Ortaçağ İstanbul Bizans yapılarında mimari süsleme

Abstract

Mimari süsleme bir yapının iç ve dış mekanlarında sütun baslıkları, korniş, konsol gibi mimari plastik öğeleri yüzeylerinde yer alan bezemelerdir. Mimar i plastik elemanların tas, mermer yüzeylerine, kabartma, oyma veya ajur gibi çeşitli tekniklerle işlenen, bitkisel, geometrik veya figürlü süslemeler bir kompozisyon iğinde yada tek bir motif olarak yer alırlar. Dekoratif amaçlı mimari süslemecilik Bizans sanatında çok yaygındır. Ant ik Yunan ve Roma sanatı kökenli Bizans mimari süslemeciliği, özellikle Doğu Avrupa, Istanbulve Anadolu'nun belli bölgelerinde» mimariden sonraki en önemli unsur alarak görülmüştür. Mermer veya taş yüzeylerine işlenen süslemeler, yapıların iç ve dış cephelerini zenginleştirmek amacıyla kul lanı lmışt ir. Arşi trav, korniş sütun başlığı, vb... yapının marif görünümünü kıran bu parçaların yüzeyleri bütün dönemlerde bu şekilde işlenmişti r. Bizans mimarisinde 4.yy'dan başlayarak değişik örnekleri görülen mimari süslemeleri, bağlı bulundukları yapının kütle kompozisyonu ve iç dekorasyonu ile uyum göstermiş, aynı zamanda hıristiyan dinini sembolize etmiştir. Bizans imparatorluğunun siyasal ve ekonomik iniş çıkışları, savaşlar, 1204-1261 yıllarını kapsayan bir Latin istilası dönemi, Bizans sanatını, dolayısıyla mimari süslemeci 1 iginide kesintiye uğratmıştır. Kuşatmalar sırasında pek çak Önemli eserin yak edilmesi, yurt dışına götürülmesi ile orta çag Bizans mimari süsleme örnekleri çok az kalmıştır. Latin istilası sonrası yeniden yapılandırılmaya çalışılan şehir ve imparatorluk eski gücünü yi t irmişt ir. imparator lugun san dönemde yeni yapıların inşa edilmesi bir yana eski yapıları onartmaya dahi gücü yetmemekte idi. Bu dönemde şartlar dahilinde, istanbul'un işgal sonrası yıkılan eski eserlerin onarımına ağırlık verilmiş, genellikle eski yapılara ek olarak inşa edilen binaların dekorasyonunda mimari süsleme eskisi kadar önem taşımamıştır. İmparatorluğun son döneminde mimari dekorasyonda devşirme malzeme veya eski bezeme örneklerinden esinlenilerek, daha basit teknikler ile işlenen örneklerin kullanıldığını görmekteyiz. Her ne kadar imparatorluğun son dönemlerinde mimari süsleme gelişmese de, bu koruyucu anlayış Osmanlı imparatorluğu döneminde de görülmektedir. i i i

Architectural ornamentations are decorations on the surfaces of the plastic elements like capitals cornices and consoles of the interior and the exterior of a building. To make a detailed explanation of this architectural ornamentation it is seen on the capitals and their bases in the buildings, architrave, door or window frames and console surfaces- Capital is an element placed on the columns far complimentary reason. The capital carrying an architrave and arch is used in harmony. Vegetal, geometrical or figurative ornamentation worked on the stone or marble surfaces of the architectural plastic elements through techniques of embossing, carving or embroidery appear in a composition or as a single artistic motive depending on the surface and options. Engraving a decorative figure on stone or marble surfaces were quite common in Byzantium art. This concept had been granted the most importance after architecture in antique-origin Byzantium architectural ornamentation and particularly in Eastern Europe, Constantinople and some regions of Anatolia and was used to enrich the interior and the exterior of buildings. Constantinople (Istanbul) was the center of Byzantium art imposing its art on Russia, Italy, the Balkan Peninsula and Anatolia giving start for a IVdevelopment period in the 4th century A.C. during Constantine 's reign and living its golden age during Justinian's period in the 6th century. (527-565) Developing in itself in connection with architecture affected by antique architectural ornamentation concept after the 5th century. Byzantium architectural ornamentation exhibits changes after the 10th century. The empire was very powerful during Justinian's reign and as Constantinople had become the center of Christianity, the emperor decided to have a temple built signifies the empires power, named Saint Sophia. The rich gravings seen on the cornice and capitals are replaced with a more free notion after the 10th century. Small structures were preferred in construction thereby bringing forth smaller dimensions of architectural elements. Following Justinian's death the Empire underwent a recession period negatively affecting the cultural and political structure resulting in the destruction of many artistic works due to many superstitious beliefs arising as a reaction against worshipping saints' pictures. Another negative effect on the Byzantium art was the foundation of a Latin Empire in Istanbul after the 4th Crusades. Architectural ornamentation are seen on elements such as capitals, cornices, door frames and consoles in Istanbul buildings of the middle age. We can hardly come to a decision about the concept of architectural ornamentation on the buildings of the period basing on the pieces which have remained to our time. Besides the figurative and vegetal motives on the architectural elements, big motives of the Cross are also seen as on the column caps of Fenari Isa, north building and north windows. It is well-known that religious descriptions were often used on the ornamentationsurfaces in Christian art. However vegetal motives carrying inspirations from the nature are more common when compared to the figurative compositions seen on the marble and stone surfaces. Examples of that period which still exists are the saints' figures on the capitals of interior narthex walla of Kariye and the slightly embossed figures seen on the architrave surfaces of the icon frames which are visibls on the wall surfaces of the eastern feet of Kalenderhane Mosque. The most commonly used motives of this period other than the figures objects are the vegetal types. Acanthus and palmate seem to be the generally preferred types of motives. The northern building of Fenari İsa Masque is the most important structure exhibiting a difference from those of the same period with respect to ornamentation. The northern church presents an authentic and special adorning style. While styled vegetal motives of somewhat natural type are seen in certain patterns on the architectural ornamentation af Kariye and Fethiye Mosques, Fenari Isa's north building shows more authentic and renovate motives. The symmetry and harmony between the parts on the motives used here from a rich ornamental pattern. Styled motives formed as a result of inspirations on palmate and palmate's show a varying pattern on the surfaces. Particularly all motives on the triangular sections between the zigzags on the middle cornice surface are seen to be different from each other in respect of their forms. It is indicative of a renovate ornamentation style in the structure that eagle and partridge figures were used on the coordinate and dome cornice of these motives. Examples describing the animal figures seen on the ornamentation surfaces between the curved branches and VIfruits are available on the cornice surfaces of Kariye and Zeyrek Mosques. Peacocks, partridges and different kinds of birds on the ornamentation surface over the main door frame of Kariye are described between the curved branches, eating grapes from centuries and drinking water. Another example describing the birds in a natural media is on the upper cornice surface of Zeyrek Masque's northern building where we can see different kinds of birds between the chain motives of branches on the surface. The birds are again described with a pattern where they are eating the leaves extending from the branches or while symmetrically ordered around a branch. The birds described on the cornice surface have the differently sized bodies with thick feet. Feeling of movement was tried to be imposed on the embossed figures with the open feet and heads turning backwards. However the figures do not present fine and detailed work of art. Branches connected to each other in ring-form and grapes and leaves of these branches ought to be in a symmetric pattern indicate that care was given for the integrity and symmetry of the composition instead of single figures on the surface. A form-dependant application similar to these example is the lotus-palmate sequence on the cornice surfaces frequently seen on the buildings which are observed. Lotus-palmate sequences show variations according to the width of the blocks on the cornice surfaces found in the buildings they are used. The most common use of lotus-palmate sequence are those where a three leafed lotus motive and a five leafed palmate motive are jointly used. The lower cornice surface of the northern building of Zeyrek Mosque lets us to see that palmate motives are placed on both sides of a lotus VI ismaller than the big one between the arms of which they are designed. As for the cornices on the naos wall surfaces of Kariye Mosque's main building, the palmate leaves are observed to rise upright and separately instead of ascending from the same axis. The two eagle figures on the corner are see to open their wings with their body embossed on the capital surfaces of northern building coordinate windows of Fenari Isa masque where eagle figures are used a lot in ornamentation. Frequently seen in. early Byzantium architectural ornamentation, this figure is embossed at a lower height on the dome's cornice. Buildings of this period reveal that architectural ornamentation was not used intensively as done in the Early Byzantine but single figures instead of a rhythmic order come into appearance on the surfaces. High embossing was replaced by low embossing after 9th century and the parts between the motives are preferred to be emphasized by drill holes rather than a pierce-wark. The Paleolagos's Period which is considered to be the last term of Byzantine Empire and Byzantium art began after a 57 years period during which a major part of artistic work in Istanbul were destroyed. Developmental pattern of this period reveals that ideas were commonly concentrated on restoring and adding new parts to old buildings instead of building numerous ones. It can be observed that elements of the older buildings like capitals, shield plates were used again in the buildings of the last period as a result of this protective way of understanding. The six capitals of Koca Mustafa Pasa Mosque, four capitals and the shield plates on the exterior narthex walls of the Kilise (Church) Masque, four capitals supporting the dome in Fethiye Pareklesian are the parts which remained from the buildings of the previous term. vi 1 1While observing the ornamentation examples depending on architecture in the last period's buildinge. the ornamentation concept is shown to pursue the architectural ornamentation mentality of the buildings built before invasion by the southern building of Fenari Isa and the Fethiye pareklesian, it will not be baseless to say that inspiration by the previous period is a plain reality. However, it will be impossible not realize the marked difference of th fine art work. The motives on the ornamentation surfaces seen on the southern buildings of Fethiye and Fenari İsa Mosques are a little more separate and the branches binding the branches to each other lose flexibility. While the ornamentation of the 10th century indicates that motives are finely worked and given a volume, the recent period's ornamentation is more superficial. IX