HOMILY XVII OF PATRIARCH PHOTIOS AND THE INAUGURATION OF THE VIRGIN AND CHRIST CHILD MOSAIC IN HAGIA SOPHIA

Öz

The mosaic of the Virgin and Christ Child in Hagia Sophia was the first figurative image appeared on the walls of a public church after the end of Iconoclasm (726-843). It depicted an enthroned Virgin with Christ Child in her lap. The mosaic unveiled on Holy Saturday, March 29, 867, in a ceremony attended by Byzantine Emperors Michael III (842-867) and Basil I (867-886) as well. Patriarch Photius of Constantinople, on that day, delivered “Homily XVII” his congregation as a dedication of the mosaic. Photios described this day, in Homily XVII, as the beginning of Orthodoxy. Therefore, the importance of the inauguration seems that it was a public statement of the triumph of Orthodoxy against Iconoclast heresy. In this context, the image of the Virgin and Christ Child served a visible proof of the triumph. This study aims to discuss the historical and political meaning of the inauguration within the context of Patriarch Photios' Homily XVII.

Anahtar Kelimeler

• Hagia Sophia
• Apse
• Mosaic
• Photios

PATRİK PHOTIOS’UN XVII. HOMİLİSİ VE AYASOFYA’DAKİ MERYEM VE ÇOCUK İSA MOZAİĞİNİN AÇILIŞI

Öz

Bizans başkenti Konstantinopolis’in katedral kilisesi Ayasofya’da yer alan Meryem ve Çocuk İsa Mozaiği, tasvir ibadetinin yasaklandığı İkonoklazma döneminin (726-843) sona erişinin ardından halka açık bir kilisede görünen ilk anıtsal figüratif imgedir. Mozaik tahtta oturan Meryem ile kucağındaki Çocuk İsa’yı betimler. Mozaiğin açılışı için 29 Mart 867’de Bizans İmparatorları III. Mikhail (842-867) ve I. Basileos (867-886)’un da katıldığı görkemli bir tören düzenlenmiştir. Konstantinopolis Patriği Photios, törende mozaiğe ithafen “XVII. Homili” olarak bilinen konuşmasını yapmıştır. Photios konuşmasında bugünü “Ortodoksluğun başlangıcı” olarak tanımlar. Bu nedenle, mozaiğin açılışı İkonoklast sapkınlığa karşı Ortodoksluğun kesin zaferinin kamusal bir ilanı gibi görünmektedir. Mozaik ise bu zaferin somut bir kanıtı olarak sunulmuştur. Bu bağlamda çalışma, Patrik Photios’un XVII. Homili’si yoluyla açılış töreninin tarihsel ve politik anlamını tartışmayı amaçlamaktadır.

Anahtar Kelimeler

• Ayasofya
• Apsis
• Mozaik
• Photios

Kaynakça

1. Aristarches, S. (1900). Τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Φωτίου λόγοι καὶ ὁμιλίαι ὀγδοήκοντα τρεῖς.
2. Brubaker, B. (1999). Vision and meaning in ninth-century Byzantium. Cambridge University Press.
3. Cormack, R. (1985). Writing in gold: byzantine society and its icons. Oxford University Press.
4. Cormack, R. (2000). The mother of god in the mosaics of Hagia Sophia at Constantinople. Vassilaki, M. (Ed.). in Mother of God: Representations of the Virgin in Byzantine Art. (107-123), Skira Editore.
5. Cutler, A., & Hollingsworth, P. A. (1991). Iconoclasm. Kazhdan, A. (Ed.). in The Oxford Dictionary of Byzantium. II, (975-976), Oxford University Press.
6. Dvornik, F. (1990). Konsiller tarihi: İznik’ten II. Vatikan’a. Türk Tarih Kurumu Yayınevi.
7. Eyice, S. (1984). Ayasofya, II, Yapı Kredi Yayınları.
8. Finney, P. C. (1994). The invisible god: the earliest christians on art. Oxford University Press.

9. Hawkins, E. J. W., & Mango, C. (1965). The apse mosaics of St. Sophia at Istanbul: report on work carried out in 1964. Dumbarton Oaks Papers, 19, 113-151.
10. Jenkins, R. J. H., & Mango, C. (1956). The date and significance of the tenth homily of Photius. Dumbarton Oaks Papers, 10, 125-140.
11. Kazhdan, A. (1991). Photios. Kazhdan, A. (Ed.). in The Oxford Dictionary of Byzantium. III, (1669-1670), Oxford University Press.
12. Kitzinger, E. (1954). The cult of images in the age before iconoclasm. Dumbarton Oaks Papers, 8, 85-150.
13. Lee, J. H. (2004). Bizans siyasi ve sosyal tarihinde tasvir kırıcılık (ikonoklazma) hareketinin başlangıç dönemi, (Yayınlanmamış yüksek lisans tezi). İstanbul Üniversitesi Sosyal Bilimler Enstitüsü.
14. Lee, J. H. (2010). Bizans siyasi ve sosyal tarihinde tasvir kırıcılık: ikonoklazma dönemi (787-843). (Yayınlanmamış doktora tezi). İstanbul Üniversitesi Sosyal Bilimler Enstitüsü.
15. Lidov, A. (2012). A Byzantine Jerusalem: the imperial pharos chapel as constantinopolitan holy sepulcher. Hoffmann, A. & G. Wolf, G. (Eds.). in Jerusalem as narrative space - Erzählraum Jerusalem (63-103).
16. Louth, A. (2003). Three treatises on the divine images: St. John of Damascus. St. Vladimir’s Seminary Press.
17. Lowden, J. (1977). Early christian and Byzantine art, Phadion Press.
18. Mango, C. (1958). The homilies of Photius, Patriarch of Constantinople: English translation, introduction, and commentary, Dumbarton Oaks Studies.
19. Mango, C. (1991). Chalke. Kazhdan, A. (Ed.). in The Oxford Dictionary of Byzantium, I, Oxford University Press, (405-406).
20. Oikonomidès, N. (1985). Some remarks on the apse mosaic of St. Sophia. Dumbarton Oaks Papers, 39, 111-115. Ostragorsky, G. (2006). Bizans devleti tarihi. Türk Tarih Kurumu Yayınevi.
21. Simmons, S. C. (2011). The "god bearing" patriarch: Hagia Sophia's apse mosaic in ninth-century Byzantine politics. (Unpublihed master’s thesis). Florida State University.
22. Taft, R. F. (1991). Sermon. Kazhdan, A. (Ed.). in The Oxford Dictionary of Byzantium, III, Oxford University Press, (1880-1881).
23. Teteriatnikov, N. (1998). Mosaics of Hagia Sophia, Istanbul: the Fossati restoration and the work of the Byzantine Institute. Dumbarton Oaks.
24. Teteriatnikov, N. (2004). Hagia Sophia, Constantinople: religious images and their functional context after iconoclasm. Zograf, 30, 9-19.
25. Tsunoda, Y. (2017). The union in the composite hypostasis: the view of the hypostatic union of Christ in leontius of Byzantium and Maximus the Confessor, Katorikku Kenkyu (Catholic Studies), (86), 178-212.
26. Uthemann, K. H. (1991). Incarnation. Kazhdan, A. (Ed.). in The Oxford Dictionary of Byzantium, II, Oxford University Press, (991).
27. White, D. S. (1981). Patriarch Photios of Constantinople: his life, scholarly contributions, and correspondence together with a translation of fifty-two of his letters. Holy Cross Orthodox Press.