13世纪的安纳托利亚和高加索:教皇西尔维斯特一世在Mkhargrdzeli家族教堂中的描绘

IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY
N. Ataç
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引用次数: 1

摘要

Mkhardzeli家族的建筑赞助揭示了中世纪安纳托利亚和高加索地区的教会、政治和社会环境。教皇西尔维斯特一世在土耳其提格兰霍恩特斯(1215-1225)和亚美尼亚阿赫塔拉(1205-1213)的阿尼·圣格雷戈里奥斯教堂的描绘就是一个例子。必须澄清该地区与Mkhardzeli家族有关的教堂中仅有的两幅西尔维斯特一世的画像。为什么教皇被画在教堂最神圣的墙上?一方面,该地区的基督徒意识到普雷斯特·约翰的基督教是徒劳的,另一方面,西方的基督徒被迫在东方寻求帮助,反对被赋予权力的穆斯林。在这种背景下,Mkhardzeli家族的建筑赞助让我们深入了解了这一时期的冲突和协议。总之,在分析了书面资料和考古数据后,提出了新的建议来解释西尔维斯特一世在Mkhardzeli家族教堂中的存在,以及壁画与所揭示的政治和教会发展的关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Anatolia and Caucasia in the Thirteenth Century: The Depiction of Pope Sylvester I in the Churches of the Mkhargrdzeli Family
The architectural patronage of the Mkhargrdzeli family sheds light on the ecclesial, political, and social milieu of medieval Anatolia and Caucasia. The depiction of Pope Sylvester I in the churches of Ani St Gregorios of Tigran Honents (1215-1225) in Turkey and Akhtala (1205-1213) in Armenia are instances. The presence of the only two depictions of Sylvester I in the churches related to the Mkhargrdzeli family in the region must be clarified. Why is the pope pictured on the holiest wall of the church? On the one hand, the Christians of this region realized that the Christianity of Prester John was in vain, and on the other hand, the Christians of the West were compelled to reach out for help, in the East, against the empowered Muslims. In this context, the architectural patronage of the Mkhargrdzeli family gives insight into the conflicts and agreements of the period. In conclusion, having analyzed written sources and archaeological data, new suggestions are proposed to explain the presence of the figure of Sylvester I in the churches of the Mkhargrdzeli family and the relations of the wall paintings to the political and ecclesial developments that are revealed.
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