Selanik'teki Azize Ekaterini Kilisesi Çinileri

Öz

Bu çalışma, Selanik’teki Azize Ekaterini Kilisesi’nin çinilerini incelemektedir. Dendrokronolojik analiz sonuçlarına göre 13. yüzyılın sonunda veya 1315 yılında inşa edilen kilise, tuğla süslemeleri ve çinileri ile Geç Dönem Selanik kiliseleri arasında öne çıkar. Ancak Selanik'in Geç Bizans Dönemi kiliselerinde çinilere rastlanmaz. Azize Ekaterini Kilisesi’nin çinileri yapının doğu cephesine ek olarak kuzey ve güney duvarlara dağıtılmıştır ve toplamda on üç pano vardır. Çiniler ince sgraffito tekniğiyle üretilmiştir. Hamur rengi, kilise ambulatoryumunun duvarlarında kullanılan tuğlalarla aynıdır. Bu durum, çinilerle ambulatoryum duvarlarında kullanılan tuğlaların aynı atölyede hazırlandığını düşündürmektedir. Çinilerin renk paletinde sarı ve yeşil olmak üzere iki farklı tonda sır kullanılmıştır. Çiniler sürekli çevresel etkilere maruz kalmaları nedeniyle bozulma göstermektedir. Genel olarak kare veya dikdörtgen formlu panolarda dairesel madalyonlar içinde dört kollu rozet, altı yapraklı çiçek /rozet motifleri; iki örnekte eş kollu haç motifi; bir örnekte ise sağa dönük stilize edilmiş kuş figürü ile birlikte dört kollu rozet süsleme öne çıkmaktadır. İki panoda, ana desenin çevresini saran iç içe geçmiş iki daire şeklinde işlenen madalyonlar arasında zikzak motifleriyle dolgu yapılmıştır. Çiniler, Bizans Sanatı’nda en sık rastlanan motiflerle bezenmiştir.

Anahtar Kelimeler

• Bizans mimarisi
• Azize Ekaterini Kilisesi
• Bizans çinileri
• süsleme

Destekleyen Kurum

Yozgat Bozok Üniversitesi

Proje Numarası

6602b-FEN/19-306 (BAP)

Etik Beyan

Bu çalışma daha önce hiçbir yerde yayınlanmamış ya da yayınlanmak üzere gönderilmemiştir.

Teşekkür

Yozgat Bozok Üniversitesi BAP Komisyonu, Dr. Paschalis Androudis, Vasileios Tsirakoglou

The Tiles of The Church of St. Aikaterini in Thessaloniki

Öz

This study examines the tiles of the Church of Saint Aikaterini in Thessaloniki. According to dendrochronological analysis, the church, built at the end of the 13th century or in 1315, stands out among Late Period churches in Thessaloniki due to its ceramoplastic decoration and tiles. However, tiles are not found in other Late Period churches in Thessaloniki. The tiles of the Church of Saint Aikaterini are distributed on the north and south walls of ambulatory addition to the east facade of the building, with a total of thirteen panels. The tiles were produced using the incised-sgraffito technique. The clay color of the tiles matches the bricks used in the walls of the ambulatory, suggesting that both the tiles and bricks were prepared in the same workshop. The color palette of the tiles consists of two different tones of glaze: yellow and green. The tiles have gradulally deteriorated over time as a result of continious exposure to environmental conditions. Generally, the square or rectangular panels feature circular medallions containing quatrefoil rosettes and sexfoil flower/rosette motifs. In two examples, an equal-armed cross motif is present. In one example, a quatrefoil rosette is accompanied by a stylized bird figure facing to the right. In two panels, the medallions, designed as two intertwined circles surrounding the main pattern, are filled with zigzag motifs. These tiles are decorated with some of the most common motifs in Byzantine art.

Anahtar Kelimeler

• Byzantine architecture
• Byzantine tiles
• decoration
• Church of St. Aikaterini

Proje Numarası

6602b-FEN/19-306 (BAP)

Kaynakça

1. Acara Eser, M. (2019), “Divriği Kale Kazısı Sırlı Seramiklerinden Kuş ve Balık Figürlü Örnekler”, SDÜ Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi, 48: 41-60.
2. AMSHistorica. (2024), “Agia Aikaterini, Thessaloniki, Greece”, http://hdl.handle.net/20.500.14008/9662
3. Antonaras, A. C. (2016), “Artisanal production in Byzantine Thessaloniki (4th-15th century)”, Hinter den Mauern und auf dem offenen Land Leben im Byzantinischen Reich, Mainz: Verlag des Römisch-Germanischen Zentralmuseums, 113-140.
4. Armstrong, P. (2008), “Production, Manufacture and Technology. Ceramics”, The Oxford Handbook of Byzantine Studies, (edt. R. Cormack, J. F. Haldon, E. Jeffreys), Oxford: Oxford University Press, 429-443.
5. Bakirtzis, C. (2003), “The Urban Continuity and Size of Late Byzantine Thessalonike”, Dumbarton Oaks Papers, 57: Symposium on Late Byzantine Thessalonike: 35-64.
6. Barker, J. W. (2003), “Late Byzantine Thessalonike: A Second City’s Challenges and Responses”, Dumbarton Oaks Papers, 57: Symposium on Late Byzantine Thessalonike: 5-33.
7. Büktel, Y. (1995), Studios Manastırı Bazilikasının Üst Örtü Problemi, doktora tezi, İstanbul.
8. Cormack, R. ve Hawkins, E. J. W. (1977), “The Mosaics of St. Sophia at Istanbul: The Rooms above the Southwest Vestibule and Ramp”, Dumbarton Oaks Papers, 31: 175-251.

9. Cormack, R. (1981), “Interpreting The Mosaics of S. Sophia at Istanbul”, Art History, 4(2), June: 131-149.
10. Ćurčić, S. “The Role of Late Byzantine Thessalonike in Church Architecture in the Balkans”, Dumbarton Oaks Papers, 57: Symposium on Late Byzantine Thessalonike: 65-84.
11. Diehl, C. (1910), Manuel d’art Byzantin, Paris.
12. Diehl, C.; Tourneau, M.; Saladin, H. (1918), Les Monuments Chrétiens de Salonique, Paris.
13. Doğer, L. (1997), “İslam Sanatı Etkisinde Kuş Figürlü Bizans Seramikleri”, Arkeoloji ve Sanat, 77: 15- 17.
14. Doğer, L. (2001), “İzmir Arkeoloji Müzesindeki Kuş Figürlü Bizans Seramiklerine Üslupsal Açıdan Bir Yaklaşım”, Sanat Tarihi Dergisi, 11(11): 57-96.
15. Doğer, L. (2011), “Kadın Figürlü Bizans Seramikleri”, Sanat Tarihi Dergisi, 20(2): 45-60.
16. Ebersolt, J. (1910), Sainte Sophie de Constantinople étude de topographie d’apres les cérémonies, Paris:
17. Erciyas, D. B. ve Tatbul, M. N. (2016). “Anadolu’da Ortaçağ Kazıları ve Komana”, 37. Kazı Sonuçları Toplantısı, 2. Cilt, (haz. A. Özme), Ankara, 611-626.
18. Erdihan, Y. (2010), Ayasofya’da Bulunan Zoe ve Komnenos Mozaikleri: Resimsel Düzenleme ve Konu Üzerine Karşılaştırmalı Bir İnceleme, yüksek lisans tezi, İstanbul.
19. Ermiş, Ü. M. (2019), “Niksar’dan Bizans Dönemi’ne ait Keramoplastik ve Çini Örnekleri”, Art-Sanat, 12: 193-204.
20. Ettinghausen, E. S. (1954), “Byzantine Tiles from the Basilica in the Topkapu Sarayı and Saint John of Studios”, Cahiers Archéologiques, 7: 79-88.
21. Eyice, S. (1961). “Bizans Mimarisinde Dış Cephelerde Kullanılan Bazı Keramoplastik Süs Çömlekleri”, Ayasofya Müzesi Yıllığı 3: 25-28.
22. Eyice, S. (1963), Son Devir Bizans Mimarisi Palaiologoslar Devri Anıtları, İstanbul: İstanbul Üniversitesi Edebiyat Fakültesi.
23. Eyice, S. (1984), Ayasofya, C. I-III, İstanbul: Yapı Kredi Yayınları
24. Eyice, S. (1988), “Bizans Mimarisi”, Mimarbaşı Koca Sinan: Yaşadığı Çağ ve Eserleri, İstanbul: Vakıflar Genel Müdürlüğü, 45-51.
25. Eyice, S. (1991), “Ayasofya”, TDV İslam Ansiklopedisi, C. 4, İstanbul: Türkiye Diyanet Vakfı Yayınları, 206-210.
26. Eyice, S. (1993), “Ayasofya”, Dünden Bugüne İstanbul Ansiklopedisi, C. 1, İstanbul: Tarih Vakfı Yayınları, 446-447.
27. Freely, J. ve Çakmak, A. S. (2004), Byzantine Monuments of Istanbul, Cambridge: University Press.
28. Friedenberg, D. M. (1994/1995), “The Evolution and Uses of Jewish Byzantine Stamp Seals”, The Journal of the Walters Art Gallery, 52/53: 1-21.
29. Galavaris, G. (1970), Bread and the Liturgy - The Symbolism of Early Christian and Byzantine Bread Stamps, Madison: University of Wisconsin Press.
30. Gerstel, S. E. J. (2001), “Introduction”, A Lost Art Rediscovered The Architectural Ceramics of Byzantium, (edt. S. E. J. Gerstel-J. A. Lauffenburger), Pennsylvania: The Pennsylvania State University Press, 1-4.
31. Gerstel, S. E. J. (2008-2009), “The Nikomedia Workshop: New Evidence on Byzantine Tiles”, The Journal of the Walters Art Museum 66/67: 5-53.
32. Google Earth. (2022), earth.google.com/web
33. Goulaki-Voutira, A. (1984). Zur identifiziergung von Palaologenzeitlichen Kirchen in Saloniki”, Jahrbuch der Österreichischen Byzantinistik 34, 255-264.
34. Hadjitryphonos, E. (2018), “Saint Catherine’s Church in Thessaloniki, Its Place in Late Byzantine Architecture”, Ήρως Κτίστης. Μνήμη Χαράλαμπου Μπούρα, C. 1, Αθήνα, 265-282.
35. Hellenic Republic Ministry of Education, Religious Affairs, Culture and Sports General Secretariat of Culture.
36. InThessaloniki.com (2019), “Ναός Αγίας Αικατερίνης”, https://inthessaloniki.com/el/item/ ναός-αγίας-αικατερίνης/
37. Kaya Zenbilci, İ. (2020), “Orta Bizans Dönemi'nde Başkent Konstantinopolis'ten Taşraya Aktarılan Mimari Anlayış: Panagia Ton Khalkeon Kilisesi Örneği”, Ortaçağ Araştırmaları Dergisi, 3(1): 193-215.
38. Kazhdan, A.; Talbot, A. M.; Cutler, A. (1991), “Stoudios Monastery”, Oxford Dictionary of Byzantium, Vol. III, (edt. A. P. Kazhdan), Oxford: University Press, 1960.
39. Khasiotis, I. K. (1997), Τοις Aγαθοίς Βασιλεύουσα Θεσσαλονίκη: ιστορία και πολιτισμός, Paratirites.
40. Kolektif (2001), “Catalogue of Tiles from Sites in Constantinople and in Collections”, A Lost Art Rediscovered The Architectural Ceramics of Byzantium, (edt. S. E. J. Gerstel-J. A. Lauffenburger), Pennsylvania: The Pennsylvania State University Press, 172-310.
41. Kolektif (2012), Impressions-Byzantine Thessaloniki through the photographs and drawings of the British School at Athens (1888-1910) / Η βυζαντινή Θεσσαλονίκη σε φωτογραφίες και σχέδια της Βρετανικής Σχολής Αθηνών (1888-1910), Thessaloniki, fig. 105.
42. Konstantinidou, K. P. ve Raptis, K. T. (2012), “Archaeological Evidence of an Eleventh-Century Kiln with Rods in Thessaloniki”, X Congresso Internacional a Cerâmica Medieval no Mediterrâneo Silves-Mértola, auditório da fissul, 22 a 27 de Outubro de 2012 / 10th International Congress on Medieval Pottery in the Mediterranean. Silves & Mértola, 22-27 October 2012, 589-595.
43. Korucu, F. (2013), Anadolu ve Yakın Çevresinde Üretilmiş Orta Bizans Dönemi (XI.-XIII. Yüzyıl) Sırlı Seramiklerinde Görülen Figür ve Desen Anlayışı, yüksek lisans tezi, İstanbul.
44. Kourkoutidou-Nikolaidou, E.; Tourta, A. (1997), Wandering in Byzantine Thessaloniki, Athens: Kapon Editions.
45. Köroğlu, G. (2024), “Yumuktepe Höyüğü Kazısından Orta Çağa ait Kutsal Ekmek Mühürler”, 26. Orta Çağ ve Türk Dönemi Kazıları ve Sanat Tarihi Araştırmaları Kitabı, Ankara: Atatürk Kültür, Dil ve Tarih Yüksek Kurumu Atatürk Kültür Merkezi Başkanlığı, 485-515.
46. Köroğlu, G. ve Seçkin, S. (2023). “Yalova/Çobankale Kazısından İki Kutsal Ekmek Mührü”, Art-Sanat, 20: Bizans Özel Sayısı: 355-376.
47. Lauffenburger, J. A.; Vogt, C.; Bouqillon, A. (2001). “Technical Insights into the Working Practices of the Byzantine Tile Maker”, A Lost Art Rediscovered The Architectural Ceramics of Byzantium, (edt. S. E. J. Gerstel-J. A. Lauffenburger), Pennsylvania: The Pennsylvania State University Press, 67-87.
48. Mainstone, R. J. (1965-66), “The Structure of the Church of St. Sophia, Istanbul”, Transactions of the Newcomen Society, 38: 23-49.
49. Μακροπούλου, Δ. (1995). “Βυζαντινά και Μεταβυζαντινά κεραμικά”, Συλλογή Δημητρίου Οικονομοπούλου, Αθήνα, 7-51.
50. Maltseva, S. V.; Zavorina, M. L. (2022), “Late Byzantine Architectural Ceramics of Epirus and Macedonia”, SmartArt, 2: 38-58.
51. Mango, C. (1962), Materials for the Study of the Mosaics of St. Sophia at Istanbul, Washington, D.C.
52. Mango, C. (2006), Bizans Mimarisi, (haz. B. İşler), Ankara: Rekmay.
53. Mango, M. M. (2001). “Polychrome Tiles Found at Istanbul: Typology, Chronology, and Function”, A Lost Art Rediscovered The Architectural Ceramics of Byzantium, (edt. S. E. J. Gerstel-J. A. Lauffenburger), Pennsylvania: The Pennsylvania State University Press, 13-41.
54. Manolova, M. (2017), “Импортная византийская сграффито керамика из средневековых поселений в Болгарском Причерноморье”, Поливная керамика Средиземноморья и Причерноморья X—XVIII вв, C. 2, Kazan-Kishinev, 317-326.
55. Meriç, Z. A. (2023), “Metropolis Kazısı Zeuksippus Ailesi Grubu Bizans Seramikleri”, Art-Sanat, 20: 403-433.
56. Μoutsopoulos, Ν. (1962), “Πίνακες κεραμοπλαστικών διακοσμήσεων A’ των ναών της Θεσσαλονίκης”, Τεχνικά Χρονικά, 1, 1-29.
57. Müller-Wiener, W. (2001), İstanbul’un Tarihsel Topografyası 17. Yüzyıl Başlarına Kadar Byzantion-Konstantinopolis-İstanbul, (çev. Ü. Sayın), İstanbul: Yapı Kredi Yayınları.
58. Ötüken, Y. (1978), “İstanbul Son Devir Bizans Mimarisinde Cephe Süslemeleri”, Vakıflar Dergisi, 12: 213-233.
59. Papanikola-Bakirtzis, D. (1987), “The Palaeologan glazed pottery of Thessaloniki”, Recueil des Rapports du IVe Colloque serbo-grec sur lʼart de Thessalonique et les pays Balkaniques et les courants spirituels au XlVe siècle, Belgrade, 193-304.
60. Papanikola-Bakirtzis, D., Dauterman Maguire, E. ve Maguire, H. (edt.) (1992), Ceramic Art from Byzantine Serres, Urbana and Chicago: University of Illinois Press.
61. Papanikola-Bakirtzis, D. (edt.) (1999), Byzantine Glazed Ceramics: The Art of Sgraffito, Athens: Archaeological Receipts Fund.
62. Pekak, S. (2000), “İstanbul’da Studios Manastırı, H. Ioannes Prodromos Kilisesi”, Sanat Tarihi Dergisi, 10(10): 101-121.
63. Peschlow, U. (1982), “Die Johanneskirche des Studios in Istanbul”, Jahrbuch der Österreichischen Byzantinistik, 32(4): 429-434.
64. Schneider, A. M. (1941), Die Grabung im Westhof der Sophienkirche zu Istanbul, Istanbuler Forschungen, 12, Berlin: Istanbul des Archäologischen Institutes des Deutschen Reiches.
65. Semoglou, A. (2012), “Hagia Aikaterine”, Impressions-Byzantine Thessaloniki through the photographs and drawings of the British School at Athens (1888-1910) / Η βυζαντινή Θεσσαλονίκη σε φωτογραφίες και σχέδια της Βρετανικής Σχολής Αθηνών (1888-1910), Thessaloniki, 159-165.
66. Soyhan, H. C. (1976), “İki Duvar Çinisi Üzerinde İneleme”, Sanat Tarihi Yıllığı, 6: 295-302.
67. Tatbul, M. N. (2017), Identifying Medieval Komana in the 12th-13th Centuries through Spatial Analysis of Archaeological Data with a Multidisciplinary Approach, doktora tezi, Ankara.
68. Thesstoday.gr (2023), “Ο ναός της Αγ. Αικατερίνης που ταυτίστηκε με την Μονή Παντοδύναμου που είναι γνωστή μόνο από ιστορικές πηγές – Σπάνιες καρτ ποστάλ”, thesstoday.gr/ο-ναός-της-αγ-αικατερίνης-που-ταυτίστη/
69. Underwood, P. A. (1951), “A Preliminary Report on Some Unpublished Mosaics in Hagia Sophia”, American Journal of Archaeology, 55: 367-370.
70. Velenis, G. (1987). “Building Techniques and External Decoration during the 14th Century in Macedonia”, L’art de Thessalonique et des pays Balkaniques et les Courants Spirituels au XIVe Siecle – Recueil des Rapports du IVe Colloque Serbo-Grec Belgrade 1985,Belgrade, 95-105.
71. Velenis, G. (2001). “H βυζαντινή αρχιτεκτονική της Θεσσαλονίκης”, Αισθητική προσέγγιση, Αφιέρωμα στη μνήμη του Σωτήρη Κίσσα, Θεσσαλονίκη, 1-25.
72. Verdier, P. (1983), “Tiles of Nicomedia”, Harvard Ukrainian Studies, 7 (Okeanos: Essays presented to Ihor Ševčenko on his Sixtieth Birthday by his Colleagues and Students): 632-638.
73. Vorderstrasse, T. (2019). “Experiencing the Medieval Churches of Komana”, Komana Small Finds, (edt. D. B. Erciyas, M. A. Eser), İstanbul, 47-76.
74. Whittemore, T. (1933), The Mosaics of St. Sophia at Istanbul, Preliminary Report of the First Year’s Work, 1931-1932: The Mosiacs of the Narthex, Oxford.
75. Whittemore, T. (1936), The Mosaics of St. Sophia at Istanbul, 2. Preliminary Report Work Done in 1933-34: The Mosaics of the Southern Vestibule, Oxford.
76. Whittemore, T. (1942), The Mosaics of St. Sophia at Istanbul, 3. Preliminary Report Work Done in 1935-38: The Imperial Portraits of the South Gallery, Boston.
77. Zekos, N. (2003), “A Glazed Pottery Workshop in Thrace”, Actes du VII e Congrés International sur la Céramique Médiévale en Méditerranée (AIECM2). Thessaloniki 1999. Athens: Ministry of Culture, Archaeological Receipts Fund, 455-466.