日本建築学会計画系論文集
Online ISSN : 1881-8161
Print ISSN : 1340-4210
ISSN-L : 1340-4210
コーラ修道院聖堂におけるパレクレシオンの空間構成
-墓室と絵画との関係に着目して-
猪股 圭佑岡﨑 甚幸
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ジャーナル フリー

2017 年 82 巻 738 号 p. 2151-2161

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 The present paper analyzes the spatial composition with the theme and layout of the Christian paintings focusing on the relationship between the tomb and the paintings in the Chora Church's parekklesion (Fig. 1). The Chora Church's parekklesion consists of a single nave with an apse and a dome that is located on the north-south axis of the naos' dome (the dashed line in the lower left image in Fig. 2), and contains Christian paintings throughout the walls and ceiling. Four arcosolia serve as tombs in the parekklesion. The tomb of the Chora Church's founder in the fourteenth century, Theodore Metochites, which should be a primary focal point in the church, is located outside the north-south axis of the domes. The importance of his tomb is unclear due to its architectural aspect. However, the layout of the paintings presumably gives meaning to the holy religious space where the founder's tomb connects to the dome above, where “The Virgin Beseeches” is depicted, and to the apse, where “The Salvation of Christ” is represented.
 This paper is a continuation of our preceding one and describes how the layout of the paintings of the Chora Church gives meaning to the architectural space. This church has enormous implications for determining how a holy space was constructed.
 Interior elevations, an interior view of the ceiling, a photomontage, a section of the northwestern tomb, a photomontage, and an axonometric drawing of the parekklesion are created, and the spatial composition with the theme and layout of the paintings is analyzed, focusing on the Old Testament prefigurations of the Virgin, the representation of “Heaven” in the “Last Judgment,” and the location of Theodore Metochites' tomb.
 In the Chora Church's parekklesion, the paintings of the Old Testament stories positioned clockwise from the southern wall's (1) “Bearing of the Ark of the Covenant” to the northern wall's (9) “Moses and the Burning Bush” are prefigurations of the Virgin (Arrow 1 in Fig. 5). “The Virgin Beseeches” is represented in the domed bay (Fig. 4 and Arrow 2 in Fig. 5). The soul of Theodore Metochites, who is assumed to have been buried in the tomb of the northern wall under the dome, invoking “The Salvation of Christ” in the earthly world, is presented for “Last Judgment” by the angel in the painting (Arrows 3 and 4 in Fig. 5) and enters “Paradise” (painted on the northern wall with the Elect) (Arrow 5 in Fig. 5) without falling to “Hell,” which is painted on the southern wall. Furthermore, the “Resurrection” is placed on the apse over this area (Arrow 6 in Fig. 5). Therefore, Theodore Metochites’ prayer is represented in the holy space where his tomb connects to the dome above, and to the apse.
 The fact that the passageway from the parekklesion to the Naos was constructed during renovation of the Chora Church is not the reason why Theodore Metochites' tomb is located outside the north-south axis of the domes. His tomb is located in the domed bay where “The Virgin Beseeches” is depicted with the Old Testament paintings positioned clockwise on the southern and northern walls, adjoining the doorway to the naos, which is the center of the entire church, and connecting with “Heaven” after the “Last Judgment” and “Resurrection.” It does, however, establish a three-dimensional Byzantine religious space with the Christian paintings. In other words, the holy space was devised, integrating the architecture with paintings to represent Theodore Metochites’ prayer that invokes “The Virgin Beseeches” in the domed bay and the resulting “Salvation of Christ” as its accomplishment in the apse.

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