乔拉修道院的艺术和建筑与同时代的东欧和意大利的比较

Z. Ataş
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引用次数: 3

摘要

本研究旨在分析今天的乔拉博物馆的建筑和艺术,按时间顺序命名为乔拉修道院和乔拉清真寺,与东欧和意大利的同时代人进行比较,在拜占庭帝国的社会,文化和政治环境以及拜占庭艺术发展的背景下,直到14世纪,壮观的电影马赛克场景和壁画覆盖了建筑的拱顶和圆顶。以一种非传统的视角描绘了圣母玛利亚和耶稣基督的生命周期。这座修道院名为Chora,在希腊语中意为“国家”、“土地”或“在乡村”,指的是它的位置,最初建于12世纪,就在君士坦丁堡城墙外。建筑的结构是在历史上不同时期建造的不同部分的组合;12世纪,只剩下了最原始的部分;14世纪,古罗马人统治时期被认为是拜占庭艺术最辉煌的时期,教堂的圆顶,北附楼,中庭,教堂,钟楼都是用华丽的大理石装饰,马赛克和壁画建造的;最后是在15世纪的奥斯曼帝国时期,这座建筑被改造成了一座清真寺,在建筑上增加了一座米赫拉布和一座尖塔,连同覆盖在马赛克和壁画上的石膏,这些石膏实际上保存了它们直到今天。时至今日,卡里耶博物馆在同一时间和空间提供了对所有这些并置的不同解读。与拜占庭、东欧和意大利的宗教艺术(www.witpress.com, ISSN 1743-3541(在线))相比,这些图像的强烈风暴和圣母玛利亚和耶稣基督的生命周期的非凡方式被表现出来,与城市、建筑、人及其行为的方式进行了比较。WIT生态与环境学报,155卷,©2012 WIT出版社doi:10.2495/SC1210 2可持续城市VII, Vol. 2 1211
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The art and architecture of Chora Monastery in comparison with its East European and Italian contemporaries
This research aims to analyze both the architecture and art of today’s Chora Museum, named Chora Monastery and Chora Mosque chronologically, in comparison with its East European and Italian contemporaries, within the social, cultural and political environment of the Byzantine Empire and the context of Byzantine art developed until and through the 14th century when the spectacular and cinematographic mosaic scenes and frescos covering the vaults and dome of the building, illustrating the life cycles of both the Virgin Mary and Jesus Christ with an unconventional use of perspective, were built and painted. The monastery, named Chora meaning “country”, “land” or “in the country” in Greek, referring to its location, was built originally in the 12th century right outside the city walls of Constantinople. The architecture of the building is a combination of different parts built at different time periods in history; the 12th century, from which only the naos part remained; the 14th century, Palaeologans’ reign which is referred to as the brightest time of Byzantine art, and when the naos dome, the north annex, the narthexes, the parekklesion, and a belfry were built together with all the brilliant marble decoration, mosaics and frescoes; and finally the15th century Ottoman era, in which, being turned into a mosque, a mihrab and a minaret were added to the building, together with the plaster covering the mosaics and frescos, which has actually preserved them up to this day. Kariye Museum, as of today, offers different readings of all this juxtaposition at one and the same time and space. The strong storm of the imagery and the extraordinary way the life cycles of the Virgin Mary and Jesus Christ were represented, as the ways the cities, buildings, people and their acts were illustrated, comparing to the Byzantine, East European and Italian religious art of www.witpress.com, ISSN 1743-3541 (on-line) WIT Transactions on Ecology and The Environment, Vol 155, © 2012 WIT Press doi:10.2495/SC1210 2 The Sustainable City VII, Vol. 2 1211
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