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The word Kariye is the Turkish version of ancient Greek word Khora which means country (rural area). It is known that there had been a chapel outside the ramparts before the ramparts were built in 5th century. The first Khora Church instead of this chapel had been built by Justinianos (527-565).
The church had been used as the court chapel for important religious ceremonies in Komnenos period, since it was close to Palace of Blachernae.
Toward the end of the 11th century, the church had been re-built by Maria Daukaina who was the mother-in-law of Emperor Alexius I. It had been destroyed during Latin invasion (1204-1261) and had been repaired by Theodore Metochites, the treasury minister of the court, during the period of Andronikus I (1282-1328). An annex to the north, an exonarthex to west, and a chapel (Parecclesion) to the south had been appended to the church in this period.
The mosaics and frescos in Kariye are the best examples of the late East-Roman (14th century) painting art. The depths of these mosaics and frescos as well as mobility of figures and administration of plastic values are pretty successful. Kariye had been utilized as a church after the conquest of İstanbul in 1453; it had been transformed into a mosque in 1511 by Vizier Hadım Ali Pasha. It has been transformed into a museum in 1945 and its mosaics and frescos had been revealed by American Byzantine Institute between 1948 and 1958.
The mosaics and frescos in Kariye are the best examples of the late East-Roman (14th century) painting art. The depths of these mosaics and frescos as well as mobility of figures and administration of plastic values are pretty successful. Kariye had been utilized as a church after the conquest of İstanbul in 1453; it had been transformed into a mosque in 1511 by Vizier Hadım Ali Pasha. It has been transformed into a museum in 1945 and its mosaics and frescos had been revealed by American Byzantine Institute between 1948 and 1958.
Kariye is located at Edirnekapı section of İstanbul. The dictionary meaning of Kariye (Chora) is "outside of the city", or "rural" in old Greek. The existence of a chapel outside the city walls in very old is mentioned in some sources. The first Khora Church was built on the site of this chapel by Justinianus. The building which managed to survive until the times of the Commenos with various additions and repairs, gained importance when the Imperial Palace Blakhernia near the city walls was expanded. At the end of 11th century Maria Dukaina, the mother-in-law of Emperor Alexi I had it rebuild.
The Chora Church (Turkish Kariye Müzesi, Kariye Camii, or Kariye Kilisesi - the Chora Museum, Mosque or Church) is considered to be one of the most beautiful examples of a Byzantine church. The church is situated in the western, Edirnekapı district of Istanbul. In the 16th century, the church was converted into a mosque by the Ottoman rulers, and it became a secularised museum in 1948. The interior of the building is covered with fine mosaics and frescoes.
The church has a kiborion shaped space whose dome is carried by four arches. During the Latin occupation of 1204 - 1261, both the monastry and the church became extremely run down. During the reign of Andronikos (1282 - 1326), one of the prominent names of the day, the writer, poet and the minister of treasury Theodore Methocite had the monastry and the church repaired towards 1313, and had an annex to the north of the building, an outer narthex to the west and a chapel (Parekklesion) to the south. These new additions were decorated with frescoes and mosaics.
Parekklesion, which is a long single naved chappel going along the southern facade, is built above a basement floor. It is partially covered with a dome and the remaining sections are covered by vaults. It has a single abscissa. The outer narthex which runs along the full western facade forms the present facade. The northern wing is only an insignifcant corridor. The central dome has a high drum. It is a Turkish period restoration and is made of wood. Outer facades are given plasticity and movement with round arches, half braces, niches and rows of stone and brick. The eastern facade is finished with abscissa extending to the exterior. The middle abscissa is supported with a half arched brace.
The building was used as a church after the conquest of İstanbul but was converted into a mosque in 1511 by the Visier Grand Hadım Ali Pasha, who later added a school and a alm kitchen next to it. After the conversion, the mosaics and frescoes were covered, sometimes by wooden blinds and sometimes by whitewashing over them. All the mozaics and frescoes were uncovered with the work carried out by the American Institute of Byzantine Research between 1948 - 1958.
Chora mosaics and frescoes are the most beutiful examples of the last period of Byzantine art (14th century). They show a striking similarity. The monotonous background of the former period cannot be seen here. The concept of depth, recognition of the placticity and movement of the figures and the elongation in the figures are the characteristic of this style. Scenes from life of Jesus are given on the outer narthex while the inner narthex has scenes from the life of Madonna.
On the portal of the door joining the outer to the inner narthex, there is Christ the "Pantocrator". On the left the scenes depict the birth of Jesus, population cencus being carried out under the supervision of Governor Cyrinus, the angle telling Joseph to leave taking Mary with him, the multiplication of loaves of bread, water turning to wine and on the right side scenes such as messanger kings informing about the birth of Christ, healing of the stroke victims and the massacre of children.
The most beautiful mosaic on the inside is Deisis. There is Jesus in the center with Mary on the left, below Mary, Isaac Commenus and a nun on the right of Jesus. This woman is the daughter of the Mikhael Palaiologos VIII. She was married to the Mongolian Prince Abaka Khan and following her husnband's death returned to İstanbul and became a member of a religious order. In this section, under the dome there is Jesus and his ancestors are shown in the segments. On the portal of the church proper, there is Christ in the middle and on the left Theodoros Metochites who has restored the church and adorned it with the mosaics presenting a model of the church.
The life story of Mary, which is not included in the Bible is taken from subjects based on the Apostles. At the inner narthex the scenes about Mary can be followed depicting her birth, her first steps, Gabriel telling her that she shall have a child, Mary buying wool for the tebernacle and others. Mosaic above the inner portal of the entrance to the main church depicts the death of the Virgin, Madonna bearing the child Jesus and a Saint. Parekklesion is totally decorated with frescoes. The Anastasia (rebirth) scene seen on the abscissa is a masterpiece. The last judgement above it is shown here in full. It is known that the niche on the right and left sides of the parekklesion are graves. On the dome of the Parekklesion there is Marry and the child Jesus and 12 in the segments.
HISTORY
The Chora Church was originally built outside the walls of Constantinople, to the south of the Golden Horn. The church's full name was the Church of the Holy Saviour in the Country. The last part of that name, Chora, referring to its location originally outside of the walls, became the shortened name of the church. The original church on this site was built in the early 5th century, and stood outside of the 4th century walls of Constantine the Great. However, when Theodosius II built his formidable land walls in 413-414, the church became incorporated within the city's defences, but retained the name Chora. The name must have carried symbolic meaning, as the mosaics in the narthex describe Christ as the Land of the Living and Mary, the Mother of Jesus, as the Container of the Uncontainable.
The majority of the fabric of the current building dates from 1077-1081, when Maria Dukaina, the mother-in-law of Alexius I Comnenus, rebuilt the Chora Church as an inscribed cross or quincunx: a popular architectural style of the time. Early in the 12th century, the church suffered a partial collapse, perhaps due to an earthquake. The church was rebuilt by Isaac Comnenus, Alexius's third son. However, it was only after the third phase of building, two centuries after, that the church as it stands today was completed. The powerful Byzantine statesman Theodore Metochites endowed the church with much of its fine mosaics and frescos.
Theodore's impressive decoration of the interior was carried out between 1315 and 1321. The mosaic-work is the finest example of the Palaeologian Renaissance. The artists remain unknown. In 1328, Theodore was sent into exile by the usurper Andronicus III Palaeologus. However, he was allowed to return to the city two years later, and lived out the last two years of his life as a monk in his Chora Church.
During the last siege of Constantinople in 1453, the Icon of the Theotokos Hodegetria, considered the protector of the City, was brought to Chora in order to assist the defenders against the assault of the Ottomans. Around fifty years after the fall of the city to the Ottomans, Atik Ali Paşa, the Grand Vizier of Sultan Bayezid II, ordered the Chora Church to be converted into a mosque - Kariye Camii. Due to the prohibition against iconic images in Islam, the mosaics and frescoes were covered behind a layer of plaster. This and frequent earthquakes in the region have taken their toll on the artwork.
INTERIOR
The Virgin and child, painted dome of the parecclesion of Chora Church.The Chora Church is not as large as some of the other Byzantine churches of Istanbul (it covers 742.5 m²), but what it lacks in size, it makes up for in the beauty of its interior. The building divides into three main areas: the entrance hall or narthex, the main body of the church or naos, and the side chapel or parecclesion. The building has six domes: two in the esonarthex, one in the parecclesion and three in the naos.
Narthex
The main, west door of the Chora Church opens into the narthex. It divides north-south into the exonarthex and esonarthex.
Exonarthex
Mosaic of the enrollment for taxation before ZyreniusThe exonarthex (or outer narthex) is the first part of the church that one enters. It is a transverse corridor, 4 m wide and 23 m long, which is partially open on its eastern length into the parallel esonarthex. The southern end of the exonarthex opens out through the esonarthex forming a western ante-chamber to the parecclesion.
The mosaics that decorate the exonarthex include: Joseph's dream and journey to Bethlehem; Enrollment for taxation; Nativity, birth of Christ; Journey of the Magi; Inquiry of King Herod; Flight into Egypt; Two frescoes of the massacres ordered by King Herod; Mothers mourning for their children; Flight of Elizabeth, mother of John the Baptist; Joseph dreaming, return of the holy family from Egypt to Nazareth; Christ taken to Jerusalem for the Passover; John the Baptist bearing witness to Christ; Miracle; Three more Miracles; Jesus Christ; Virgin and Angels praying.
Esonarthex
The esonarthex (or inner narthex) is similar to the exonarthex, running parallel to it. Like the exonarthex, the esonarthex is 4 m wide, but it is slightly shorter, 18 m long. Its central, eastern door opens into the naos, whilst another door, at the southern end of the esonarthex opens into the rectangular ante-chamber of the parecclesion. At its northern end, a door from the esonarthex leads into a broad west-east corridor that runs along the northern side of the naos and into the prothesis. The esonarthex has two domes. The smaller is above the entrance to the northern corridor; the larger is midway between the entrances into the naos and the pareclession.
Enthroned Christ with Theodore Metochites presenting a model of his church; Saint Peter; Saint Paul; Deesis, Christ and the Virgin Mary (without John the Baptist) with two donors below; Genealogy of Christ; Religious and noble ancestors of Christ.
The mosaics in the first three bays of the inner narthex give an account of the Life of the Virgin, and her parents. Some of them are as follows:
Rejection of Joachim's offerings; Annunciation of Saint Anne, the angel of the Lord announcing to Anne that her prayer for a child has been heard;
Meeting of Joachim and Anne; Birth of the Virgin Mary; First seven steps of the Virgin; The Virgin given affection by her parents; The Virgin blessed by the priests; Presentation of the Virgin in the Temple; The Virgin receiving bread from an Angel; The Virgin receiving the skein of purple wool, as the priests decided to have the attendant maidens weave a veil for the Temple; Zechariah praying, when it was the time to marry for the Virgin, High Priest Zechariah called all the widowers together and placed their rods on the altar, praying for a sign showing to whom she should be given; The Virgin entrusted to Joseph; Joseph taking the Virgin to his house; Annunciation to the Virgin at the well; Joseph leaving the Virgin, Joseph had to leave for six months on business and when he returned the Virgin was pregnant and he is suspicious of that.
Naos
Mosaic of the Koimesis in the NaosThe central doors of the esonarthex lead into the main body of the church, the naos. The largest dome in the church (7.7 m diameter) is above the centre of the naos. Two smaller domes flank the modest apse: the northern dome is over the prothesis, which is linked by short passage to the bema; the southern dome is over the diaconicon, which is reached via the parecclesion. Koimesis, the Dormition of the Virgin. Before ascending to Heaven, her last sleep. Jesus is holding an infant, symbol of Mary's soul; Jesus Christ; Theodokos, the Virgin Mary with child.
Parecclesion
The Anastasis fresco in the parekklesion of the Chora Church.To the right of the esonarthex, doors open into the side chapel, or parecclesion. The parecclesion was used as a mortuary chapel for family burials and memorials. The second largest dome (4.5 m diameter) in the church graces the centre of the roof of the parecclesion. A small passageway links the parecclesion directly into the naos, and off this passage can be found a small oratory and a storeroom.
The parecclesion is covered in frescoes: Anastasis, the Resurrection. Christ, who had just broken down the gates of hell, is standing in the middle and pulling Adam and Eve out of their tombs. Behind Adam stand John the Baptist, David, and Solomon. Others are righteous kings; Second coming of Christ, the last judgment. Jesus is enthroned and on both sides the Virgin Mary and John the Baptist (this trio is also called the Deesis); Virgin and Child; Heavenly Court of Angels; Two panels of Moses.
In 1948, Thomas Whittemore and Paul A. Underwood, from the Byzantine Institute of America and the Dumbarton Oaks Center for Byzantine Studies, sponsored a programme of restoration. From that time on, the building ceased to be a functioning mosque. In 1958, it was opened to the public as a museum - Kariye Müzesi.
LOCATION SATELLITE MAP
WEB SITE : Kariye Museum Administration / Chora Museum Administration
MORE INFO & CONTACT
Phone : +90 212 631 9241
Fax : +90 212 512 5474
E-Mail : ayasofyamuzesi@kultur.gov.tr
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