Kostel Pammakaristos
| Kostel Pammakaristos | |
|---|---|
 | |
| Základní informace | |
| Sloh | byzantská architektura |
| Výstavba | 11. století |
| Pojmenováno po | Panna Maria |
| Poloha | |
| Adresa | Fatih,  Turecko |
| Souřadnice | 41°1′45″ s. š., 28°56′47″ v. d. |
| Další informace | |
 multimediální obsah na Commons | |
| Některá data mohou pocházet z datové položky. | |
Kostel Pammakaristos, také kostel Bohorodičky Pammakaristos, je jedním z nejznámějších byzantských kostelů v Istanbulu. V roce 1591 byl přeměněn na mešitu Fethiye („Dobyvatelská mešita“), dnes je v boční kapli neboli parekklésionu také muzeum. Kostel je jednou z nejdůležitějších památek palaiologovské architektury Konstantinopole a obsahuje největší množství byzantských mozaik v Istanbulu po chrámech Hagia Sophia a Chora.
Historie
_-_San_Gregorio_armeniaco_-_Foto_G._Dall%27Orto_26-5-2006.jpg)
_-_Cupola_-_Foto_G._Dall%27Orto_26-5-2006.jpg)
_-_Foto_G._Dall%27Orto_26-5-2006.jpg)
_-_S._Antonio_-_Foto_G._Dall%27Orto_26-5-2006.jpg)
Většina odborníků soudí, že kostel byl postaven mezi jedenáctým a dvanáctým stoletím. Stavitelem snad byl Michael VII. Dukas (1071–1078), možná však kostel vznikl až v komnénovském období.[1] Švýcarský byzantista Ernest Mamboury původní budovu klade již do 8. století.[2]
Parekklésion (boční kaple) byla přidána k jižní straně kostela v raném palaiologovském období a zasvěcena Kristu Logu (Kristus Slovo).[3] Krátce po roce 1310 postavila Marta Glabasová malou kapli na památku svého zesnulého manžela, protostratora Michaela Dukase Glabase Tarchaneiota, generála císaře Andronika II. Palaiologa.[4] Interiérem i exteriérem parekklésionu se táhne elegantní nápis věnování Kristu, který napsal básník Manuél Filés.
Ve stejné době byl renovován také hlavní kostel, jak ukázala studie templonu (přepážky mezi chrámovou lodí a kněžištěm).[4]
Po pádu Konstantinopole v roce 1453 bylo sídlo řeckého ortodoxního patriarchátu nejprve přesunuto z katedrály Hagia Sofia do Chrámu svatých apoštolů, a pak v roce 1456 do kostela Pammakaristos, kde zůstalo až do roku 1587.[5]
O pět let později osmanský sultán Murad III. přeměnil kostel na mešitu a přejmenoval jej na počest dobytí (fetih) Gruzie a Ázerbájdžánu, odtud název Fethiye Camii. V rámci této adaptace byla odstraněna většina vnitřních stěn, aby vznikl větší prostor.
Po letech zanedbávání byla budova restaurována v roce 1949 Americkým byzantským institutem a americkým institutem Dumbarton Oaks.[1] Zatímco hlavní budova zůstává mešitou, parkklesion je od té doby muzeem.
Architektura a výzdoba
Komnénovský chrám měl hlavní loď a dvě deambulatoria, tj. chodby kolem centrální části kostela, tři apsidy a narthex směrem na západ. Zdivo bylo typické pro komnénovskou dobu a používalo techniku zapuštěných cihel, kdy se za linií zdi umísťují střídavé řady cihel a zapouštějí se do maltového lože, jak je stále vidět v chrámové nádrži i v samotném kostele.[1]
Přeměna kostela na mešitu velmi změnila původní stavbu. Arkády spojující hlavní loď s deambulatorii byly odstraněny a nahrazeny širokými oblouky. Tři apsidy byly také odstraněny. Na jejich místě směrem na východ byla postavena velká kupolovitá místnost v šikmém úhlu vůči budově.
Na druhé straně parkklesion představuje nejkrásnější stavbu pozdní byzantské doby v Konstantinopoli. Má typický čtvercový půdorys s pěti kupolemi, ale poměr mezi vertikálními a horizontálními rozměry je mnohem větší než obvykle (ačkoli ne tak velký jako v soudobých byzantských kostelech stavěných na Balkáně).
Přestože vnitřní barevný mramorový obklad z velké části zmizel, svatyně stále obsahuje restaurované pozůstatky řady mozaikových panelů, které, i když nejsou tak rozmanité a dobře zachovalé jako u kostela Chora, slouží jako jeden ze zdrojů pro pochopení pozdního byzantského umění.
Hlavní kupoli vyplňuje vyobrazení Krista Pantokratora, obklopeného proroky Starého zákona (Mojžíš, Jeremiáš, Sofoniáš, Micheáš, Joel, Zachariáš, Abdiáš, Abakuk, Jonáš, Malachiáš, Ezechiel a Izajáš). V apsidě je zobrazen Kristus Hyperagathos s Pannou Marií a sv. Janem Křtitelem. Neporušený Křest Páně přežil na pravé straně kopule.
Exteriér muzea
Exteriér muzea
Exteriér muzea
Kopule muzea
Mozaika v kopuli
Mozaika svatého Antonína Velkého
Mozaika svatého Antonína
Mozaika Krista
Mozaika Řehoře Osvětitele
Mozaika
Hlavice
V komplexu stále funguje mešita. Zde je několik fotografií jejího interiéru.
Interiér mešity
Interiér mešity
Interiér mešity
Interiér mešity
Interiér mešity
Interiér mešity
Reference
V tomto článku byl použit překlad textu z článku Pammakaristos Church na anglické Wikipedii.
Podobné články
- Hagia Sofia
- Monastýr Krista Pantokratora
- Chrám Bohorodice Farosské
- Chrám svatých Apoštolů
- Chrám svatého Spasitele v Chóře
- Chrám Matky Boží Vlachernské
- Chrám svatého Polyeukta
- Chrám Matky Boží Životodárného pramene
- Lips monastýr (mešita Fenari Isa)
Externí odkazy
Obrázky, zvuky či videa k tématu Kostel Pammakaristos na Wikimedia Commons
Literatura
- MAMBOURY, Ernest. Byzance - Constantinople - Istanbul. 3. vyd. Istanbul: Milli Neşriyat Yurdu, 1933. (francouzsky)
- MATHEWS, Thomas F. The Byzantine Churches of Istanbul: A Photographic Survey. University Park: Pennsylvania State University Press, 1976. ISBN 0-271-01210-2.
- MÜLLER-WIENER, Wolfgang. Bildlexikon zur Topographie Istanbuls: Byzantion, Konstantinupolis, Istanbul bis zum Beginn d. 17 Jh. Tübingen: Wasmuth, 1977. ISBN 978-3-8030-1022-3. (německy)
- BELTING, Hans; MOURIKI, Doula; MANGO, Cyril. Mosaics and Frescoes of St Mary Pammakaristos (Fethiye Cami Istanbul). [s.l.]: Dumbarton Oaks Pub Service, 1978. ISBN 0-88402-075-4.
- HARRIS, Jonathan. Constantinople: Capital of Byzantium. [s.l.]: Hambledon/Continuum, 2007. Dostupné online. ISBN 978-1-84725-179-4.
Média použitá na této stránce
Autor: Gryffindor, Licence: CC BY-SA 4.0
Column capital decorated with busts of apostles. Marble, Pammakaristos Church excavations. Early 14th century. Inv. 71.147 T
Autor: Dosseman, Licence: CC BY-SA 4.0
One should note that there is another entrance to a part of the building that is in use as a mosque and is called Fethiye Mosque, so for this part Fethiye Museum is more proper.
Autor: G.dallorto, Licence: CC BY-SA 2.5
Istanbul: Museo dell'ex chiesa del Pammacaristos (Fetiye camii). Cupola con mosaico bizantino rappresentante sant'Antonio abate. Foto di: Giovanni Dall'Orto, 26-5-2006.
Autor: Dosseman, Licence: CC BY-SA 4.0
A view to the central dome, showing where some of the mosaics are situated.
Autor: Dosseman, Licence: CC BY-SA 4.0
So far I have not identified this figure.
Autor: Dosseman, Licence: CC BY-SA 4.0
Much of the Pammakaristos Church has been turned in the Fethiye Museum, but part of it is still in use as a mosque. This is a picture taken there. Because the direction of the church compared to that in a mosque towards Mecca the interior setting is awkward.
Autor: Dosseman, Licence: CC BY-SA 4.0
"From left to right: prophets Sophonias - Mica - Jo'el - Zacharias"
The Enc. Brit. has Zephania, adding " also spelled Sophonias Israelite prophet, said to be the author of one of the shorter Old Testament prophetical books, who proclaimed the approaching divine judgment. The first verse of the Book of Zephaniah makes him a contemporary of Josiah, king of Judah (reigned c. 640–609 BC). The prophet's activity, however, probably occurred during the early part of Josiah's reign, for his criticism of the worship of certain gods in Jerusalem (Baal, Milcom, and the host of the heavens) would have been meaningless after Josiah's reform, which took place about 623/622 BC." .
On Mica is has: "the sixth of 12 Old Testament books that bear the names of the Minor Prophets, grouped together as The Twelve in the Jewish canon. According to the superscription, this Judaean prophet was active during the last half of the 8th century BC. The book is a compilation of materials some of which come from a period considerably later than Micah's time. The threats in chapters 1–3 and 6–7:7 are usually attributed to Micah, but the promises in chapters 4–5 and 7:8–20 are generally dated several centuries later. Some of the promises seem to presuppose the fall of Jerusalem and the subsequent Babylonian Exile (6th century BC), but it is possible that some promises date from before the exile or from Micah himself. The exalted view of Zion in 4:1-4 and the messianic character of 5:2–4 reflect the ideology of the Zion cult in Jerusalem before the exile. Micah's threats are directed against idolaters, those who oppress the little man, priests and prophets who use their profession for financial gain, and leaders who pervert equity and abhor justice. The promises emphasize the importance of Zion, where Yahweh or his royal regent reigns over a kingdom of peace, and of the return from exile for Israel as well as for Judah."
On Jo'el it has: "second of 12 Old Testament books that bear the names of the Minor Prophets. The Jewish canon lumps all together as The Twelve and divides Joel into four chapters; Christian versions combine chapters 2 and 3. The book relates nothing about Joel except his name and that of his father. An analysis of the text further indicates that Joel lived during the period of the Second Temple of Jerusalem (516 BC–AD 70), for his book reflects the liturgy then in use. The book's central theme is a concept borrowed from preexilic prophets that salvation will come to Judah and Jerusalem only when the people turn to Yahweh. Then they will not only receive divine favour, but the land itself will become fertile."
And finally Zacharias: also spelled Zacharias, the 11th of 12 Old Testament books that bear the names of the Minor Prophets, collected in the Jewish canon in one book, The Twelve. Only chapters 1–8 contain the prophecies of Zechariah; chapters 9–14 must be attributed to at least two other, unknown authors. Scholars thus refer to a “second” and “third” Zechariah: Deutero-Zechariah (chapters 9–11) and Trito-Zechariah (chapters 12–14). According to dates mentioned in chapters 1–8, Zechariah was active from 520 to 518 BC. A contemporary of the prophet Haggai in the early years of the Persian period, Zechariah shared Haggai's concern that the Temple of Jerusalem be rebuilt. Unlike Haggai, however, Zechariah thought that the rebuilding of the Temple was the necessary prelude to the eschatological age, the arrival of which was imminent. Accordingly, Zechariah's book, and in particular his eight night visions (1:7–6:8), depict the arrival of the eschatological age (the end of the world) and the organization of life in the eschatological community. Among Zechariah's visions was one that described four apocalyptic horsemen who presaged God's revival of Jerusalem after its desolation during the Babylonian Exile. Other visions announced the rebuilding of the Temple and the world's recognition of Yahweh, Israel's God.
(information by viewer of this picture, could not identify myself)
Autor: Dosseman, Licence: CC BY-SA 4.0
Much of the Pammakaristos Church has been turned in the Fethiye Museum, but part of it is still in use as a mosque. This is a picture taken there. Because the direction of the church compared to that in a mosque towards Mecca the interior setting is awkward.
Autor: G.dallorto, Licence: CC BY-SA 2.5
Istanbul: Museo dell'ex chiesa del Pammacaristos (Fetiye camii). Soffitto con mosaico bizantino del XIV secolo rappresentante San Gregorio Armeno. Foto di: Giovanni Dall'Orto, 26-5-2006.
Autor: Dosseman, Licence: CC BY-SA 4.0
Much of the Pammakaristos Church has been turned in the Fethiye Museum, but part of it is still in use as a mosque. This is a picture taken there. Because the direction of the church compared to that in a mosque towards Mecca the interior setting is awkward.
Autor: Dosseman, Licence: CC BY-SA 4.0
Saint Antony, the desert Father, the monk.
The Enc. Brit. has " born c. 251, Koma, near al-Minyā, Heptanomis [Middle Egypt], Egypt. died Jan. 17?, 356, Dayr Mārī Antonios hermitage, near the Red Sea; feast day January 17.
A disciple of Paul of Thebes, Anthony began to practice an ascetic life at the age of 20 and after 15 years withdrew for absolute solitude to a mountain by the Nile called Pispir (now Dayr al-Maymūn), where he lived from about 286 to 305. During the course of this retreat, he began his legendary combat against the devil, withstanding a series of temptations famous in Christian theology and iconography. In about 305 he emerged from his retreat to instruct and organize the monastic life of the hermits who imitated him and who had established themselves nearby. When Christian persecution ended after the Edict of Milan (313), he moved to a mountain in the Eastern Desert, between the Nile and the Red Sea, where the monastery Dayr Mārī Antonios still stands. Here he remained, receiving visitors and, on occasion, crossing the desert to Pispir. He ventured twice to Alexandria, the last time (c. 350) to preach against Arianism, a heretical doctrine teaching that Christ the Son is not of the same substance as God the Father.
(information by viewer of this picture, could not identify myself)Autor: G.dallorto, Licence: CC BY-SA 2.5
Istanbul: Museo dell'ex chiesa del Pammacaristos (Fetiye camii). Cupola con mosaico bizantino del Cristo pantocratore. Foto di: Giovanni Dall'Orto, 26-5-2006.
Autor: fusion-of-horizons, Licence: CC BY 2.0
youtu.be/nWsUbdsXLYY
Medieval Byzantine chant (14th century AD). Title: "Ευλογήσατε τον Κυρίον" (Bless the Lord) Composer: Maistor Ioannes Koukouzeles Performers: Greek Byzantine Choir Album: "Mathimata Maistoros Koukouzele" youtu.be/G9TT73MODLY youtu.be/tze8fnpHzwY Psalm 83 [Greek Septuagint] "How Beloved Are Thy Dwellings"
.
.
.
photo: 13th century parekklesion (side chapel) at Pammakaristos Church former Monastery of Theotokos Pammakaristos Church of Theotokos Pammakaristos, Constantinople present Fethiye Mosque Museum, Istanbul Fethiye Camii [Mosque of The Conquest] Çarşamba neighbourhood, Fatih district of Istanbul Θεοτόκος ἡ Παμμακάριστος Μονή Παμμακάριστου, Κωνσταντινούπολη en.wikipedia.org/wiki/Pammakaristos_Church www.sacred-destinations.com/turkey/istanbul-fethiye-camii www.thebyzantinelegacy.com/pammakaristos
Cross-in-square
en.wikipedia.org/wiki/Cross-in-square
Autor: Dosseman, Licence: CC BY-SA 4.0
I am certain this is a well-known type of Christ, but I cannot identifiy it.
Autor: Dosseman, Licence: CC BY-SA 4.0
Much of the Pammakaristos Church has been turned in the Fethiye Museum, but part of it is still in use as a mosque. This is a picture taken there. Because the direction of the church compared to that in a mosque towards Mecca the interior setting is awkward.
Autor: Dosseman, Licence: CC BY-SA 4.0
Roughly to the left of the apsis, we see a side chapel.
Autor: Dosseman, Licence: CC BY-SA 4.0
Fethiye Museum exterior from south. Note that the complex holds (with another entrance) a mosque, that is called Fethiye Mosque. For the part we see the name "Fethiye Museum" is more proper).
Autor: Dosseman, Licence: CC BY-SA 4.0
Saint Gregory of Great Armenia. From the Wikipedia: St. Gregory of Nyssa (Greek: Ἅγιος Γρηγόριος Νύσσης; Latin: Gregorius Nyssenus; Armenian: Գրիգոր Նիւսացի Grigor Niwsats'i; Arabic: غريغوريوس النيصي) (c 335 – after 394) was a Christian bishop and saint. He was a younger brother of Basil the Great and a good friend of Gregory Nazianzus. His significance has long been recognized in the Eastern Orthodox, Oriental Orthodox, Eastern Catholic and Roman Catholic branches of Christianity. Some historians identify Theosebia the deaconess as his wife, others hold that she, like Macrina the Younger, was actually a sister of Gregory and Basil.[1]
Gregory along with his brother Basil of Caesarea and Gregory of Nazianzus are known as the Cappadocian Fathers. They attempted to establish Christian philosophy as superior to Greek philosophy.
(information by viewer of this picture, could not identify myself)Autor: G.dallorto, Licence: CC BY-SA 2.5
Istanbul: Museo dell'ex chiesa del Pammacaristos (Fetiye camii). Cupola con mosaico bizantino del XIV secolo rappresentante il Cristo Pantocratore circondato da figure di santi. Foto di: Giovanni Dall'Orto, 26-5-2006.
Autor: Dosseman, Licence: CC BY-SA 4.0
Much of the Pammakaristos Church has been turned in the Fethiye Museum, but part of it is still in use as a mosque. This is a picture taken there. Because the direction of the church compared to that in a mosque towards Mecca the interior setting is awkward.
Autor: Dosseman, Licence: CC BY-SA 4.0
Much of the Pammakaristos Church has been turned in the Fethiye Museum, but part of it is still in use as a mosque. This is a picture taken there. Because the direction of the church compared to that in a mosque towards Mecca the interior setting is awkward.
Autor: Dosseman, Licence: CC BY-SA 4.0
Saint Antony, the desert Father, the monk.
The Enc. Brit. has " born c. 251, Koma, near al-Minyā, Heptanomis [Middle Egypt], Egypt. died Jan. 17?, 356, Dayr Mārī Antonios hermitage, near the Red Sea; feast day January 17.
A disciple of Paul of Thebes, Anthony began to practice an ascetic life at the age of 20 and after 15 years withdrew for absolute solitude to a mountain by the Nile called Pispir (now Dayr al-Maymūn), where he lived from about 286 to 305. During the course of this retreat, he began his legendary combat against the devil, withstanding a series of temptations famous in Christian theology and iconography. In about 305 he emerged from his retreat to instruct and organize the monastic life of the hermits who imitated him and who had established themselves nearby. When Christian persecution ended after the Edict of Milan (313), he moved to a mountain in the Eastern Desert, between the Nile and the Red Sea, where the monastery Dayr Mārī Antonios still stands. Here he remained, receiving visitors and, on occasion, crossing the desert to Pispir. He ventured twice to Alexandria, the last time (c. 350) to preach against Arianism, a heretical doctrine teaching that Christ the Son is not of the same substance as God the Father.
(information by viewer of this picture, could not identify myself)