Churches of Göreme
is a district of the Nevşehir Province in Turkey. After the eruption of Mount Erciyes about 2.6 million years ago, ash and lava formed soft rocks in the Cappadocia region, covering an area of about. The softer rock was eroded by wind and water, leaving the hard cap rock on top of pillars, forming the present-day fairy chimneys. People of Göreme, at the heart of the Cappadocia region, realized that these soft rocks could be easily carved out to form houses, churches, and monasteries. These Christian sanctuaries contain many examples of Byzantine art from the post-iconoclastic period. These frescoes are a unique artistic achievement from this period.
In the 4th century, small anchorite communities began to form in the region, acting on the instruction of Saint Basil of Caesarea. They carved cells in the soft rock. During the iconoclastic period the decoration of the many sanctuaries in the region was held to a minimum, usually symbols such as the depiction of the Christian cross. After this period, new churches were dug into the rocks, and they were richly decorated with colourful frescoes.
Tokalı Kilise
Tokalı Kilise, is the largest church in Göreme. Restoration of the church was completed during the 1980s. The only surviving example of its architectural origins is the Church of Mar Yakub in the Tur Abdin region located around present day Mardin.One noted feature of the church is the main nave containing ninth century frescoes in "provincial" style, the more recent additions are three apses of the 11th-century frescos, which are rendered in "metropolitan" style. The church contains frescos of the twelve apostles, saints and scenes from the life of Jesus. The church also has a crypt underneath the nave.
Tokalı kilise is formed of four chambers: the Old Church, the larger New Church, the side chapel, and the Lower Church. The Old Church dates to the 10th century. It was originally a single-naved barrel-vaulted church. But its apse was destroyed when the New Church was added at the end of the 10th or early 11th century. Now the Old Church provides entrance to the New Church. The Old Church is decorated with pale hues of red and green painted in strips to represent scenes from the New Testament and depictions of some saints.
Panels of rich indigo painted with pigments from Badakshan lapis lazuli stone dominate the New Church: scenes from the New Testament, miracles of Christ, the first deacons, episodes from the life of St. Basil, depictions of Leades and St. Menas. The expense would have been considerable. The value of the lapis lazuli alone is estimated to be around 31.5 pounds of gold. Scholars have speculated as to the identity of the donors, with many suggesting the Phokades, a prominent Cappadocian family. However, there is no convincing evidence to support this.
The New Church was carved out of the eastern wall of the Old Church and decorated with Eastern-style arches and a series of arcades. The Paracclesion, located at the left side of the New Church, is a barrel-vaulted chapel with a single apse. The Lower Church has three aisles and a burial space or krypt.
Fresco Decoration of the Old Church at Tokalı Kilise
The most elaborate decorative program of the Old Church at Tokalı Kilise is the Christological cycle located in the barrel vault of the one-aisled basilica. On each side of the vault there are three registers of narrative containing 32 scenes depicting the traditional tripartite division of the life of Christ; the Infancy, the Miracles, and the Passion. The spine of the vault is decorated with a row of medallions containing portraits of Old Testament prophets and saints. The narrative begins at the southeast corner of the top register with the Annunciation, it then reads towards the west, crosses to the other side of the spine of medallions and finishes with the Murder of Zacchariah in the northeast corner to complete the Infancy chapter. The second chapter of Christ's life, the Miracles, occupies the middle of the three registers and also reads left to right, skipping over the spine of medallions. The Miracles begins right after the Infancy ends with the Flight of Elizabeth and ends with the Raising of Lazarus. Lastly the lowest register tells of the Passion and reads in the same manner and direction as the first two registers. It begins with the Entry into Jerusalem and ends with the Descent into Limbo. There are three images related to the narrative of the vault but located outside of it; the Transfiguration in the west tympanum, the Ascension in the eastern tympanum, and Presentation in the Temple located on the south side of the east wall.Due to its semi-isolated location in the Cappadocian region, the frescos in the Old Church of Tokalı Kilise are based on the Gospel of James rather than the canonical Gospels. This difference, from the more metropolitan centers of the empire like Constantinople, accounts for the unusual sequencing of the Christological narrative. For example, typically the Flight of Egypt would be the final scene of the Infancy chapter but in the Old Church two more scenes are included; the Murder of Zacchariah and the Flight of Elizabeth which begins the Miracles chapter. This anomaly occurs because the artist was adhering to the Gospel of James which includes both of these scenes. Although other rock-cut churches in Cappadocia also based their narratives on the Gospel of James, none are exactly like the Old Church at Tokalı Kilise. Only fragments of this Christological cycle narrative were implemented in other churches.
The style of the frescos are consistent with other imagery of the period and region. The images do not necessarily render reality; the figures do not display convincing volume and the drapery is unnaturalistic being more concerned with a geometric style of representation. The figures are placed in the front of the picture plane which alludes that the artist were not concerned with realistic depth. These stylistic traits can also be compared to frescos in other parts of the empire like Hagia Sophia in Constantinople. However an entirely regional trait is also evident in the "tendency to name otherwise anonymous characters through the association with an object or action in the text." An example is the figure filling an urn with water in the Miracle at Cana scene who is named Antlioin which is derived from the Greek word "to draw out".
The composition of the Christological cycle as whole has symbolic meaning. Considering the medallions containing portraits of the Old Testament prophets is located at the highest point of the vault, the spine, it is representing the beginning or the first age of revelation and they are the figures who foretell the coming of Christ and his deeds on earth. These prophecies are then depicted throughout the rest of the narrative in the Infancy, Miracles and Passion registers that fill the remainder of the vault – the second age of revelation. The narrative continues on the eastern tympanum with the Ascension, when Christ's resurrected body is taken to heaven. This is the beginning of his Holy influence and initiates the third age of revelation. The composition of the narrative as a whole reflects the progression of revelation before, during and after Christ's life on earth.
Fresco Decoration of the New Church at Tokalı Kilise
The New Church at Tokalı Kilise is a much larger church than the Old Church and therefore has much more decoration. There are two main fresco cycles and a large amount of saints, clergymen and martyrs distributed throughout the rest of the wall space. Like in the Old Church, the Christological cycle is the most elaborate and extensive decoration of the New Church. Located in the nave the Infancy, the Miracles and the Passion are depicted in high quality painting. The narrative starts in the north bay of the nave and proceeds in a register above the arcades. A few important scenes were reserved for more prominent locations; the Ascension, Benediction of Apostles, Pentecost, and Mission of Apostles are located in the center and south bays of the nave vault.The other major narrative cycle in the New Church at Tokalı Kilise is the life of Saint Basil. St. Basil was the principal religious figure of the Cappadocian region and it is therefore suspected that the New Church was dedicated to him There are only two known fresco cycles of the life of St. Basil, the other located in a chapel in Balkam Deresi. The cycle in the New Church contains scenes from the earlier part of the narrative while the chapel at Balkam Deresi depicts the later scenes. Located in the transept on the lower walls of the north bay multiple scenes from this local Cappadocian saint were painted in the New Church. The scenes include: The Dispute for the Church of Nicaea, Basil and the Emperor Valens, Prayer of the Arians, Prayer of the Orthodox, Meeting of St. Ephraim and St. Basil, Absolution of the Sinful Woman and Funeral of Basil. Accompanying each fresco is an inscription taken directly from the biographical writings of Pseudo-Amphilochio describing the scene.
Unlike majority of the rock-cut churches the patronage of the New Church is surprisingly known. Located on the nave cornice a fragment of sentence was written which translates to: 'Your was completely decorated by Constantine out of love for the monastery. He adorns his new work with twenty venerable images…' . A second inscription located in the north apse is translated as: 'The bema was decorated by … Nikephoros, at the expense of Leon, son of Constantine. You who read, pray for them through the Lord. Amen.' Through these two inscriptions it is inferred that the painter was Nikephoros and there were two patrons, Constantine and his son Leon. Neither patron is identified by a title meaning one of two things. Either they were people of minor importance or they were so important and well known that it was unnecessary to include their titles. Considering it would have been very expensive to fund such elaborate fresco decoration it is more likely that they were wealthy and therefore well known, thus no titles were necessary. Stylistically the New Church frescos are similar to paintings of the same time period found in Constantinople which suggests that the patrons may have paid for a workshop to come to Cappadocia specifically to decorate the New Church. This fact also points to wealthy patrons. As for Nikephoros, the artist name mentioned in the second inscription, it should not be assumed that he was the only artist. It is more likely that he was the master of the workshop responsible for the frescos and therefore received the credit for the work. In this scenario Nikephoros would have had multiple apprentices helping him with the many tasks associated with creating frescos. It is also unclear in the second inscription as to exactly what part of the decoration Nikephoros was responsible for. However, with much research and evidence the leading scholar on Tokali Kilise, Ann Wharton Epstein, argues that Nikephoros was responsible for the entire decoration of the New Church.