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Journals / Arkeoloji ve Sanat / 2013 / Cilt: 0 - Sayı: 142

TRADITION AND INNOVATION IN BYZANTINE ART ICONOGRAPHY: CRUCIFIXION SCENES OF CAPPADOCIAN WALL PAINTINGS

Bizans Sanatı İkonografisinde Gelenek ve Yenilik: Kapadokya Bölgesi Duvar Resimlerinde İsa'nın Çarmıha Gerilişi Sahnesi

Buket ÇOŞKUNER
Pages
149–164
Publication Date
2022-10-11
DOI
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AI Summary & Key Takeaways

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

The article ends with the three divergent examples of Cappadocian Crucifixion scenes from Ihlara Bahattin Samanl ¤ , Göreme Yeni Tokal(no.7), Göreme K l çlar Kuflluk (no.33) churches.

📌 3 Key Takeaways

🎯
Objective & Hypothesis:Crucifixion is one of the most depicted subject-matter in both Christian and Byzantine Art.
📊
Key Findings & Data:At a glance painting of the Middle Ages and Byzantium seems to be repetitive and stabilized, however, style and iconography had been changed within their limitations.
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Conclusion & Impact:The article ends with the three divergent examples of Cappadocian Crucifixion scenes from Ihlara Bahattin Samanl ¤ , Göreme Yeni Tokal(no.7), Göreme K l çlar Kuflluk (no.33) churches.
🔬Design:Research Article
📍Scope:Comprehensive Sample
⚙️Variables:Domain Parameters

Abstract

Crucifixion is one of the most depicted subject-matter in both Christian and Byzantine Art. At a glance painting of the Middle Ages and Byzantium seems to be repetitive and stabilized, however, style and iconography had been changed within their limitations. In this study, besides iconographic similarities and differences, local characteristics and variations of Crucifixion scenes of the Cappadocia Region, as a province of the Byzantine Empire, were scrutinized. Examples of Cappadocian Crucifixion scenes denote how far iconography could diverge from the Byzantine heritage. In the article, to apprehend the iconography of the Crucifixion a brief explanation of its theologic meaning is made; iconographic development of the Crucifixion in the Byzantine Art is depicted. The article ends with the three divergent examples of Cappadocian Crucifixion scenes from Ihlara Bahattin Samanl ¤ , Göreme Yeni Tokal(no.7), Göreme K l çlar Kuflluk (no.33) churches.

Özet

İsanın Çarmıha Gerilişi, Hıristiyan ve Bizans Sanatının en sık işlenen sahnelerinden biridir. Ortaçağ ve Bizans resmi ilk bakışta birbirini tekrar eden, değişimden uzak gibi görünseler de üslup ve ikonografik açıdan kendi sınırları içinde değişim geçirirler. Bu çalışmada, Bizans İmparatorluğunun bir eyaleti olan Kapadokya Bölgesinde çağdaşı Başkent resimleriyle uyumlu örneklerin yanı sıra bölgeye has özellikler ve çeşitlilik Çarmıh sahnesiyle gösterilmeye çalışılmıştır. Kapadokya Bölgesinde İsanın Çarmıha Gerili- şi örneği üzerinden Bizansta ikonografik geleneğe ne kadar bağlı kalındığı, hangi noktalarda ayrıldıkları üzerinde durulmuştur. Makalede önce Çarmıh sahnesinin ikonografisini anlayabilmek için barındırdığı teolojik anlamlar kısaca açıklanmıştır. Daha sonra özellikle Orta Bizans Döneminde (867-1204) Çarmıh sahnesinin ikonografik gelişimi anlatılmıştır. Son olarak, Kapadokyada, Çarmıh sahnesinin ikonografik çeşitliliğine örnek olarak Ihlara Bahattin Samanlığı, Göreme Yeni Tokalı (no.7), Göreme Kılıç- lar Kuşluk (no.33) kiliselerinin farklı ikonografileri incelenmiştir.

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Cite This Article

ÇOŞKUNER, B. (2022). TRADITION AND INNOVATION IN BYZANTINE ART ICONOGRAPHY: CRUCIFIXION SCENES OF CAPPADOCIAN WALL PAINTINGS. Arkeoloji ve Sanat, Cilt: 0 - Sayı: 142, 149–164. https://ajindex.com/articles/448751

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