SPATIAL COMPOSITION OF THE CHRISTIAN PAINTINGS THROUGH THE ESONARTHEX OF THE CHORA CHURCH

Keisuke Inomata · Shigeyuki Okazaki

4 citations0/0 files storedJournal of Architecture and Planning (Transactions of AIJ)

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Byzantine Studies and History Historical Art and Architecture Studies Architecture and Art History Studies

Abstract

The present paper analyzes the relationship of spatial composition with the theme and layout of the paintings in the Chora Church to clarify the significance of the architectural space to the paintings. We created interior elevations and photomontages of the successive space from the exonarthex's south portal to the esonarthex and the paintings, and analyzed the spatial composition with the paintings. We opine that the architectural space was devised with the layout of the paintings to embody “Christ as God” and “Christ as a Person,” as symbolized through the Virgin, to represent the “Two Natures of Christ” through the esonarthex.

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References

1976Byzantine Mosaic Decoration: Aspects of Monumental Art in Byzantium 2013Architecture and Ritual in the Churches of Constantinople 1995Temporal Structuring in the Chora Parekklesion 2014Architecture and Ritual in the Churches of Constantinople: Ninth to Fifteenth Centuries 1981The Byzantine Churches of Istanbul. A Photographic Survey

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