Iconoclasm Period in Byzantine History and the Effect of Iconoclasm on Hagia Sophia


Abstract views: 948 / PDF downloads: 667

Authors

  • Nazlı Ece GEYİK Öğretim Görevlisi, İzmir Kavram Meslek Yüksekokulu, İç Mekan Tasarımı Programı, Konak, İzmir. E-mail: necegeyik@gmail.com

DOI:

https://doi.org/10.46291/IJOSPERvol7iss3pp575-590

Keywords:

Byzantine Architecture, Icon, Icon Art, Iconoclasm, Hagia Sophia

Abstract

The Iconoclasm Period, which emerged in two different ways between the years (726-843), is the period of turmoil in which the Byzantine and Byzantine emperors also had problems arising from the social, political, economic and external powers that they experienced in the context of the "administration and church" relationship. With the separation of Byzantine and Western churches, icon art and culture started to be important in the Orthodox world. As a result, the Iconoclasm Period was a turning point for Byzantine churches. Hagia Sophia, which is one of the most important monuments of the history of world architecture that has survived to the present day; In terms of its architecture, magnificence, size and functionality, it constitutes an important place for the art world and adds value to the city where it is religious and symbolic. The building, which was built as a church, then converted into a mosque and later organized as a museum; it continues to maintain its symbolic importance today. After the removal of all the icons and sculptures from Hagia Sophia in 726, all the mosaics containing the depictions of the human image that can survive are from the post-Iconoclasm Period. However, it is understood that some of the mosaics that do not contain a human image are the first mosaics made in the 6th century.

In this period, it was aimed to investigate the change of some mosaics and architectural structures made in the cultural memory by changing some of the mosaics and the iconoclasm process in the example of Hagia Sophia.

References

Akkaya, T., (2000). Ortodoks İkonaları, Arkeoloji ve Sanat Yayınları, İstanbul.

Aydın, M., (2002). Bizans Kilisesi’nde İkonoklast (tasvir kırıcı) Hareketin Kökenleri, Selçuk Üniversitesi İlahiyat Fakültesi Dergisi, sayı XIII, Konya.

C. Mango, W. Hawkings, (1965). The apse mozaics of St. Sophia at İstanbul, Report on Work Carried in 1964, Dumbarton Oaks Papers, 19, s. 113.

Cormack, Robin, (1989). The Byzantine Eye, Studies in Art and Patronage, London.

Cunningham, M., (2002). Faith in the Byzantine World, Downers Grove, InterVarsity Press

D. Levi, (1947) Antioch Mosaics Pavement, London.

Edward, James Martin, (1978). A History of the Iconoclastic Controversy, AMS Press, New York.

Erdihan, Yavuz, (2010). Ayasofya'da bulunan Zoe ve Komnenos Mozaikleri: Resimsel Düzenleme ve Konu Üzerine Karşılaştırmalı Bir İnceleme, İstanbul Üniversitesi, Sosyal Bilimler Enstitüsü, Sanat Tarihi Anabilim Dalı, (Yayımlanmamış Yüksek Lisans Tezi), İstanbul.

Freely, John ve Çakmak, Ahmet, (2005). İstanbul’un Bizans Anıtları, Çev. Gülru Tanman İstanbul.

https://www.kitabimukaddes.com/kutsal-kitap-hakkinda-bilgilendirme-ve-tam-metni erişim tarihi: 08.04.2020.

J. M. Hussey, (1966). The Cambridge Medieval History, Canbridge, C. IV, s. 68.

Küçük, M., A., (2016) İkonografiden İnanca “İsa Mesih’in Dirilişi/Paskalya” Süreci, Gazi Üniversitesi Sosyal Bilimler Dergisi. 3(8), 230-274.

Lowden John, (1977). Early Christian and Byzantlum Art, London, Phaidon Press, s. 148.

Müler-Wiener, Wolfgang; (2001). İstanbul’un Tarihsel Topograyası, Çev. Ülker Sayın, İstanbul, s.87.

Witakowska, Baliçka, (1996). Bizans Kiliselerinde İkonaların Konulduğu Yerler, (A. Özdamar Çev.), Kitap Yayınları, İstanbul.

Yılmaz, N. (1993) Ayasofya Müzesi’ndeki İkonalar, Ayasofya Müzesi’ndeki İkonalar Kataloğu, İstanbul.

Published

2020-09-03

How to Cite

GEYİK, N. E. (2020). Iconoclasm Period in Byzantine History and the Effect of Iconoclasm on Hagia Sophia. International Journal of Social, Political and Economic Research, 7(3), 575–590. https://doi.org/10.46291/IJOSPERvol7iss3pp575-590

Issue

Section

Articles