Saint-Saver-in-Chora (Turkish: Kariye Kilisesi or Kariye Camii ) is regarded as being one of most beautiful the examples of Byzantine church. The church is currently located in the Western district stanbouliote of Edirne Kapı. At the 16th century, the church was converted into Mosquée by the Othoman Turks , and it became a museum in 1948 (Turkish: Kariye Müzesi ). The interior is covered of mosaic fines and frescos.

History

The church was originally built out of the walls of Constantinople at the 5th century, apart from the Mur of Constantin builds at the 4th century. The Greek name of the church is ἡ Ἐκκλησία του Ἅγιου Σωτῆρος ἐν τῃ Χώρᾳ (hē Ekklēsia tou Hagiou Sōtēros in tē Chōra ), in tē Chōra means “in the fields”, this phrase became the diminutive of the church thereafter. When the Mur théodosien was set up in 413 - 414, the church was found inside the defensive system of the city, but kept the name of Chora . The name could have taken then a more spiritual direction, will chora being then compared to the belly of the Virgin as leaves it think the inscription which one can read on a mosaic Narthex: “Place of incarnation of incommensurable God”.

However majority of what today is visible date of 1077-1081, when Maria Ducaina, the mother-in-law of Alexis I {{er}} Comnène, made rebuild the church in Greek Croix registered, a style appeared at the 11th century and which will be used as model for the orthodoxe churches until the 18th century. At the beginning of the 12th century, the church suffered from a partial collapse, perhaps due to an earthquake. The church was rebuilt by Issac Comnène, the third wire of Alexis. However, it is only after the third phase of construction, two centuries later, that the church acquired the form that we know to him today. The powerful statesman Theodore Métochitès equipped the church with the majority of his splendid mosaics and frescos. This impressive decoration was carried out between 1315 and 1321. The mosaics are one of best the illustrations of the artistic rebirth under the Paleologist. On the other hand, although we know well the silent partners of these works, the executants remain unknown about it. In 1328, Métochitès was exiled by Andronic III Paleologist; however, it was authorized to return to Constantinople two years later as a monk of the congregation of Chora.

After the conquest of Constantinople by the Turks, the church is transformed into mosque in 1511 by Atık Ali Paşa, large Vizier of Bayezid II. Because of the prohibition which is made represent the Man in the Islam, the mosaics and the frescos are covered with lime, but are not destroyed.

In 1948, Thomas Whittemore and Paul A. Underwood, Byzantine Institute off America and Dumbarton Oaks Center for Byzantine Studies , have sponsored a program of restoration. Since this time, the building ceases being a mosque. In 1958, it was opened with the public as a museum.

The building

The church is of small size compared with the other churches of Istanbul (its surface is of 742,5 m ²), but its relative small size is compensated by the majesty of the interior, as it is often the case in the Byzantine Architecture. The building is composed of three principal zones: the hall or Narthex , the principal body of the church or Naos , and the contiguous vault or paracclésion . The narthex is divided into two parts: the interior narthex or esonarthex and the external narthex or exonarthex . Separation between the two is clear and is due to the repair of the church, the esonarthex forming part of original construction then.

The building has six dome S, two in the esonarthex, one in the paracclésion and three in the naos. The largest cupola of a dimension 7,7 m in diameter is in the center of the naos.

Interior decoration

The mosaics and the frescos presented to the museum are in quantity and quality pictorial works among most important of those bequeathed by the Byzantine artists. They were carried out about at the time of Giotto. One can note similarities with the realism and the vitality which are the mark of the Pre-Rebirth, but with the examination of the details of the execution, the differences appear important and Italian paintings of this time do not divide the feature traditionally very stylized Byzantine art. The gracious movements of the characters give to their representations a lightness and an incomparable elegance, in addition underlined by a fresh coloring. Moreover, the vast range of biblical topics gives an idea of the creative force of the Byzantine Masters, in spite of the imposed iconographic order. The main theme of these rich mosaics of detail is the incarnation of God as a Man and the safety brought to the Men. The resurrection of Christ is the central reason for the frescos of the funerary vault and comes to supplement this concept of hello.

The narthex

At the time of the entry in the church of Chora, the glance falls on the representation of the Christ Pantocrator above the gate the interior narthex. In opposition above the main entrance, is the Virgin Mary: the repair of the church was thus devoted to Christ and Marie. After having crossed the external narthex, one can see the mosaic representing the benefactor of the church, Theodore Métochitès, knelt, presenting it to Christ. Two icon S in mosaic of saint Pierre and holy Paul flank the passage. The southern cupola shows a Pantocrator Christ and its genealogy, that in north introduces Marie and her ancestors. In the vault under the cupola of the esonarthex, the cycle, which counted originally 20 scenes, starts with the life of Marie who was very popular with the Middle Ages. The cycle of images in the external narthex starts with the childhood of Jesus and continues in the interior narthex by the representation of the public miracles of Christ.

The naos

Dormition of the Virgin (or Koimesis of the Virgin) is represented on a mosaic above the central door of the nave. The child whom Christ holds behind it symbolizes his heart. This mosaic of traditional composition is single representing which reached us of a whole of mosaics representing the Twelve Festivals and which occupied all the nave. Without furniture and deprived of other decorations, the naos does not leave any more see but the marbles which decorate it and gives an impression of coldness, coldness reinforced by let us tons blue and greens of the veins of the marble as well as weak lighting.

The paracclésion

The walls and the ceilings of the paracclésion are mainly covered with frescos. At the bottom of the paracclésion in particular the masterpiece of the church is: a fresco representing the Descent into Hell or Anastasis .

External bonds

• Saint-Saver-in-Chora
• Byzantium1200.com
• History and mosaics of Saint-Saver-in-Chora,

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