İstanbul Rum-Ortodoks kiliselerinde epitafion işlemeleri ve ikonografileri
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Tarih
2018-01-12
Yazarlar
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Dergi ISSN
Cilt Başlığı
Yayıncı
Işık Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Attribution-NonCommercial-NoDerivs 3.0 United States
Attribution-NonCommercial-NoDerivs 3.0 United States
Özet
Bizans sanatında her bir nokta inançla örülüdür. Bu da onu Ortaçağ dönemi boyunca oldukça farklı bir noktada tutmuştur. Bizans sanatı, değişimle beslenen bir sanat değildir. Yenilik yerine varolanı en iyiye dönüştürmek için uğraşılmıştır. Tıpkı bir ağaç gibi kökleri vardır bu kökleri yerinden söküp atmak yerine o köklerden beslenip gelişmek ve yükselmek söz konusu olmuştur. Söz konusu bu seçim, elbette köklerini kutsal bir kitaptan alan sanat için beklenen bir şeydi. İncil’in yeni bir versiyonunu beklemiyorlardı ya da başka bir Mesih’in gelmesini de. Cyril Mango'nun da değindiği üzere Bizans düşüncesi, "Tek Tanrı, tek imparatorluk, tek din" mottosuyla özetlenebilir. İmparatorluğun kurulduğu şehrin planlaması bile bize aynı düşünceyi gösterir; fetih fikrinden ziyade sahip olunan şehri en iyiye dönüştürmüş ve korumuşlardır. İmparatorluğun oluşturduğu sanat fetih sonrasında Ortodoks toplumunda yerini bulmuştur. Bizans mottosuyla bağlantılı olarak da liturji değişmeden Ortodoks törenlerinde kendini gösterir. İsa’nın hayatı bu liturjik törenlerde yeniden canlandırılmaktadır. Bu liturjik törenlerin içerisinde kutsal işlemeler Bizans’dan beri önemli bir yer tutmaktadır. Toplumun kentteki yaşamlarını anlayabilmek; hem dini yapıdaki ritüellere hem de mahallelerdeki yaşama projektör tutmakla mümkün olabilecektir. Bu kutsal kumaşlar içerisinde Epitafion Kutsal Yas haftasının merkezinde yer alıp üzerindeki sahneler sayesinde de içerdiği teolojik ve liturjik anlam dışında ayrıca kumaşcılık sanat örneklerindendir. Kutsal kumaşlar konusunda Türkiye’de sınırlı sayıda bilgi olduğundan ve kaynak eksikliğinden dolayı araştırma ele alınıp, Epitafionların ikonografik olarak incelenmesi yapılmıştır. Araştırma için özellikle İstanbul’un fethinin takibiyle 18 ve 19. yüzyıllarda yenilenmeler sonucu oluşturulan İstanbul'da varlıklarını devam ettiren Rum cemaatinin en önemli kültürel varlıkları kiliseler ziyaret edilmiştir. Bu yenilenmeler de göz önüne alınarak, dönemsel bağlamda Fener Rum Patrikhanesi’ne bağlı olan 19. yüzyıl kiliselerindeki dönem olarak da paralel olan Epitafion işlemeleri belgelenip, araştırılmıştır. Bu kiliselerin 2017 yılı itibariyle de halihazırdaki durumları hakkında da kısa bilgi verilmiştir. Araştırma boyunca ziyaret edilen 48 kilisede, belgelenen toplam 53 Epitafion bulunmaktadır. Bu Epitafionlar arasında da farklılıklar görülmekte ve bu farklılıklarından dolayı da belli grupsal başlıklar altında ele alınmaktadır. Erken tarihli olan işlemelerin çoğu şu an kilisede yer almamaktadır. Bunun iki nedeni bulunmakta olup; kiliselerin bir çoğunda cemaat azalmasından ötürü törenlerin de azalmasından ve koruma amaçlı olarak Fener Rum Patrikhanesinin arşivinde korunmasından kaynaklanmaktadır.
In Art of Byzantine every stage is coated with faith. And that kept it in a different place throughout the Medieval Period. Art of Byzantine is not an art form that feeds on change. Instead of novelty, converting the already existent superlative was strived upon. It has roots just like a tree and instead of ripping these roots apart, to b get nourished and improve from those roots and ascending has been the point in question. This choice in question, surely was epected from art form that tooks it’s roots from a sacred text. They weren’t expecting a new version of the Holy Bible or an ascending of a new messiah. As Cyril Mango also pointed out, school of Byzantine can be summed up with the motto of, "One God, One Empire, One Religion" Even the planning of the city which emperorship was built on şehrin planlaması shows us the same school of thought; Instead of the idea of conquest, they’ve turned the already possessed city to superlative and preserved it. Art constituted by Emperorships has set it’s place in Orthodox society after the conguest. Liturgy with regards to Byzantine Motto, reveals itself in Orthodox ceremonies without alteration. Christ’s life iss reenacted in this liturgic ceremonies. Within these liturgic ceremonies sacred embroidery keeps a crucial place since Byzantine. Being able to understand the lives the community within the boroughs; can only be only possible projecting both the ceromonies in religious structurehem and the life in suburbs. Within these sacred fabrics by the means of the scenes which besides concluding theological and liturgical meaning and being at the center of the Holy Week is also an example of the art of embroidery. Because there’s a limited knowledge on sacred embroidments and due to the lack of sources, research has been tackled, especially following the fall of Constantinapole, Churches consituted by the outcome of renewals in 18th and 19th centuries which are the most important cultural heritage of Rum Community continuing their existince in Istanbul are payed a visit. Considering this renewals, Also considering this renewals parallel aged Epitaphion enbroidments in churches belonging to Ecumenical Patriarch of Constantinople are invested and documented upon. Also a short informing on these churches’ state as for 2017 has been made. 48 churches that are payed a visit throughout this research, houses 53 documented Epitaphios in total. Differences within these Epitafios are observed and as the result of these differences they’re handled in certain topical titles. Recent dated embroideries are not housed by the church at this moment. This has two reasons; One of which is lessening of ceremonies as the result of decrease in congregation in many of the churches and being preserved Ecumenical Patriarch of Constantinapole Archives for the purposes of protection.
In Art of Byzantine every stage is coated with faith. And that kept it in a different place throughout the Medieval Period. Art of Byzantine is not an art form that feeds on change. Instead of novelty, converting the already existent superlative was strived upon. It has roots just like a tree and instead of ripping these roots apart, to b get nourished and improve from those roots and ascending has been the point in question. This choice in question, surely was epected from art form that tooks it’s roots from a sacred text. They weren’t expecting a new version of the Holy Bible or an ascending of a new messiah. As Cyril Mango also pointed out, school of Byzantine can be summed up with the motto of, "One God, One Empire, One Religion" Even the planning of the city which emperorship was built on şehrin planlaması shows us the same school of thought; Instead of the idea of conquest, they’ve turned the already possessed city to superlative and preserved it. Art constituted by Emperorships has set it’s place in Orthodox society after the conguest. Liturgy with regards to Byzantine Motto, reveals itself in Orthodox ceremonies without alteration. Christ’s life iss reenacted in this liturgic ceremonies. Within these liturgic ceremonies sacred embroidery keeps a crucial place since Byzantine. Being able to understand the lives the community within the boroughs; can only be only possible projecting both the ceromonies in religious structurehem and the life in suburbs. Within these sacred fabrics by the means of the scenes which besides concluding theological and liturgical meaning and being at the center of the Holy Week is also an example of the art of embroidery. Because there’s a limited knowledge on sacred embroidments and due to the lack of sources, research has been tackled, especially following the fall of Constantinapole, Churches consituted by the outcome of renewals in 18th and 19th centuries which are the most important cultural heritage of Rum Community continuing their existince in Istanbul are payed a visit. Considering this renewals, Also considering this renewals parallel aged Epitaphion enbroidments in churches belonging to Ecumenical Patriarch of Constantinople are invested and documented upon. Also a short informing on these churches’ state as for 2017 has been made. 48 churches that are payed a visit throughout this research, houses 53 documented Epitaphios in total. Differences within these Epitafios are observed and as the result of these differences they’re handled in certain topical titles. Recent dated embroideries are not housed by the church at this moment. This has two reasons; One of which is lessening of ceremonies as the result of decrease in congregation in many of the churches and being preserved Ecumenical Patriarch of Constantinapole Archives for the purposes of protection.
Açıklama
Text in Turkish ; Abstract: Turkish and English
Includes bibliographical references (leaves: 228-233)
xiii, 237 leaves
Includes bibliographical references (leaves: 228-233)
xiii, 237 leaves
Anahtar Kelimeler
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Scopus Q Değeri
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Sayı
Künye
Osmanoğlu, Ö. (2018). İstanbul Rum-Ortodoks kiliselerinde epitafion işlemeleri ve ikonografileri. İstanbul: Işık Üniversitesi Sosyal Bilimler Enstitüsü.
