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Journals / Journal of International Eastern European Studies / 2026 / Cilt: 8 Sayı: 1

Iconographic Analysis of the Groom Figure in the Flight into Egypt Scene in Byzantine Period Churches of the Cappadocia Region

Kapadokya Bölgesi Bizans Dönemi Kiliselerinde Yer Alan Mısır’a Kaçış Sahnesindeki Seyis Figürünün İkonografik Çözümlemesi

Betül Akman(ERCIYES UNIVERSITY)0009-0004-0792-6065
Nilay Çorağan(Erciyes Üniversitesi)0000-0002-3412-4250
Pages
1–42
Publication Date
2026-06-30
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AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

The findings reveal that the groom figure is not merely a supporting element of the scene, but also an iconographic component that directs the composition and reinforces the theological meaning of the scene.

📌 3 Key Takeaways

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Objective & Hypothesis:This article examines the iconographic position, origin, and semantic functions of the figure of the guide (seys) depicted in scenes of the Flight into Egypt found in Byzantine rock churches in the Cappadocia Region.
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Key Findings & Data:In the wall paintings of the region, the figure of the guide, depicted in front of or beside Mary, the Child Jesus, and Joseph, who occupy the centre of the composition, draws attention as an element that both determines the direction of movement in the composition and reinforces the dynamic structure of the narrative.
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Conclusion & Impact:The findings reveal that the groom figure is not merely a supporting element of the scene, but also an iconographic component that directs the composition and reinforces the theological meaning of the scene.
🔬Design:Araştırma Makalesi
📍Scope:Comprehensive Sample
⚙️Variables:Kapadokya · Bizans · Kilise

Abstract

This article examines the iconographic position, origin, and semantic functions of the figure of the guide (seys) depicted in scenes of the Flight into Egypt found in Byzantine rock churches in the Cappadocia Region. In the wall paintings of the region, the figure of the guide, depicted in front of or beside Mary, the Child Jesus, and Joseph, who occupy the centre of the composition, draws attention as an element that both determines the direction of movement in the composition and reinforces the dynamic structure of the narrative. The study examines the possible bases for the figure of the guide in apocryphal sources, its position within Byzantine iconography, and different traditions of interpretation. Examples from Cappadocia are evaluated comparatively in terms of clothing, posture, gesture, orientation, and typological characteristics; views in the literature regarding the identity of the figure, such as ‘angel guide,’ ‘local guide,’ ‘shepherd,’ ‘young servant,’ or ‘symbolic forerunner,’ are discussed. The findings reveal that the groom figure is not merely a supporting element of the scene, but also an iconographic component that directs the composition and reinforces the theological meaning of the scene. This study contributes to a more comprehensive understanding of the regional interpretative characteristics of depictions of the Flight into Egypt in Cappadocia and the iconographic diversity in Byzantine art.

Özet

Bu araştırma, Kapadokya Bölgesi’ndeki Bizans dönemi kaya kiliselerinde yer alan Mısır’a Kaçış sahnelerinde görülen seyis (rehber) figürünün ikonografik konumunu, kökenini ve anlamsal işlevlerini incelemektedir. Bölgedeki duvar resimlerinde, kompozisyonun merkezinde yer alan Meryem, Çocuk İsa ve Yusuf’un yanı sıra sahnenin önünde veya yanında betimlenen seyis figürü hem kompozisyonun hareket yönünü belirleyen hem de anlatıdaki dinamik yapıyı güçlendiren bir unsur olarak dikkat çeker. Çalışmada, seyis figürünün apokrif kaynaklardaki olası dayanakları, Bizans ikonografisi içerisindeki konumu ve farklı yorum gelenekleri ele alınmıştır. Kapadokya örnekleri; kıyafet, duruş, jest, yönelim ve tipolojik özellikleri bakımından karşılaştırmalı olarak değerlendirilmiş; figürün kimliği hakkında literatürde yer alan “yol gösterici melek”, “yerel rehber”, “çoban”, “genç hizmetkâr” veya “sembolik öncü” gibi görüşler tartışılmıştır. Bulgular, seyis figürünün yalnızca sahnenin yardımcı bir unsuru olmadığını, aynı zamanda kompozisyonu yönlendiren ve sahnenin teolojik anlamını güçlendiren ikonografik bir bileşen olduğunu ortaya koymaktadır. Bu çalışma, Kapadokya'daki Mısır’a Kaçış tasvirlerinin bölgesel yorum özelliklerini ve Bizans sanatındaki ikonografik çeşitliliği daha kapsamlı biçimde anlamaya katkı sunmaktadır.

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Cite This Article

Akman, B., Çorağan, N. (2026). Iconographic Analysis of the Groom Figure in the Flight into Egypt Scene in Byzantine Period Churches of the Cappadocia Region. Journal of International Eastern European Studies, Cilt: 8 Sayı: 1, 1–42. https://doi.org/10.59839/jiees.1901837

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