Kariye Camisi'ndeki (Chora Manastırı Kilisesi) Duvar Resimlerinin Koruma Ve Onarım Süreçleri Üzerine ON THE CONSERVATION AND RESTORATION PROCESSES OF THE WALL PAINTINGS OF THE KARİYE MOSQUE (CHORA MONASTERY CHURCH (original) (raw)
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Kariye Camisi'ndeki (Chora Manastırı Kilisesi) Duvar Resimlerinin Koruma Ve Onarım Süreçleri Üzerine
Sanat ve Tasarım Dergisi, 2015
Önemli bir parçası Anadolu toprakları üzerinde bulunan Bizans, çevresindeki uygarlıklarla her zaman karşılıklı sanat alışverişi içinde olmuştur. O dönemdeki başkenti olan İstanbul'da da Bizans mimarisinin ve sanatının en gelişmiş örnekleri bulunmaktadır. Birçok araştırmaya konu olan Kariye, Bizans döneminin gerek duvar resmi ve mozaikleriyle, gerekse mimarisiyle orijinal haliyle korunmuş en önemli örneklerinden biridir. İstanbul'un fethinden kısa bir süre sonra camiye dönüştürülen yapı, çevresinde inşa edilen medrese, tekke, çeşme ve türbe ile birlikte büyük bir yapılar topluluğu olmuştur. Yapı, camiye dönüştürülmesiyle iç bölümlerinde de kısmı değişikliklere uğramış; 1945 yılında müze olmasıyla bazı onarım işlemlerinden geçerek günümüzdeki halini almıştır.
NEVŞEHİR KAPADOKYA BÖLGESİ’NDEKİ ÇAVUŞİN KÖYÜ VE GÜLLÜDERE VADİSİ KİLİSELERİNİN DUVAR RESİMLERİNDE MEVCUT KORUNMA DURUM TESPİTİ VE ARKEOMETRİK İNCELEMELER, 2019
In this thesis, The Archeometric Analysis and The Deterioration of The Pigments Used in The Wall Paintings of Çavuşin Village and Güllüdere Valley Churches in The Region Nevşehir Cappadocia Region has been studied. The archaeometric analysis on 26 pigments, 6 plasters and 4 rock samples taken from the murals found in The Church of St. John The Baptist at Çavuşin Village, Ayvalı Church at Güllüdere Valley and The Church of The Three Cross were the methods of Commission Internationale de L'Eclairage (CIE L * a * b *) color system, Confocal Raman Spectrometry, Fourier Transform Infrared Spectroscopy (FT-IR) and Attenuated Total Reflectance (ATR), Scanning Electron Microscopy and Energy Dispersion X-ray (SEM-EDX), stereo and polarized light microscope (PLM) microscopy methods. When the chemical composition of the pigment samples were determined, it was found that the samples were of pigments containing inorganic soil minerals and they had deterioration elements formed due to the change in chemical composition because of atmospheric conditions. It was determined that the plaster was not used in The Iconoclastic paintings of the churches and that the plastered wall paintings of The Archaic Period were produced by secco technique and organic binders were used to hold the soil origin pigments on the plaster surface. According to the findings and the current situation of the churches, the deteriorations in the wall paintings and the causes of these were identified.
ART SANAT 5 2016, 2016
This study investigates the characterization of wall paintings of Bahattin Samanliği, Saint George (Kirkdamalti) and Direkli churches which are Byzantine period rock-cut structures in Cappodoccia region at Peristrema, İhlara valley. In order to reveal the features of the paintings, the stratigraphy and the composition of the carriers and plaster layers are analyzed through ESEM-EDX (Philips-FET XL 3D-ESEM-FEG OXFORD X MAX 80 mm2 Xray Detector/ INCA software), X Ray Diffraction, X Ray Fluorescence, XRD-XRF INXITU /DUETTO, Fourier Transform Infrared Spectroscopy instrumental methods along with calcination, acidic treatment and layer chromatography methods.
24. Uluslararası Ortaçağ ve Türk Dönemi Kazıları ve Sanat Tarihi Araştırmaları Kitabı, 2021
Özet Osmanlı Devleti’nin erken döneminden itibaren yapılan duvar resimleri geç dönemde daha da yaygınlaşmıştır. Çoğunlukla kuru sıva üzerine uygulanan duvar resimleri Saray ve çevresi başta olmak üzere Anadolu, Balkanlar, Kafkasya ve Ortadoğu gibi birçok bölgede görülmektedir. Bu sanat türünün yaygınlaşmasında ayanların, kent yöneticilerinin ve zengin kişilerin etkisi çoktur. Ayrıca farklı bölgelerde üretim yapan sanatçıların kendi sanat anlayışlarına göre çalışmalar yapması duvar resminin gelişmesine katkı sağlamıştır. Osmanlı duvar resimlerinin en büyük sorunlarından biri korumadır. Muhtemelen günümüze ulaşabilmiş duvar resmi ve boyalı nakış örneklerinden çok daha fazlası yok olmuştur. Doğal olaylar ve insan faktörünün yıkıcılığı duvar resimlerine doğrudan zarar vermiştir. Bu yıkıcılığın etkisini gördüğümüz yerlerden biri ise Kosova’dır. Kosova’daki Osmanlı dönemi duvar resimleri çağdaşı olan diğer bölgelerdeki örneklerle paralel ilerlemiştir. Makedonya ve Arnavutluk gibi zengin örneklerin ve yerleşmiş bir ekolün olduğu bu bölgelere komşu olması benzer sanat anlayışının Kosova’da da uygulanmasını sağlamıştır. Hem gezici sanatçılar hem de yerel halk sanatçıları bölgede birçok duvar resmi yaparak bu eserleri sanat dünyasına kazandırmıştır. Çalışmanın konusu Kosova’daki Osmanlı duvar resimlerinin koruma sorunudur. Ülkedeki yanlış restorasyon uygulamaları ve savaş gibi yıkıcı olayların olumsuz etkileri duvar resimlerine yansımıştır. Özellikle 1999’da gerçekleşen Kosova-Sırbistan Savaşı’nda birçok tarihi yapının sabotaja uğraması duvar resimlerini doğrudan etkilemiştir ve hatta bazılarının yok olmasına neden olmuştur. Bunun yanı sıra hem savaş öncesi hem de sonrası yapılan bazı restorasyonların aslına sadık kalınarak yapılmadığı örnekler doğrultusunda anlaşılmaktadır. Çalışma Kosova’daki korunamayan Osmanlı duvar resimlerini tanıtmayı amaçlamaktadır. Bu bağlamda Priştina, Prizren, Peja, Gjilan, Yakova ve Rahoveç kentlerinde tespit edilen duvar resimleri ve boyalı nakışlarda savaşın ve yanlış restorasyonların eserler üzerindeki etkisi anlatılacaktır. Duvar resimlerini eski fotoğraflarla karşılaştırarak bir durum saptaması yapılacaktır. Ayrıca konunun kapsamına alınan yapılar sayesinde Kosova’daki duvar resimleri tanıtılacaktır. Abstract Wall painting art which was started to be practised from the early period of the Ottoman Empire became more common in the late period. Wall paintings, which were mostly applied on dry plaster, have been seen especially in the Palace and its surroundings in addition to many regions such as Anatolia, the Balkans, the Caucasus and the Middle East. The ayans (local notables), city rulers and rich people had a great influence on the spread of this art. Furthermore, the works of artists producing in different regions according to their own sense of art contributed to the development of wall painting. One of the major problems of Ottoman wall painting is preservation. The number of mural paintings and painted decorations that did not reach today is probably more than those that survived. Destructiveness of the natural phenomena and the human factor directly damaged wall paintings. One of the places where we see the impact of this destruction is Kosovo. The Ottoman era mural painting in Kosovo proceeded in parallel with its contemporary examples in other regions. The fact that it is close to regions like Macedonia and Albania which had rich examples and a settled school in wall painting art enabled the practise of a similar art approach in Kosovo. Both traveling artists and local artists created many wall paintings in the region and brought in these works to the art world. The subject of the study is the preservation problem of Ottoman wall paintings in Kosovo. The negative impacts of destructive events such as faulty restoration practices and war are reflected in the wall paintings. Especially sabotaging many historical monuments during the Kosovo-Serbia War in 1999 directly affected the wall paintings and even caused some of them to disappear. In addition, it is evident that both before and after the war, some wall paintings were not restored in accordance with the originals. The study aims to introduce the Ottoman wall paintings which could not be preserved in Kosovo. In this context, the impacts of war and faulty restorations on the wall paintings and painted decorations located in Prishtina, Prizren, Peja, Gjilan, Gjakova and Rahovec will be explained. A situation assessment will be carried out by comparing the wall paintings with the old photographs. Also, owing to the structures included in the subject, the wall paintings in Kosovo will be introduced.
6 th International Turkey Mosaic Corpus Symposium Mudanya/6. Uluslararası Türkiye Mozaik Korpusu Mudanya Sempozyumu, İnanç ve Kültün Mozaik Sanatına Yansıması: Sanat, Koruma, Modern Yaklaşımlar/ Reflections of Faith and Cult to Mosaic Art: The Art, Conservation, and Modern Approaches, 2022
Today, the scientific knowledge to be obtained from mosaics is not only a visual examination of the motifs. By using non-destructive and destructive archaeometric methods, the scientific knowledge to be obtained from mosaics can be maximized. The most common archaeometric methods that can be used in mosaics are non-destructive ones; The number and tones of colors used in mosaics can be determined with a portable digital colorimeter (which gives the mansel catalog code). In addition, with the portable X-Ray Fluorescence Spectrometer (P-EDXRF), the types of tesserae can be determined by detecting the elements that make up the stones nondestructively, while the chemical composition and colorants of the glass tesserae can be determined. Although the use of destructive archaeometric methods is not always possible in terms of permissions and ethics, the scientific information to be obtained from these methods is more reliable than non-destructive methods. Archaeometric methods that can be widely used in determining the types and contents of mortar, stone, glass and terracotta tesserae used in mosaics are as follows; petrographic analyzes are wave dispersion X-Ray Fluorescence Spectrometer (WDXRF), Mass Spectrometer, and Scanning Electron Microscope with X-Ray Detector (SEM-EDX). By using these methods, information such as the chemical composition of glass tesserae, coloring chemicals, production errors, causes of deterioration and whether it is a secondary use product (recycling) can be obtained. In stone tesserae, the type and provenance of stone can be determined by using destructive archaeometric methods.
Journal of Turkish Studies, 2021
It consists of preliminary studies carried out the wall paintings found in the Late Roman Villa, Karabük Hadrianoupolis Ancient City. In the examination studies; the conservation status of the paintings, past restorations, humidity conditions, UV-light examinations, optical microscope images and analytical measurements of the samples taken from the paint and renders were evaluated. Then some suggestions were given about the conservation processes. There are wall paintings in the room of 3, 4 and 5 in the villa. Merely the protection cover of room-3 was removed and samples were taken. Thin-section petrography, crosssection optical microscope images, FTIR (Fourier Transform Infrared) Spectroscopy, XRF (X-Ray Fluorescence), XRD (X-ray diffraction) and CRS (Confical Raman Spectroscopy) were examined. Lime, sulfate salts and acrylic resins were determined in IR spectrum and acrilic resins may be used in past restorations. Mortars with medium hydraulic and natural cement renders/mortars in XRF, calcite crystal structures in XRD; pigments based on carbon and siderite (FeCO3) in CRS were identified. Broken bricks (cocciopesto) and natural fibres mortars are observed in thin-section petrography. Moreover, the images in cross-section optical microscope examinations indicate fresco techniques. In the 5-day preliminary study, which started with the removal of the protective cover of the wall paintings and completed with a new cover, the moisture changes of the plaster was determined and 80% relative humidity were measured. Humidity