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Bu çalışmanın amacı, Bizans İmparatorluğu döneminde Kapadokya bölgesindeki kayaya oyma kiliselerde tespit edilen buhurdan tasvirlerinin hangi sahnelerde görüldüğünü, hangi figürlerin ellerinde taşıdığını belirlemek, söz konusu tasvirleri, örnekler eşliğinde Bizans maden sanatı içinde değerlendirmektir. Kapadokya bölgesi erken yüzyıllardan itibaren önemli manastır yerleşimlerinden biri haline gelmiştir. Manastıra bağlı kiliseler bölgede yaşayan toplumun ibadetlerini gerçekleştirdiği mekânlardır. Bu mekânlardaki yapıların duvarlarında yer alan duvar resimlerinde ve konulu sahnelerin detaylarında litürji sırasında kullanılan dinsel objelerin (haç ve buhurdan gibi) benzerleri görülür. Konumuzun özünü oluşturan Bizans buhurdanları form ve süsleme açısından yüzyıllar içinde değişmiştir. Ancak Bizanslı sanatçılar tarafından benimsenen formlar, geleneksel olarak konulu sahnelerin detaylarında tasvir edilmeye devam etmiştir. Bizans İmparatorluğu döneminde farklı tören ve ayinlerde kullanılan buhurdanlar kısaca kokulu bitkilerin yakıldığı kaplar olarak tanımlanabilir. Ortodoks inancının vazgeçilmez dinsel objelerinden biri olan buhurdanlar, kutsal eşyaların korunduğu mekanların tütsülenmesinde, kilisede gerçekleştirilen çeşitli ayinlerde, cenaze törenlerinde, hatta imparatorluk seremonilerinde kullanılırdı. Çalışma kapsamında Kapadokya kaya kiliselerinde buhurdan tasvirleri, ölüm ve cenaze törenleri ile ilgili “Meryem’in Ölümü (Koimesis)” ve “Boş Mezar Başında Kadınlar (Myrophoros)” sahnelerinde ve kiliselerde yürütülen ayinler ile ilgili diakon azizler Stephanos, Romanos’un betimlendiği resimlerde görülür. Meryem’in Ölümü (Koimesis) sahnesi; Göreme Kılıçlar Kuşluk Meryemana, Çeltek Acıözü Güney, Gülüdere Ayvalı, Gülşehir Karşı Kilise’de; Boş Mezar Başında Kadınlar (Myrophoros) sahnesi Göreme, Elmalı, Karanlık, Çarıklı, Gülşehir Karşı ve Nevşehir Tatların iki nolu Kilise’de, diakon azizler Ihlara Yılanlı, Erdemli Aziz Eusthatios, Belisırma Aziz Georgios, Bezirhane, Ürgüp Ayvalı, Gülşehir Karşı ve Niğde Eski Gümüş Manastırı Kilisesi’nde bulunur. Sahnelerin detaylarına bakıldığında figürlerin ellerinde taşıdıkları buhurdanlar çeşitli formda resmedilmiştir. Söz konusu görsel örneklerde yer alan buhurdanların somut olarak benzerlerini yurt içinde ve dışındaki müzelerde ve koleksiyonlarda bulmak mümkündür.
The aim of this study is to determine the scenes with incense burner depictions and the figures carrying them in the rock-carved churches of the Cappadocia Region during the Byzantine Empire and to evaluate the scenes within the framework of Byzantine metalwork. The Cappadocia Region has become one of the important monastery settlements since the early centuries. The churches connected to the monastery are the places where the community living in the region practices worship. The monumental paintings on the walls and the details of the themed scenes bear similarities with the religious objects (such as crosses and incense burners) used during the liturgy. Byzantine incense burners have changed through centuries in terms of shape and decoration. However, the forms adopted by the Byzantine artists have continued to be depicted in the details of traditionally themed scenes. The incense burners used in different ceremonies and rituals during the Byzantine Empire can be briefly identified as containers for burning fragrant plants. Incense burners are one of the indispensable religious objects of the Orthodox faith and were used for the fumigation of sacred places. They were used during various rituals in churches, at funerals and even during imperial ceremonies. Depictions of incense burners in Cappadocia rock-carved churches can be seen at death and funeral ceremonies of the Dormition of Virgin Mary (Koimesis) and the "Women in the Empty Tomb (Myrophoros)" scenes, church rituals and in pictures depicting deacons Stephanos, Romanos. The Scene of the Dormition of Virgin Mary (Koimesis) is located at The Woman in the Empty Tomb (Myrophoros) scene is located at The Woman in the Empty Tomb (Myrophoros) scene is located at The Woman in the Empty Tomb (Myrophoros) scene is located at The Woman in the Empty Tomb (Myrophoros) scene is located at The Woman in the Empty Tomb (Myrophoros) scene is located at The Woman in the Empty Tomb (Myrophoros) scene is located at The Woman in the Empty Tomb (Myrophoros) scene is located at The Woman in the Empty Tomb (Myrophoros) scene is located at The Examinations of the details show that the incense burners carried by the figures are depicted in various forms and styles. It is possible to find incense burners similar to those in the visuals in museums and collections across Turkey and abroad.
The aim of this study is to determine the scenes with incense burner depictions and the figures carrying them in the rock-carved churches of the Cappadocia Region during the Byzantine Empire and to evaluate the scenes within the framework of Byzantine metalwork. The Cappadocia Region has become one of the important monastery settlements since the early centuries. The churches connected to the monastery are the places where the community living in the region practices worship. The monumental paintings on the walls and the details of the themed scenes bear similarities with the religious objects (such as crosses and incense burners) used during liturgy. Byzantine incense burners have changed through centuries in terms of form and decoration. However, the forms adopted by the Byzantine artists have continued to be depicted in the details of traditionally themed scenes. The incense burners used in different ceremonies and rituals during the Byzantine Empire can be briefly identified as containers for burning fragrant plants. Incense burners are one of the indispensable religious objects of the Orthodox faith and were used for the fumigation of sacred places. They were used during various rituals in churches, at funerals and even during imperial ceremonies. Depictions of incense burners in Cappadocia rock-carved churches can be seen at death and funeral ceremonies of the Dormition of Virgin Mary (Koimesis) and the “Women in the Empty Tomb (Myrophoros)” scenes, church rituals and in pictures depicting deacons Stephanos, Romanos. Scene of the Dormition of Virgin Mary (Koimesis) is located at Göreme Kılıçlar Kuşluk Meryem Ana, Çeltek Acıözü Güney, Güllüdere Ayvalı and Gülşehir Karşı Church; the Women in the Empty Tomb (Myrophoros) scene is located at Göreme, Elmalı, Karanlık, Çarıklı, Gülşehir, and Nevşehir Tatların in the church number two, deacose saints are located at Ihlara Yılanlı, Erdemli Saint Eusthatios, Belisırma Saint Georgios, Bezirhane, Ürgüp Ayvalı, Gülşehir Karşı and Niğde Eski Gümüş Monastry Church. Examinations of the details show that the incense burners carried by the figures are depicted in various forms and styles. It is possible to find incense burners similar to those in the visuals in museums and collections across Turkey and abroad.
Field : Filoloji
Journal Type : Ulusal
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