The mosaic garden of time

 

 

Yazı/Text: YELİZ ERKOÇ

Fotoğraf/Photos: FATİH PINAR

 

Believed to date back to the 6th century and undergone many restorations, the Chora Church continues to be one of the must-sees for visitors to Istanbul. The Kariye district where it is situated enjoys a vibrant existence. As mystical as the higher ground is, down below, it’s very down-to-earth and real.

 

 

When I hear the name ‘Istanbul’

I immediately think of Vaiz Street

I think of Edirnekapı and our house

I think of the pretty girl standing at the corner.

The conductor pulls the bell cord, the tram stops

A greengrocer, a bar, a couple of acacias

Turtle doves fly through the belfry

White clouds float through...

 

That’s how Turgut Uyar describes Vaiz Street in Edirnekapı. Walk down the hill from Vaiz Street and you come to the Chora Church. This peerless temple that carries the mark of hundreds of years goes on softly telling stories.

Believed to date back to the 6th century, the Chora Church has undergone many restorations since it was first built. The name ‘Chora’ means rural as the church originally stood outside the city walls. Chora’s fate changed in the 14th century when Andronicus II came to the throne. The Asia Minor scientist Metochites undertook a rebuild of the church. Metochites was a man of multiple talents; a statesman, litterateur, architect and interior designer, his contribution to the mosaics and the frescoes of the building is indisputable. The religious stories are told in chronological order and the iconographic allusions are highly striking.

Mosaics ad frescoes played a major part in Byzantine religious art. The Egyptians and the Parthians had first innovated these techniques used to decorate floors. Mosaics became even richer during the Hellenistic times with the addition of tiny glass triangles, squares and rectangles. Frescoes, on the other hand, are painted on wet plaster, using freshly-ground paint dissolved in water and stiff, long-haired brushes. The frescoes decorating the ‘Pareclession’ section of the Chora Church continue to attract academicians both in technique and in use of materials. I ask Anne and Franck, who can’t take their eyes off the frescoes, how they like the church. The French couple respond, eyes sparkling, that they find it to be unique. Anne adds, “Istanbul, in my opinion, leads the field of cultural capitals of the world.”

Another characteristic that sets the Chora Church apart is the narration of the Virgin’s life, despite a total lack of evangelical reference to her life; these scenes look almost encyclopaedic. Theodore Metochites was of a religious bent and he added a mystical meaning to the name of the church when he designed the mosaic above the entrance describing Chora (‘womb’ in Latin) as the place where ‘the infinite, the omnipresent Christ fits into his mother’s womb and takes on a human form’ dedicating the church to Mater Deus (Mother of God) Mary. Josefina Zamirc of Catalonia, Spain, listens to the guide carefully. Zamirc says, “A wonderful building, so well preserved. Some of the scenes depicted here are extraordinary. The world’s ninth wonder, in my opinion.” I ask the Spanish tourist where, in her opinion, is the eighth; her response of  “Aya Sofia” convinces me I’m in the presence of a true fan of Istanbul.

This holy location continued to serve as a church after the conquest of Istanbul; Atik Ali Pasa converted the building into a mosque in 1551, covering the frescoes and the mosaics over with a fine layer of plaster and whitewash. The American Byzantine Institute of Washington sponsored a restoration programme in 1948; this most far-reaching restoration work saw the mosaics and frescoes revealed once more.

The surrounding area was first restored by the Turing organisation under the leadership of Çelik Gülersoy; the wooden Ottoman houses were restored and in some instances, rebuilt. The uphill road by the church goes up to the Sarmatomruk Road. Life in this district is vibrant. As mystical as the higher ground is, down below, it’s very down-to-earth and real. Auntie Sermet, who’s been living here since she was 17, must have tired of staying at home on her own; she’s leaning down from the long garden wall, looking at passers-by. She doesn’t miss us, either; her warm greeting cheers us. We meet a huge crowd upon our return to the church. The number of visitors varies predictably according to tourism season. But the locals enjoy a cup of tea with their Sunday chat, gazing at the unforgettable scenery presented by the church. İpek and Volkan, a young couple, with their baby Emir, are enjoying a good Sunday in the tea garden. Volkan, a resident since birth, says, “This area has changed enormously in time. The restorations helped the district regain a fine atmosphere. But this historical peninsula needs much more.” The effect of the peerless mosaics and frescoes stay with you even after you’ve left the museum. The mosaics and frescoes in the esonarthex describe the Holy Virgin’s life story in chronological order, while those in the exonarthex narrate the life story and miracles of Jesus Christ. Viewing the scenes in chronological order makes the reading much more compelling and memorable. This system was originally created to help illiterate people to learn stories; it remains as enjoyable today. The section listing eulogies to Mary includes an observation in front of Saint John of Damascus that sums up all human suffering from day dot to now, helping us to accept suffering as part of the human condition: “What pleasure remains in life that has been spared from suffering?”

 

After visiting Kariye Museum, candid and warm atmosphere of the district welcomes visitors

 

Renovated by Çelik Gülersoy, natives of Kahire District (yada Kahire Mahallesi) living a modest life.