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Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları

Year 2020, Volume: 3 Issue: 2, 281 - 293, 26.12.2020
https://doi.org/10.48120/oad.827482

Abstract

1300’lü yılların başında Floransa’da Santa Croce Kilisesi bünyesinde masrafları kentin yerlisi önemli aileler tarafından karşılanarak inşa edilen şapellerin dekoratif programı pek çok çalışmada incelenmiştir. Bu makale ise, Santa Croce içinde Peruzzi ailesi tarafından inşa edilen Peruzzi Şapel’inde Giotto tarafından yapılan Aziz Yuhanna ve Vaftizci Yahya’nın hayatından sahneler sunan panelleri kısaca tanıtıp ardından mikro bir analiz önererek Drusiana’nın diriltilmesi anlatısına odaklanır. Olay, İncil yazarı Aziz Yuhanna’ya atfedilen ve Yuhanna'nın Eylemleri olarak bilinen, Yeni Ahit’e eklenmiş bir yan metinde bahsedilen bir mucizedir ve Bizans dönemi Anadolu’sunun en önemli kutsal kentleri arasında sayılan, ve adını Aziz Yuhanna’dan alan, Ayasoluk kentinde gerçekleşmiştir. Yazı kapsamında, şapelin dekoratif programı genel çerçevesiyle incelendikten sonra, Giotto’nun Aziz Yuhanna’ya atfedilen bu mucizevi eylemi nasıl resme döktüğü, hangi mimari ip uçları sayesinde Ayasoluk kurgusunu yarattığı ve bu görsel kurgunun taşıdığı anlamlar tartışılacaktır. Ayrıca, Geç Orta Çağ veya Erken Rönesans dönemi resim sanatında kent imgesinin vurgulanmasında kent kapıları, surlar, ve dinî yapılar ve diğer mimari detayların Giotto tarafından nasıl kullanıldığı Roland Barthes’ın “gerçeklik etkisi” teorisi bağlamında incelenecektir. Ayrıca, Giotto’nun 14. yüzyıl Floransa’sında Ayasoluk’un kentsel dokusunu canlandırması girişiminin Peruzzi ailesinin siyasi, ekonomik ve kültürel gücünün yansıtma aracı olarak kullanması dinamiği de metinde irdelenmektedir.

Supporting Institution

University of Cambridge

Project Number

European Research Council Grant/ERC Advanced Grant Agreement n693418

Thanks

Cambridge Üniversitesi'nde yürüttüğüm Doğu Akdeniz şehirlerinin semavi dinlerin etkisiyle geçirdiği kentsel, kültürel ve ekonomik değişim ve dönüşümü incelediğim proje kapsamında konuyla ilgili yaptığım sunumlarda sordukları sorular ve yaptıkları yorumlar için başta proje genel koordinatörü Andrew Wallace-Hadrill olmak üzere, ekip üyelerine sonsuz teşekkür ederim.

References

  • Referans 1 Barthes, Roland; S/Z, Paris, Seuil, 1970.
  • Referans 2 Benelli, Francesco; The Architecture in Giotto’s Paintings, Cambridge University, Press, Cambridge, 2014.
  • Referans 3 Boccacio, Giovanni; (Çev. John Payne), Decameron, 3 Cilt, Lawrence& Mullen, Londra, 1895.
  • Referans 4 Bokody, Péter; Images-within-Images in Italian Painting: Reality and Reflexivity, Burlington, Ashgate, 2015.
  • Referans 5 Bologna, Ferdinando; Novità su Giotto, Giotto al tempo della cappella Peruzzi, Turin, G. Eiunadi, 1969.
  • Referans 6 Demus, Otto; Byzantine Mosaic Decoration: Aspects of Monumental Art in Byzantium, London, Routledge, 1953.
  • Referans 7 Demus, Otto; The Methods of the Byzantine Artist, Londra, Routledge, 1948.
  • Referans 8 Derbes Anne, Mark Sandona, The Usurer’s Heart: Giotto, Enrico Scrovegni, and the Arena Chapel in Padua, University Park, PA: Pennsylvania State University Press, 2008.
  • Referans 9 Forster, Edward R. Morgan; A Room With a View Dover Thrift, New York, 1995.
  • Referans 10 Foss, Clive; Ephesus after Antiquity: A Late Antique, Byzantine and Turkish City. Cambridge, Cambridge University Press, 1979.
  • Referans 11 Gnudi, Cesare; L’arte gotica in Francia e in Italia, Turin, G. Einaudi, 1982.
  • Referans 12 Hamburger, Jeffrey; St. John the Divine: The Deified Evangelist in Medieval Art and Theology, Berkeley, University of California Press.
  • Referans 13 Hunt, Edwin S.; Medieval Super-Companies. A Study of the Peruzzi Company of Florence Cambridge 1994.
  • Referans 14 Immendörfer, Michael; Ephesians and Artemis: The Cult of the Great Goddess of Ephesus in the Epistle’s Context. Tübingen: Mohr Siebeck, 2017.
  • Referans 15 Larner, John; Italy in the Age of Dante and Petrarch, 1216-1380, London and New York, Longman, 1980.
  • Referans 16 Lubbock, Jules; Storytelling in Christian Art from Giotto to Donatello, New Haven, Yale University Press, 2006.
  • Referans 17 James, Montague Rhodes; (Ed. ve Çev.), The Apocryphal New Testament, Oxford: Clarendon Press, 1924.
  • Referans 18 Muss, Ulrike; Die Archäologie der ephesischen Artemis: Gestalt und Ritual eines Heiligtums. Vienna, Phoibos Verlag, 2008.
  • Referans 19 Nagel, Alexander, Christopher S. Wood, Anachronic Renaissance, New York: Zone Books, 2010.
  • Referans 20 Previtali, Giovanni; Giotto E La Sua Bottega, Milano, Fabbri, 1967.
  • Referans 21 Stubblebine, James; Assisi and the Rise of Vernacular Art New York, Harper& Row, 1985.
  • Referans 22 Trachtenberg, Marvin; Dominion of the Eye: Urbanism, Art and Power in Early Modern Florence, Cambridge, Cambridge University Press, 1997.
  • Referans 23 Passerini, Luigi; nel manoscritto 156 del fondo che lasciò alla Biblioteca Nazionale di Firenze nel 1877 BNCF, Miscellanea Passerini, vol. 41.
  • Referans 24 Sinisgalli, Rocco; (Ed.), Leon Battista Alberti. On painting. A New Translation and Critical Edition, New York, Cambridge University Press 2011.
  • Referans 25 Tintori, Leonetto, Eve Borsook, Giotto: The Peruzzi Chapel, New York, Abrams, 1965.
  • Referans 26 Vasari, Giorgio; Lives of the Artists, (Çev. George Bull), Harmondsworth, Baltimore, Penguin Classics, 1965. Referans 27 White, John; The Birth and Rebirth of Pictorial Space, Cambridge MA, Belknap, 1987.
  • Referans 28 Andoloro, Maria; “Ancora una volta sull’Ytalia di Cimabue,” Art Medievale 2 1984, ss. 143-150.
  • Referans 29 Ataş, Zeynep; “The art and architecture of Chora Monastery in Comparison with its East European and Italian Contemporaries,” WIT Transactions on Ecology and The Environment 155, 2012, 1211-1222.
  • Referans 30 Bal, Mieke ve Norman Bryson, “Semiotics and Art History,” The Art Bulletin 73. 2, 1991, ss.174-208.
  • Referans 31 Barthes, Roland; “The Reality Effect,” (Ed. Tzvetan Todorov), The French Literary Theory Today: A Reader, Cambridge, Cambridge University Press, 1982, ss. 11-17.
  • Referans 32 Bircan, Ufuk; “Roland Barthes ve Göstergebilim,” SBARD 26, 2 2015, ss. 17-41
  • Referans 33 Borsook, Eve; “Notizie Su Due Cappelle Di Santa Croce A Firenze,” Rivista D’arte, 36 1961-1962, ss. 89-106.
  • Referans 34 Codell, Julie; “Giotto’s Peruzzi Chapel Frescoes: Wealth, Patronage and the Earthly City,” Renaissance Quarterly 41.4, 1988, ss. 593-595.
  • Referans 35 Çağaptay, Suna; “Yeniden İnşa Edilen Geçmiş: Ayasoluk’taki Takip Kapısı’nın Bizans Dönemindeki Tamiri,” Ege Mimarlık Dergisi 108, 4, (2020): yayında.
  • Referans 36 Çağaptay, Suna; “Into the Sacred Space: Facing Ayasoluk and Its Gate of Persecutions,” (Ed. Vasileios Marinis, Amy Papalexandrou, and Jordan Pickett), Sacred Space: Studies in Honor of Robert Ousterhout, yayında, Brepols, Turnhout, 2022, ss. 195-208.
  • Referans 37 Dalanay, Yaman; “Ephesos During the Beylik and Ottoman Periods (14th-16th Centuries),” (Ed. Sabine Ladstätter) Die Türbe in Artemision, vol. 1 (Vienna: Österreichisches Archäologisches Institut, 2015), ss. 9-16.
  • Referans 38 Deregowski, Jan B., Denis M. Parker, ve Manfredo Massironi, “The perception of spatial structure with oblique viewing: an explanation for Byzantine perspective?” Perception, 23, 1994, s. 5-13.
  • Referans 39 Fineman, Joel; “The History of the Anecdote: Fiction and Fiction,”(Ed. Aram Veeser), The New Historicism, New York: Routledge, 1989, ss. 49-76.
  • Referans 40 Hoffmann, Volker; “Giotto and Renaissance Perspective,” Nexus Network Journal, 12, 2010, ss. 5-132.
  • Referans 41 Grabar, André; “The Artistic Climate in Byzantium During the Palaeologan Period,” (Ed. Paul A. Underwood) The Kariye Djami, 4 cilt. Routledge, London, 1975, ss. 3-16.
  • Referans 42 Krinsky, Carole H.; “Representations of the Temple of Jerusalem before 1500,” Journal of Warburg and Courtauld Institutes, 33 1970, ss. 1–20.
  • Referans 43 Long, Jane C.; “The Program of Giotto's Saint Francis Cycle at Santa Croce in Florence,” Franciscan Studies, 52, 1992, ss. 85-133.
  • Referans 44 Long, Jane C.;“Parallelism in Giotto’s Paintings,” (Ed. Sarah Blick ve Laura Gelfand) Push Me, Pull You: Imaginative, Emotional, Physical, and Spatial Interaction in Late Medieval and Renaissance Art, Brill, Leiden, 2011, ss. 327-353.
  • Referans 45 Monciatti, Alessio, Cecilia Frosinini; “La Cappella Peruzzi in Santa Croce a Firenze,” (Ed. A.C.Quintavalle), Medioevo: i committenti: atti del convegni internazionale di studi, Parma, 21-16 settembre 2010, Milan, Mondadori-Electa, 2011, ss. 607-622.
  • Referans 46 Ratté, Felicity; “Architectural Invitations: Images of City Gates in Medieval Italian Painting,” Gesta, 38.2, 1999, 142–153.
  • Referans 47 Reames, Sherry L.; The “Legenda Aurea: A Reexamination of Its Paradoxical History,” Renaissance Quarterly 39, 1986, ss. 279-282.
  • Referans 48 Telpaz, Anne Markham; “Some Antique Motifs in Trecento Art,” Art Bulletin 46 1964, 72-76.
  • Referans 49 White, John; “Giotto's Use of Architecture in “The Expulsion of Joachim” and “The Entry into Jerusalem” at Padua,” The Burlington Magazine 115, 844, 1973, ss. 439-447.
  • Referans 50 https://www.britannica.com/event/Guelf-and-Ghibelline. 1 Kasım 2020’de erişildi.
  • Referans 51 http://ica.themorgan.org/manuscript/page/42/110814, online erişim: 5 Kasım 2020’da erişildi.
  • Referans 52 https://www.wga.hu/html_m/l/lippi/flippino/strozzi/3druisa.html. 5 Kasım 2020’da erişildi.

If Walls Could Talk: The Reflections of the Byzantine City of Ayasoluk in the Early Renaissance Florence

Year 2020, Volume: 3 Issue: 2, 281 - 293, 26.12.2020
https://doi.org/10.48120/oad.827482

Abstract

The character and the context of the painted programs of the chapels built by the affluent Florentine families located within the Church of Santa Croce in Florence has been studied extensively. This article focuses on the Peruzzi Chapel, one of the chapels commissioned by the Peruzzi family in the 1300s. The chapel reveals the scenes from the life of St. John the Evangelist and St. John the Baptist painted in the 1330s by Giotto. This article, in particular, narrows its lens to the Raising of Drusiana displayed on the right wall depicting the scenes from the life of St. John the Evangelist. Mentioned in the Acts of John, an appended text added to the New Testament by Saint John the Evangelist, the Raising of Drusiana had been reportedly taken place in Ayasoluk, a city named after the Saint himself, was one of the most sacred cities in Byzantine Anatolia. Giving an overview of the painted program in the Peruzzi Chapel, the article focuses on the depiction of this miraculous event and discusses how Giotto’s “painted architecture” creates the urban image of Ayasoluk and what it means in the fourteenth-century Florentine context. Using comparative evidence from the other pictorial programs done by Giotto and the notion of the “reality effect” borrowing from Roland Barthes’ seminal theory, this article argues that Giotto’s selection of architectural details to depict Ayasoluk’s urban context is a concious choice. Not only Giotto but also the Peruzzi family was instrumental in choosing the image of Saint John the Evangelist and his city to underscore their urban and civic identity in Florence.

Project Number

European Research Council Grant/ERC Advanced Grant Agreement n693418

References

  • Referans 1 Barthes, Roland; S/Z, Paris, Seuil, 1970.
  • Referans 2 Benelli, Francesco; The Architecture in Giotto’s Paintings, Cambridge University, Press, Cambridge, 2014.
  • Referans 3 Boccacio, Giovanni; (Çev. John Payne), Decameron, 3 Cilt, Lawrence& Mullen, Londra, 1895.
  • Referans 4 Bokody, Péter; Images-within-Images in Italian Painting: Reality and Reflexivity, Burlington, Ashgate, 2015.
  • Referans 5 Bologna, Ferdinando; Novità su Giotto, Giotto al tempo della cappella Peruzzi, Turin, G. Eiunadi, 1969.
  • Referans 6 Demus, Otto; Byzantine Mosaic Decoration: Aspects of Monumental Art in Byzantium, London, Routledge, 1953.
  • Referans 7 Demus, Otto; The Methods of the Byzantine Artist, Londra, Routledge, 1948.
  • Referans 8 Derbes Anne, Mark Sandona, The Usurer’s Heart: Giotto, Enrico Scrovegni, and the Arena Chapel in Padua, University Park, PA: Pennsylvania State University Press, 2008.
  • Referans 9 Forster, Edward R. Morgan; A Room With a View Dover Thrift, New York, 1995.
  • Referans 10 Foss, Clive; Ephesus after Antiquity: A Late Antique, Byzantine and Turkish City. Cambridge, Cambridge University Press, 1979.
  • Referans 11 Gnudi, Cesare; L’arte gotica in Francia e in Italia, Turin, G. Einaudi, 1982.
  • Referans 12 Hamburger, Jeffrey; St. John the Divine: The Deified Evangelist in Medieval Art and Theology, Berkeley, University of California Press.
  • Referans 13 Hunt, Edwin S.; Medieval Super-Companies. A Study of the Peruzzi Company of Florence Cambridge 1994.
  • Referans 14 Immendörfer, Michael; Ephesians and Artemis: The Cult of the Great Goddess of Ephesus in the Epistle’s Context. Tübingen: Mohr Siebeck, 2017.
  • Referans 15 Larner, John; Italy in the Age of Dante and Petrarch, 1216-1380, London and New York, Longman, 1980.
  • Referans 16 Lubbock, Jules; Storytelling in Christian Art from Giotto to Donatello, New Haven, Yale University Press, 2006.
  • Referans 17 James, Montague Rhodes; (Ed. ve Çev.), The Apocryphal New Testament, Oxford: Clarendon Press, 1924.
  • Referans 18 Muss, Ulrike; Die Archäologie der ephesischen Artemis: Gestalt und Ritual eines Heiligtums. Vienna, Phoibos Verlag, 2008.
  • Referans 19 Nagel, Alexander, Christopher S. Wood, Anachronic Renaissance, New York: Zone Books, 2010.
  • Referans 20 Previtali, Giovanni; Giotto E La Sua Bottega, Milano, Fabbri, 1967.
  • Referans 21 Stubblebine, James; Assisi and the Rise of Vernacular Art New York, Harper& Row, 1985.
  • Referans 22 Trachtenberg, Marvin; Dominion of the Eye: Urbanism, Art and Power in Early Modern Florence, Cambridge, Cambridge University Press, 1997.
  • Referans 23 Passerini, Luigi; nel manoscritto 156 del fondo che lasciò alla Biblioteca Nazionale di Firenze nel 1877 BNCF, Miscellanea Passerini, vol. 41.
  • Referans 24 Sinisgalli, Rocco; (Ed.), Leon Battista Alberti. On painting. A New Translation and Critical Edition, New York, Cambridge University Press 2011.
  • Referans 25 Tintori, Leonetto, Eve Borsook, Giotto: The Peruzzi Chapel, New York, Abrams, 1965.
  • Referans 26 Vasari, Giorgio; Lives of the Artists, (Çev. George Bull), Harmondsworth, Baltimore, Penguin Classics, 1965. Referans 27 White, John; The Birth and Rebirth of Pictorial Space, Cambridge MA, Belknap, 1987.
  • Referans 28 Andoloro, Maria; “Ancora una volta sull’Ytalia di Cimabue,” Art Medievale 2 1984, ss. 143-150.
  • Referans 29 Ataş, Zeynep; “The art and architecture of Chora Monastery in Comparison with its East European and Italian Contemporaries,” WIT Transactions on Ecology and The Environment 155, 2012, 1211-1222.
  • Referans 30 Bal, Mieke ve Norman Bryson, “Semiotics and Art History,” The Art Bulletin 73. 2, 1991, ss.174-208.
  • Referans 31 Barthes, Roland; “The Reality Effect,” (Ed. Tzvetan Todorov), The French Literary Theory Today: A Reader, Cambridge, Cambridge University Press, 1982, ss. 11-17.
  • Referans 32 Bircan, Ufuk; “Roland Barthes ve Göstergebilim,” SBARD 26, 2 2015, ss. 17-41
  • Referans 33 Borsook, Eve; “Notizie Su Due Cappelle Di Santa Croce A Firenze,” Rivista D’arte, 36 1961-1962, ss. 89-106.
  • Referans 34 Codell, Julie; “Giotto’s Peruzzi Chapel Frescoes: Wealth, Patronage and the Earthly City,” Renaissance Quarterly 41.4, 1988, ss. 593-595.
  • Referans 35 Çağaptay, Suna; “Yeniden İnşa Edilen Geçmiş: Ayasoluk’taki Takip Kapısı’nın Bizans Dönemindeki Tamiri,” Ege Mimarlık Dergisi 108, 4, (2020): yayında.
  • Referans 36 Çağaptay, Suna; “Into the Sacred Space: Facing Ayasoluk and Its Gate of Persecutions,” (Ed. Vasileios Marinis, Amy Papalexandrou, and Jordan Pickett), Sacred Space: Studies in Honor of Robert Ousterhout, yayında, Brepols, Turnhout, 2022, ss. 195-208.
  • Referans 37 Dalanay, Yaman; “Ephesos During the Beylik and Ottoman Periods (14th-16th Centuries),” (Ed. Sabine Ladstätter) Die Türbe in Artemision, vol. 1 (Vienna: Österreichisches Archäologisches Institut, 2015), ss. 9-16.
  • Referans 38 Deregowski, Jan B., Denis M. Parker, ve Manfredo Massironi, “The perception of spatial structure with oblique viewing: an explanation for Byzantine perspective?” Perception, 23, 1994, s. 5-13.
  • Referans 39 Fineman, Joel; “The History of the Anecdote: Fiction and Fiction,”(Ed. Aram Veeser), The New Historicism, New York: Routledge, 1989, ss. 49-76.
  • Referans 40 Hoffmann, Volker; “Giotto and Renaissance Perspective,” Nexus Network Journal, 12, 2010, ss. 5-132.
  • Referans 41 Grabar, André; “The Artistic Climate in Byzantium During the Palaeologan Period,” (Ed. Paul A. Underwood) The Kariye Djami, 4 cilt. Routledge, London, 1975, ss. 3-16.
  • Referans 42 Krinsky, Carole H.; “Representations of the Temple of Jerusalem before 1500,” Journal of Warburg and Courtauld Institutes, 33 1970, ss. 1–20.
  • Referans 43 Long, Jane C.; “The Program of Giotto's Saint Francis Cycle at Santa Croce in Florence,” Franciscan Studies, 52, 1992, ss. 85-133.
  • Referans 44 Long, Jane C.;“Parallelism in Giotto’s Paintings,” (Ed. Sarah Blick ve Laura Gelfand) Push Me, Pull You: Imaginative, Emotional, Physical, and Spatial Interaction in Late Medieval and Renaissance Art, Brill, Leiden, 2011, ss. 327-353.
  • Referans 45 Monciatti, Alessio, Cecilia Frosinini; “La Cappella Peruzzi in Santa Croce a Firenze,” (Ed. A.C.Quintavalle), Medioevo: i committenti: atti del convegni internazionale di studi, Parma, 21-16 settembre 2010, Milan, Mondadori-Electa, 2011, ss. 607-622.
  • Referans 46 Ratté, Felicity; “Architectural Invitations: Images of City Gates in Medieval Italian Painting,” Gesta, 38.2, 1999, 142–153.
  • Referans 47 Reames, Sherry L.; The “Legenda Aurea: A Reexamination of Its Paradoxical History,” Renaissance Quarterly 39, 1986, ss. 279-282.
  • Referans 48 Telpaz, Anne Markham; “Some Antique Motifs in Trecento Art,” Art Bulletin 46 1964, 72-76.
  • Referans 49 White, John; “Giotto's Use of Architecture in “The Expulsion of Joachim” and “The Entry into Jerusalem” at Padua,” The Burlington Magazine 115, 844, 1973, ss. 439-447.
  • Referans 50 https://www.britannica.com/event/Guelf-and-Ghibelline. 1 Kasım 2020’de erişildi.
  • Referans 51 http://ica.themorgan.org/manuscript/page/42/110814, online erişim: 5 Kasım 2020’da erişildi.
  • Referans 52 https://www.wga.hu/html_m/l/lippi/flippino/strozzi/3druisa.html. 5 Kasım 2020’da erişildi.
There are 51 citations in total.

Details

Primary Language Turkish
Subjects Religious Studies
Journal Section Articles
Authors

Suna Çağaptay 0000-0002-4362-4134

Project Number European Research Council Grant/ERC Advanced Grant Agreement n693418
Publication Date December 26, 2020
Submission Date November 17, 2020
Published in Issue Year 2020 Volume: 3 Issue: 2

Cite

APA Çağaptay, S. (2020). Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları. Ortaçağ Araştırmaları Dergisi, 3(2), 281-293. https://doi.org/10.48120/oad.827482
AMA Çağaptay S. Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları. OAD. December 2020;3(2):281-293. doi:10.48120/oad.827482
Chicago Çağaptay, Suna. “Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları”. Ortaçağ Araştırmaları Dergisi 3, no. 2 (December 2020): 281-93. https://doi.org/10.48120/oad.827482.
EndNote Çağaptay S (December 1, 2020) Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları. Ortaçağ Araştırmaları Dergisi 3 2 281–293.
IEEE S. Çağaptay, “Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları”, OAD, vol. 3, no. 2, pp. 281–293, 2020, doi: 10.48120/oad.827482.
ISNAD Çağaptay, Suna. “Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları”. Ortaçağ Araştırmaları Dergisi 3/2 (December 2020), 281-293. https://doi.org/10.48120/oad.827482.
JAMA Çağaptay S. Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları. OAD. 2020;3:281–293.
MLA Çağaptay, Suna. “Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları”. Ortaçağ Araştırmaları Dergisi, vol. 3, no. 2, 2020, pp. 281-93, doi:10.48120/oad.827482.
Vancouver Çağaptay S. Duvarın Dili: Bizans Kenti Ayasoluk’un Erken Rönesans Dönemi Floransa’sına Yansımaları. OAD. 2020;3(2):281-93.

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