科拉南教堂阿纳斯塔西斯壁画的艺术分析及其与建筑项目的互动

IF 0.3 0 ARCHAEOLOGY
Sebla Arin Ensarioğlu
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引用次数: 0

摘要

在这篇文章中,它的目的是分析阿纳斯塔西斯壁画在南教堂的可拉修道院,并检查这一工作与建筑方案的关系。首先,对作品所在的乔拉(khoa)修道院的建筑质量进行了检查。在提供了关于艺术家和艺术作品的“ktetor”(赞助人)的信息之后,研究了作为作品主题的Anastasis主题的神话起源。在制作阿纳斯塔西斯壁画中使用的技术的原始方面被揭示。作品的图像分析是基于Erwin Panofsky开发的方法。在此背景下,在考察《阿纳斯塔西丝》壁画时,首先对其进行形式分析,考察构图中人物之间的关系;第二阶段,试图从神学和寓言的角度来揭示人物所代表的性格和所传递的概念。在第三阶段,考察作品在当时条件下的意义;并将其与近一时期的同类题材作品进行了比较。最后,讨论了建筑和图像程序之间的相互作用。可拉寺的布局中,建筑方案和图像交织在一起,甚至建筑元素也由图像决定。出于这个原因,它可以被视为拜占庭艺术导致文艺复兴的原始例子。阿纳斯塔西斯壁画位于科拉南礼拜堂的半圆殿上,处理复活主题,在基督教文学中占有重要地位。考虑到礼拜堂的整个图像程序,复活的场景是主题。阿纳斯塔西斯的壁画发生在公园的事实也象征着对喀拉修道院的赞助人,Metokhites的不朽/复活的期望,他的坟墓就在这里。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Artwork Analysis of Anastasis Fresco at Khora South Chapel and Its Interaction with the Architectural Program
In this article, it is aimed to analyze the Anastasis fresco in the south chapel of the Khora Monastery and to examine the relationship of this work with the architectural program of the building. First of all, the Chora (Khora) Monastery, where the work is located, is examined in terms of its architectural qualities. After giving information about the artist and “ktetor” (patron) of the art-work, the mythological origin of the Anastasis theme, which is the subject of the work, is examined. The original aspects of the technique used in the making of the Anastasis fresco are revealed. The iconographic analysis of the work is based on the method developed by Erwin Panofsky. In this context, while examining the Anastasis fresco, first of all, its formal analysis is made and the relations between the figures in the composition are examined; In the second stage, the characters represented by the figures and the transferred concepts are tried to be revealed in the light of theological and allegorical information. In the third stage, while examining the meanings of the work in the conditions of the period; It is also compared with the works produced in the recent period with a similar theme. Finally, the interaction between the architectural and iconographic programs of the building is discussed. Khora Monastery has a layout in which the architectural program and iconography are intertwined and even the architectural elements are determined by iconography. For this reason, it can be examined as an original example of Byzantine Art leading to Renaissance. Located on the Apse half dome of the Khora South Chapel, the Anastasis fresco handles the resurrection theme, which has an important place in the Christian literature. Considering the entire iconographic program in the chapel, the resurrection scene is the main theme. The fact that the Anastasis fresco takes place in the parekklesion also symbolizes the expectation of immortality / resurrection of the patron of the Khora Monastery, Metokhites, whose tomb is located here.
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来源期刊
CiteScore
0.40
自引率
0.00%
发文量
24
审稿时长
6 weeks
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