From The Lamb Symbol In Byzantine Religious Painting To The Melismos Scene

Yıl 2023, Sayı: 61, 1 - 30, 01.10.2023

Zeliha Şenel

https://doi.org/10.53568/yyusbed.1329668

Öz

In Byzantine religious painting, the lamb has been used as a symbol expressing Jesus due to John the Baptist's description of Jesus as the “Lamb of God” in 1:29 and Jesus' death on the cross at the time of the lamb sacrifice on Passover since the early centuries of Christianity. The use of symbols instead of images is often attributed to the principle invisibility of God principle, which is a common belief in Judaism and many religions. Since the invisible God cannot be pictured, either words or symbols are often utilized to express him. In the first century catacombs in Rome, such symbols are known to exist. However, the Council of Trullo (691-692), besides important canons, the lamb symbol was banned on the grounds that it was ancient and therefore Jesus must be shown in the human form. The banning of the lamb symbol at the Council of Trullo is thought to be related to the fact that Jesus was born and died as human and therefore God can be depicted through Jesus’ body. As a new scene, emerged as a result of religious debates in 11th and 12th centuries, depicts Jesus lying on the altar, emphasizing the Eucharist liturgy. Melismos means sacrifical lamb and this fact makes it very important. The first known example of the scene is seen in the painting program of the Church of St. Georgios, dated 1192, near the village of Kurbinovo in North Macedonia. The subject of this study is the investigation of the reasons behind the prohibition of the use of symbols in the light of theological disputes that had existed since the first years of Christianity aorund the Eucharist, and the meaning and the importance of Melismos scene.

Anahtar Kelimeler

Byzantine Art, Symbolism, Trullo Council, Lamb of God, Melismos

Bizans Dini Resim Sanatında Kuzu Sembolünden Melismos Sahnesine

Öz

Bizans dini resim sanatında kuzu, ilk yüzyıllardan itibaren, Yuhanna 1:29’da Vaftizci Yahya’nın İsa’yı “Tanrı’nın Kuzusu” olarak tanımlamasının ve İsa’nın Fısıh bayramında kuzuların kurban edildiği saatte çarmıhtaki ölümü nedeniyle, İsa’yı ifade eden bir sembol olarak kullanılmıştır. Tanrı’nın imgelerle gösterimi yerine sembollerin kullanımı, Yahudilikte ve birçok dinde yer alan Tanrı’nın görünmezliği ilkesiyle ilişkilidir. Görünmez Tanrı’nın resmedilememesi nedeniyle onu ifade etmek için ya kelimeler ya da semboller kullanılmıştır. İlk yüzyıllarda Roma’daki katakomplarda bu tür semboller görülmektedir. Ancak Trullo Konsili’nde (691-692) alınan birçok önemli karar yanında kuzu gibi imgeler, antik semboller olduğu gerekçesiyle yasaklanmış ve İsa’nın insan formunda tasvir edilmesi istenmiştir. Kuzu sembolünün yasaklanması, Tanrı’nın oğlu İsa’nın insan olarak doğması ve ölmesi nedeniyle İsa’nın bedeni üzerinden Tanrı’nın imgelerinin yapılabilmesiyle ilişkilidir. 11. ve 12. yüzyıllarda yaşanan dini tartışmaların sonucunda ortaya çıkan yeni bir sahne olan Melismos’ta, Ökaristi litürjisine bir gönderme yapılarak İsa altarda yatar şekilde gösterilmektedir. Melismos’un kelime anlamının kurban olması sahnenin önemini artırmaktadır. Melismos’un bilinen ilk örneği, Kuzey Makedonya’da Kurbinovo köyü yakınlarındaki Aziz Georgios Kilisesi’nin 1192 tarihli resim programındadır. Bu çalışmanın konusunu, kuzu sembolü özelinde Hıristiyanlığın ilk yıllarından itibaren yaşanan tartışmalar ışığında sembol kullanımının yasaklanmasının nedenleri, Ökaristi konusunda yapılan teolojik tartışmalar ve Melismos sahnesinin özellikleri, anlamı ve önemi oluşturmaktadır.

Anahtar Kelimeler

Bizans Sanatı, Sembolizm, Trullo Konsili, Tanrının Kuzusu, Melismos

Kaynakça

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