Byzantine art
 

Church of Chora Monastery in Constantinople, or museum Kahrie Jami in Istanbul

Part I.

On the history

In 1204, members of the Fourth Crusade conquered and sacked Constantinople. It was a blow from which Byzantium was unable to have never recovered. Empire as a whole state in fact has ceased to exist. And only in 1261 Mr. Michael VIII Paleologu managed to conquer Constantinople from the Latins.
Since that time the last period of the history of Byzantine culture, which is called "Paleologovskim Renaissance". It will last until 1453 - the year of the conquest of the Byzantine Empire by Turkish troops.

The first third of the XIV century - a time to which the final stage of construction of the church choir. Despite the looming threat from the Turks, the economic decline of the Byzantine Empire, it was the heyday of Byzantine art, culture and literature. At this time, the rules of Andronicus II Palaeologus, son of Michael VIII liberator of Constantinople. But unlike his father, Andronicus II was more cultural figures, emperor-patron, rather than shrewd politician. This led to the fact that after a long struggle for power, intrigue and betrayal fellow he was forced to abdicate and go into a monastery.
Andronikos II knew the ancient philosophy, literature and art. And of course, that the governor is going around such intellectual elite circle of learned men.
One of them was Theodore Metohija, scientist, philosopher, writer, restorer and customer mosaics and murals in the monastery church choir.

After the restoration of the Empire all the powers of the central government have been thrown on the restoration of Constantinople, the resumption of construction activities. And although the new system a little, a lot finish building, decorated with paintings and mosaics.

One of the most valuable extant monuments of this time and is the Church of the Saviour Monastery of Chora. Sam monastery ensemble has survived. The church is located in the old picturesque district of Istanbul close to the walls of Theodosius, and today serves as a museum (after the restoration works 1948) and is called Kahrie Jami.

About the name

In addition to the Church of Chora Monastery, you can find the name "Church of Christ the Saviour in the Fields." What does this name? There are several interpretations.
The Greek word "choir" in this context can be understood both literally and symbolically. The first walls of the monastery was founded at the beginning of V century outside the walls of Constantine, in the suburb that gave the name "in the fields." And later when Theodosius II built the new city walls, which included a monastery in the city, the name is still preserved. Symbolically, the choir is seen as "holy, sacred space, like womb of the Virgin Mary or a paradise. In theology ikonopochetateley term "chorus" is the cornerstone by which substantiates the fundamental difference between the icons on the idol. Perfect Icon is always absolutely spatially and always very specific, just as Christ may dwell together in heaven, and manifest their flesh in the sacrament of the Eucharist. What connects these two rational irreducible unit is the "chorus" - a spatial existence of God. This understanding of "choirs" vividly realized in a picturesque iconographic program.

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Part II

On Architecture

It is known that the first building of the church choir belongs to the 5 in BC But it was razed.
In its place in the years 1077-81. was erected a new church, built mother-in-the emperor Alexis Comnenus - Maria Duca.
The church choir was completed after coming to power Paleologo, 1315-21/54 in years. Churchwarden acts already mentioned Logofet (court adviser) Theodore Metohija.
When Metohija monastery became a big complex with a public hospital, dining room, a monastery of monks took to and from Central Asia and other regions of the empire, owned a vast and rich library. When it was rebuilt nave, narthex added two, external and internal, to the west and the south - pareklession (side chapel), which you can get in only through the narthex.
The records Metohija writes about his intention to leave the monastery in old age - something that in the long light of what happened.
With the advent of the grandson of Andronicus II, Andronicus III, in 1328 Mr. Metohita political career came to an end, and he was expelled from Constantinople. In 1330 he succeeded Mr. return to the capital of the empire and settle in the monastery founded by him. He had lived there for two years normal monk, then, in 1332g. died. His tomb is located in the south aisle of the church choir.

As a result of mutations and dostroek, the temple combines the architecture of 11 and 14 centuries. On the one hand, it has major forms typical of early Byzantine architecture, on the other - a complex plastic walls, monuments pozdnevizantiyskoy inherent in architecture.
Yet the main value of the house, and the main interest - is his pictorial decorations.

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On the mosaics and frescoes

Area churches are not very large in comparison with other Byzantine buildings, it covers an area of ​​742.5 m², but its main advantage is not the amount, and in the interior. Inner space of the temple is divided into three major areas: input (two narthex), nave or central part of the temple and the side chapel. The decoration of the church combines two techniques: mosaics and frescoes. In the mural is made pareklession. Rest of the space of the temple walls are decorated with mosaics and marble slabs.

Ekzonarteks a corridor width of 4 m and a length of 23 m. On the south side it has a passage in paraklession, so that there can only be reached through the narthex.
Mosaic ekzonarteksa:
Ekzonarteksa program is mainly devoted to the earth's history of Christ.
Above the entrance to the temple and ualtarnoy barriers on west-east axis placed various images of the Virgin and Child with odnakovo signed "Chora tou achretou" («nevmestimogo container or the space of Togo, who is out of space"), on the one hand, pointed to the miracle Incarnation, when the earth Virgo has contained nevmestimogo God, and with another - claimed a spatial sense of God's existence. These images from the second two mosaic image of Christ in the lunettes above the entrances to the narthex and nave, which is also signed "Chora ton zenton" (translated as "living space"). Perhaps, this inscription is partly determines the iconographic program ekzonarteksa which tells the story of Christ's earthly life.
Some of the stories depicted in ekzonartekse: Son of Joseph and the journey to Bethlehem, Joseph and Mary before the scribes of King Herod
At the time of Emperor Augustus decreed a census throughout the Roman Empire. It was the first census when Quirinius in Syria. Therefore, each went to his hometown to register. Joseph also went up from Galilee town of Nazareth into Judea, to Bethlehem the town of David, because he belonged to the family of David. He went to the census, with Mary ... (according to the Gospel of Luke).
Christ's birth, Magi before Herod, questions of King Herod, Herod the Order of the Massacre of the Innocents, Massacre of the Innocents.

Church of Chora Monastery in Constantinople (continued)
 

Part II

On Architecture

It is known that the first building of the church choir belongs to the 5 in BC But it was razed.
In its place in the years 1077-81. was erected a new church, built mother-in-the emperor Alexis Comnenus - Maria Duca.
The church choir was completed after coming to power Paleologo, 1315-21/54 in years. Churchwarden acts already mentioned Logofet (court adviser) Theodore Metohija.
When Metohija monastery became a big complex with a public hospital, dining room, a monastery of monks took to and from Central Asia and other regions of the empire, owned a vast and rich library. When it was rebuilt nave, narthex added two, external and internal, to the west and the south - pareklession (side chapel), which you can get in only through the narthex.
The records Metohija writes about his intention to leave the monastery in old age - something that in the long light of what happened.
With the advent of the grandson of Andronicus II, Andronicus III, in 1328 Mr. Metohita political career came to an end, and he was expelled from Constantinople. In 1330 he succeeded Mr. return to the capital of the empire and settle in the monastery founded by him. He had lived there for two years normal monk, then, in 1332g. died. His tomb is located in the south aisle of the church choir.

As a result of mutations and dostroek, the temple combines the architecture of 11 and 14 centuries. On the one hand, it has major forms typical of early Byzantine architecture, on the other - a complex plastic walls, monuments pozdnevizantiyskoy inherent in architecture.
Yet the main value of the house, and the main interest - is his pictorial decorations.

On the mosaics and frescoes

Ekzonarteks

Area churches are not very large in comparison with other Byzantine buildings, it covers an area of ​​742.5 m², but its main advantage is not the amount, and in the interior. Inner space of the temple is divided into three major areas: input (two narthex), nave or central part of the temple and the side chapel. The decoration of the church combines two techniques: mosaics and frescoes. In the mural is made pareklession. Rest of the space of the temple walls are decorated with mosaics and marble slabs.

Ekzonarteks a corridor width of 4 m and a length of 23 m. On the south side it has a passage in paraklession, so that there can only be reached through the narthex.
Mosaic ekzonarteksa:
Ekzonarteksa program is mainly devoted to the earth's history of Christ.
Above the entrance to the temple and ualtarnoy barriers on west-east axis placed various images of the Virgin and Child with odnakovo signed "Chora tou achretou" («nevmestimogo container or the space of Togo, who is out of space"), on the one hand, pointed to the miracle Incarnation, when the earth Virgo has contained nevmestimogo God, and with another - claimed a spatial sense of God's existence. These images from the second two mosaic image of Christ in the lunettes above the entrances to the narthex and nave, which is also signed "Chora ton zenton" (translated as "living space"). Perhaps, this inscription is partly determines the iconographic program ekzonarteksa which tells the story of Christ's earthly life.
Some of the stories depicted in ekzonartekse: Son of Joseph and the journey to Bethlehem, Joseph and Mary before the scribes of King Herod
At the time of Emperor Augustus decreed a census throughout the Roman Empire. It was the first census when Quirinius in Syria. Therefore, each went to his hometown to register. Joseph also went up from Galilee town of Nazareth into Judea, to Bethlehem the town of David, because he belonged to the family of David. He went to the census, with Mary ... (according to the Gospel of Luke).
Christ's birth, Magi before Herod, questions of King Herod, Herod the Order of the Massacre of the Innocents, Massacre of the Innocents.

The Ottomans , captured Constantinople , 50 years have transformed the church into a mosque Jami Brown . All the frescos and mosaics it was plastered , and only in the middle of XX century . A massive restoration and recovery of lost images .

Church of Chora Monastery
 

Inner narthex

In the iconography of the inner narthex and more attention given to the Mother of God cycle.
The program begins with a mosaic of the south dome of inner narthex.
At its zenith - Christ Pantocrator. Just two domes narthex depicts 66 portraits of Christ.
Figures are given in two series: the top number - the characters from Adam to Jacob, the bottom-Jacob's sons, two sons of Judah and the son of Perez (eldest son of Judah).
Some of these figures have their own attributes. For example, Adam is depicted with a green branch (as a branch of life - a prototype of the cross of Christ) in his hand and a snake at his feet (as the root of all evil).
In the sail - the Gospel scene. (A miracle turning water into wine, healing the Bleeding wife).
In the arches, scenes of miracles of Christ: The Healing of weak, healing the blind.

In the northern dome - Virgin and Child. Top row - the Jewish kings (from David to Shealtiel), bottom row - forefathers, not strictly related to the genealogy of Christ, but also to some extent considered to be ancestors of (Moses, Aaron, Melchizedek).
North dome is less than the southern, ribs, he also smaller. Which suggests that the founders of the church is a priority iconographic program, rather than architectural correctness and the symmetry of structures.

In the sail - the scene associated with the life of the Virgin.
Annunciation at the Well, rebuke Mary Joseph. The mosaics contain many details - the characteristic feature of paleologovskogo renaissance. At that time it was more a literary sense, and later - has become a liturgical.
Also on the walls and vaults of the narthex is the encounter various scenes from the life of Mary and her parents: Annunciation St. Anna meets Jakim and Anna, born of Mary,
Pats Virgin Jakim and Anna.
The first seven steps of Mary: In this mosaic of interesting element vsparushennogo cape maid. In fact, this quote from the Paris Psalter mid-10 th century, where there is a miniature depicting the prayer of Isaiah. To his left is depicted an allegory of the night with a similar iconography tissue. I think that this coincidence is not accidental, because Scientists note the orientation of the artists who created scenery Choirs at the examples of the Paris Psalter and other miniatures of the Macedonian Renaissance, which in turn goes back to the art of antiquity.

Then there are the stories Bringing Mary into the Temple, a scene from the history of Mary and Joseph.

In the lunette over the entrance to the nave, the main space of the temple is placed mosaic
Christ seated on a throne and donor Theodore Metohija
The location of the mosaic image continues to Byzantine tradition donor over the entrance to the nave. Metohija is represented kneeling, with the model of the church in his hands.
Such iconography basileus kneeling before Christ is, naprier in the church of St. Sophia of Constantinople, and placed in a lunette over the entrance to the nave. Leo VI kneeling before the enthroned Christ. But if we perceive a similar iconography kneeling basileus rather as an exception, whereas in general they portrayed the coming of their gifts to Christ or the Virgin. In the chorus just this kind of iconography of a kneeling donor receives widespread. This mosaic combines two types of iconography: the donor, the builder of the church, which brings its gift-house of the LORD, and kneeling. This is one of many examples showing that the master Choirs quite freely accessed with the iconography, setting up the required own accents.

continued
 

On both sides of the entrance to the nave depicts the apostles Peter and Paul (Portrait paleologovskogo intellectual: a high forehead, piercing eyes straight). The sacred images are often embodied the ideals of the time.

The right of the Apostle Paul Deesis - the image of Christ and the Virgin with two donors Isaac Comnenus and nun Melanie.
Option part Deesis, which represented the Virgin - intercessor before Christ. At the bottom, sides, shows two smaller pieces. Fedor Metohija followed the Byzantine tradition, according to which, when the church was rebuilt it was decided to give tribute to the founders of the preceding by a postmortem wall portraits (Isaac Comnenus, the third son of Emperor Alexios a Comnenus and Maria Duca, founder of the first komninovskoy church).
If before crowned heads depicted in frontal poses, solemnly standing before the Mother of God or Christ and one with growth, here we see the tiny figure of the kneeling emperor, with a prayer and hope, looking toward the Savior. The idea of ​​man's weakness before the heavenly hosts, even if that person is in charge of an entire empire - was transferred here very clearly.

The Virgin is depicted in the iconography of petitioner, Paraklesis.
This iconography is widely used in Byzantine art XII-XV centuries. Virgin turns to Christ in supplication (in Greek deisis) for the human race, hence the naming of another - Defender. In the Greek tradition of such icons are named Paraklesis (petitioner), most often the epithet assign an image of the Virgin, holding a scroll with the text of his prayer to the Son.
No coincidence that this kind of iconography of the Virgin crowned heads and took on a special spread on the eve of the Turkish threat. When the Byzantine people, especially needed the intercession of the Virgin.

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During construction of the nave belongs to the 11 century . When the church was used as a mosque in the eastern part of the set mikhrab niche , the direction of Mecca . The area above the cornice , apparently , was covered with mosaics , but until today they have reached . The only store three mosaics : images of Christ and the Virgin Odigitrii and the scene of the Assumption .
Virgin revered as protector of the city of Constantinople. Hodegetria - Pointing the way Putevoditelnitsa .
Assumption : It is possible , thanks to the marble frame , this is one of the most well -preserved mosaics . She was discovered in 1920, Christ holds the baby - a symbol of the soul of the Virgin . Right - the Apostle Paul , Luke ( double bang around shaven crown ) , Pref . Andrew ( ruffled hair) , Mark the Evangelist .

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Pareklession serves as the burial place Feodoroa Metohita.
Character of the southern aisle is significantly different from the rest of the temple. Basically, because of technology frescoes. Why rospisana chapel frescoes, and not paved with mosaics, one can only guess. Perhaps this is due to the iconographic program: we can assume that Theodore Metohija supposed location of his tomb here in the future. As a consequence, is dominated by scenes of the afterlife, the theme of death - scenes that require expressive, dynamic, energetic brushwork, which is peculiar to the fresco. Perhaps the choice of technology related to its efficiency, compared with a mosaic.
The main chord of painting - the scene of the Descent into Hell.
For Adam, there are John the Baptist, David and Solomon, the forefathers. For Eve - Abel, her son. He was a shepherd, thus draws a parallel between him and Christ, who rannehritiansky period depicted in the image of the shepherd. Others - the holy fathers of the church.
Son of God, who endures suffering and death on the cross, defeated the forces of hell. Related to demons, broken gates of hell are scattered clues, and constipation. Christ is dressed in white, swift movement raises out of the tombs of Adam and Eve, whose original sin, He has redeemed by his blood. Bright clothing of Christ and white, with gold stars halo of his glory creates the physical sensation of light coming from the Son of God. Light is also, and His countenance, imbued with spiritual energy that strikes it on the fresco, which is not inherent in the luminosity of mosaic. The artist has achieved so much brighten the face of Christ. His forehead, cheeks and nose are registered with a thin layer of white, so in contrast with the dark hair and beard, the face seems luminous. Below on the walls - the fate of the righteous and the sinners. On the one hand - Log elect in Paradise, on the other - "their worm does not die and the fire is not quenched." Along with these scenes are depicted saints, acting as intermediaries between the earthly world and the world of heaven.
The image of Christ, expressive, energetic, and feel the energy of oblique view.
The right of the apse, on a blue background in purple robes depicted Virgin Eleousa (supplications). This image is also conventionally referred to as expressive art direction in the church choir. Coloring thickened, passionate image. It sounds the theme of anticipation sufferings of Christ.

nave
 

During construction of the nave belongs to the 11 century . When the church was used as a mosque in the eastern part of the set mikhrab niche , the direction of Mecca . The area above the cornice , apparently , was covered with mosaics , but until today they have reached . The only store three mosaics : images of Christ and the Virgin Odigitrii and the scene of the Assumption .
Virgin revered as protector of the city of Constantinople. Hodegetria - Pointing the way Putevoditelnitsa .
Assumption : It is possible , thanks to the marble frame , this is one of the most well -preserved mosaics . She was discovered in 1920, Christ holds the baby - a symbol of the soul of the Virgin . Right - the Apostle Paul , Luke ( double bang around shaven crown ) , Pref . Andrew ( ruffled hair) , Mark the Evangelist .

murals
 

Pareklession serves as the burial place Feodoroa Metohita.
Character of the southern aisle is significantly different from the rest of the temple. Basically, because of technology frescoes. Why rospisana chapel frescoes, and not paved with mosaics, one can only guess. Perhaps this is due to the iconographic program: we can assume that Theodore Metohija supposed location of his tomb here in the future. As a consequence, is dominated by scenes of the afterlife, the theme of death - scenes that require expressive, dynamic, energetic brushwork, which is peculiar to the fresco. Perhaps the choice of technology related to its efficiency, compared with a mosaic.
The main chord of painting - the scene of the Descent into Hell.
For Adam, there are John the Baptist, David and Solomon, the forefathers. For Eve - Abel, her son. He was a shepherd, thus draws a parallel between him and Christ, who rannehritiansky period depicted in the image of the shepherd. Others - the holy fathers of the church.
Son of God, who endures suffering and death on the cross, defeated the forces of hell. Related to demons, broken gates of hell are scattered clues, and constipation. Christ is dressed in white, swift movement raises out of the tombs of Adam and Eve, whose original sin, He has redeemed by his blood. Bright clothing of Christ and white with gold stars halo of his glory creates the physical sensation of light coming from the Son of God. Light is also, and His countenance, imbued with spiritual energy that strikes it on the fresco, which is not inherent in the luminosity of mosaic. The artist has achieved so much brighten the face of Christ. His forehead, cheeks and nose are registered with a thin layer of white, so in contrast with the dark hair and beard, the face seems luminous. Below on the walls - the fate of the righteous and the sinners. On the one hand - Log elect in Paradise, on the other - "their worm does not die and the fire is not quenched." Along with these scenes are depicted saints, acting as intermediaries between the earthly world and the world of heaven.
The image of Christ, expressive, energetic, and feel the energy of oblique view.
The right of the apse, on a blue background in purple robes depicted Virgin Eleousa (supplications). This image is also conventionally referred to as expressive art direction in the church choir. Coloring thickened, passionate image. It sounds the theme of anticipation sufferings of Christ.

From school I was ecstatic from the frescoes and mosaics in Kahrie Jami.
Artist - Artists have made their greatest masters.

Lena Heckel, thanks for the opportunity to experience and their perceptions of the rare preservation of the monument. Recall and the way to him from the center of Istanbul in a small city bus until Feodos'ev wall. And before that, and quite a long search for his place "dislocation." Nobody understood what we wanted. Because the Turks say "Jami" very differently than it's available to us. And the word "Kahrie" do not understand, because should say "Brown". From the general impressions I remember a striking contrast between a small, typical paleologovskoy architecture, the body of the temple and the infinite space within. And most importantly, why should we see it - it (along with a mosaic of Sofia), a rare example of a luxurious capital of Greek style, sophistication, which fades so fast in transferring "Greek manner" in the other, not even very distant lands. The Greek roots of the Venetian mosaics do not save them from the strong influence of the rough Romanesque taste. Only Constantinople mosaics and frescoes are given the chance to understand what were the aesthetic boundaries and technical capabilities of ancient Greek art.
Being culturogical osmanofilkoy can not again do not rejoice that the Turks on tainty whether or showing in this case is remarkable tolerance principle is not knocked painting.