KAPPADOKİA’DA KAPALI YUNAN HAÇI PLANLI KİLİSELERDE APSİS, DOĞU HAÇ KOLU VE KÖŞE MEKANLARI RESİM PROGRAMI
Özet
This thesis investigates the wall painting in the apse, east cross arm and corner bays of fourteen of the cross-in-square churches in Byzantine Cappadocia. In this study, scene selection and its relation to the liturgy and space are examined. The establishment of the decorative program in the cross-in-square churches in Cappadocia has shown that the paintings represent similarities and are focused on specific concepts: Incarnation, Eucharist and Salvation. The decorative program demonstrates a progressive relation with the liturgy. The Office of the Prothesis led the progressive change. The individual figures commemorated in this liturgy are depicted in most of the cross-in-square churches. The names of the individual figures are first mentioned in the thirteen century Euchologion (prayer book). In any Euchologion before this date, only titles (prophets, apostles, saints, martyrs) were mentioned in the commemoration. Their individual depiction in Cappadocia before the thirteen century proves the relation between the church rite and paintings. Scenes of the Pantocrator, Deesis, Virgin and Child, Maiestas Domini, prophets, bishops, and saint figures in the apse as well as scenes of the Incarnation and Sacrifice related to the Eucharist (Divine Liturgy) in the east cross arm, pastoforia and corner bays point all to the same concept. The architecture elements are integrated into the wall painting program. For the salvation of humanity, the Sacrifice and Christ’s nearest relations are depicted in the church which is considered as ‘an image of the Cosmos’. The reflection of this presentation integrated with the architecture serves to reach the ultimate destination: the highest point of union with Christ.The geographical, economic and social factors in the church which is considered as ‘an image of the Cosmos’. The reflection of this presentation integrated with the architecture serves to reach the ultimate destination: the highest point of union with Christ.The geographical, economic and social factors in the region must have influenced monumental arts. Although Constantinople’s influence is evident in many monuments, peculiarities in details are particular to the local context. The comparison between the churches of Constantinople and the Balkan shows similarity among paintings but differentiation in technique and iconography in terms of date and location. As a matter of fact, the Cappadocian masters have reached out to local solutions for encountered problems. Based on a comparison within Cappadocian churches, temporary solutions used by Cappadocian masters were adapted and used as models over time. Following the arrival of the Seljuks, the wall painting in Cappadocia’s churches underwent gradual changes. Here the dominating compositions were based on death salvation and the Last Judgment rather than a liturgical message. Although circumstances necessitated an adaptation, the ‘Salvation’ concept continued to predominate.
