İstanbul’da bulunan Bizans dönemi mozaikleri : Kariye müzesi

Tam metin

(1)T.C. SAKARYA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ. İSTANBUL’DA BULUNAN BİZANS DÖNEMİ MOZAİKLERİ: KARİYE MÜZESİ. YÜKSEK LİSANS TEZİ Emel ÖZDEMİR ÇOKHAMUR. Enstitü Anasanat Dalı: Seramik ve Cam : Seramik ve Cam. Enstitü Sanat Dalı. Danışman: Prof. Nilgün BİLGE. Haziran – 2012.

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(3) BEYAN Bu tezin yazılmasında bilimsel ahlak kurallarına uyulduğunu, başkalarının eserlerinden yararlanılması durumunda bilimsel normlara uygun olarak atıfta bulunulduğunu, kullanılan verilerde herhangi bir tahrifat yapılmadığını, tezin herhangi bir kısmının bu üniversite veya başka üniversitedeki başka bir tez çalışması olarak sunulmadığını beyan ederim.. Emel ÖZDEMİR ÇOKHAMUR 06.06.2012.

(4) ÖNSÖZ Tarih öncesi çağlardan günümüze değin mozaik sanatı çok geniş bir kullanım alanına sahip olmuş, yapıldığı döneme, kullanım şekline, amacına ve yapım tekniğine göre değişiklikler göstermektedir. Mozaik sanatı, Roma döneminde yaygınlaşmış ve Bizans dönemi boyunca gelişerek mimari alanlarda (yer döşemelerinde, kubbelerde, kemerlerde, iç ve dış cephe süslemelerinde) ve kamusal alanlarda yaygın olarak kullanılmıştır. Aynı zamanda yer aldığı dönemin görkemini, yaşantı biçimini ve kültürünü günümüze taşıyan sanatsal yüzey kaplama tekniğidir. Bu çalışma kapsamında Kariye Müzesi (Chora Manastırı Kilisesi) mozaikleri ve İstanbul’da bulunan Bizans döneminin başlıca mimari yapılarından olan; Ayasofya Müzesi, Zeyrek Cami (Pantokrator Manastırı Kilisesi), Feneri İsa Cami (Konstantin Lips Manastırı), Fethiye Müzesi (Pammakaristos Manastırı), Aya İrini Kilisesi ve Büyük Saraylar Mozaik Müzesinde bulunan önemli mozaik eserleri ele alınacaktır. Ayrıca Kariye Müzesi mozaiklerinin, tarihsel, sosyo – kültürel açıdan yorumlanarak, teknik ve artistik analizlerinin yapılması ise tezin genel içeriğini oluşturacaktır. Öncelikle, yapmış olduğum bu çalışma süresince bilgi ve tecrübeleriyle beni yönlendirilen sayın hocam Prof. Nilgün BİLGE’ye, yardımlarını esirgemeyen sayın Yrd. Doç. Buket ACARTÜRK’e, değerli dostum Yrd. Doç. Gülsen TEZCAN’a, değerli bilgilerini benimle paylaşan yazar, arkeolog İlhan AKŞİT’e, iş arkadaşlarım Ali Nail HAYAR, Olgun PEKER ve İbrahim UVALI’ya, teşekkürlerimi bildiririm. Ayrıca bu sürecde desteklerini ve yardımlarını esirgemeyen, Babam Haydar, Ağabeyim Sadettin, Annem Ayşe ÖZDEMİR’e , Eşim Said ÇOKHAMUR’a ve sevgili kızlarım Ceylin ve Ecrin’e sonsuz teşekkürlerimi sunarım.. Emel ÖZDEMİR ÇOKHAMUR 06.06.2012.

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(13) ........................................... 115 Resim 118: 0HU\HP¶LQgOP..................................................................................... 116 Resim 119: 0HU\HP¶LQgOPPR]DLNVDKQHGHQGHWD\ .............................................. 117. vii.

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(18) 6$h6RV\DO%LOLPOHU(QVWLWV. <NVHN/LVDQV7H]g]HWL. 7H]LQ%DúOÕ÷ÕøVWDQEXO¶GD%XOXQDQ %L]DQV'|QHPL0R]DLNOHUL .DUL\H0]HVL 7H]LQ<D]DUÕ : (PHOg='(0ø5d2.+$085. 'DQÕúPDQ : 3URI1LOJQ%ø/*(. Kabul Tarihi : 6 Haziran 2012. 6D\ID6D\ÕVÕ : xi |QNÕVÕP

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(26) Sakarya University Insitute of Social Sciences. Abstract of Master Thesis. Title of the Thesis: %\]DQWLQHSHUÕRG0RVDLFVLQøVWDQEXO.DUL\H0XVHXP Author. : (PHOg='(0ø5d2.+$085. Supervisor : 3URI1LOJQ%ø/*(. Date. : 06 June 2012. Nu. of pages: xi(front part) + 145(thesis). Department: Ceramics ve Glass. Major Field : Ceramics ve Glass. Kariye Museum (Church of Chora Monastery), Ayasofya Museum (Hagia Sophia 0XVHXP

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(29) $\D øULQL Mosque (Hagia Irene Church) and Great Palace Mosaic Museum are among the prominent architectural structures of Byzantine period. In this study, as examples of Byzantine mosaic art, the remarkable mosaic works these museums present are examined. Analyzing the mosaic works with respect to their historical, socio-cultural, technical and artistic aspects by applying to the history and architectural structure of the Kariye Museum constitutes the main content of the study. In the above mentioned Byzantine architectural structures, an ancient mosaic technique called Opus Vermiculatum is widely used. The art project that supports the dissertation aims at adapting this ancient technique to the present by using contemporary materials. 7KH DUW SURMHFW HQWLWOHG ³(YUHQ , YH (YUHQ ,,´ FRQVLVWV RI WZR RULJLQDO DEVWUDFW compositions that involve geometrical forms symbolizing the universe. In the design of these geometrical forms, artistic criteria of balance, rhythm, color, volume and light are considered and a graphical language is used. Both by interpreting the Byzantine mosaics, the subject of the thesis and by the mosaic technique applied in the project, the art works in past and present mosaic art are analyzed and a synthesis between past and present is achieved.. Keywords: Byzantine Art, Mosaic, Opus Vermiculatum, Chora Museum, Hagia Sophia Museum. xi.

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(40) Resim 1: Opus sectile WHNQL÷LQGH\DSÕOPÕú$\DVRI\DWDEDQG|úHPHVL (Kaynak: Kleinbaver, White, Matthewsn, 2004, s.11). Resim 2*QP]GHNXOODQÕODQWHVVHUD |UQHNOHUL ()RWR÷UDI(PHOg='(0ø5d2.+$085). 4.

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(42) \DQ \DQD JHWLULOPHVLQGHQ ROXúXU 2SXV 7HVVHODWXP 2SXV $OH[DQGULQXP 2SXV 0XVLYXP 2SXV6FXWXODWXP2SXV6HJPHQWDWXP2SXV6LJQLQXPWUOHUGHYDUGÕU 1.2.1. Opus Sectile (Floransa Deseni) ³$QWLN 5RPD PLPDUOÕ÷ÕQGD oHúLWOL ELoLP YH ER\XWODUGDNL UHQNOL PHUPHU YH WDú OHYKDODUGDQROXúWXUXODQJHRPHWULN \DGDILJUDWLIGHVHQOLG|úHPHPR]DL÷LGLU´ gGHNDQ 1997, s.1378). %\N SDUoDOÕ PR]DLN WDQHOHULQGHQ NRPSR]LV\RQ ROXúWXUXOPDNWDGÕU +DWWD NDNPD* X\JXODPDVÕ GD EX WHNQL÷LQ LoLQH JLUPHNWHGLU %L]DQV \DSÕODUÕQGDQ RODQ =H\UHN &DPLL DQDPHNkQÕQRUWDVÕQGDNLG|úHPH|UQH÷LQGHUHQNOLPHUPHUOHUGHQROXúDQNHQWDXU ILJU GDLUH LoLQH DOÕQPÕú oLoHN YH JHRPHWULN úHNLOOHULQ ROXúWXUGX÷X NDNPD WHNQLNOL G|úHPH mo]DL÷L2SXV6HFWLOHPR]DLNWHNQL÷LQH|UQHNWLU (Bkz. Resim: 3). *.DNPD 2\XODELOHFHN QLWHOLNWHNL KHUKDQJL ELU PDO]HPH ]HULQH LVWHQLOHQ úHNLOOHUGH R\DUDN DoÕODQ \XYDODUD GL÷HU ELU PDGGHGHQ R\XODQ úHNOLQ D\QÕVÕQGDQ NHVLOPLú SDUoDODUÕQ NDNDUDN \HUOHúWLULOPHVL LúL 2\XODELOHFHNQLWHOLNWHRODQPDO]HPHWDúWDKWDPHUPHUYHLúOHQPH\HPVDLWED]ÕPDGHQOHUGLU *.HQWDXU0LWRORMLGHROD÷DQVW\DUDWÕNWÕU<DUÕDW\DUÕLQVDQGÕU. 5.

(43) Resim 3=H\UHN.LOLVHVL&DPL'|úHPHVLøVWDQEXO³.HQWDXU )LJUOG|úHPHPR]DL÷L´ (Kaynak: Demiriz, 2002, s.45). 1.2.2. 2SXV7HVVHOODWXP 7X÷OD'HVHQL

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