コーラ修道院聖堂におけるパレクレシオンの空間構成

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1 カテゴリー Ⅰ 日本建築学会計画系論文集第 82 巻第 738 号, ,2017 年 8 月 J. Archit. Plann., AIJ, Vol. 82 No. 738, , Aug., 2017 DOI コーラ修道院聖堂におけるパレクレシオンの空間構成 - 墓室と絵画との関係に着目して- SPATIAL COMPOSITION OF THE PAREKKLESION IN THE CHORA CHURCH - Focusing on the relationship between the tomb and the paintings - 猪股圭佑 * **, 岡﨑甚幸 Keisuke INOMATA and Shigeyuki OKAZAKI The present paper analyzes the spatial composition with the theme and layout of the paintings focusing on the relationship between the tomb and the paintings in the Chora Church s parekklesion. Interior elevations, an interior view of the ceiling, a section of the northwestern tomb, a photomontage, and an axonometric drawing are created, and the spatial composition of the paintings is analyzed. The holy space was devised, integrating the architecture with paintings to represent Theodore Metochites prayer, which invokes The Virgin Beseeches in the domed bay and the resulting Salvation of Christ as its accomplishment in the apse. Keywords : Chora Church, Byzantine, Christian paintings, Parekklesion, Theodore Metochites, Fig.2 lower left * ** 武庫川女子大学生活環境学部建築学科講師修士 ( 工学 ) 武庫川女子大学生活環境学部建築学科教授工博 Lect., Dept. of Architecture, Mukogawa Womenʼs Univ., M. Eng. Prof., Dept. of Architecture, Mukogawa Womenʼs Univ., Dr. Eng. 2151

2 Underwood Ousterhout Der Nersessian Ousterhout Salvation Underwood O. Demus The three zones Bornovali Atas Bornovali Bornovali Parekklesion's dome Parekklesion Naos' dome Naos Fig.1 Present overhead view of the south side of the Chora Church it 18) ). Fig.2 upper left, upper right, lower middle, Fig.4 Fig.2 upper middle Fig.3 Fig.2 lower right Fig

շ Jacob ն Three Wrestling Angel; Priests Jacob's Ladder before Altar The Virgin and Child Theophanes Graptos Doorway to the naos Angels Theodore Metochites' յ Angel Smiting

Burning Bush Christ Scroll of Heaven Christ Entry of Elect into Paradise Last Judgment The Virgin Adam Doorway to the Diaconicon Lazarus in Abraham's Bosom Deesis Choirs of

ձ Bearing Vessels of the Ark of the Covenant Land and Sea Giving up Their Dead Torments of the Damned John Rich Man in Hell Virgin Eleousa Southern wall Anastasis Adam

Last Judgment (Dome) Store room Kosmas Last Judgment Oratory (Dome) Installation of the Ark The Virgin and Child The Old Testament SUHÀJXUDWLRQV RI the Virgin Heaven

2 Interior elevation of the northern wall of the Chora Church s parekklesion (upper left); Interior view of the ceiling of the Chora Church's parekklesion (upper middle);

middle); Plan of the Chora Church (redrawn after Ousterhout7), lower left); and Photomontage of the Chora Church s parekklesion (lower right).

3 շ Jacob ն Three Wrestling Angel; Priests Jacob's Ladder before Altar The Virgin and Child Theophanes Graptos Doorway to the naos Angels Theodore Metochites' յ Angel Smiting Assyrians մ Installation of the Ark Joseph Tornikes' Virgin and Child with Angels John of Damascus ոչ Moses and the Burning Bush Angel and a Soul Kosmas չ Moses and the Burning Bush Christ Scroll of Heaven Christ Entry of Elect into Paradise Last Judgment The Virgin Adam Doorway to the Diaconicon Lazarus in Abraham's Bosom Deesis Choirs of the Elect Fiery Stream and Lake of Fire Ceiling Christ Eve Raising of Daughter of Jairus Raising of Widow's Son Northern wall ճ Solomon and ղ Bearing All Israel of the Sacred ձ Bearing Vessels of the Ark of the Covenant Land and Sea Giving up Their Dead Torments of the Damned John Rich Man in Hell Virgin Eleousa Southern wall Anastasis Adam Theophanes Graptos Eve Joseph Church Fathers N E W S Eastern wall Resurrection Naos Theodore Parekklesion Metochites' Jacob Wrestling Angel; Jacob's Ladder John of Damascus Last Judgment (Dome) Store room Kosmas Last Judgment Oratory (Dome) Installation of the Ark The Virgin and Child The Old Testament SUHÀJXUDWLRQV RI the Virgin Heaven Anastasis Hell Esonarthex Exonarthex Theodore Metochites' Doorway to the naos Church Fathers Tornikes Tornikes' Fig.2 Interior elevation of the northern wall of the Chora Church s parekklesion (upper left); Interior view of the ceiling of the Chora Church's parekklesion (upper middle); Interior elevation of the southern wall of the Chora Church's parekklesion (upper right); Interior elevation of the eastern wall of the Chora Church's parekklesion (lower middle); Plan of the Chora Church (redrawn after Ousterhout7), lower left); and Photomontage of the Chora Church s parekklesion (lower right). In the parekklesion, the successive expression from the Virgin and Child in the domed bay and the Old Testament paintings positioned clockwise on the southern and northern walls to Anastasis in the apse represents The Virgin Beseeches and the resulting accomplishment of The Salvation of Christ. 2153

4 The Virgin and Child Fig.2 upper left, upper middle, upper right Fig.5 Arrow 1 Last Judgment Anastasis Resurrection Fig.2 lower right Deesis Fig.2 upper middle Fig.2 upper middle, lower middle Fig.3 Fig.4 Ark Incarnation Fig.4 IIIIII I II The annexed chapel s northern wall of the twelfthcentury church The eleventhcentury church southern wall Gallery passage The parekklesion s northern wall added in Sculpture added after after 1332 Naos Oratory Parekklesion Northwestern Dome Fig.3 Section of the northwestern tomb of the Chora Church s parekklesion. The annexed chapel s northern wall of the twelfth-century church was added on the eleventh-century church s southern wall, the parekklesion s northern wall was added in The northwestern tomb of the parekklesion exceeds all others in the church in the breadth and depth of its arcosolium and in the size of its sarcophagus as indicated by slots cut into masonry jambs to accommodate lid. 2154

5 The Virgin and Child The Virgin and Child The Virgin and Child The Virgin and Child Angels Angels Angels Angels I II III Theophanes Graptos Jacob Wrestling Angel; Jacob's Ladder Saints Theodore Metochites' Doorway to the naos The Virgin and Child John of Damascus Angel The Virgin Mountain Moses and the Burning Bush Christ Kosmas Mountain Solomon and All Israel Saint Tornikes Tornikes' Joseph Installation of the Ark Saint Saint Tornikes' wife Melchisedek Doorway to the exonarthex Theophanes Graptos Saint Northern wall Eastern wall Southern wall Western wall Fig.4 Interior elevation of the domed bay of the Chora Church s parekklesion. I. First zone: Dome <God s world> The Virgin and Child, Angels. II. Second zone: Pendentive, Lunette <Intermediate space> Hymnographers, Solomon and All Israel, Installation of the Ark, Jacob Wrestling Angel; Jacob's Ladder, Moses and the Burning Bush, The Virgin and Child, Angel, Mountain. III. Third zone: Lower Part of Wall <Terrestrial world> Theodore Metochites', Tornikes'. III Fig.4 Fig.5 Arrow 2 Heaven Fig.5 Arrow 3, 4, 5 Fig.2 upper left, upper middle Fig.5 Arrow 6 Fig.2 upper middle Fig.2 lower middle Fig.3 Fig.2 lower left 2155

6 Eastern wall Anastasis Last Judgment The Virgin and Child Arrow 2: Theodore Metochites is assumed to have been buried in the tomb of the northern wall under the dome. The Virgin Beseeches is represented in this domed bay. Lazarus in Abraham's Bosom Torments of the Damned Dome Raising of Widow's Son Bearing of the Ark of the Covenant Angels Entry of Elect into Paradise Angel and a Soul Bearing of the Sacred Vessels Solomon and All Israel John of Damascus The Virgin and Child Installation of the Ark Moses and the Burning Bush Theophanes Graptos Angel Smiting Assyrians N E S W Jacob Wrestling Angel; Jacob's Ladder Arrow 3: Metochites soul invoking The Salvation of Christ in the earthly world is carried from his tomb by the angel in the painting. Three Priests before Altar Southern wall Arrow 4: Metochites soul is presented by the angel for the Last Judgment. Theodore Metochites' Arrow 5: Metochites soul enters Paradise, which is painted on the northern wall with the Elect, without falling to Hell, which is painted on the southern wall. Arrow 6: Finally, the Resurrection is placed in the apse. Doorway to the naos Northern wall Arrow 1: Paintings of the Old Testament stories positioned clockwise from the southern wall s Bearing of the Ark of the Covenant to the northern wall s Moses and the Burning Bush are pregurations of the Virgin. Fig.5 Axonometric drawing of the Chora Church s parekklesion. In the parekklesion, Theodore Metochites prayer invoking The Salvation of Christ is represented in the holy space where the founder s tomb connects to the dome above, and to the apse. 2156

7 Fig.2 upper right Fig.2 upper left Oratory Fig.3 Fig.5 Arrow 1 Fig.5 Arrow 2 Fig.5 Arrow 3 Fig.5 Arrow 4 Fig.5 Arrow 5 Fig.5 Arrow 6 Christ Pantocrator Fig.2 lower left 2157

8 Keisuke Inomata and Shigeyuki OkazakiSignificance of the Architectural Space and Mountains in the Christian Art of the Inner Narthex of the Chora Church, Intercultural Understanding, Vol.4, pp.27-35, Keisuke Inomata, Shigeyuki Okazaki and Kazuhiko Yanagisawa Functions of Mountains in Visual Composition of Christian Paintings in the Chora Church, Intercultural Understanding, Vol.1, pp.25-30, R. Ousterhout : The architecture of the Kariye Camii in Istanbul, Dumbarton Oaks Research Library and Collection, 1987 R. Ousterhout : The Art of the Kariye Camii, SCALA, 2002 R. Ousterhout : The Virgin of the Chora, The Sacred Image East and West Edited by R. Ousterhout and L. Brubaker, Illinois Byzantine Studies IV, University of Illinois Press, pp , 1995 R. Ousterhout : Temporal Structuring in the Chora Parekklesion, Gesta, Vol.34, No.1, pp.63-76, 1995 P.A.Underwood : THE KARIYE DJAMI Vol.1-Vol.3, Bollingen Foundation distributed by Pantheon Books, 1966 A. Grabar : The Artistic Climate in Byzantium During the Palaeologan Period, THE KARIYE DJAMI Vol.4, Princeton University Press, pp.1-16, 1975 : Theodore Metochites, the Chora, and the Intellectual Trends of His Time, THE KARIYE DJAMI Vol.4, Princeton University Press, pp.17-92, 1975 J. Meyendorff : Spiritual Trends in Byzantium in the Late Thirteenth and Early Forteenth Centuries, THE KARIYE DJAMI Vol.4, Princeton University Press, pp , 1975 O. Demus : Byzantine Mosaic Decoration: Aspects of Monumental Art in Byzantium, Boston Book & Art Shop, 1955 O. Demus : The Style of the Kariye Djami and Its Place in the Development of Palaeologan Art, THE KARIYE DJAMI Vol.4, Princeton University Press, pp , 1975 S. Der Nersessian : Program and the Iconography of the Frescoes of the Precclesion, THE KARIYE DJAMI Vol.4, Princeton University Press, pp , 1975 Z. Atas : The art and architecture of Chora Monastery in comparison with its East European and Italian contemporaries, The Sustainable City VII, Vol. 155, pp , 2012 Richard Krautheimer : Early Christian and Byzantine Architecture : Fourth Edition, Yale University Press, 1992 T. F. Mathews : The Byzantine Churches of Istanbul. A Photographic Survey, Pennsylvania State University, 1976 V. Marinis : Architecture and Ritual in the Churches of Constantinople : Ninth to Fifteenth Centuries, Cambridge Univ Pr, 2013 Byzantine Churches, Journal of the Society of Architectural Historians, Vol. 36, No. 2, pp , a cross in square church a cruciform plan Naos Esonarthex Exonarthex Parekklesion Underwood Theodore Metochites Fig.1 Ousterhout 2158

9 Propitiaion of the world, hail, spotless virgin Fig.2, Fig.4, Fig.5 Bearing of the Ark of the Covenant Bearing of the Sacred Vessels Solomon and All Israel Installation of the Ark Angel Smiting Assyrians Three Priests before Altar Jacob Wrestling Angel; Jacob's Ladder Moses and the Burning Bush This cycle begins in the eastern bay, on the western half of the southern lunette, and it continues in the vaults and on the southern and northern lunettes of the western bay. Scroll of Heaven Hetoimasia Weighing of Souls Angel and a Soul Lazarus in Abraham's Bosom Entry of Elect into Paradise Fiery Stream and Lake of Fire Rich Man in Hell Torments of the Damned Raising of Widow's Son Raising of Daughter of Jairus Virgin Eleousa Mary is hailed as the temple of God more beautiful than the temple of Solomon, as the ark of the covenant, the tabernacle of the omnipotent God, the spiritual ark enclosing the incomprehensible Logos, and she is the Virgin is celebrated as the spiritual or the living ladder between God and men, the bridge leading to the Creator. the scene has been interpreted as the Archangel presenting the soul of Theodore Metochites. Stamnos Ordinarily the elect, led by St. Peter, advance from right to left toward the gate of paradise guarded by the cherubim. On the northern lunette of the parecclesion the direction is reversed, but by this means the 2159

10 Good Thief, and the Virgin enthroned between two angels, represented in the right half of the lunette, adjoin the composition of the northeastern pendentive, in which Abraham is seated in an arbor with Lazarus on his knees and other souls standing at his sides Christ, standing between the two, simultaneously raised Adam with his right hand and Eve with his left. The tomb in the north wall of the western bay exceeds all others in the church in the breadth and depth of its arcosolium and in the size of its sarcophagus. Width of arcosolium at outer face of opening, 2.56m.; depth of arcosolium, 1.06m.; height of sarcophagus, as indicated by slots cut into masonry jambs to accommodate lid, 1.34m. The sculptured slabs of the facing obviously were an addition to the arcosolium, carved the Phase IV Kariye had an annexed chapel on the south side, connected to the naos by a large, arched opening. While the function of this chamber must remain uncertain, its character and its position with relation to the nave of the church on one side and the tomb in the parecclesion on the other suggest a small chapel or oratory, in which icons with perpetually burning candles and votive lamps might have been kept and commemorative rites have been performed. Fig.1 Fig.2 lower left Ousterhout 2160

11 SPATIAL COMPOSITION OF THE PAREKKLESION IN THE CHORA CHURCH - Focusing on the relationship between the tomb and the paintings - Keisuke INOMATA * and Shigeyuki OKAZAKI ** * Lect., Dept. of Architecture, Mukogawa Womenʼs Univ., M. Eng. ** Prof., Dept. of Architecture, Mukogawa Womenʼs Univ., Dr. Eng. The present paper analyzes the spatial composition with the theme and layout of the Christian paintings focusing on the relationship between the tomb and the paintings in the Chora Church's parekklesion (Fig.1). The Chora Church's parekklesion consists of a single nave with an apse and a dome that is located on the north-south axis of the naos dome (the dashed line in the lower left image in Fig.2), and contains Christian paintings throughout the walls and ceiling. Four arcosolia serve as tombs in the parekklesion. The tomb of the Chora Church s founder in the fourteenth century, Theodore Metochites, which should be a primary focal point in the church, is located outside the north-south axis of the domes. The importance of his tomb is unclear due to its architectural aspect. However, the layout of the paintings presumably gives meaning to the holy religious space where the founder s tomb connects to the dome above, where The Virgin Beseeches is depicted, and to the apse, where The Salvation of Christ is represented. This paper is a continuation of our preceding one and describes how the layout of the paintings of the Chora Church gives meaning to the architectural space. This church has enormous implications for determining how a holy space was constructed. Interior elevations, an interior view of the ceiling, a photomontage, a section of the northwestern tomb, a photomontage, and an axonometric drawing of the parekklesion are created, and the spatial composition with the theme and layout of the Last Judgment, and the location of Theodore Metochites tomb. In the Chora Church's parekklesion, the paintings of the Old Testament stories positioned clockwise from the southern wall s Bearing of the Ark of the Covenant to the northern wall s of the Virgin (Arrow 1 in Fig.5). The Virgin Beseeches is represented in the domed bay (Fig.4 and Arrow 2 in Fig.5). The soul of Theodore Metochites, who is assumed to have been buried in the tomb of the northern wall under the dome, invoking The Salvation of Christ in the earthly world, is presented for Last Judgment by the angel in the painting (Arrows 3 and 4 in Fig.5) and enters Paradise (painted on the northern wall with the Elect) (Arrow 5 in Fig.5) without falling to Hell, which is painted on the southern wall. Furthermore, the Resurrection is placed on the apse over this area (Arrow 6 in Fig.5). Therefore, Theodore Metochites prayer is represented in the holy space where his tomb connects to the dome above, and to the apse. The fact that the passageway from the parekklesion to the Naos was constructed during renovation of the Chora Church is not the reason why Theodore Metochites tomb is located outside the north-south axis of the domes. His tomb is located in the domed bay where The Virgin Beseeches is depicted with the Old Testament paintings positioned clockwise on the southern and northern walls, adjoining the doorway to the naos, which is the center of the entire church, and connecting with Heaven after the Last Judgment and Resurrection. It does, however, establish a three-dimensional Byzantine religious space with the Christian paintings. In other words, the holy space was devised, integrating the architecture with paintings to represent Theodore Metochites prayer that invokes The Virgin Beseeches in the domed bay and the resulting Salvation of Christ as its accomplishment in the apse. (2016 年 11 月 10 日原稿受理,2017 年 5 月 11 日採用決定 ) 2161

Significance of the Architectural Space and Mountains in the Christian Art of the Inner Narthex of the Chora Church

Intercultural Understanding, 2014, volume 4, pages 27-35 Significance of the Architectural Space and s in the Christian Art of the Inner Narthex of the Chora Church Keisuke Inomata 1 and Shigeyuki Okazaki