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Bizans Sanatında “Koimesis” (Meryem’in Uykusu) Tasvirlerinin Kökeni ve İkonografisi

Ortodoks Hıristiyan inancı üzerine temellenen Bizans İmparatorluğu’nda, İsa’nın bedenlenmesine aracı olması nedeniyle büyük hürmet gören ve şefaatçi kabul edilen Meryem’in bu dünyadan göçmesi (Koimesis), önemli Ortodoks bayramları arasında yer alır. Sahnenin ikonografik ögeleri; döşekte yatan Meryem, Meryem’in ruhunu teslim almak üzere göklerden gelmiş olan İsa, İsa’nın ellerinde tuttuğu ve Meryem’in ruhunu simgeleyen bebek (eidolon); Meryem’in ruhunu cennete götürmek üzere gelen melek(ler); Meryem’in döşeğinin etrafını sarmış olan havariler, kilise babaları ve teologlar; evler, yas tutan kadınlar, Meryem’in bedenine zarar vermek üzere döşeğin yanına gelmiş olan Yahudi ve onu engellemek için ellerini kesen melekten oluşur.

Anahtar Kelimeler:

İkonografi, Bizans Sanatı, Meryem, Meryem'in Ölümü, Ortodoks Hıristiyanlık

The Iconography and the Origin of Koimesis (The Dormition of Virgin Mary) in Byzantine Art

In Orthodox Byzantine Empire, Virgin Mary had been venerated with great respect due to her participation of Jesus’ Incarnation and so she had been accepted as an intercessor for the salvation of the mankind. Because of her important place in Orthodox Christian faith, Virgin Mary’s passing away (Koimesis) is one of the most important Orthodox feasts. The iconographic elements of the scene are Mary on her death-bed, Jesus holding Mary’s soul in his arms, Mary’s soul as a baby (eidolon), angels, apostles, church fathers, theologians, houses, mourning women, Jewish man who aims to attack Mary’s body and an angel who cuts the Jewish man’s hands

Keywords:

Iconography, Byzantine Art, Mary, The Dormition, Orthodox Christianity,

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