Χρονολόγηση. Γεωγραφικός εντοπισμός IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ. 1. Old Church or Tokalı State of preservation Phases of wall decoration

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1 Περίληψη : The monastic complex of Tokali, one of the most significant ones in Cappadocia, promoted Göreme to an important monastic centre. The wallpaintings of the Old Church, works of a local workshop of the first quarter of the 10 th century, form a characteristic example of the archaic group. Of remarkable importance is the painted decoration of the New Church constituting one of the masterpieces of the art of the Macedonian Renaissance, while the lavish patronage is possibly connected with the Phokas family. Χρονολόγηση First quarter of 10 th century (Old Church) / mid 10 th century (New Church) Γεωγραφικός εντοπισμός Cappadocia, Göreme valley, mod. Göreme Vadisi, central Turkey 1. Old Church or Tokalı State of preservation Phases of wall decoration The majority of the bema frescoes of the Old Church or Tokalı 1 at Göreme of Cappadocia were destroyed during the opening of the apse for the cutting of the New Church. The main layer of wall painting, dated to the first quarter of the 10 th century, is fairly preserved; the most damages are located on the walls of the nave. The frescoes of the south wall have not survived, while the scenes on the barrel vault are preserved in a better condition. The rest of the phases of decoration are mainly concentrated in the conch between the Old and the New Church and in the vestibule. The frescoes of the Old and the New Church have been restored Iconographic programme, description of the frescoes Bema From the bema decoration of the Old Church only a few scenes have survived, because of the destruction of the apse. Parts of the representation of the Ascension are still preserved on the apse front and further below, to the south of the apse, parts of the Presentation of Christ in the Temple. On the north pilaster Saint Christopher is depicted and below the enthroned Virgin Mary holding Christ Child, which belonged to a later phase. To the northern side of a conch, located at the entrance to the sanctuary, the bust of a saint is preserved in fragments. Around the arch of the conch there is an inscription from Psalms 21, 23: «ανάμεσο της ε[κκλησίας υμνήσω σε]». This fresco is not contemporary with those of the nave Nave On the keystone of the nave s barrel vault there is a series of medallions with busts of prophets, among which the following are identified from west to east: Isaiah or Jeremiah, Joel, Jonas, Amos, Zachariah, Habakkuk or Malachi, Micah, Daniel, Sophonias, Nahum, Hosea. On both sides the decoration of the barrel vault is arranged in totally six registers, three in its southern part and three in its northern one. Inside the registers the scenes are arranged from left to right, beginning from the upper southeastern end of the vault and ending at the lower northeastern end. The three horizontal layers of the narration roughly correspond to the traditional tripartite partition of the Christological cycle: Δημιουργήθηκε στις 21/5/2017 Σελίδα 1/12

2 Infancy, Miracles and Passion. It is worth mentioning that the scenes are not separated with a painted frame, but are represented uninterrupted, an element that characterizes the archaic decorative programs. The scenes on the barrel vault are the following: In its southern part, in the northmost register, are met the Annunciation, the Visitation, the Trial by Water, the Journey to Bethlehem, the Nativity; in its northern part, in the southmost register, the Adoration of the Magi, the Massacre of the Innocents, the Flight into Egypt, the Killing of Zachariah; in the middle register of the southern part the Flight of Elizabeth, the Angel appearing to John the Baptist, John the Baptist Preaching, John the Baptist greeting Christ, the Baptism, the Marriage at Cana; in the middle register of the northern part the Miracle at the Marriage at Cana, the Calling of the Apostles Peter and Andrew, the Multiplication of the Loaves and the Fishes, the Healing of the Blind Man, the Rising of Lazarus; in the southern most register of the southern part of the barrel vault the Entry into Jerusalem, the Last Supper, the Betrayal of Judas and Christ before Pilate and in the northern most register of the northern part the Way of the Cross, the Crucifixion, the Deposition from the Cross, the Entombment, the Myrophores (Marys at the Tomb) and the Resurrection. On the western lunette the Transfiguration is depicted. The north wall is occupied by the free standing figures of male and female saints. From west to east are pictured Saintes Agape, Anastasia and Marina and the Saints Dometianos, Katidios Panteleimon, Photios, Theodore, Constantine and Helen, Catherine and Hieron (the last one belongs to a later phase). Right opposite Saint Hieron, on the southern wall, Saint George is pictured, who was added later as well. On the barrel vault of the antechamber are painted the figures of six enthroned Apostles, in two rows. Apostle Paul is represented further east and Peter would have been represented opposite, to the right. It is not certain if it is about a depiction of the Pentecost 1 or a grandiose gathering in reference to the gathering of monks at this part of the church. 2 The conch in the north wall of the antechamber contains the depictions of Saint Jason and Saint John the Baptist Iconographic remarks The frescoes of the Old Church are iconographically placed in the archaic group, because what prevails is the Christological cycle painted in registers without being separated by frames, with a strong narrative character Stylistic remarks The decoration of the Old Church is characterized by the intense use of line and the schematization and it is considered to be the work of the workshop that elaborated Saint John at Güllü Dere ( ), a workshop that was active during the first quarter of the 10 th century Date The main layer of frescoes is dated to the first quarter of the 10 th century. 4 The rest of the decoration phases are mainly located in the conch between the Old and the New Church. According to a view, the wall paintings could be dated to the end of the 9th beginnings of the 10 th century, 5 whereas, according to another one, around the middle of the 10 th century. 6 As far as the wall paintings of the antechamber are concerned, they bear affinities with those of certain churches at Göreme (no. 1, 4a, 6, 8 and 13) and could be attributed to the archaic decorative programs of the first half of the 10 th Δημιουργήθηκε στις 21/5/2017 Σελίδα 2/12

3 century. According to Jolivet Lévy, these frescoes have been elaborated by a different painter in relation to the one of the Old Church and must be dated a little later than those of the Old Church New Church or Saint Basil or Tokalı State of preservation Phases of wall decoration In the New Church the mural paintings cover the tripartite bema, the transverse corridor and the nave. The northern chapel bears only non figural linear decoration, of red and green color, which is painted directly upon the rock, without the use of mortar. A similar decoration is in the New Church as well and is visible in these parts where the mortar of the main decoration has fallen. This aniconic decoration has been assumed to be executed by the same craftsmen that cut the church in the rock, right after its cutting, a phenomenon met in many Cappadocian churches. The main layer of the New Church wall decoration, that covered the initial decoration, is dated around the middle of the 10 th century and is generally preserved in good condition, with the exception of the south apse decoration that has been destroyed and some other images in other parts of the church. The frescoes of the New Church, that have been restored, present some differences in style. Wharton Epstein believes that, although these differences, the mural decoration presents homogeneity and has been elaborated by the same painter or a group of painters. 8 In a later phase belongs a representation of Saint Theodore that covered part of an earlier depiction of Saint Eustathios Passion, on the parapet slab of the corridor opposite the south conch Iconographic programme, description of the frescoes Bema In the central apse of the bema the programme is arranged in three registers one in the apse semi dome and two in the semicircular part of the apse. In the apse conch of the central apse the Crucifixion is depicted, rendered in detail with a triumphal character. In the semicircular part of the central apse a predominant place possesses the depiction of Saint Basil the Great, from which only the head is preserved. On either sides scenes from the entombment and the resurrection of the Christ are represented; the Deposition from the Cross and the Entombment to the left, the Resurrection and the Myrophores (Marys at the Tomb) to the right. The decoration of the lowest register in the semicircular part of the apse is not preserved; perhaps bishops would have been portrayed. 9 On the apex of the soffit of the triumphal arch of the apse an archangel is pictured in bust, maybe Michael, and on either sides the prophets Jeremiah and Ezekiel. The apse conch of the north apse is ornated with a prophetic vision with enthroned Christ, flanked by archangels Michael and Gabriel, a pair of wheels, a seraphim and a cherubim. The semicircular part of the north apse is divided in three parts. In the centre the Hospitality of Abraham is pictured on a blue ground, on the northern end two scenes without dividing frame and on a yellowish ground; bishop Zosimas offering communion to Mary of Egypt and the Weighing of the Souls. In the southern part saints monks and hermits are met on a yellowish ground; it is about the figures of Saint Anthony, Symeon Stylites, Timotheos, Epiphanios and Arsenios. The soffit of the apse arch is covered with a jeweled cross in a medallion and on either sides Saint Alypios to the north and Saint Euthymios to the south. The south apse decoration has been destroyed. In the apse conch Virgin Mary was probably depicted, since her Δημιουργήθηκε στις 21/5/2017 Σελίδα 3/12

4 representation is missing from the other apses. 10 On the eastern wall of the transverse corridor, between the apses, above the intermediate conches, there are two scenes from the Twelve Feasts; the Transfiguration to the right and the Dormition of the Virgin to the left. Beneath the Dormition scene, in the northern most, intermediate conch, Virgin Mary is portrayed in the type of Eleousa. On the ceiling and the walls of the corridor there is a rich series of saints, mainly bihops, portraits, the majority of which originates from Asia Minor, yet bishops from Constantinople (5), Alexandria (3) and Cyprus (3) are discerned, as well as two popes of Rome and one bishop of Antioch. Saints are depicted on the soffits of the arches of the row of piers, placed above other saints on the inner face of the piers, nowadays almost entirely destroyed. On the soffit of the central arch Saints Constantine and Helen are portrayed holding the cross. Underneath Constantine perhaps John Prodromos is pictured and underneath Sainte Helen, on the inner face of the northern pier, perhaps Virgin Mary. Two parapet slabs close the intermediate arcadesof the corridor, in front of the north and the south conch respectively. Only the parapet slab to the south preserves its decoration with the passion of Saint Eustathios, his wife Theopistes and their sons Agapios and Theopistos. Part of the depiction, to the right, was covered at a later phase with the full standing depiction of Saint Theodoros Nave The central part of the barrel vault is adorned with the depictions of the Ascension and the Blessing of the Apostles, its southern part with Pentecost in the centre, the Mission to the Apostles to the west and Peter ordaining the first deacons to the east. The northern part of the barrel vault is covered in the centre with the Annunciation, to the east with the Trial by Water, the scene of Virgin reproached by Joseph and the Visitation, while to the west with the Nativity and the Adoration of the Magi. On the front of the eastern row of piers are depicted scenes from the miracles of Christ, such as the Healing of the Blind Man, of the Leper, of the Man with the Withered Hand and of the Man Possessed with Demons, to be continued on the southern wall, in the register above the arcade, with the Healing of the Officer s Son, the Resurrection of the Daughter of Jairus and the Healing of the Paralytic. In the same register are depicted as well the Raising of Lazarus, the Entry into Jerusalem and the Last Supper. On the western wall, in its southern part, the Washing of the Feet is depicted. Between the entrance and the northern wall as well as on the northern wall are pictured scenes from the Life of Basil the Great and on the northern part of the western wall the Flight into Egypt, the Visitation and the scene of Jesus in the Temple. On the northern wall, in the register above the arcade, are represented the Calling of John the Baptist, Christ and John the Baptist, the Baptism, the Temptation of Christ in the Desert, the Calling of Matthew, the Calling of Peter, of Andrew, of Jacob and of John, the Marriage at Cana. In the apex of the northern lunette are painted the Journey to Bethlehem and the Dream of Joseph. The iconographic program of the main nave is completed with a rich hagiographic repertory, consisted mainly from the Forty Martyrs in Sebasteia, most of them depicted in the blind conches of the northern and the southern lunette of the main nave Dedicatory inscriptions In the New Church two painted dedicatory inscriptions are preserved. The first of them runs the upper decorative frieze of the main nave, beginning to the east of the entrance and ending to the right of it. It is about words, an inscription in verse, of black color, with elegant script and carefully executed, which is fragmentarily preserved. The epigram reads as follows: Δημιουργήθηκε στις 21/5/2017 Σελίδα 4/12

5 + Σὸν ναὸν ἱερ[ώτατον...διʹ ὅλου ἀ]νιστόρησεν Κωνσταντῖνος ἐκ πόθου πρὸς μον[ὴν τῶν οὐρανίων ἀσω]μάτων (;). Κοσμεῖ νεουργὼν εἰκόσι σεβασμίαις, Γράφων ἐν αὐτ[αῖς ν [ὡς] τρέχου[σα πρὸς Ἐλισάβετ;]...[τὴν δόξαν αὐτοῦἐν] Θαβὼρ προδεικνύων ὡς τοὺς μαθητὰς ὥπλισεν θείοις λόγοις ὡς ἐπὶ χόρτου διέθρεψε [τοὺς ὄχλους ὡς] ταχυδρόμος ὅπως δι ἡμᾶς νεκρὸς εἰς Ἅιδου τρέχῃ καὶ νεκρ[ῶν πολλοὺς πρὸς ζωὴν ἐξεγείρῃ;] 20 The inscription informs us that the donor of the mural decoration was Constantine and that the church belonged to the monastery of the Heavenly Asomatoi. In addition, some scenes from the Twelve Feats are represented, perhaps the Visitation, the Transfiguration, the teaching of the Apostles, the Multiplication of the Loaves and the Fishes, the Resurrection and probably the Ascension. The second inscription is located at the foot of the apse of the prothesis and differs significantly from the previous scholar epigram, since its language is simple and the script is not particularly executed in a careful manner. The inscription is of black color and reads as follows: + ἐκαλλιωρήθη τὸ βῆμ[α τοῦτο Νικ]ηφόρου διὰ συνδρομῆς τοῦ δούλου τοῦ Θ(εο)ῦ Λέοντος Κωνσταντίνου καὶ οἱ ἀναγινώσκοντες εὔχεσθε ὑπὲρ αὐτοῖς διὰ τὸν Κ(ύριο)ν. ἀμήν. It make mention of the fresco decoration of the prothesis and might declare the fulfilling of the works for the decoration of the New Church. The transcription of the prothesis inscription has become the subject of a special research. Jerphanion 11 reconstruct the missing part as «[χειρὶ Νικ]ηφόρου», believing Nikephoros to be the painter, a view that espouse Rodley 12 and Wharton Epstein, 13 but the mention of the painter before the donors has no parallel in Byzantine art and furthermore the signatures of the painters are rare during the 10 th century. Thierry transcribes «[πίστει Νικ]ηφόρου», 14 a transcription that Jolivet Lévy accepts as well. 15 A big question is who were the donors of the church, since in the dedicatory inscriptions of the New Church these are mentioned only with their Christian name, an element that coincides with the data of the 10 th century patronage. The high ranking status of Constantine, who is the main donor, is certain, if we judge from the wealth and the size of his patronage. In addition, he must have been discerned for his intellectual status, as it becomes obvious in the scholar epigram and his interference in the iconographic program of the church, which is singled out for its complexity. The donors Nikephoros and Leo (of Constantine), who are mentioned in the inscription of the prothesis apse, must be rather exclusively associated with the mural decoration of the prothesis, as it is quite clearly indicated in the text of the before mentioned inscription. Probably their patronage took place within a short period of time from the wall decoration of the church and perhaps marks the fulfillment of the decoration of the New Church. Thierry 16 attributes the patronage to the Phokas family, since the names of the donors of the New Church Constantine, Nikephoros and Leo were usual names of this family. Nikephoros of the prothesis inscription must have been always according to Thierry the first born son of Bardas Phokas and the future emperor of Byzantium, Constantine of the first inscription must have been the third son of Bardas Phokas, who died in captivity in 953, and Leo must have been Constantine s son. We do not known from the sources if Constantine Phokas was married or if he had children. Thus, according to Thierry s hypothesis, Constantine was the founder of the church, since he is the only one mentioned in the dedicatory inscription of the main nave, and must have founded the church before 953, the year of his death. Later on, his brother Nikephoros must have continued the patronage for a time after Constantine s death, on behalf of his nephew, Leo, who must have been a child that time, namely from 954 and afterwards and before 963, Δημιουργήθηκε στις 21/5/2017 Σελίδα 5/12

6 when he was crowned emperor Iconographic remarks The iconographic program of the New Church is believed to have a transitive character with archaic elements, such as the prophetic vision in the prothesis apse, the wide Christological cycle, the emphasis on miracles, the depictions arranged in continuous registers without dividing frames in the register above the arcades, and innovative ones, such as the first surviving depiction of Virgin the Mary in the type of Eleousa, the progressive elements in the scenes of Pentecost and of the Dormition of the Virgin, the emphasis on the scenes of the Twelve Feasts and the complexity of the scenes from the Ministry of Christ. The depiction of scenes from the Passion of Christ in the central apse does not follow the established iconographic program of the apse. However, the scene of Crucifixion is certainly related to the area of the sanctuary, since it points out the sacrifice of Christ and symbolizes the Divine Liturgy celebrated in this area. Generally, the iconographic program of the New Church is singled out for its complexity and its innovative elements. Its inspirers must have had a high intellectual status and deep theological knowledge. The theme of the scenes of the central apse depicting the death, the entombment and the resurrection of Christ is rarely met in the apse, but is in harmony with the meaning of the Divine Liturgy memory of the sacrifice of the cross and the sepulchre as well with the symbolic meaning of the bema of the church. Grabar interprets the placement of the Crucifixion in the apse as mimesis of the martyria churches of the Holy Land, 17 whereas Cormack sees on it Constantinopolitan influence. 18 According to Jolivet Lévy, the significance of the program of the apse has several meanings: liturgically is connected with Divine Liturgy and the celebration of the Easter Day, theologically provides a summary of the creed of Christ s double nature. 19 The placement of the depiction of Saint Basil in the centre of the semicircular part of the main apse reveals the worship that the saint enjoyed in Cappadocia and the fact that the church must have been dedicated to him. The depictions to the left of the saint (Deposition and Entombment) underline the reality of death and as a consequence the human nature of Christ, whereas the Resurrection and the Myrophores to his right prove the divine nature of the Incarnated Logos. The chronological succession of the scenes is not followed and this proves their dogmatic value. The prophetic vision of the prothesis apse constitutes a characteristic representation of the archaic decorative programs. However, the symbols of the four Evangelists and the mandorla of Christ are absent, while the wheels, the cherubims, the seraphims and the archangels are depicted. The scene of the Dormition of the Virgin, on the eastern wall of the corridor, follows a rich and innovative type, with Christ enthroned, flanked by angels and the Apostles approaching from the west upon clouds. In the lower part Christ is standing upright next to the bed and delivers his mother s soul to an angel. Beneath that, the depiction of Virgin Mary in the type of Eleousa was an icon of veneration for the believers. Christ s gesture of tenderness towards his mother underlines the reality of his human nature. An expression of the creed of Incarnation, this depiction can be interpreted here as the forerunner of the Virgin of the Passion, taking into consideration the iconographic type (Eleousa) and its location (near the Crucifixion of the apse). On the ceiling and the walls of the corridor is depicted a very rich repertory of saints, mainly bishops. The New Church presents in this way, around the middle of the 10 th century, an early example of the enrichment of the hagiographic repertory, an effect due to the crash of the Iconoclasm and to the expansion of the menologion, which is attested as well, mainly from the 11 th century, in the miniature illumination of the manuscripts and in the portable icons. All the Δημιουργήθηκε στις 21/5/2017 Σελίδα 6/12

7 categories of saints are portrayed in the program of the corridor: mainly bishops, but hermits, monks, martyrs, anargyroi and female saints as well. The choice of the saints shows the will to point out particularly the bishops of Asia Minor. Furthermore, it becomes apparent a clear preference for the saints whose feast is placed in the first half of the year (September February), as it is observed in other Byzantine churches as well. The depiction of Virgin Mary and of John the Baptist on the piers of the main arch at the central entrance to the sanctuary is due to the fact that they are the main witnesses of the Incarnation and the par excellence intercessors. In the main nave there is a particularly wide Christological cycle that is characterized by the size of the Miracle cycle and by the emphasis on certain scenes of the Twelve Feasts, such as the Ascension, the Annunciation, the Nativity, the Transfiguration and the Dormition of the Virgin Stylistic remarks The stylistic technique of execution of the wall paintings shows a high quality. The decoration of the New Church constitutes one of the most beautiful examples of the so called Macedonian Renaissance, following the classical trend of the Byzantine art, with the harmony in the compositions and the proportions of the figures, the slender figures with smaller heads in relation to the body, the elegant drapery, the gentle and well formed characteristics. The colors are singled out for their harmony in relation to the deep blue background of the semi precious stone lapis lazuli, by giving a tasteful result. Certain differentiations are present in the narrative scenes of the register of the north, the south and the west wall, where the figures are smaller and have been rendered with less skill. In addition, the frescoes of the semicircular part of the north apse have been painted in a new layer of mortar and have a yellowish ground, with the exception of the Hospitality of Abraham. Although these differences, Wharton Epstein believes that stylistically these wall paintings are homogeneous with the rest of the painted decoration of the church. 20 Perhaps they were made a little later than the main wall decoration, by the patronage of Leo, as informs us the dedicatory inscription of the prothesis. The frescoes of the New Church have no parallel in the monumental painting, since no painted ensembles have been survived from 10 th century Constantinople, only in the art of the manuscript illuminations, such as the codex Paris. gr. 510 and 139, as well as in the ivory panels of the Constantinopolitan workshops. Besides the high quality of the painting, the wealth of the patronage is obvious, since lapis lazuli was used on the ground of the scenes and golden and silver leaves for the haloes of Christ and of Virgin Mary. All these elements refer to the fact that the wall decoration of the New Church constituted a leading and expensive patronage with regard to its epoch (church fully painted, costly materials, skillful workshop). As far as the origin of the workshop is concerned there are essentially two opinions. According to the first one, it must have been a Constantinopolitan workshop, because of the innovative elements of the imagery of the church program and the stylistic affinities of its scenes with miniature illuminations and ivory works of Constantinopolitan workshops. Jolivet Levy 21 and Thierry 22 expressed the opinion that the workshop must have had Caesarea as its siege, based on the intense influences on the church program by local traditions, such as the passion of Saint Eystathios, the scenes from the Life of Saint Basil, the Forty Martyrs from Sebasteia, Saint Hieron of Matiene, Saint Orestes of Tyana as well as on the emphasis on the bishops of Asia Minor Date Δημιουργήθηκε στις 21/5/2017 Σελίδα 7/12

8 The main layer of the wall decoration of the New Church is dated around the middle of the 10 th century, and more precisely in , 23 with a terminus post quem the first quarter of the 10 th century, date of the wall decoration of the Old Church, and a terminus ante quem in , date of the wall decoration of the Pigeon House at Çavusin, since the painter of the Pigeon House seems to have used as his prototype some scenes of the New Church, such as the one of the Ascension and the one of the Blessing of the Apostles. 24 In a later phase belongs the representation of Saint Theodore on the parapet slab of the corridor opposite the south conch that covered part of a previous depiction of Saint Eustathios passion. Some scholars place chronologically the painted decoration of the New Church in the 13 th century; 25 however this date is opposed to the imagery and the style of the depictions. 1. de Jerphanion, G., Les églises rupestres de Cappadoce. Une nouvelle province de l art byzantin 1 (Paris 1925), p Cutler, Α., Apostolic Monasticism at Tokali Kilise in Cappadocia, Anatolian Studies 35 (1985), p Thierry, N., Un atelier de peintures du debut du Xe s. en Cappadoce: L'atelier de l'ancienne eglise de Tokali, Bulletin de la Société Nationale des Antiquaires de France (1971), p See for example Jolivet-Lévy, C., Les églises byzantines de Cappadoce. Le programme iconographique de l abside et de ses abords (Paris 1991), p Wharton Epstein, A., Tokali Kilise. Tenth-Century Metropolitan Art in Byzantine Cappadocia (Dumbarton Oaks Studies 22, Washington, D.C. 1986), p Rodley, L., Cave Monasteries of Byzantine Cappadocia (Cambridge 1985), p Jolivet-Lévy, C., Les églises byzantines de Cappadoce. Le programme iconographique de l abside et de ses abords (Paris 1991), p Wharton Epstein, A., Tokali Kilise. Tenth-Century Metropolitan Art in Byzantine Cappadocia (Dumbarton Oaks Studies 22, Washington, D.C. 1986), p Jolivet-Lévy, C., Les églises byzantines de Cappadoce. Le programme iconographique de l abside et de ses abords (Paris 1991), p Jolivet-Lévy, C., Les églises byzantines de Cappadoce. Le programme iconographique de l abside et de ses abords (Paris 1991), p de Jerphanion, G., Les églises rupestres de Cappadoce. Une nouvelle province de l art byzantin 1 (Paris 1925), p. 309, note Rodley, L., Cave Monasteries of Byzantine Cappadocia (Cambridge 1985), p Wharton Epstein, A., Tokali Kilise. Tenth-Century Metropolitan Art in Byzantine Cappadocia (Dumbarton Oaks Studies 22, Washington, D.C. 1986), p Thierry, N., La peinture de Cappadoce au Xe siècle. Recherches sur les commanditaires de la nouvelle église de Tokali et d autres monuments, in Κωνσταντίνος Ζ' ο Πορφυρογέννητος και η εποχή του, Β' Διεθνής Βυζαντινολογική Συνάντηση, Δελφοί, Ιουλίου 1987 (Athens 1989), p. 229, note Jolivet-Lévy, C., Les églises byzantines de Cappadoce. Le programme iconographique de l abside et de ses abords (Paris 1991), p. 99. Δημιουργήθηκε στις 21/5/2017 Σελίδα 8/12

9 16. Thierry, N., La peinture de Cappadoce au Xe siècle. Recherches sur les commanditaires de la nouvelle église de Tokali et d autres monuments, in Κωνσταντίνος Ζ' ο Πορφυρογέννητος και η εποχή του, Β' Διεθνής Βυζαντινολογική Συνάντηση, Δελφοί, Ιουλίου 1987 (Athens 1989), p See Grabar, A., Martyrium. Recherches sur le culte des reliques et l art chretien antique 2 (Paris 1943), p See Cormack, R., Byzantine Cappadocia. The Archaic Group of Wall-Paintings, Journal of the British Archaeological Association 30 (1967), p Jolivet-Lévy, C., Les églises byzantines de Cappadoce. Le programme iconographique de l abside et de ses abords (Paris 1991), p Wharton Epstein, A., Tokali Kilise. Tenth-Century Metropolitan Art in Byzantine Cappadocia (Dumbarton Oaks Studies 22, Washington, D.C. 1986), p Jolivet-Lévy, C., Hagiographie cappadocienne: a propos de quelques images nouvelles de saint Hieron et de saint Eustathe, in Ευφρόσυνον. Αφιέρωμα στον Μανόλη Χατζηδάκη 1 (Athens 1992), p Thierry, N., La peinture de Cappadoce au Xe siècle. Recherches sur les commanditaires de la nouvelle église de Tokali et d autres monuments, in Κωνσταντίνος Ζ' ο Πορφυρογέννητος και η εποχή του, Β' Διεθνής Βυζαντινολογική Συνάντηση, Δελφοί, Ιουλίου 1987 (Athens 1989), p Rodley, L., Cave Monasteries of Byzantine Cappadocia (Cambridge 1985), p ; Wharton Epstein, A., Tokali Kilise. Tenth-Century Metropolitan Art in Byzantine Cappadocia (Dumbarton Oaks Studies 22, Washington, D.C. 1986), p ; Jolivet-Lévy, C., Les églises byzantines de Cappadoce. Le programme iconographique de l abside et de ses abords (Paris 1991), p Η Lafontaine-Dosogne, J., Nouvelles notes cappadociennes, Byzantion 33 (1963), p. 130, and Γκιολές, N., «Πορευθέντες (Εικονογραφικές παρατηρήσεις)», Δίπτυχα 1 (1979), p , note 24, believe, on the contrary, that the New Church was decorated after the Pigeon House at Çavusin ( ). 25. Hild, F. Restle, M., Kappadokien (Kappadokia, Charsianon, Sebasteia und Lykandos) (Tabula Imperii Byzantini 2, Wien 1981), p. 21; Wiemer- Enis, H., Die Wandmalerei einer kappadokischen Hohlenkirche: Die Neue Tokali in Goreme (Frankfurt am Main 1993). Βιβλιογραφία : Hild F., Restle M., Kappadokien. Kappadokia, Charsianon, Sebasteia und Lykandos, Wien 1981, TIB 2 de Jerphanion G., Les églises rupestres de Cappadoce. Une nouvelle province de l art byzantin, 2 vols., Paris Jolivet-Lévy C., Les églises byzantines de Cappadoce. Le programme iconographique de l abside et de ses abords, Paris 1991 Lafontaine-Dosogne J., "Nouvelles notes cappadociennes", Byzantion, 33, 1963, Rodley L., Cave Monasteries of Byzantine Cappadocia, Cambridge New York Melbourne 1985 Thierry N., "De la datation des égllises de Cappadoce", Byzantinische Zeitschrift, 88, 1995, Wharton-Epstein A., Tokali Kilise. Tenth-Century Metropolitan Art in Byzantine Cappadocia, Washington 1986, Dumbarton Oaks Studies 22 Cutler A., "Apostolic Monasticism at Tokali Kilise in Cappadocia", Anatolian Studies, 35, 1985, Δημιουργήθηκε στις 21/5/2017 Σελίδα 9/12

10 Thierry N., "Un atelier de peintures du debut du Xe s. en Cappadoce. L'atelier de l'ancienne eglise de Tokali", Bulletin de la Société Nationale des Antiquaires de France, 1971, Thierry N., "La peinture de Cappadoce au Xe siècle. Recherches sur les commanditaires de la nouvelle église de Tokali et d autres monuments.", Κωνσταντίνος Ζ' ο Πορφυρογέννητος και η εποχή του, Β' Διεθνής Βυζαντινολογική Συνάντηση, Δελφοί, Ιουλίου 1987, Αθήνα 1989, Cormack R., "Byzantine Cappadocia. The Archaic Group of Wall-Paintings", Journal of the British Archaeological Association, 30, 1967, Δικτυογραφία : Buckle Church in the Gφreme Open Air Museum Photo Gallery by Dick Osseman at pbase.com Byzantine troglodyte churches of Cappadocia Ο ναός του Τοκαλί στην Καππαδοκία Γλωσσάριo : 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. arcade An arch is the opening formed between two columns or pillars. The rows of two or even more such openings are called arcades. archaic iconographic programmes Conventional term referring to the iconographic programmes of the Cappadocian churches of the second half of the 9th and the first half of the 10th century. Its main characteristics are the representation of a prophetic vision on the apse, the extensive Christological scenes, with particular emphasis on the miracles, the narrative character of the representations and their arrangement of the scenes in zones without separation marks. barrel-vault vaulted, semi-cylindrical construction used often as roof. 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. christological cycle In the iconographic programme of a church, the scenes inspired from the life of Christ, starting with the Annunciation and concluding with the Ascension. dedicatory inscription Inscription referring to a donation towards a church or an establishment. It sometimes includes the name of the donor, the type of subsidy (construction, restoration, wall paintings and donation), the time the subsidy was granted and other information as well. Dodekaorton The twelve important Great Feasts of the liturgical year: the Annunciation, the Nativity, the Presentation of Christ in the Temple, the Baptism of Christ, the Transfiguration, the Entry into Jerusalem, Raising of Lazarus, Crucifixion, the Resurrection, the Ascension, the Dormition of the Virgin and Pentecost. During the middle and late Byzantine period, the Dodekaorton was represented in a series of scenes that were included in the typical iconographic programme of a byzantine church. donor Δημιουργήθηκε στις 21/5/2017 Σελίδα 10/12

11 Whoever subscribes, financialy, to the errection of a certain structure (monument etc). In the case of the buildings, donors might lawfully relate to them via a special connection (usufruct or other). Eleousa An icon type of Virgin Mary. She is depicted holding the Child, bending her head so as to touch his cheek with hers, while Jesus puts his arm around her neck. iconographic programme The elaboration and arrangement of wall paintings in a Byzantine church, according to unwritten rules. For example, the customary depiction of Christ Pantokrator on the dome. intrados, soffit The internal surface of an arch or barrel-vault. keystone The central stone of an arch or vault. 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 martyrion (pl. martyria) Shrine or building over the grave or the place of martyrdom of a martyr. medallion In byzantine painting the term indicates the circle containing representations of the busts of holy figures, floral or geometrical patterns as well as inscriptions. menaion or menologion One of the twelve ecclesiastical books, which includes all the acolouthies of the fixed feast days, arranged by month. 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. prothesis Ιn ecclesiastical architecture, the sacristy to the north of the sanctuary. Usually it has an apse projecting to the east. It is the chamber where the eucharistic elements were prepared (Proskomide) before the Communion. semi-dome The vaulted crown of an apsed niche. The semi-dome of the apse of the Bema may be also called a conch. symbols of the four Evangelists The four parts of the Tetramorph in Ezekiel s vision, that is, an angel, a lion, an eagle and an ox, each associated with one of the four Gospels from the 2nd century onwards and at some point considered as the symbols of the four Evangelists (Matthew Angel; Mark Lion; Luke Ox; John Eagle). terminus ante quem (lat.) Technicality of historical studies for expressing the chonological line, before which an event took place. terminus post quem (lat.) Technicality of historical studies for expressing the chonological line, after which an event took place. Transfiguration One of the twelve Feasts representing the appearance of Christ in glory on mount Thabor. Η σκηνή εκτυλίσσεται σε δύο μέρη: στο ανώτερο, στην κορυφή του όρους, στο κέντρο παριστάνεται ο Χριστός περιβαλλόμενος από δόξα και πλαισιωμένος από τους προφήτες Μωυσή και Ηλία γυρισμένους προς το κέντρο και σε στάση δέησης, ενώ στο κατώτερο, στους πρόποδες του βουνού, βρίσκονται οι τρεις μαθητές του Χριστού Πέτρος, Ιάκωβος και Ιωάννης, σε στάσεις που δηλώνουν την έκπληξη και το ξάφνιασμά τους από το γεγονός. triumphal arch (Rom.:) A structure in the shape of a monumental archway, built to celebrate the victory of a Roman general or Emperor. (Byz. Archit.) The arch formed above the Horaia Pyle (Royal Door), which frames the curve of the conch of the apse and separates the bema from the nave. Δημιουργήθηκε στις 21/5/2017 Σελίδα 11/12

12 tympanum (lunette) (Rom., Byz.) The arched panel (lunette) inside an arch or an arcosolium. Δημιουργήθηκε στις 21/5/2017 Σελίδα 12/12