Araştırma Makalesi
Yıl 2023,
Cilt: 3 Sayı: 2, 116 - 130, 29.12.2023
Öz
Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek cross, the cross of Christ's crucifixion. Each type of cross carries different meanings and also symbolises different scriptures and figures. It also characterises concepts such as martyrdom, sacrifice, resistance and victory. The cross was used in icon, frescoes, mosaics and other works of art. For example, in Jesus iconography, the cross can be seen in Jesus' hand or on his throne. This article, which is structured with the method of literature review and document analysis, aims to illuminate the iconographic and symbolic meanings of the cross in Byzantine art. The cross is one of the sacred symbols of the Christian faith in Byzantine art.
Anahtar Kelimeler
Kaynakça
- Alp, S. (2018). İstanbul Hristiyan Mezarlıklarında Hayvan Sembolleri, Sanat ve Tasarım Dergisi, 7(1), 198-213. doi.org/10.20488/sanattasarim.563684.
- Aydın, M. (2002). Bizans Kilisesinde İkonoklast (Tasvir Kırıcı) Hareketin Kökenleri. Necmettin Erbakan Üniversitesi İlahiyat Fakültesi Dergisi, 13(13).
- Bayram, F. (2021). Tao Klarceti Bölgesindeki Kültler ve Çapraz Motifler, Lycus Journal,4, 89-162. doi.org/10.54577/lycus.1027099.
- Benson, G. W. (2013). The cross: Its history and symbolism. Courier Corporation.
- Bergen, DL (2000). The twisted cross: The German Christian movement in the Third Reich. University of North Carolina Press.
- Buettner, B. (2022). Mineral and Visual: Gemstones in Medieval Secular Culture, Penn State Press.
- Boys, M. C. (1994). The cross: should a symbol betrayed be reclaimed?. CrossCurrents, 5-27.
- Dilasser, M. (1999). Symbols of the Church. Liturgical Press.
- Drewer, L. (1996). Erken Hıristiyanlık ve Bizans İkonografisine Son Yaklaşımlar. İkonografi Çalışmaları, 17, 1-65.
- Duits, R. (2016). Byzantine icons in the Medici collection. in Byzantine Art and Renaissance Europe. Routledge.
- Eser, A. M. (2020). Bizans Maden Sanatı Dini Törenlerde Kullanılan (Litürjik) Eşyalar, Ankara: Bilgin Kültür Sanat,
- Folda, J. (2021). Two ıcons of the Virgin and Child Hodegetria from st. Caherine’s Monastery on Mount Sinai, E. Baboula and L. Jessop, (Eds.), Art and Material Culture in the Byzantine and İslamic World, Boston: Brill.
- Gauding, M. (2009). Signs and Symbols in The Bible: The Definitive Guide to Mysterious Sign s. Sterling Publishing Company, Inc.
- Gouma, P. T. (1994). An 18th Century Deesis Icon and Its Cultural Context. Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας, 331-346.
- Guénon, R. (2001). The Symbolism of the Cross. Sophia Perennis.
- Gül, A. (2018). Haçın Hristiyan Teolojisindeki Yeri ve Önemi. Mardin: Şırnak Üniversitesi Yayınları.
- Goring, R. (1995). Dictionary of Beliefs aud Religious, Wordsworth Editions, London.
- Greene, K. (1974). A Christian Monogram from Richborough, Roman Research Development Association, Britanya, 5, 393-395
- Habaş, L. (2015). Theodosius Fermanı Arka Planında Arabistan Eyaleti ve Yakın Bölgelerdeki Kiliselein Mozaik Zeminlerindeki Haçlar, Journal of Mosaic Research (8), 33-60.
- Kahveci, K. (2018). Tanrı’nın Fısıltısı: Bir Mistiğin Dilinde Merhamet/God’s Whisper: Mercy in The Language of a Mystic, Atatürk Üniversitesi Sosyal Bilimler Dergisi, 58, 115-129.
- Kanmaz, S. (2022). Karanlık Kilise’deki İsa Tasvirli Fresklerin Tarihsel Belge Değeri Kapsamında Korunma Durumunun Değerlendirilmesi. Akdeniz Sanat, 16 (29), 165-181.
- Kenna, M. E. (1985). Icons in Theory and Practice: The Case of the Orthodox Christian. History of religions, 24 (4), 345-368.
- Kilde, J. H. (2008). Sacred Power, Sacred Space: an İntroduction to Christian Architecture and Worship, Oxford University Press.
- Koçyiğit, O. (2020). Erimtan Arkeoloji ve Sanat Müzesi Bizans Dönemi Maden Haçları, Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 35 (2),110-121.
- Kovarik, S. (2023). Antonella Ghıgnolı – M. Boccuzzı-A. Monte and N. Sıestıs (Eds.), The Evolutıon of The Notarıal Sıgnature ın Late Antıque Egypt, Segnı, Sognı, Materıe e Scrıttura Dall’Egıtto Tardoantıco All’Europa Carolıngıa. Ladner, G. B. (1955). St. Gregory of Nyssa and St. Augustine on The Symbolism of The Cross in Kurt, W. (Ed.),Late Classical and Mediaeval Studies in Honor of Albert Mathias Friend Jr. Princeton University Press, Princeton, New Jersey.
- Lanzi, F. and Lanzi, G. (2004). Saints and Their Symbols: Recognizing Saints in Art and Popular İmages. Liturgical Press.
- Mahr, A., C. (1943). The Gipsy at the Crucifixion of Christ. The Ohio State University.
- Malone, P. (1997). Jesus on our Screens. New image of religious film, 4, 57-71.
- Norris, H. (2002). Church Attire: Origin and Development, Mineola, NY.
- Özbek, İ. (2011). The Seven Sayings of Jesus on the Cross. GDK.
- Redknap, M. (1991). Christian Celts: Treasures of Late Celtic Wales, Cardiff: National Museum of Wales. P. 61.
- Rutledge, F. (2015). The crucifixion: understanding the death of Jesus Christ. Wm. B. Eerdmans Publishing.
- Sava, A. F. (1957). Mesih'in Yanındaki Yara, Katolik İncil Üç Aylık 19, 343-346.
- Schirrmacher, C. (2018). Islam's View of Important Christian Teachings: The Role of Jesus Christ, Sin, Faith and Forgiveness, Ankara.
- Stevens, J. (2015). Latin, Oxford Dictionary of Architecture and Landscape Architecture, London.
- Steffler, A.W. (2002). Symbols of The Christian Faith. Wm. B. Eerdmans Publishing.
- Stoykov. A. (2014). Language of Space ın Byzantıne Iconography, Bulgaria: Rousse, 2014 А and a communications Ltd.
- Şakiroğlu, M. H. (1996). Cross, DİA, Istanbul XIV. S22.
- Taş, T. ve Özcan, F. (2015). MS 4.-7. Yüzyıllar Arasında Haç Motiflerinin Gelişimi, Süleyman Demirel Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 21, 247-275.
- Tunç, İ. (2022). Jesus and Satan Dialog in the Canonical Gospels: A Comparative Approach, Oksident, 4, (2), 207-232.
- Vladimirescu, M. V. (2010). The Crucıfıxıon of Jesus Chrıst. The Orıgıns of The Cross and ıts Ancıent Meanıngs. Anuarul Institutului de Cercetări Socio-Umane “CS Nicolăescu-Plopșor”, (XI), 41-50.
- Yıldız, M. (2019). Anadolu’da Bizans Dönemi Duvar Resimlerinde I. Constantınus ve Helena ile Beraber Gerçek Haç Betimlemeleri (Master's thesis, Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü).
- Williamson, B. (2004). Altarpieces, Liturgy and Devotion. Speculum, 79 (2), 341-406.
- Wilkinson, J. (1972). The Physical Cause of Christ's Death, Expository Times 83 (4), 104- 107.
Yıl 2023,
Cilt: 3 Sayı: 2, 116 - 130, 29.12.2023
Öz
Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek cross, the cross of Christ's crucifixion. Each type of cross carries different meanings and also symbolises different scriptures and figures. It also characterises concepts such as martyrdom, sacrifice, resistance and victory. The cross was used in icons, frescoes, mosaics and other works of art. For example, in Jesus iconography, the cross can be seen in Jesus' hand or on his throne. This article, which is structured with the method of literature review and document analysis, aims to illuminate the iconographic and symbolic meanings of the cross in Byzantine art. The cross is one of the sacred symbols of the Christian faith in Byzantine art.
Anahtar Kelimeler
Kaynakça
- Alp, S. (2018). İstanbul Hristiyan Mezarlıklarında Hayvan Sembolleri, Sanat ve Tasarım Dergisi, 7(1), 198-213. doi.org/10.20488/sanattasarim.563684.
- Aydın, M. (2002). Bizans Kilisesinde İkonoklast (Tasvir Kırıcı) Hareketin Kökenleri. Necmettin Erbakan Üniversitesi İlahiyat Fakültesi Dergisi, 13(13).
- Bayram, F. (2021). Tao Klarceti Bölgesindeki Kültler ve Çapraz Motifler, Lycus Journal,4, 89-162. doi.org/10.54577/lycus.1027099.
- Benson, G. W. (2013). The cross: Its history and symbolism. Courier Corporation.
- Bergen, DL (2000). The twisted cross: The German Christian movement in the Third Reich. University of North Carolina Press.
- Buettner, B. (2022). Mineral and Visual: Gemstones in Medieval Secular Culture, Penn State Press.
- Boys, M. C. (1994). The cross: should a symbol betrayed be reclaimed?. CrossCurrents, 5-27.
- Dilasser, M. (1999). Symbols of the Church. Liturgical Press.
- Drewer, L. (1996). Erken Hıristiyanlık ve Bizans İkonografisine Son Yaklaşımlar. İkonografi Çalışmaları, 17, 1-65.
- Duits, R. (2016). Byzantine icons in the Medici collection. in Byzantine Art and Renaissance Europe. Routledge.
- Eser, A. M. (2020). Bizans Maden Sanatı Dini Törenlerde Kullanılan (Litürjik) Eşyalar, Ankara: Bilgin Kültür Sanat,
- Folda, J. (2021). Two ıcons of the Virgin and Child Hodegetria from st. Caherine’s Monastery on Mount Sinai, E. Baboula and L. Jessop, (Eds.), Art and Material Culture in the Byzantine and İslamic World, Boston: Brill.
- Gauding, M. (2009). Signs and Symbols in The Bible: The Definitive Guide to Mysterious Sign s. Sterling Publishing Company, Inc.
- Gouma, P. T. (1994). An 18th Century Deesis Icon and Its Cultural Context. Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας, 331-346.
- Guénon, R. (2001). The Symbolism of the Cross. Sophia Perennis.
- Gül, A. (2018). Haçın Hristiyan Teolojisindeki Yeri ve Önemi. Mardin: Şırnak Üniversitesi Yayınları.
- Goring, R. (1995). Dictionary of Beliefs aud Religious, Wordsworth Editions, London.
- Greene, K. (1974). A Christian Monogram from Richborough, Roman Research Development Association, Britanya, 5, 393-395
- Habaş, L. (2015). Theodosius Fermanı Arka Planında Arabistan Eyaleti ve Yakın Bölgelerdeki Kiliselein Mozaik Zeminlerindeki Haçlar, Journal of Mosaic Research (8), 33-60.
- Kahveci, K. (2018). Tanrı’nın Fısıltısı: Bir Mistiğin Dilinde Merhamet/God’s Whisper: Mercy in The Language of a Mystic, Atatürk Üniversitesi Sosyal Bilimler Dergisi, 58, 115-129.
- Kanmaz, S. (2022). Karanlık Kilise’deki İsa Tasvirli Fresklerin Tarihsel Belge Değeri Kapsamında Korunma Durumunun Değerlendirilmesi. Akdeniz Sanat, 16 (29), 165-181.
- Kenna, M. E. (1985). Icons in Theory and Practice: The Case of the Orthodox Christian. History of religions, 24 (4), 345-368.
- Kilde, J. H. (2008). Sacred Power, Sacred Space: an İntroduction to Christian Architecture and Worship, Oxford University Press.
- Koçyiğit, O. (2020). Erimtan Arkeoloji ve Sanat Müzesi Bizans Dönemi Maden Haçları, Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 35 (2),110-121.
- Kovarik, S. (2023). Antonella Ghıgnolı – M. Boccuzzı-A. Monte and N. Sıestıs (Eds.), The Evolutıon of The Notarıal Sıgnature ın Late Antıque Egypt, Segnı, Sognı, Materıe e Scrıttura Dall’Egıtto Tardoantıco All’Europa Carolıngıa. Ladner, G. B. (1955). St. Gregory of Nyssa and St. Augustine on The Symbolism of The Cross in Kurt, W. (Ed.),Late Classical and Mediaeval Studies in Honor of Albert Mathias Friend Jr. Princeton University Press, Princeton, New Jersey.
- Lanzi, F. and Lanzi, G. (2004). Saints and Their Symbols: Recognizing Saints in Art and Popular İmages. Liturgical Press.
- Mahr, A., C. (1943). The Gipsy at the Crucifixion of Christ. The Ohio State University.
- Malone, P. (1997). Jesus on our Screens. New image of religious film, 4, 57-71.
- Norris, H. (2002). Church Attire: Origin and Development, Mineola, NY.
- Özbek, İ. (2011). The Seven Sayings of Jesus on the Cross. GDK.
- Redknap, M. (1991). Christian Celts: Treasures of Late Celtic Wales, Cardiff: National Museum of Wales. P. 61.
- Rutledge, F. (2015). The crucifixion: understanding the death of Jesus Christ. Wm. B. Eerdmans Publishing.
- Sava, A. F. (1957). Mesih'in Yanındaki Yara, Katolik İncil Üç Aylık 19, 343-346.
- Schirrmacher, C. (2018). Islam's View of Important Christian Teachings: The Role of Jesus Christ, Sin, Faith and Forgiveness, Ankara.
- Stevens, J. (2015). Latin, Oxford Dictionary of Architecture and Landscape Architecture, London.
- Steffler, A.W. (2002). Symbols of The Christian Faith. Wm. B. Eerdmans Publishing.
- Stoykov. A. (2014). Language of Space ın Byzantıne Iconography, Bulgaria: Rousse, 2014 А and a communications Ltd.
- Şakiroğlu, M. H. (1996). Cross, DİA, Istanbul XIV. S22.
- Taş, T. ve Özcan, F. (2015). MS 4.-7. Yüzyıllar Arasında Haç Motiflerinin Gelişimi, Süleyman Demirel Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 21, 247-275.
- Tunç, İ. (2022). Jesus and Satan Dialog in the Canonical Gospels: A Comparative Approach, Oksident, 4, (2), 207-232.
- Vladimirescu, M. V. (2010). The Crucıfıxıon of Jesus Chrıst. The Orıgıns of The Cross and ıts Ancıent Meanıngs. Anuarul Institutului de Cercetări Socio-Umane “CS Nicolăescu-Plopșor”, (XI), 41-50.
- Yıldız, M. (2019). Anadolu’da Bizans Dönemi Duvar Resimlerinde I. Constantınus ve Helena ile Beraber Gerçek Haç Betimlemeleri (Master's thesis, Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü).
- Williamson, B. (2004). Altarpieces, Liturgy and Devotion. Speculum, 79 (2), 341-406.
- Wilkinson, J. (1972). The Physical Cause of Christ's Death, Expository Times 83 (4), 104- 107.
Toplam 44 adet kaynakça vardır.
Ayrıntılar
| Birincil Dil | Türkçe |
|---|---|
| Konular | Sanat ve Kültür Politikası |
| Bölüm | Araştırma Makaleleri |
| Yazarlar | |
| Erken Görünüm Tarihi | 28 Aralık 2023 |
| Yayımlanma Tarihi | 29 Aralık 2023 |
| Gönderilme Tarihi | 1 Kasım 2023 |
| Kabul Tarihi | 28 Aralık 2023 |
| Yayımlandığı Sayı | Yıl 2023 Cilt: 3 Sayı: 2 |
