Tez No	İndirme	Tez Künye	Durumu
64209	Bu tezin, veri tabanı üzerinden yayınlanma izni bulunmamaktadır. Yayınlanma izni olmayan tezlerin basılı kopyalarına Üniversite kütüphaneniz aracılığıyla (TÜBESS üzerinden) erişebilirsiniz.	İstanbul Rum kiliselerinde örtü süslemesi / Dome decorations in Istanbul Greek churches Yazar:MARİA ÇAVUŞOĞLU Danışman: PROF. DR. SEMRA ÖGEL Yer Bilgisi: İstanbul Teknik Üniversitesi / Sosyal Bilimler Enstitüsü Konu:Sanat Tarihi = Art History Dizin:Bizans Dönemi = Byzantine Period ; Kiliseler = Churchs ; Motifler = Motifs ; Süslemeler = Ornamentations ; Örtü süslemeleri = Dome decorations ; İkonalar = Icons ; İstanbul = Istanbul	Onaylandı Yüksek Lisans Türkçe 1997 193 s.
ÖZET Tez çalışmamızda, İstanbul'da faaliyetlerim sürdüren İstanbul Rum Ortodoks kiliselerindeki örtü süslemesi ve buna bağlı olarak Pantokrator İsa motifi incelenmiştir. Mimarilerine bağlı olarak, örtü süslemesinin oldukça yalın bırakıldığı İstanbul Rum Ortodoks kiliselerinde, ana mekanda, kubbede ya da bazilikal plan semasındaki kiliselerde ana nefiteki tonozun ortasında görülen Pantokrator İsa betimlemesi örtü süslemesinin odak noktasını teşkil etmektedir. İnceleme sonucu İstanbul Rum Ortodoks kiliselerinde, Neo-Bizans, Neo- bizans çeşitlemesi ve Batı tarzında üç ayrı Pantokrator İsa betimlemesi tespit edilmiş ve bir katalog oluşturulmuştur. Katalog kapsamındaki kiliselerde incelenen örtü süslemesi ve Pantokrator İsa motifi, gittikçe azalan İstanbul Rum Ortodoks azınlığın dini sanat çalışmalarına yönelik bir belge niteliği taşımaktadır.
SUMMARY Dome Decorations In Istanbul Greek Churches Istanbul has become the capital city of Ottoman Empire after it has been conquered by Mehmet the Conquerer. Besides the city has continued to be a political center, also it has borne the feature of a cultural capital in which many cultures have integrated to each other and produced collectively. During the post-Byzantium era, the minority groups such as Greek, Armenian, Jewish and Christian have continued their live within the frame of rights granted by the Ottomans-meanwhile they have given many civil and religious products. At the beginning, the Orthodox Greeks have been the biggest minority group. They have both inherited the Byzantium art and established a Greek Orthodox religious art within the framework of the church in Istanbul which has been under the protection of ottomans.The aim of the present study has been to examine the dome decoration of Greek Orthodox churches still active in İstanbul. According to the records of Istanbul Greek Orthodox Patriarchate, there are seventy one churches-while sixty two churches have been investigated, the other churches such as Kuruçeşme Ayios Ioannis, Eğrikapı Panayia Suda, Kalamış Ayios Ioannis and the churches in the Islands have not been included in the investigation. The dome decorations of all churches under the investigation have been examined at their places and this has been evidenced by photographs. As it has been understood from the inscription of the churches, most of them have been reconstructed or repaired in the nineteenth century. The Christians have not been permitted to construct new churches until Aynalikavak Agreement which has been concluded in 1779. Additionally, as it ha been forbidden to build domes until the Tanzimat (Reformation) Decree dated 1839 and the following Islahat (Reform) Decree, the dome decorations of Istanbul Greek Orthodox church have been left plain depending upon the architectural style of the churches. VIMost of the churches in which simple basilical planning schemes resembling early Byzantium era examples have been applied, the cover system is formed by flat wooden roof and barrel vaults. The usage of Pantocrator Christ in all dome decoration of basilical buildings as the only decorating element is remarkable with the exception ol some modest chisels. Excepting the churches with basilical plan schemes, Pantocrator christ is situated within the dome in the domed churches. The basic dome is placed in the naos division of these churches. The church Saints are placed on the dome beams and four bible writers or cherubim are placed on the passages. In places around the dome, the cover decarations are completed by various chisels made on inner sides of the vaults. The fact that cover decorations is the active Istanbul Greek Orthodox churches have been focused on the Byzantine iconography has directed this study. Thus, how the Pantocrator Chirist motif has been handled in Istanbul Greek Orthodox churches outside the classic Byzantine type has been investigated and different approaches have been evalvated and a catalogue has been formed. The historical background of each church which Pantocrator Christ motif has been investigated is presented as preliminary information The sources on Pantocrator Christ motif have researched. Also the knowledge on how this motif is used after conquest until today in Greece viiwhich has the same language, religious and culture with Byzantium is attached to the present study. The dome decorations of the active churches and in this context Pantocrator Christ motif have been investigated. The Pantocrator Christ depictions which have been observed in the churches are classified according to their characteristics of style. There are three different groups of Pantocrator Christ depictions in Istanbul Greek Orthodox churches Pantocrator Chist motifs in Neo Byzantine style, Pantocrator Christ motifs in variations of Neo Byzantine style, Pantocrator Christ motifs the influence of western arts. In applications of Neo Byzantine style the classical Byzantine Pantocrator Christ motif is followed without a considerable change. A total of ten churches in which Pantocrator Christ depictions have applied in this style have been examined. Although the main motif in Pantocrator Christ depictions in variatios of Neo Byzantine style is Byzantine, there are also some local characteristics and traces of western influence. Pantocrator Christ motif in variations of viiiNeo Byzantine style have been observed in nineteen of the examined churches. Pantocrator Christ depictions under the influence of western art are observed in twenty five chuches as the last and biggest group. Pantocrator Christ depictions are historical documents. They form the focal point of dome decorations and are the model of the art works of the Istanbul Greek Orthodox minority. Therefore they have a special importance and thus should be preserved carefully. The fact that the Istanbul Greek Orthodox mimority is diminishing day by day and that no hagiographers of Greek origin are left, require all kinds of study and investigation on Istanbul Greek Orthodox religious art. IX