Reflections of the Story of the Forty Martyrs of Sebaste, with Mor Behnam and Sarah in Syriac Painting

Yıl 2024, Cilt: 41 Sayı: 2, 514 - 543, 30.12.2024

Mehmet Ali Doğan

https://doi.org/10.32600/huefd.1352660

Öz

This study focuses on the forty martyrs of Sivas and the stories of Mor Behnam and Sarah, which have an important place in Syriac Orthodox Christianity. The forty martyrs of Sivas are frequently depicted in Byzantine and Syriac Orthodox art. In Byzantine art, the forty martyrs are depicted in works of art, such as wall paintings, icons and manuscripts. In the Syriac Orthodox illustrated manuscripts, the story of the forty martyrs is reflected in a different iconographic approach. In addition, the contemporary works of the Syriac Orthodox family of Mardin, the Şımmeshındi family, which deal with these stories were also analysed within the scope of the research. The Şımmeshındi family has reflected these two stories in their unique, both contemporary and local styles. The Shimmeshndi family has ensured that the stories have survived to the present day with their works. In this research, we attempted to reveal the continuity of these two martyrdom stories culturally and through art through their iconographic reflections on Byzantine and Syriac Orthodox art.

Anahtar Kelimeler

Syriac Orthodox art, iconography, Mor Behnam and Sarah, Forty Martyrs of Sivas, Shimmeshındi Family

Sivaslı Kırk Martirler ve Mor Behnam ile Sarah Hikâyesi’nin Süryani Sanatındaki Yansımaları

Öz

Çalışma Süryani Ortodoks Hıristiyanlığında önemli bir yer edinmiş Sivaslı kırk martirler ve Mor Behnam ile Sarah hikâyelerini ele almaktadır. Sivaslı kırk martirler Bizans ve Süryani Ortodoks sanatında sıklıkla betimlenmiştir. Bizans sanatında, kırk martirler duvar resim sanatı, ikona ve el yazmaları gibi sanat eserlerinde tasvir edilmiştir. Süryani Ortodoks resimli el yazmalarında izlerine rastlanan kırk martirler hikâyesi farklı bir ikonografik anlayışla yansıtılmıştır. Bununla birlikte, Mardinli Süryani Ortodoks bir aile olan Şımmeshındi ailesinin bu hikâyeleri ele alan günümüz eserleri de araştırma kapsamında incelenmiştir. Şımmeshındi ailesi bu iki hikâyeyi kendilerine özgü çağdaş ve yerel bir üslupla yansıtmıştır. Şımmeshındi ailesi yaptıkları eserlerle hikâyelerin günümüze kadar gelmesini sağlamıştır. Araştırmada bu iki martirlik hikâyesinin Bizans ve Süryani Ortodoks sanatındaki ikonografik yansımaları üzerinden kültürel açıdan ve sanat aracılığıyla gösterdiği devamlılık ortaya konmaya çalışılmıştır.

Anahtar Kelimeler

Süryani Ortodoks sanatı, ikonografi, Mor Behnam ve Sarah, Sivaslı Kırk Martirler, Şımmeshındi Ailesi

Kaynakça

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