The art and architecture of Chora Monastery in comparison with its East European and Italian contemporaries

Basit Öğe Kaydı
dc.authorid0000-0002-4539-3608en_US
dc.authorscopusid55351405500en_US
dc.authorwosidAAG-6534-2020en_US
dc.contributor.authorAtaş, Zeynep
dc.date.accessioned2023-12-21T06:57:15Z
dc.date.available2023-12-21T06:57:15Z
dc.date.issued2012en_US
dc.departmentMAÜ, Fakülteler, Mühendislik Mimarlık Fakültesi, Mimarlık Bölümüen_US
dc.description.abstractThis 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 ofByzantine 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 upto 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 thee 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 the era, makes it possible to say, has affected a wide area, including both the Byzantine Orthodox Church jurisdiction areas and even Italy as far as mannerisms are concerneden_US
dc.identifier.citationAtaş Z. (2012) “The art and architecture of Chora Monastery in comparison with its East European and Italian contemporaries”. The Sustainable City VII: Urban Regeneration and Sustainability (ed.) M. Pacetti, G. Passerini, C.A. Brebbia, G. Latini. WIT Press:Southampton U.K.en_US
dc.identifier.doi10.2495/SC12102en_US
dc.identifier.endpage1222en_US
dc.identifier.isbn978-1-84564-676-9
dc.identifier.startpage1211en_US
dc.identifier.urihttps://hdl.handle.net/20.500.12514/5103
dc.identifier.volumeVol 2en_US
dc.institutionauthorAtaş, Zeynep
dc.language.isoenen_US
dc.publisherWIT Pressen_US
dc.relation.ispartofThe Sustainable City VII: Urban Regeneration and Sustainabilityen_US
dc.relation.publicationcategoryKitap Bölümü - Uluslararası - Başka Kurum Yazarıen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.subjectChora Monasteryen_US
dc.subjectIconographyen_US
dc.subjectByzantine Arten_US
dc.subjectByzantine Architectureen_US
dc.titleThe art and architecture of Chora Monastery in comparison with its East European and Italian contemporariesen_US
dc.typeBook Chapteren_US

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