Terazideki Savunmasız Ruh: Suna ve İnan Kıraç Vakfı Koleksiyonu'nda Kâğıt Bir İkona

Year 2020, , 120 - 126, 22.12.2020

Brigitte Pıtarakıs

https://doi.org/10.53979/yillik.2020.7

Abstract

Suna ve İnan Kıraç Vakfı Koleksiyonu'ndaki kâğıt bir ikona üzerine ikonografik bir inceleme.

Keywords

Bizans, ikonografi, İsa'nın İkinci Gelişi, Son Yargı

The Naked Soul at the Scales: A Paper Icon in the Suna and İnan Kıraç Foundation Collection

Abstract

The Suna and İnan Kıraç Foundation
Collection holds a Greek engraving
depicting the Second Coming and the
Last Judgment.1 In this case, the pans
of a balance scale, held by the hand of
God, serve to weigh the deeds of the
naked soul. Printed using a copper
plate, the engraving belongs to a category
of objects called paper icons and
can be dated to the early nineteenth
century.

Keywords

iconography, Byzantium, Second Coming, Last Judgment

References

• 1 Suna and İnan Kıraç Foundation (SVIKV), İAE, FKA_0091956. ΔΕΥΤΕΡΑ ΠΑΡΟΥCΙΑ (Second Coming and the Last Judgment), ca. 1810–1820, 71,4 × 51,5 cm.
• 2 For a corpus of paper icons, see Dori Papast- ratou, Χάρτινες Εικόνες: Ορθόδοξα θρησκευτικά χαρακτικά, 1665–1899, 2 vols. (Athens: Papastratos, 1986). See also Anastasia Tourta, ed., Θρησκευτικὰ χαρακτικά από τη συλλογή της Ντόρης Παπαστράτου (Thessaloniki: Museum of Byzantine Culture, 1995); Tourta, “Χαλκογραφικές πλάκες της δωρεάς Δαρά,” Μουσείο Βυζαντινού Πολιτισμού 7 (2000): 48–60;
• Oksana Yurchyshyn-Smith, “Rare Paper Icons from Mount Athos: Addenda to Paper Icons: Greek Orthodox Religious Engravings, 1665–1899 by Dory Papastratou,” Print Quarterly 21, no. 2 (2015): 143–161.
• 3 Cyril Mango and Ahmet Ertuğ, Chora: The Scroll of Heaven (Bern: Ertuğ and Kocabıyık, 2000), 195–207; Robert Ousterhout, The Art of Kariye Camii (London: Scala Publishers and Ar- chaeology and Art Publications, 2002), 111–113.
• On the Last Judgment in Byzantium, see Mar- cell Angheben et al., eds., Le Jugement dernier. Entre Orient et Occident (Paris: Les éditions du Cerf, 2007);
• Nancy P. Ševčenko, “Some Images of the Second Coming and the Fate of the Soul in Middle Byzantine Art,” in Apocalyptic Themes in Early Christianity, ed. Robert Daly, Holy Cross Studies in Patristic Theology and History (Grand Rapids: Baker Academic, 2009), 250–272.
• See also Angeliki Lymperopoulou, ed., Hell in the By- zantine World, vol. 1, Essays: A History of Art and Religion in Venetian Crete and the Eastern Mediter- ranean (Cambridge: Cambridge University Press, 2020).
• 4 See Nil Özlem Pektaş, “The First Greek Prin- ting Press in Constantinople (1625–1628),” (PhD diss., Royal Holloway, University of London, 2014); Pektaş, “The Beginnings of Printing in the Ottoman Capital: Book Production and Circula- tion in Early Modern Istanbul,” Osmanlı Bilimi Araştırmaları 16, no. 2 (2015): 3–32.
• 5 Papastratou, Χάρτινες Εικόνες, no. 52 (0.56 × 0. 80 m). 6 Papastratou, Χάρτινες Εικόνες, no. 51 (0.48 × 0. 68 m). 7 See Warren T. Woodfin, The Embodied Icon: Liturgical Vestments and Sacramental Power in By- zantium (Oxford: Oxford University Press, 2012), 17–20, 171–174.
• For the iconography of Christ as the Great Archpriest in the Palaiologan period, see Titos Papamastorakis, “Η μορφή του Χριστού Μεγάλου Αρχιερέα / The Representation of Christ as the Great Arch-Priest,” DChAE 17 (1993– 1994): 67–78 (in Greek with English summary).
• 8 Victoria Kepetzi, “Quelques remarques sur l’en- roulement du ciel dans l’iconographie byzantine du Jugement Dernier,” DChAE 17 (1993/1994): 99–112.
• 9 Possibly a variation of Acta ecclesiae Hierosoly- morum, Analecta Ecclesiae Hierosolymorum 9, ed. Athanasios Papadopoulos-Kerameus, Ἀνάλεκτα Ἱεροσολυμιτικῆς Σταχυολογίας, vol. 2 (St. Peters- burg: Ek tou typographeiou V. Kirsvaum [B. Kirs- chbaoum], 1894), 129, l.15.
• 10 New Revised Standard Version Bible, accessed October 13, 2020, https://www.biblegateway. com/versions/New-Revised-Standard-Versi- on-NRSV-Bible/.
• 11 See discussion in Ioannis P. Chouliarás, “The Post-Byzantine Iconography of the Individual Punishments of the Sinners in the Depiction of Hell in Northwestern Greece. Differences and Similarities with the Cretan School of Paint- ing,” Zograf 40 (2016): 141–158;
• Ioanna Bitha, “Παραστάσεις της Δευτέρας Παρουσίας στη Ρόδο (13ος αι. – π. 1500) / Representations of the Last Judgment in the Island of Rhodes, Greece (13th c. – ca. 1500),” in Αφιέρωμα στον Ακαδημαϊκό Παναγιώτη Λ. Βοκοτόπουλο, ed. Basilis Katsaros and Anastasia Tourta (Athens: Εκδόσεις Καπόν, 2015), 441–456 (in Greek with English Summa- ry);
• Sophia Kalopissi-Verti, “The Murals of the Narthex. The Paintings of the Late Thirteenth and Fourteenth Centuries,” in Asinou Across Time. Studies in the Architecture and Murals of the Panagia Phorbiotissa, Cyprus, ed. Annemarie Weyl Carr and Andréas Nicolaïdès (Washington, D.C.: Dumbarton Oaks Research Library and Collec- tion, 2012), 146–148.
• See also Doula Mouriki, “An Unusual Representation of the Last Judgment in a Thirteenth Century Fresco at St. George near Kouvaras in Attica,” DChAE 8 (1975/1976): 145–172.