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The Byzantine churches of Cappadocia, of which the representations of holy women are the object of this article, are located on the Anatolian high plateau; according to actual knowledge, we count ninety seven churches (7th 13th century). We have distributed the monuments in eight groups geographically defined: Cavu?in area, Avcilar and Goreme area, Urgup area, Gul?ehir area, Kayseri area, Ni?de area, Guzeloz, So?anli and Erdemli valleys, and Hasan da?i area. In despite of the reputation of this region as one of the cultural heritage of the world, the physical degradation of paintings is notable. Except for several privileged churches, which are under the protection of Turkish government, and some churches in the Goreme site and Kar? kilise restored by UNESCO, most churches we visited between 2000 and 2002 are exposed to the bad weather, and have evident deterioration.
This writing is a sort of resume of my thesis which covers all the Byzantine churches known up to now in this region, and we added new materials collected by research in the field. It has for the essential objective to index and to describe the isolated images of holy women, explaining their choice, place, and association with other images in the church. For the iconographical analysis of holy women, we selected four churches of different area: Nikephoros Phokas church, Zelve 4 (Cavu?in). Bah eli kilise (Urgup). Canavar kilise(So?anli valley).
This study also relate to the iconological analysis, that is, a deepened examination which can illuminate in a more complete way the representation of the saints, the significance of iconographical characteristics, their origin, their evolution, and their function in the current religious context. The intercessor role is one of the most important functions given to these images. The praying posture with raised hands emphasizes this role. In the same way the portrait of holy women relates to funeral ceremony; the funeral church is decorated with death and resurrection themes, and the dead are giuen prayers there. The meaning of intercession connotes always that of protection. Especially, the image of holy women represented near the entrance of church or of apse has an apotropaic function.
Another role relates to the function of anargyres. The specificity of the choice of holy women reflects also the particular intention of the donors or the local cultural preference. As we discovered the image of the Cavanar kilise, saint Catharina is depicted with a donor.
Intercessors, protectors or anargyres, holy women occupy privileged places in the iconographical program of several churches, such as in the apse, near the entrance to the sanctuary, or in the dome of ceiling. Not being a simple decoration, their representation illustrates the function of the church, the role of the donor for the execution of decoration, or the contemporary religiosity.
This writing is a sort of resume of my thesis which covers all the Byzantine churches known up to now in this region, and we added new materials collected by research in the field. It has for the essential objective to index and to describe the isolated images of holy women, explaining their choice, place, and association with other images in the church. For the iconographical analysis of holy women, we selected four churches of different area: Nikephoros Phokas church, Zelve 4 (Cavu?in). Bah eli kilise (Urgup). Canavar kilise(So?anli valley).
This study also relate to the iconological analysis, that is, a deepened examination which can illuminate in a more complete way the representation of the saints, the significance of iconographical characteristics, their origin, their evolution, and their function in the current religious context. The intercessor role is one of the most important functions given to these images. The praying posture with raised hands emphasizes this role. In the same way the portrait of holy women relates to funeral ceremony; the funeral church is decorated with death and resurrection themes, and the dead are giuen prayers there. The meaning of intercession connotes always that of protection. Especially, the image of holy women represented near the entrance of church or of apse has an apotropaic function.
Another role relates to the function of anargyres. The specificity of the choice of holy women reflects also the particular intention of the donors or the local cultural preference. As we discovered the image of the Cavanar kilise, saint Catharina is depicted with a donor.
Intercessors, protectors or anargyres, holy women occupy privileged places in the iconographical program of several churches, such as in the apse, near the entrance to the sanctuary, or in the dome of ceiling. Not being a simple decoration, their representation illustrates the function of the church, the role of the donor for the execution of decoration, or the contemporary religiosity.
목차
Ⅰ. 들어가는 말
Ⅱ. 본론
Ⅲ. 맺는 말
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UCI(KEPA) : I410-ECN-0101-2009-609-017290179