Hagia Sophia In Context

An archaeological re-examination of the cathedral of Byzantine Constantinople, with fresh evidence about the appearance and function of the complex enabling us to reconsider what Hagia Sophia can tell us about the wider Byzantine world.

*Includes pictures *Includes contemporary accounts of the construction of the Hagia Sophia and its appearance *Includes a bibliography for further reading "So the church has been made a spectacle of great beauty, stupendous to those who see it and altogether incredible to those who hear of it...Its breadth and length have been so fittingly proportioned that it may without impropriety be described as being both very long and extremely broad. And it boasts of an ineffable beauty, for it subtly combines its mass with the harmony of its proportions, having neither any excess nor any deficiency, inasmuch as it is more pompous than ordinary [buildings] and considerably more decorous than those which are huge beyond measure; and it abounds exceedingly in gleaming sunlight. You might say that the [interior] space is not illuminated by the sun from the outside, but that the radiance is generated within, so great an abundance of light bathes this shrine all round." - Procopius The Hagia Sophia, built from 532-537, is inarguably the masterpiece of Byzantine architecture and one of the greatest buildings ever constructed. Upon its completion, the Hagia Sophia remained the largest enclosed space in the world for nearly a thousand years, a reign that only ended after the rebuilding of St. Peter's in Rome. Fittingly, the rebuilding of St. Peter's was partly inspired by the conversion of Hagia Sophia into a mosque in 1453. The building of Hagia Sophia itself was shocking and transformational. Beginning with Procopius of Caesarea, Justinian's court historian, visitor after visitor noted that the giant dome seems to hover on air, and it's unquestionably true that the arches, vaults, semidomes, and domes add up for an otherworldly, ethereal effect. The surfaces are enriched by colored marble and elaborate mosaics, and when viewing from the aisles and galleries, looking into the nave is dramatic thanks to all the interconnecting layered spaces and repeating, complex curved forms. Interestingly, however, the brick exterior of the building was left unadorned, representing a shell that houses a magnificent interior. The Hagia Sophia examines the history of one of the world's most famous religious sites and analyzes the religion and politics that shaped its fate.

Hagia Sophia, the Church of Holy Wisdom, sits majestically atop the plateau that commands the straits separating Europe and Asia. Located near the acropolis of the ancient city of Byzantium, this unparalleled structure has enjoyed an extensive and colorful history, as it has successively been transformed into a cathedral, mosque, monument, and museum. In Hagia Sophia, 1850-1950, Robert S. Nelson explores its many lives. Built from 532 to 537 as the Cathedral of Constantinople, Hagia Sophia was little studied and seldom recognized as a great monument of world art until the nineteenth century, and Nelson examines the causes and consequences of the building's newly elevated status during that time. He chronicles the grand dome's modern history through a vibrant cast of characters—emperors, sultans, critics, poets, archaeologists, architects, philanthropists, and religious congregations—some of whom spent years studying it, others never visiting the building. But as Nelson shows, they all had a hand in the recreation of Hagia Sophia as a modern architectural icon. By many means and for its own purposes, the West has conceptually transformed Hagia Sophia into the international symbol that it is today. While other books have covered the architectural history of the structure, this is the first study to address its status as a modern monument. With his narrative of the building's rebirth, Nelson captures its importance for the diverse communities that shape and find meaning in Hagia Sophia. His book will resonate with cultural, architectural, and art historians as well as with those seeking to acquaint themselves with the modern life of an inspired and inspiring building.

The church of Hagia Sophia in Trebizond, built by the emperor Manuel I Grand Komnenos (1238-63) in the aftermath of the fall of Constantinople to the Fourth Crusade, is the finest surviving Byzantine imperial monument of its period. Art and Identity in Thirteenth-Century Byzantium is the first investigation of the church in more than thirty years, and is extensively illustrated in colour and black-and-white, with many images that have never previously been published. Antony Eastmond examines the architectural, sculptural and painted decorations of the church, placing them in the context of contemporary developments elsewhere in the Byzantine world, in Seljuq Anatolia and among the Caucasian neighbours of Trebizond. Knowledge of this area has been transformed in the last twenty years, following the collapse of the Soviet Union. The new evidence that has emerged enables a radically different interpretation of the church to be reached, and raises questions of cultural interchange on the borders of the Christian and Muslim worlds of eastern Anatolia, the Caucasus and Persia. This study uses the church and its decoration to examine questions of Byzantine identity and imperial ideology in the thirteenth century. This is central to any understanding of the period, as the fall of Constantinople in 1204 divided the Byzantine empire and forced the successor states in Nicaea, Epiros and Trebizond to redefine their concepts of empire in exile. Art is here exploited as significant historical evidence for the nature of imperial power in a contested empire. It is suggested that imperial identity was determined as much by craftsmen and expectations of imperial power as by the emperor's decree; and that this was a credible alternative Byzantine identity to that developed in the empire of Nicaea.

Hagia Sophia in Constantinople was the culminating architectural achievement of late antiquity. Author Rowland Mainstone draws on some 30 years' of detailed observations and critical reading to present the first authoritative account of the creation of this great masterpiece of the Byzantine world. Dr. Mainstone's drawings and superb photographs perfectly complement the text and provide a unique record. 304 Illus.

Istanbul’s Hagia Sophia (‘Holy Wisdom’), or Ayasofya, is one of the world’s most visited buildings. Yet, few visitors have any idea of its long and complex story, or why it has always been a place where history, religion and politics collide. In July 2020, Turkish President Erdoğan set off an explosive controversy by announcing that Hagia Sophia would now be modified into a mosque. This decision provoked fierce criticism from UNESCO because Hagia Sophia was enjoying World Heritage Site benefits. The United States, the European Union, Russia and Greece all chimed in. However, Erdoğan’s action was wildly popular in Turkey, with its 99% Muslim population. Why is Hagia Sophia so important to modern Turkey? Why this provocative decision, and why now? How could all the international critics be ignored? Why does the world care so much about this old building? Why should it continue to care? This book explains President Erdoğan’s controversial decision in terms of Turkey’s national, independent and Islamic politics, and as a response to the mosque massacre in Christchurch in March 2019 when his life was threatened by the gunman. Any consideration of Hagia Sophia’s present and future also requires appreciation of the almost 1,500-year old story of this architectural marvel, from its inception as a church in 537 to its configuration as a mosque in 2020 and beyond. Because all world heritage sites depend on national management, Hagia Sophia will remain Turkey’s responsibility, but the international community is watching to ensure Turkey honours Hagia Sophia’s entire heritage, from the 6th century to the 21st century.

Examines the aesthetic principles and spiritual operations at work in Hagia Sophia. Drawing on art and architectural history, liturgy, musicology, and acoustics, explores the Byzantine paradigm of animation.

Tracing the Gospel text from script to illustration to recitation, this study looks at how illuminated manuscripts operated within ritual and architecture. Focusing on a group of richly illuminated lectionaries from the late eleventh century, the book articulates how the process of textual recitation produced marginalia and miniatures that reflected and subverted the manner in which the Gospel was read and simultaneously imagined by readers and listeners alike. This unique approach to manuscript illumination points to images that slowly unfolded in the mind of its listeners as they imagined the text being recited, as meaning carefully changed and built as the text proceeded. By examining this process within specific acoustic architectural spaces and the sonic conditions of medieval chant, the volume brings together the concerns of sound studies, liturgical studies, and art history to demonstrate how images, texts, and recitations played with the environment of the Middle Byzantine church.

This book is about the Christ Pantokrator, an imposing monumental complex serving monastic, dynastic, medical and social purposes in Constantinople, founded by Emperor John II Komnenos and Empress Piroska-Eirene in 1118. Now called the Zeyrek Mosque, the second largest Byzantine religious edifice after Hagia Sophia still standing in Istanbul represents the most remarkable architectural and the most ambitious social project of the Komnenian dynasty. This volume approaches the Pantokrator from a special perspective, focusing on its co-founder, Empress Piroska-Eirene, the daughter of the Hungarian king Ladislaus I. This particular vantage point enables its authors to explore not only the architecture, the monastic and medical functions of the complex, but also Hungarian-Byzantine relations, the cultural and religious history of early medieval Hungary, imperial representation, personal faith and dynastic holiness. Piroska's wedding with John Komnenos came to be perceived as a union of East and West. The life of the Empress, a "sainted ruler," and her memory in early Árpádian Hungary and Komnenian Byzantium are discussed in the context of women and power, monastic foundations, architectural innovations, and spiritual models.