik Kütüphanesi) Lazarus’un diriltilmesi minyatürü, bu bağlamda oldukça önemlidir. Diğer el yazması minyatürlerinden farklı olarak Barberini yazmasındaki minyatürde Antik Dönem metinlerinde geçen cehennem tazısı Kerberos ile ilişkilendirildi-ği anlaşılan köpek başlı, insan gövdeli bir figür yer alır. Bu çalışmada, Barberini Mezmuru’ndaki Lazarus’un diriltilmesi minyatürünün edebî kaynaklarla ilişkisi incelenerek Bizans sanatı ikonografik analizinde Antik Dönem edebi kaynaklarının önemine vurgu yapılmaktadır.

Anahtar Kelimeler

• Barberini Mezmuru
• Lazarus’un diriltilmesi
• ikonografi
• Kerberos

The Relationship between the Raising of Lazarus in the Barberini Psalter (Barb. gr. 372) and Literary Sources

Öz

The story of the raising of Lazarus, as narrated in the Gospel of John (11:1-4), one of the four canonical Gospels of the New Testament, occupies a pivotal position in Christian theology and is identified with the resurrection of Christ. Similar to other miracles performed by Christ, this narrative has been extensively depicted in literary and artistic works. In Byzantine art, the scene of the raising of Lazarus is typically illustrated with compositions that include Christ, Lazarus, Lazarus’ sisters Martha and Mary, and witnesses to the event. This visual representation effectively encapsulates the narrative from the Gospel of John. In the marginal Psalters (Septuagint LXX) from the Middle Byzantine Period, an allegorical figure representing the underworld is incorporated into the scene of the raising of Lazarus. This depiction demonstrates the influence of the Ancient Period on Byzantine art. The miniature of the raising of Lazarus in the Barberini Psalter (Barb. gr. 372, Vatican Apostolic Library) is particularly significant in this context. Unlike other manuscript miniatures, the scene in the Barberini Psalter features a dog-headed, human-bodied figure, identified with Cerberus, the hellhound from ancient texts. This study explores the relationship between the literary sources and the miniature of the raising of Lazarus in the Barberini Psalter, underscoring the importance of ancient literary sources in the iconographic analysis of Byzantine art.

Anahtar Kelimeler

• Barberini Psalter
• the raising of Lazarus
• iconography
• Cerberus

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