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Bizans Sanatı’nda Alegorik Bir Figür: Hades

Year 2021, Volume: 11 Issue: 21, 149 - 181, 29.01.2021
https://doi.org/10.33207/trkede.806967

Abstract

Bu çalışmada Bizans Sanatı’nda alegorik bir figür olarak beliren Hades’in ikonografisi, kanonik, apokrif ve edebî kaynaklar ışığında ele alınmaktadır. Antik dönem görsel ve edebî kaynaklarına dayalı “kült”ünden tanınan, yer altının -veya ölüler ülkesinin- tanrısı Hades’in Orta Çağ’da süren efsanevi varlığı, ölüm temasının ve cehennemin alegorik bir görüntüsü olarak Bizans tasvirlerinde kendine yer bulmuştur. Hades’in alegorik imgesi, Septuagint’i temel alan Mezmurlar Kitabı’nın 9. yüzyıl ve sonrasına ait resimli kopyalarında pek çok marj resminde karşımıza çıkar. Bu resimler mezmur dizeleri ile ilişkilendirilmiştir ve aynı zamanda belli ayinlerde (orthros, hespera vs.) okunacak mezmurlar için bir tür işaretçi görevi görmüştür. El yazmalarında Hades, günahkârların kabul edilmesi, Lazarus’un diriltilmesi, Anastasis gibi bilindik konulara ek olarak, Barlaam ve Ioasaphat’ın Vita’sındaki hikâyeler gibi, Bizans yazınından seçilen farklı konular içinde de tasvir edilmiştir. Kimi zaman mezmur metinlerindeki kavramsal anlam, içinde Hades’in ve ölülerin yer aldığı sahneler yardımıyla açıklanmıştır. Bu sahnelerdeki figürler günahkârları, Hades ise günahkâr ruhları kucağında tutarak cehennemi temsil eder. Bizans kilise resim programında Hades yalnızca Anastasis sahnesinde görülür. Ancak Hades figür olarak, Anastasis’te her zaman Âdem, Havva ve kral peygamberler Davud ile Süleyman gibi geleneksel bir öge değildir. Tasvirlerde, Hades’in belli bir standart görüntüsü olmasa da onun pagan, günahkâr ve korkunç yönüne vurgu yapılır.

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References

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  • ALTIER, Semiha (2018), “Bir Motifin Peşinden: Osmanlı Sanatında Bereket Boynuzu”, History Studies, 10.7, 21-57.
  • BARBER, Charles (Ed.) (2000), Theodore Psalter, Electronic Facsimile (CD ROM), Illinois University, Champaign.
  • BLOOMFIELD, Maurice (1904), “Cerberus, The Dog of Hades”, The Monist, 14.4, 523-540.
  • BUCUR, Bogdan G. (2018), “Scholarship on the Old Testament Roots of Trinitarian Theology: Blind Spots and Blurred Vision”, Ed. Christopher A. Beeley-Mark E. Weedman, The Bible and Early Trinitarian Theology, The Catholic University of America Press, Washington, D.C., 29-49.
  • CARR, Anne-Marie Weyl (1991), “Anastasis” Oxford Dictionary of Byzantium, Cilt 1, Oxford University Press, New York-Oxford, 88.
  • CARR, Anne-Marie Weyl (1997), “Popular Imagery”, Ed. Helen C. Evans-William D. Wixom, The Glory of Byzantium Art And Culture of The Middle Byzantine Era A.D. 843-1261, Metropolitan Museum of Art, New York, 112-181.
  • CARR-GOMM, Sarah (2008), Sanat, Sanatın Gizli Dili, Çev. Lizet Deadato, İnkılap Yayınevi, İstanbul.
  • CHATZIDAKIS, Manolis (Ed.), (1997), Hosios Lukas Byzantine Art In Greece (Mosaics-Wall Paintings), Melissa Publishing, Atina.
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  • FROLOW, Anatole (1962), “La Date des Mosaïques de Daphni”, Revue Archéologique, 2, 183-208.
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  • KARACA, Ergün (2019), “Roma İmparatorluk Dönemi Mezarlarında İşlenmiş Kemik Buluntular”, Ed. Elif ÖZER, Anadolu’da Hellenistik ve Roma Dönemleri’nde Ölü Gömme Adetleri, 23-26 Temmuz 2018, Aizanoi IV Özel Sayı, Bilgin Kültür Sanat, Ankara, 423-446.
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  • KATAR, Murat (2017a), Hıristiyanlığa Kadar Roma’da Din, Doktora Tezi, Fırat Üniversitesi, Elazığ.
  • KATAR, Murat (2017b), “Hıristiyanlık Öncesi Roma’da Dinin Gelişim Süreci”, Cappadocia Journal of History and Social Sciences, 9, 337-344.
  • KAYA ZENBİLCİ, İlkgül (2017), Orta Bizans Dönemi Konstantinopolis Manastır Atölyeleri Ve Resimli El Yazmaları Üretimi, Doktora Tezi, Ankara Üniversitesi, Ankara.
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  • KORKMAZ, Mehmet (2012), Mitoloji Sözlüğü, Alter Yayıncılık, Ankara.
  • KYRIACOPOLOU, Helen D., PETRON¬OTES, Argyres, vd. (1956), The Daphni Monastery: History, Architecture, Mosaics. Society for Peloponnesian Studies Series [no. 1], Society for Peloponnesian Studies, Atina.
  • MAGUIRE, Henry (1992), “The Mosaics of Nea Moni: An Imperial Reading”, Dumbarton Oaks Papers, 46-Homo Byzantinus: Papers in Honor of Alexander Kazhdan, 205-214.
  • MARINIS, V. (Ed.), (2016), Death and The Afterlife in Byzantium The Fate of The Soul in Theology, Liturgy and Art, Cambridge University Press, New York, [Çevrimiçi Versiyon: cambridge.org/core /books/death-and-the-afterlife-in-byzantium/visualizing-the-afterlife547413490662510FE1F46 CFC317A157E/core-reader].
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  • MIKALSON, Jon D. (2010), Ancient Greek Religion, Wiley-Blackwell, Birleşik Krallık.
  • MILLET, Gabriel (1895), “Mosaïques de Daphni-Adoration des mages-Anastasis”, Monuments et mémoires de la Fondation Eugène Piot, 2.2, 197-214. doi: 10.3406/piot.1895.1142
  • MILLET, Gabriel (1899), Le Monastère de Daphni. Histoire, Architecture, Mosaïques, Paris.
  • MOURIKI, Doula (1985), The Mosaics of Nea Moni on Chios, Cilt 1, Atina.
  • MUNITIZ, Joseph A. (2001), “The Predetermination of Death: The Contribution of Anastasios of Sinai and Nikephoros Blemmydes to a Perennial Byzantine Problem”, Dumbarton Oaks Papers, 55, 9-20.
  • OEHLSCHLAGER-GARVEY, Barbara (1985), “A new Apulian Krater in The World Heritage Museum”, The Journal Of Aesthetic Education, 19.1-Special Issue-Paestum and Classical Culture: Past and Present, 99-113.
  • PARRY, Ken ve MELLING, David (Ed.), (1999), The Blackwell Dictionary of Eastern Christianity, Blackwell Publishing, Malden.
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An Allegorical Figure in Byzantine Art: Hades

Year 2021, Volume: 11 Issue: 21, 149 - 181, 29.01.2021
https://doi.org/10.33207/trkede.806967

Abstract

This study discusses the iconography of Hades, who appears as an allegorical figure in Byzantine Art, in the light of canonical, apocryphal and literary sources. The god of the underworld -or the land of the dead- known from his ancient “cult” based on depictions and literary sources, Hades and his legendary existence in the Middle Ages has found its place as an allegorical image of the theme of death and hell in Byzantine depictions. The allegorical image of Hades in Byzantine Art appears in many marginal illuminations in the copies of Psalterium -based on the Septuagint- from the 9th century and later. Byzantine marginal illuminations are associated with the psalm verses and also serve as a kind of marker for particular verses to be sung at certain service (orthros, vespers etc.) in Byzantine liturgy. In the manuscripts, Hades is depicted in different scenes sourced from Byzantine literature, such as the stories in Barlaam and Ioasaphat’s Vita, in addition to familiar subjects such as Hades receiving sinners, the raising of Lazarus, and the Anastasis. Sometimes the conceptual meaning in a psalm verse is explained with the help of scenes including Hades and the dead. The figures in these scenes represent sinners, while Hades symbolises Hell, holding the sinners in his arms. In the Byzantine church painting program, Hades appears only in the Anastasis stage. However, Hades as a figure is not always a traditional component in the Anastasis, contrary to Adam, Eve and the king prophets, David and Solomon. Although there is no certain standard type of Hades’s image in the depictions, it is emphasized that the figure is a pagan and he has a sinful, threatening and terrible nature.

Project Number

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References

  • AKYÜREK, Engin (1996), Bizans’ta Sanat ve Ritüel: Kariye Güney Şapelinin İkonografisi ve İşlevi, Kabalcı Yayınevi, İstanbul.
  • ALEXIOU, Margaret B. ve Ševčenko, Nancy P. (1991), “Hades”, Oxford Dictionary of Byzantium, Cilt 2, Oxford University Press, New York-Oxford, 891.
  • ALTIER, Semiha (2018), “Bir Motifin Peşinden: Osmanlı Sanatında Bereket Boynuzu”, History Studies, 10.7, 21-57.
  • BARBER, Charles (Ed.) (2000), Theodore Psalter, Electronic Facsimile (CD ROM), Illinois University, Champaign.
  • BLOOMFIELD, Maurice (1904), “Cerberus, The Dog of Hades”, The Monist, 14.4, 523-540.
  • BUCUR, Bogdan G. (2018), “Scholarship on the Old Testament Roots of Trinitarian Theology: Blind Spots and Blurred Vision”, Ed. Christopher A. Beeley-Mark E. Weedman, The Bible and Early Trinitarian Theology, The Catholic University of America Press, Washington, D.C., 29-49.
  • CARR, Anne-Marie Weyl (1991), “Anastasis” Oxford Dictionary of Byzantium, Cilt 1, Oxford University Press, New York-Oxford, 88.
  • CARR, Anne-Marie Weyl (1997), “Popular Imagery”, Ed. Helen C. Evans-William D. Wixom, The Glory of Byzantium Art And Culture of The Middle Byzantine Era A.D. 843-1261, Metropolitan Museum of Art, New York, 112-181.
  • CARR-GOMM, Sarah (2008), Sanat, Sanatın Gizli Dili, Çev. Lizet Deadato, İnkılap Yayınevi, İstanbul.
  • CHATZIDAKIS, Manolis (Ed.), (1997), Hosios Lukas Byzantine Art In Greece (Mosaics-Wall Paintings), Melissa Publishing, Atina.
  • CİVELEK, Aynur (2013), “Antik Dönem Sanatında Bereket Boynuzu”, Arkeoloji ve Sanat, 143, 103-112.
  • CONOMOS, Dimitri E. (1991), “Antiphon”, Oxford Dictionary of Byzantium, Cilt 1, Oxford University Press, New York-Oxford, 120.
  • CORMACK, Robin (2000), Byzantine Art, Oxford University Press, Oxford.
  • CORMACK, Robin (2008), “Rediscovering the Christ Pantocrator at Daphni”, Journal of the Warburg and Courtauld Institutes, 71, 55-74.
  • CUTLER, Anthony (1991), “Daphni”, Oxford Dictionary of Byzantium, Cilt 1, Oxford University Press, New York-Oxford, 587.
  • ÇETİN, Ufuk (2000), Masal Kitaplarına İlham Veren Anlamsal ve Simgesel Özellikleriyle Smyrna Physiologus’u, Efe Akademi, İstanbul.
  • DEMİRTAŞ, N. (2017), “Pisidia ve Kilikia Bölgesi Şehir Sikkeleri Üzerinde Mitolojik Bir Sahne: Hades’in Persephone’yi Yer altına Kaçırışı”, Ed. Semih GÜNERİ, Yaşar Coşkun’a Saygı Yazıları içinde, KAM Dokuz Eylül Üniversitesi Yayınları, İzmir, 137-152.
  • EVANGELATOU, M. (2009), “Liturgy and The Illustration of The Ninth Century Marginal Psalters”, Dumbarton Oaks Papers, 63, 59-116.
  • EVANS, H. Charles, HOLCOMB, M., HALLMAN, R. (2001), “The Arts Of Byzantium”, The Metropolitan Museum of Art Bulletin, New Series, 58.4, The Arts of Byzantium, Spring, 1-68.
  • ESTIN, Colette ve LAPORTE Hélène (2010), Yunan ve Roma Mitolojisi, Çev. Musa Eran, TÜBİTAK, Ankara.
  • FRAZER, Margaret English (1974), “Hades Stabbed by the Cross of Christ”, Metropolitan Museum Journal, 9, 153-161. doi:10.2307/1512660
  • FROLOW, Anatole (1962), “La Date des Mosaïques de Daphni”, Revue Archéologique, 2, 183-208.
  • GAZIS, George Alexander (2018), Homer and The Poetics of Hades, Oxford University Press, New York-Oxford.
  • GOLDSCHMIDT, Adolph ve WEITZMANN, Kurt (1934), Die Byzantinischen Elfenbeinskulpturen des X.-XIII. Jahrhunderts, Cilt II: Reliefs, Berlin.
  • GOUMA-PETERSON, Thalia (1984/1985), “Anastasis Icon in The Walters Art Gallery”, The Journal of The Walters Art Gallery, 42/43, 48-60.
  • HANSEN, William F. (2004), Handbook of Classical Mythology, ABC-Clio, Inc., Santa Barbara-California.
  • JEFFREYS, Elizabeth M. (1991), “Troparion”, Oxford Dictionary of Byzantium, Cilt 3, Oxford University Press, New York-Oxford, 2124.
  • KARACA, Ergün (2019), “Roma İmparatorluk Dönemi Mezarlarında İşlenmiş Kemik Buluntular”, Ed. Elif ÖZER, Anadolu’da Hellenistik ve Roma Dönemleri’nde Ölü Gömme Adetleri, 23-26 Temmuz 2018, Aizanoi IV Özel Sayı, Bilgin Kültür Sanat, Ankara, 423-446.
  • KARTSONIS, Anna D. (1986), Anastasis: The Making of An Image, Princeton University Press, New Jersey.
  • KATAR, Murat (2017a), Hıristiyanlığa Kadar Roma’da Din, Doktora Tezi, Fırat Üniversitesi, Elazığ.
  • KATAR, Murat (2017b), “Hıristiyanlık Öncesi Roma’da Dinin Gelişim Süreci”, Cappadocia Journal of History and Social Sciences, 9, 337-344.
  • KAYA ZENBİLCİ, İlkgül (2017), Orta Bizans Dönemi Konstantinopolis Manastır Atölyeleri Ve Resimli El Yazmaları Üretimi, Doktora Tezi, Ankara Üniversitesi, Ankara.
  • KEITH, Arthur L. ve ABERNETHY, Julian Willis (1922), “Vergil’s Description of Hades”, The Sewanee Review, 30.3-July, 345-351.
  • Kitabı Mukaddes Eski ve Yeni Ahit: Tevrat Zebur (Mezmurlar) ve İncil (1997), Kitabı Mukaddes Şirketi, İstanbul.
  • KORKMAZ, Mehmet (2012), Mitoloji Sözlüğü, Alter Yayıncılık, Ankara.
  • KYRIACOPOLOU, Helen D., PETRON¬OTES, Argyres, vd. (1956), The Daphni Monastery: History, Architecture, Mosaics. Society for Peloponnesian Studies Series [no. 1], Society for Peloponnesian Studies, Atina.
  • MAGUIRE, Henry (1992), “The Mosaics of Nea Moni: An Imperial Reading”, Dumbarton Oaks Papers, 46-Homo Byzantinus: Papers in Honor of Alexander Kazhdan, 205-214.
  • MARINIS, V. (Ed.), (2016), Death and The Afterlife in Byzantium The Fate of The Soul in Theology, Liturgy and Art, Cambridge University Press, New York, [Çevrimiçi Versiyon: cambridge.org/core /books/death-and-the-afterlife-in-byzantium/visualizing-the-afterlife547413490662510FE1F46 CFC317A157E/core-reader].
  • MEYENDORFF, John (1974), Byzantine Hesychasm: Historical, Theological and Social Problems, Variorum Reprints, Londra.
  • MIKALSON, Jon D. (2010), Ancient Greek Religion, Wiley-Blackwell, Birleşik Krallık.
  • MILLET, Gabriel (1895), “Mosaïques de Daphni-Adoration des mages-Anastasis”, Monuments et mémoires de la Fondation Eugène Piot, 2.2, 197-214. doi: 10.3406/piot.1895.1142
  • MILLET, Gabriel (1899), Le Monastère de Daphni. Histoire, Architecture, Mosaïques, Paris.
  • MOURIKI, Doula (1985), The Mosaics of Nea Moni on Chios, Cilt 1, Atina.
  • MUNITIZ, Joseph A. (2001), “The Predetermination of Death: The Contribution of Anastasios of Sinai and Nikephoros Blemmydes to a Perennial Byzantine Problem”, Dumbarton Oaks Papers, 55, 9-20.
  • OEHLSCHLAGER-GARVEY, Barbara (1985), “A new Apulian Krater in The World Heritage Museum”, The Journal Of Aesthetic Education, 19.1-Special Issue-Paestum and Classical Culture: Past and Present, 99-113.
  • PARRY, Ken ve MELLING, David (Ed.), (1999), The Blackwell Dictionary of Eastern Christianity, Blackwell Publishing, Malden.
  • PEERS, Glenn, STICHEL, Rainer, KARPOZILOS, Apostolos (1991), “Death”, Oxford Dictionary of Byzantium, Cilt 1, Oxford University Press, New York-Oxford, 593-594.
  • PURVES, Alex C. (2011), “Hades”, The Homer Encyclopedia, Wiley-Blackwell, Malden-Oxford, 326-327.
  • SCHNEEMELCHER, W. (Ed.), (2003), The New Testament Apocrypha, Cilt I: Gospels and Related Writings, James Clarke&Co.-Westminster John Knox Press, Louisville, Londra.
  • SCHOLL, Andreas ve MANNACK, Thomas (2010), “Hades and Elysion”, Bulletin of The Institute of Classical Studies, Supplement, 56.104, 71-96.
  • SOPHOCLES, Evangelinus Apostolides (1900), Greek Lexion of The Roman and Byzantine Periods (From B.C. 146 to A.D. 1100), New York.
  • STIER, Rudolf E. ve THEILE, Karl Gottfried Wilhelm (1852), Polyglotten-Bibel zum praktischen Handgebrauch: Die Heilige Schrift Alten und Neuen Testaments in übersichtlicher Nebeneinanderstellung des Urtextes, der Septuaginta, Vulgata und Luther-Uebersetzung, Lausanne.
  • STREZOVA, Anita (2014), Hesychasm and Art: The Appearance of New Iconographic Trends in Byzantine and Slavic Lands in the 14th and 15th Centuries. Australian National University Press, Canderra.
  • STRZYGOWSKI, Josef (1899), Der Bilderkreis Des Griechischen Physiologus Des Kosmas Indikopleustes Und Oktateuch. Leipzig: Druck und Verlag von B. G. Teubner.
  • SWETE, Henry Barclay (Ed.), (1896), The Old Testament in Greek According to The Septuagint, Cambridge University Press, Cambridge.
  • ŞAHİN, Işık (2004), “Mısır ve Yakın Doğu Etkileriyle Yunan Mitolojisindeki “Kayıkçı Kharon” Tipinin Gelişimi”, OLBA, X, 135-150.
  • ŞENEL, Zeliha (2020), “Bizans Sanatı’nda Anastasis Sahnesinin Teolojik Temelleri”, Akademik Sosyal Araştırmalar Dergisi, 8.101, 296-311.
  • ŞİRVAN, Berna (2014), Hellen Mitolojisinde Hades Kültü, Yüksek Lisans Tezi, Celal Bayar Üniversitesi, Manisa.
  • TAMSÜ POLAT, Rahşan (2019), “Mezar Eşyalarının Ölü Gömme Geleneklerindeki Anlamına Dair Gözlemler”, Ed. Elif ÖZER, Anadolu’da Hellenistik ve Roma Dönemleri’nde Ölü Gömme Adetleri, 23-26 Temmuz 2018, Aizanoi IV Özel Sayı, Bilgin Kültür Sanat, Ankara, 447-464.
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Details

Primary Language Turkish
Journal Section Research Articles
Authors

İlkgül Kaya Zenbilci 0000-0001-8106-656X

Project Number yok
Publication Date January 29, 2021
Submission Date October 7, 2020
Published in Issue Year 2021 Volume: 11 Issue: 21

Cite

APA Kaya Zenbilci, İ. (2021). Bizans Sanatı’nda Alegorik Bir Figür: Hades. Trakya Üniversitesi Edebiyat Fakültesi Dergisi, 11(21), 149-181. https://doi.org/10.33207/trkede.806967