Studies on the 'Nativity of Jesus' Scene in a Rock Mass in Çine

Hatice Özyurt Özcan

Makale detayları

Studies on the 'Nativity of Jesus' Scene in a Rock Mass in Çine

Yazarlar:

Hatice Özyurt Özcan

Yayıncı:

Istanbul University

Ana Başlıklar:

Kültürel ve Doğal Miras | Sanat Tarihi

Dergi:

Sanat Tarihi Yıllığı Issue 32, pp.431-451

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001297440

pISSN:

0579-4080

Anahtar kelimeler:

Özet:

 The village of Dinecik in the Çine district of Türkiyes Aydın province has a single scene depicting the birth of Jesus among the Byzantine wall paintings on the mass rock. This depiction of the Nativity of Jesus is the only surviving Nativity scene among paintings of Latmos, Yatagan, and the southern Carian coasts close to Çine. Because the Cappadocian wall paintings have the widest range of subjects among the paintings in Anatolia, they were influential in this studys iconographic analysis of the Nativity painting. The scene consists of many episodes covering a large surface, and while a significant portion has survived, especially the hands and faces of the figures, the fact that some of the depictions have been largely destroyed makes it difficult to make a sound evaluation. Still, a detailed examination of the work was able to be made with what remained of some of the scenes that provide period clues. The center of the depiction shows the baby Jesus and Mary. To the right of Mary on a square cradle with long legs is the baby Jesus with a halo on his head, wrapped in white swaddling cloth. Behind the cradle are figures of oxen and donkeys. Joseph is in the lower right corner of the scene seated on a chair with his back to Mary. The first bathing scene in the lower left corner of the stage shows the midwives who will wash Jesus. The upper left section of the scene is understood from the remaining fragments to involve shepherds; however, most of them have been destroyed. The upper right corner has the figure of an angel and the three soothsayers. The scene contains a crowded compositional arrangement that brings together episodes such as the Prophet Kings, the Adoration of the Shepherds, and the First Bath, each being depicted as a separate scene after the depiction of the Nativity in the early period as a style that had become widespread in the paintings of the Cappadocia region toward the end of the 10th century. The fact that Mary didnt begin being depicted in a semi-sitting position in nativity scenes with her head aimed at Jesus in the cradle until after the 10th century and that the technical and stylistic features commonly applied to 11th-century buildings had also been used in the depiction at Dinecik indicates the painting to have bene painted by local craftsmen in the late 10th and mid-11th centuries with regional characteristics.

 The village of Dinecik in the Çine district of Türkiyes Aydın province has a single scene depicting the birth of Jesus among the Byzantine wall paintings on the mass rock. This depiction of the Nativity of Jesus is the only surviving Nativity scene among paintings of Latmos, Yatagan, and the southern Carian coasts close to Çine. Because the Cappadocian wall paintings have the widest range of subjects among the paintings in Anatolia, they were influential in this studys iconographic analysis of the Nativity painting. The scene consists of many episodes covering a large surface, and while a significant portion has survived, especially the hands and faces of the figures, the fact that some of the depictions have been largely destroyed makes it difficult to make a sound evaluation. Still, a detailed examination of the work was able to be made with what remained of some of the scenes that provide period clues. The center of the depiction shows the baby Jesus and Mary. To the right of Mary on a square cradle with long legs is the baby Jesus with a halo on his head, wrapped in white swaddling cloth. Behind the cradle are figures of oxen and donkeys. Joseph is in the lower right corner of the scene seated on a chair with his back to Mary. The first bathing scene in the lower left corner of the stage shows the midwives who will wash Jesus. The upper left section of the scene is understood from the remaining fragments to involve shepherds; however, most of them have been destroyed. The upper right corner has the figure of an angel and the three soothsayers. The scene contains a crowded compositional arrangement that brings together episodes such as the Prophet Kings, the Adoration of the Shepherds, and the First Bath, each being depicted as a separate scene after the depiction of the Nativity in the early period as a style that had become widespread in the paintings of the Cappadocia region toward the end of the 10th century. The fact that Mary didnt begin being depicted in a semi-sitting position in nativity scenes with her head aimed at Jesus in the cradle until after the 10th century and that the technical and stylistic features commonly applied to 11th-century buildings had also been used in the depiction at Dinecik indicates the painting to have bene painted by local craftsmen in the late 10th and mid-11th centuries with regional characteristics.

 The village of Dinecik in the Çine district of Türkiyes Aydın province has a single scene depicting the birth of Jesus among the Byzantine wall paintings on the mass rock. This depiction of the Nativity of Jesus is the only surviving Nativity scene among paintings of Latmos, Yatagan, and the southern Carian coasts close to Çine. Because the Cappadocian wall paintings have the widest range of subjects among the paintings in Anatolia, they were influential in this studys iconographic analysis of the Nativity painting. The scene consists of many episodes covering a large surface, and while a significant portion has survived, especially the hands and faces of the figures, the fact that some of the depictions have been largely destroyed makes it difficult to make a sound evaluation. Still, a detailed examination of the work was able to be made with what remained of some of the scenes that provide period clues. The center of the depiction shows the baby Jesus and Mary. To the right of Mary on a square cradle with long legs is the baby Jesus with a halo on his head, wrapped in white swaddling cloth. Behind the cradle are figures of oxen and donkeys. Joseph is in the lower right corner of the scene seated on a chair with his back to Mary. The first bathing scene in the lower left corner of the stage shows the midwives who will wash Jesus. The upper left section of the scene is understood from the remaining fragments to involve shepherds; however, most of them have been destroyed. The upper right corner has the figure of an angel and the three soothsayers. The scene contains a crowded compositional arrangement that brings together episodes such as the Prophet Kings, the Adoration of the Shepherds, and the First Bath, each being depicted as a separate scene after the depiction of the Nativity in the early period as a style that had become widespread in the paintings of the Cappadocia region toward the end of the 10th century. The fact that Mary didnt begin being depicted in a semi-sitting position in nativity scenes with her head aimed at Jesus in the cradle until after the 10th century and that the technical and stylistic features commonly applied to 11th-century buildings had also been used in the depiction at Dinecik indicates the painting to have bene painted by local craftsmen in the late 10th and mid-11th centuries with regional characteristics.

 Aydın iline bağlı Çine ilçesinin Dinecik köyünde, kaya dokusu içinde yapılmış Bizans dönemine ait duvar resimlerinden sadece İsanın Doğumunun anlatıldığı sahne korunmuştur. Bu tasvir, Çineye yakın konumdaki Latmos, Yatağan ve güney Karya kıyılarındaki resim programları içinde günümüze gelebilmiş tek Doğum sahnesidir. Bu sebeple tasvirin ikonografik yönden incelenmesinde, Anadoludaki resim programları içinde en geniş konu yelpazesine sahip olan Kapadokya duvar resimleri etkili olmuştur. Geniş bir yüzeyi kaplayacak şekilde birçok episoddan oluşan sahnenin önemli bir kısmı mevcut olmasına karşın özellikle figürlerin el ve yüzleri, bazı tasvirlerin tamamının büyük oranda tahrip edilmiş olması sağlıklı bir değerlendirme yapmayı güçleştirmekle beraber, bazı sahnelerin dönemsel ip uçları veren kalıntıları ile eser üzerinde detaylı bir inceleme yapılabilmiştir. Tasvirin orta kısmında bebek İsa ve Meryem yer almaktadır. Meryemin sağ tarafında uzun ayaklı, kare formlu beşiğin üzerinde başı haleli, beyaz bir kundağa sarılı bebek İsaya yer verilmiştir. Beşiğin arkasında öküz ve eşek figürleri görülür. Sahnenin sağ alt köşesinde bulunan Yusuf, sırtı Meryeme dönük olacak şekilde bir sandalye üzerinde oturur vaziyettedir. Sahnenin sol alt köşesindeki ilk banyo sahnesinde İsayı yıkayacak olan ebelere yer verilmiştir. Sahnenin üst kısmında, büyük bir bölümü tahrip olmasına karşın korunmuş fragmanlardan çobanların olduğu anlaşılmaktadır. Karşıda sağ üst köşede melek figürüne ve üç müneccime yer verilmiştir. Ana mekanı doğal yolla aşınmış kaya kütlesinin oluşturduğu, kuzey ve batı cepheleri örme duvarlarla çevrili bu küçük şapeli, din adamlarının dini merkezlerine giden yol güzargahları üzerinde yapılmış ibadet yada inziva yapılarından biri olarak değerlendirebiliriz. Şapelde korunmuş tek sahne olan İsanın Doğumu, Doğu Kilisesinin Orta Bizans döneminde en çok betimlenen yortu sahnelerinden biridir. Sahne, üslup ve teknik özellikleri yönünden Latmos ve Fethiyedeki resim programlarıyla ortak özelliklere sahip olmakla birlikte, ayrıca Anadoludaki duvar resmi örneklerinin tümünde benzer uygulama gösteren bazı dönemsel nitelikli renk, üslup ve tekniklerin özelliklerini de kısmen taşımaktadır. Yerel üslubun baskın etkisine rağmen İkonografik özellikleri yönünden, dönemi içindeki diğer Doğum sahneleri ile yakın benzerlikler göstermektedir. Sahne, 10. yüzyılın sonlarına doğru Kapadokya bölgesi resim programlarında yaygınlaşan, Kahin Krallar, Çobanların Tapınması, İlk Banyo gibi erken dönemde Doğum tasvirinin devamında ayrı bir sahne olarak resmedilen episodların bir araya getirildiği kalabalık düzenlemeli bir kompozisyon düzenine sahiptir. Ayrıca Meryemin 10. yüzyıldan sonra yarı oturur pozisyonda ve başı ile beşikteki İsayı gösterecek şekilde resmedilmesi, yaygın olarak 11. yüzyıl yapılarında uygulanan teknik ve boyama üslubu özelliklerinin Dinecikdeki tasvirde de kullanılmış olması resmin, 10. yüzyıl sonları ile 11. yüzyılın ortalarında, yerel ustalar tarafından bölgesel karakterli olarak yapıldığına işaret etmektedir.

Makale detayları

Studies on the 'Nativity of Jesus' Scene in a Rock Mass in Çine

Yazarlar:

Hatice Özyurt Özcan

Yayıncı:

Istanbul University

Ana Başlıklar:

Kültürel ve Doğal Miras | Sanat Tarihi

Dergi:

Sanat Tarihi Yıllığı Issue 32, pp.431-451

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001297440

pISSN:

0579-4080

Jesus

nativity

Mary

apocryphal

soothsayersİsa

doğum

Meryem

apokrif

kahinler

Sayı

Makale detayları

Yazarlar: Hatice Özyurt Özcan

Yayıncı: Istanbul University

Ana Başlıklar: Kültürel ve Doğal Miras | Sanat Tarihi

Dergi: Sanat Tarihi Yıllığı Issue 32, pp.431-451

Belge Tipi: Makale

Yayın Tarihi: 6/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001297440

pISSN: 0579-4080

Sayı

Yazarlar:

Hatice Özyurt Özcan

Yayıncı:

Istanbul University

Ana Başlıklar:

Kültürel ve Doğal Miras | Sanat Tarihi

Dergi:

Sanat Tarihi Yıllığı Issue 32, pp.431-451

Belge Tipi:

Makale

Yayın Tarihi:

6/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001297440

pISSN:

0579-4080