Χρονολόγηση. Γεωγραφικός εντοπισμός IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ. 1. The wall paintings of the church

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1 Περίληψη : In the region of Υanartaş, within 83 km from Attaleia of Cappadocia, there are architectural remains of a three-aisled basilica with three apses to the east. Τradition has attributed the church's foundation to Helen, the mother of Constantine the Great. Two layers of wall paintings, mainly with floral and geometrical motifs, have been fragmentary preserved in the interior of the church; they date from the 6 th to the 9 th century. This decoration, to the extent it has been preserved, provides additional evidence for studying the art of this period, which has generally left behind a limited number of iconographic programmes. Χρονολόγηση 6 th -9 th century Γεωγραφικός εντοπισμός Υanartaş, Cappadocia 1. The wall paintings of the church In the area of Υanartaş in Lycia, within 83 km from Attaleia of Cappadocia, the excavations brought to light the remains of two building complexes at a distance of 30 m from each other. The one of them included a three-aisled basilica with a three-apse bema to the east. Only the middle and the northern aisles along with the three apses, semicircular both internally and externally, have been preserved from the basilica. 1 Three different construction phases may be observed in the church: the first two can be traced in the older northern apse, with fine limestone ashlars incorporated to the left of the cylindrical section of the apse among the disorderly positioned rough limestone blocks that form the masonry of the entire building; the third phase includes the three posterior apses, which were constructed to the west of the older ones. All three phases are dated between the 6th and the 9th centuries. The study of the church decoration has not been completed. However, according to the results of the research so far, two layers of decoration can be traced on the church walls, which were covered with mortar at an indefinite moment Layer Α This layer includes the representations of the older northern apse as well as the decoration of the semi-dome of the southern apse. 3 Furthermore, some small coloured areas on ashlar stones of the original building, which were used as material for the reconstruction of the middle aisle, also belong to the first layer of decoration of the church. More specifically, in the older northern apse the decoration is divided in three zones; one in the semi-dome and two in the cylindrical section, which are defined by bands 8 cm high. At the centre of the semi-dome there was an arched window probably opened in the place of a pre-existent representation with three figures. Two of them have been preserved in standing position on either side of the window. The figure on the left, with only the upper half part visible today, is turned by three quarters to the left, while the right hand is stretched to the centre of the representation. The body is covered with a red chiton and a blue himation, and the head is surrounded by a largely damaged yellow halo with an ochre outline. The figure to the right, which possibly did not have a halo, is also dressed in a red chiton, while the folds of the himation carry traces of ochre and dark blue colour. As regards the third, central figure, which was destroyed when the window was opened, only the upper part of the halo has been preserved, which is also yellow with an ochre outline. In the cylindrical section of the apse only the first of the two zones has been preserved in a better condition and, although some pieces have been detached and large areas covered with mould corrupt the picture, must have included geometrical decorations, possibly with concentric circles. Δημιουργήθηκε στις 28/9/2017 Σελίδα 1/6

2 Finally, traces of colour and decorative motifs have survived on ashlar stones of the original building, which were reused, according to information, for the reconstruction of the church, all of them being in the middle aisle: a) to the NW of the aisle, in an arch revealed after the collapse of the subsequent wall, a stone 30 cm long, 15 cm thick and 21 cm wide was found, where a geometrical motif may be discerned, possibly circles and squares with green, yellow and ochre outline b) in the arch of the window subsequently opened to the east of the northern wall, the ashlar stones have green, light and dark blue, ochre and red traces on yellow background c) in the apse, near the northern pilaster, an ashlar stone maintains different layers of mortar with green, dark blue, red and yellow traces Layer Β This layer includes the wall paintings of the middle and the northern aisles and the respective later apses, as well as traces of decoration on a small part of the northern wall of the southern aisle. The decoration of the pilasters beside the apse and that of the northern wall has been preserved in the middle aisle. The two pilasters are adorned with two candlestands, with the one to the south preserved in a better condition. It starts from the floor and rises up to the topmost point of the semi-dome of the apse, that is, almost 2 metres high. Traces of vivid yellow and green colour have been preserved in its spirals, while ochre has been used in the outlines connecting the spirals. In the northern wall of the same aisle, in zones defined by ochre bands 8 cm high, there are representations of various geometrical and floral themes: alternate yellow and green panels with ochre sides, yellow circles joined with one another adorned with plain leafshaped and curvilinear motifs in vivid blue and ochre colour, rhombi inscribed within circles, floral motifs possibly depicting palm leaves and concentric circles with contiguous perimeters of their exterior rings. In the northern aisle the apse, whose decoration has been well preserved, is divided into three iconographic zones: the first covers the area of the semi-dome, which is separated from the cylindrical section of the apse by a horizontal mudbrick cornice; the two other zones take up the space of the cylindrical section, seperated by an ochre band 8 cm high, where is carved the only inscription preserved in the church. The centre of the semi-dome is occupied by a large cross, whose vertical arm is 1 m long and the horizontal 80 cm long. The cross is inscribed within a circular mandorla formed by two encircling bands, the internal in ochre and the external in yellow colour, while stylized green, ochre and yellow palm leaves with an average length of 30 cm start to develop from the point where the arms of the cross meet. The same colours have been used in the rhombi surrounding the mandorle, thus creating a colourful and highly impressive result. The outlines of the leaves and the cross s arms have been made in light ochre and yellow colour, while the outline of the circles in dark blue colour. In the cylindrical section of the apse, in the lower zone, consecutive vivid green fourleaf motifs with single, double or triple outlines in the same colour are represented in a yellow open country, while in the upper zone there are contiguous circles with green and yellow rhombi inscribed internally. A small circle is incribed within each rhombus, green circles inside the yellow rhombi and yellow circles in the green rhombi. A similar motif, contiguous circles with inscribed rhombi, also adorns the northern and the southern walls near the apse. Finally, a small part of an ochre band is all what is left in the northern wall of the southern aisle. However, the entire aisle as well as the other two aisles of the church must have been decorated. Both iconographic layers of the church were covered at an indefinite moment with a third layer of mortar. 2. Chronology of the wall paintings Δημιουργήθηκε στις 28/9/2017 Σελίδα 2/6

3 Given that neither the iconography nor the style of the wall paintings of the church has been thoroughly studied, it should be underlined that any conclusions about their chronology are not permanent. 4 The pictorial representation with the three figures in the earlier northern apse of the church suggests that Layer A should be dated before the 8th century and the Iconoclasm, when the iconographic representations must have been almost completely abandoned in the decoration of churches and replaced with anti-iconic themes. However, the excavators of the church consider the 6th century as a more possible date for those paintings after taking into account the poor quality of the church s masonry (disorderly positioned rough limestone blocks). A few centuries later, when the church was resotred, the interior was decorated for a second time, after the previous layer of wall paintings was covered with mortar. The themes selected this time were exclusively geometrical and floral. Among those themes, the cross in the semi-dome of the northern, later apse could indicate that the specific layer was made during the Iconoclasm, when the particular symbol was quite common in church apses. 5 A partially preserved inscription below the vertical arm of the same cross, both belonging to the same layer, can be dated, according to epigraphic evidence, to the first half of the 9th century and, as a result, Layer B of the church can be dated to the same period. In conclusion, the basilica of Yanartaş, a 6th century building with subsequent repairs, was decorated with two iconographic layers, the first including pictorial and anti-iconic representations and the second exclusively anti-iconic representations, which may be dated to the period between the 6th century and the first half of the 9th century. The mortar used much later over those layers protected them from being damaged until the Italian excavations in 1994, which brought to light this important collection of pre-iconoclasm and post-iconoclasm representations. 3. The inscription The sole inscription surviving in the church 6 is in the later apse of the northern aisle, beneath the cross adorning the semi-dome, in an ochre band 6 cm wide. Only the last part of the inscription has survived, in white capital letters 6 cm high. According to the correct transcription of Ε. Kalinka, the text has as follows: ΤΟ]Υ ΕΜΒ ΑΤΗΟΥ From this fragment two points may be commented: a) One of the meanings of the noun εμβάτης (genitive τοῦ ἐμβατήου) is baptistery. Therefore, the view that the inscription in the apse of the northern aisle proves that this space was used as a baptistery seems both possible and attractive. However, the incomplete research on the church has not provided any evidence confirming this view so far. b) Among the letters preserved the Υ with its two upper branches bending downwards and the Β, which is connected at its lowest point with the left branch of the next letter A through a thin line, are also found in inscriptions of the first half of the 9th century. 8 All things considered, the inscription and, consequently, the layer of the iconography it belongs to, may be dated to that period. 1. Excavators called the two complexes Complex A and Complex B ; the basilica belongs to Complex B. About Complex A, see the study of V. Ruggieri, F. Giordano and Α. Furnari, Ιl sito bizantino di Chimera: 2 Rapporto, Οrientalia Christiana Periodica 63, fasc. I (1997), pp ; about B, whose study has not been completed yet, see mainly V. Ruggieri, F. Giordano and Α. Furnari, Un complesso iconoclastico a Chimera (Yanartaş). Rapporto preliminare, Οrientalia Christiana Periodica 60, fasc. II (1994), pp , fig. 1-16, and additional information about the chronology of the church by the same authors in Ιl sito bizantino di Chimera: 2 Rapporto, Οrientalia Christiana Periodica 63, fasc. I (1997), pp About the iconographic layers of the church, see V. Ruggieri, F. Giordano and Α. Furnari, Un complesso iconoclastico a Chimera (Yanartaş). Rapporto preliminare, Οrientalia Christiana Periodica 60, fasc. II (1994), pp , fig The study of the iconography of this semi-dome has not been completed. 4. A first attempt to date the iconographic layers of the church was made by V. Ruggieri, F. Giordano and Α. Furnari, Un complesso iconoclastico a Chimera (Yanartaş). Rapporto preliminare, Οrientalia Christiana Periodica 60, fasc. II (1994), pp Δημιουργήθηκε στις 28/9/2017 Σελίδα 3/6

4 5. As it happened in the central apse of the Church of St. Eirene in Constantinople, see Cormack, R., Τhe Arts during the Age of Iconoclasm, in Α. Bryer J.Herrin (ed.), Iconoclasm. Papers given at the 9th Spring Symposium of Byzantine Studies, University of Birmingham, March 1975 (Birmingham 1977), pp. 3-4, fig. 7 (repr. in Cormack, R., The Byzantine Eye: Studies in Art and Patronage, v.r., ΙΙΙ (London 1989), in Hagia Sophia of Thessaloniki, below the mosaic representation of the enthroned Virgin Mary with Jesus, see Cormack, R., Τhe Apse Mosaics of St. Sophia at Thessaloniki, Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 10 ( ), p. 118, pl. 19a-b and 22, (repr. in Cormack, R., The Byzantine Eye: Studies in Art and Patronage, v.r., V (London 1989) and the completely ruined in 1922 Church of the Dormition in Nicaea, see Wulff, Ο., Die Koimesis-kirche in Nicäa und ihre Mosaiken (Strasbourg 1903), pl. 2. About the history of the cross as a decorative theme in churches, see Millet, G., Les Iconoclastes et la Croix, Bulletin de correspondance hellénique 34 (1910), pp ; Grabar, A., L Iconoclasme Byzantin (Paris 1957), pp ; Ιhm, Chr., Die Programme der christlichen Apsismalerei vom vierten Jhdt. bis zur Mitte des Achten Jhdt.s (Wiesbaden 1960), pp , pl. ΧΧΙ. 1; and Cormack, R., Τhe Arts during the Age of Iconoclasm, in Bryer, A. Herrin, J. (eds), Iconoclasm (Birmingham 1977), pp A transcription, comments and a photograph of the inscription has been incorporated into the study of V. Ruggieri, F. Giordano and Α. Furnari, Un complesso iconoclastico a Chimera (Yanartaş). Rapporto preliminare, Οrientalia Christiana Periodica 60, fasc. II (1994), pp , fig Tituli Lyciae 1183, in: Κalinka, E. (ed.), Tituli Asiae Minoris II/3 (Vindobonae 1944). 8. Mango, C., Byzantine Epigraphy (4th to 10th centuries), in Harlfinger, D. Prato, D. (ed.), Paleographia e codicologia greca 1 (Alessandria 1991), p Βιβλιογραφία : Λεβίδης Α., Αι εν μονολίθοις μοναί της Καππαδοκίας και Λυκαονίας, Τυπογραφείο Αλέξανδρου Νομισματίδου, Κωνσταντινούπολις 1899 Ruggieri V., Giordano F., Furnari A., "Un complesso iconoclastico a Chimera (Yanartaş). Rapporto preliminare", Orientalia Christiana Periodica, 60, fasc. II, 1994, Ruggieri V., Giordano F., Furnari A., "Il sito bizantino di Chimera: 2 Rapporto", Orientalia Christiana Periodica, 63, fasc. I, 1997, Δικτυογραφία : Surveys at Ancient Olympos in Γλωσσάριo : aisle Τhe part of the naos of a church set off by the internal rows of piers or columns, namely by the structures supporting the roof. anta or pilaster, the A shallow rectagular feature projecting from a wall, having a capital and a base and architecturally treated as a column. apse An arched srtucture or a semi circular end of a wall. In byzantine architecture it means the semicircular, usually barrel vaulted, niche at the east end of a basilica. The side aisles of a basilica may also end in an apse, but it is always in the central apse where the altar is placed. It was separated from the main church by a barrier, the templon, or the iconostasis. Its ground plan on the external side could be semicircular, rectangular or polygonal. arch, the A curved structure, as a masonry, that covers openings in the stonework and is capable to supports the weight of material over an open space, as in a bridge, doorway, etc. It is often used as a decorative element. Δημιουργήθηκε στις 28/9/2017 Σελίδα 4/6

5 baptistery The building or room used for Baptism. It had a font usually in the form of a cross. After the 6th c. the baptisteries constitute distinct constructionsoctagonal, circular, cruciform- detached to the church or its courtyard. bema The area at east end of the naos in Byzantine churches, containing the altar, also referred to as the presbetery or hierateion (sanctuary). In these area take place the Holy Eucharist. chiton, the Item of clothing consisting of a square woollen textile seamed on both sides. cornice Decorative architectural element projecting from the wall. It is used both on the internal and the external face of the church walls, in order to mark the division between the vertical wall and the spring of the vaults. It is usually made of marble and bears painted or sculptural decoration of vegetal or geometric motifs. himation, the Rectangular woolen (mainly) cloth that was worn over the chiton (cloak). It could be wrapped around the shoulders and the body in different ways and was fastened with a belt or with brooches. mandorla (doxa) (and mandrole) A round, elliptical or rhomboid bright aureole that encloses the whole figure of Christ, or more rarely the figure of the Virgin, in some represantations mortar, the Liquidised paste consisting of soil, water, sand or marble. It is used as binding material between rocks or plinths. Thus, it assures stability and protection of mansory. non figural (anti-iconic) decoration Decoration which consists only of geometrical and floral motifs. This kind of decoration was widely spread in the tombs of the Early Byzantine period and during Iconoclasm. In this case it is reffered to as anti-iconic, since the iconoclasts rejected icon veneration and prohibited any depiction of the human figure of Christ, Virgin Mary, the saints and angles. semi-dome The vaulted crown of an apsed niche. The semi-dome of the apse of the Bema may be also called a conch. three-aisled basilica An oblong type of church internally divided into three aisles: the middle and the two side aisles. The middle aisle is often lighted by an elevated clerestory. In the Early Byzantine years this type of church had huge dimensions. Πηγές Λεβίδης, Μ., Αἱ ἐν μονολίθοις μοναὶ τῆς Καππαδοκίας καὶ Λυκαονίας (Κωνσταντινούπολις 1899), pp Παραθέματα The tradition about the foundation of the church by Helen, the mother of Constantine the Great Σύμφωνα με την παράδοση, η μητέρα του Μεγάλου Κωνσταντίνου, αγία Ελένη, ταξιδεύοντας από την Κωνσταντινούπολη προς τα Ιεροσόλυμα σε αναζήτηση του Τιμίου Σταυρού, είδε σε όνειρο τον αρχάγγελο Μιχαήλ να τη διατάζει να κτίσει ναό στον λεγόμενο «θαμνώδη τόπο» και να τον αφιερώσει στον ίδιο. Η αγία Ελένη, όταν έφτασε στη συγκεκριμένη περιοχή, βρήκε ανάμεσα σε θάμνους ένα λίθο ερυθρού χρώματος στην ίδια τοποθεσία ανήγειρε ναό και ενσωμάτωσε το λίθο στο θόλο του. Ένα κομμάτι του λίθου αυτού, που βρέθηκε στις αναστηλωτικές εργασίες που έγιναν στο ναό επί Σελίμ Γ, τοποθετήθηκε στον τοίχο του Ιερού. Από το ερυθρό χρώμα του λίθου το μοναστήρι έγινε γνωστό με την τουρκική επωνυμία «Γιανάρ τας Μοναστηρή», δηλαδή «Μοναστήρι του καιομένου λίθου», ενώ μέχρι τις αρχές του 20ού αιώνα ήταν γνωστό στους Έλληνες της περιοχής και ως «Μονή των Ταξιαρχών Μιχαήλ και Γαβριήλ. Λεβίδης, Μ., Αἱ ἐν μονολίθοις μοναὶ τῆς Καππαδοκίας καὶ Λυκαονίας (Constantinople 1899), pp , with complete information about the history and the benefactors of the church. Δημιουργήθηκε στις 28/9/2017 Σελίδα 5/6

6 Χρονολόγιο 6th century: the church is built and decorated with wall paintings for the first time first half of 9th century: the church is reconstructed and redecorated with new wall paintings Δημιουργήθηκε στις 28/9/2017 Σελίδα 6/6