St. Sophia Cathedral in Constantinople brief description. History and ethnology. Data. Events. Fiction

History of the cathedral during the Byzantine Empire.

The Hagia Sophia in Constantinople is the most grandiose and most outstanding work of Byzantine architecture. It is one of the most significant monuments of world architecture.

The Hagia Sophia in Constantinople, now Istanbul, was rebuilt three times. The first construction in 330 AD was started by Constantine the Great himself, the Emperor of Byzantium. In 360 it was completed, the temple was called “Megalo Eklesia” - Big Church. But in 404, unfortunately, it burned down in a fire. However, the Great Cathedral has not been forgotten: a new, more stable temple building is being built on the wooden foundation of the former grandiose structure. Church services began in the new temple on October 10, 416. In 532, the great temple again suffered from a bloody rebellion and was rebuilt again - by Emperor Justinian, in 532-537. It is precisely such a temple, built in 532-537, that stands today in Istanbul.

Architecture and interior of the cathedral.

The church was built by the architects Anthimius of Thrall and Isidore of Miletus. It had a centric composition, reached a height of 55 m, its central square space in plan was covered by a flattened dome with a diameter of 33 m. In plan, the cathedral is an oblong quadrangle (75.6 × 68.4 m), forming three naves: the middle - wide, side ones are narrower.

The cathedral's gigantic dome system became a masterpiece of architectural thought of its time. The stability of the vault and the suppression of horizontal conditions is ensured by two semi-domes, which on both sides along the longitudinal axis of the temple rest on the same pylons.

Saint Sophie Cathedral. Interior.

The interior of the temple is striking in its lightness. The central dome of Sofia is supported on two sides by two lower semi-domes, and these in turn each have two more small semi-domes. Thus, the entire elongated space of the middle nave forms a system of spherical forms growing upward, towards the center, and smoothly turning into each other. Their center, that is, the space under the main large dome, is clearly accentuated, all movement rushes towards it. The architects managed to achieve a special impression - the dome seems to rise only with the help of the rhythmic takeoff of half-domes and sails. The thin shell of the dome base between its ribs at the bottom is cut through by forty windows. Streams of light penetrate through them. And to those praying from below, the dome seemed to be floating in the air, since the thin parts of the wall between the windows were not visible. This effect is also facilitated by the fact that the four powerful pillars carrying the dome, on which the heels of the arches rest, remain almost invisible to the viewer. They are skillfully disguised with thin, light partitions and are simply perceived as partitions. Only the arches and sails are clearly visible - spherical triangles between the arches. These sails, with their wide base, form a circle - the base of the dome, and with their narrow base they face down. This creates a deceptive feeling that the dome rises easily, supported only by sails.

Saint Sophie Cathedral. Decoration.

The richest materials are gold, silver, ivory, and precious stones. They were used in incredible quantities and used with amazing skill. In the large space under the dome, there stood a pulpit made of pure gold, decorated with precious stones. The brilliance of the marble cladding of the walls, the shimmer of gold, the picturesque play of light and shadow - all this infused mysterious life into the vast space of the cathedral. Huge decorative mosaics were spread on the dome and apse vaults, as well as on the walls. Everyone who saw Sophia unanimously testified to the extraordinary flickering of the mosaic paintings, both in the evening and at night. daylight. Especially at sunrise and sunset, when the rays pierced the dome and illuminated the vaults well. At night, on major holidays, the church turned into a vast, magnificently illuminated space, since, according to Byzantine writers, it was illuminated by no less than six thousand gilded candelabra.

In the apse there is a throne image of the Virgin Mary holding the infant Christ on her knees in front of her. On the vaults of the vima, two archangels were depicted on either side of the figure of the Virgin Mary.

During the reign of Emperor Leo VI, the lunette of the narfik was decorated with a mosaic depicting Jesus Christ sitting on a throne with the Gospel, open with the words “Peace be with you. I am the light of the world” in the left hand and blessing with the right. On either side of it, medallions depict half-figures of the Virgin Mary and the Archangel Michael. To the left of Jesus is the kneeling Emperor Leo VI.

The mosaics of Hagia Sophia represent an example of Byzantine monumental art from the Macedonian dynasty. The mosaics show all three stages of the development of metropolitan neoclassicism, as they were carried out in three periods: around the middle of the 9th century, at the turn of the 9th-10th centuries and at the end of the 10th century.

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Hagia Sophia is a shrine of two world religions and one of the most magnificent buildings on our planet. For fifteen centuries, Hagia Sophia was the main sanctuary of two great empires - the Byzantine and Ottoman, having survived the difficult turns of their history. Having received the status of a museum in 1935, it became a symbol of the new Turkey, which had embarked on a secular path of development.

History of the creation of Hagia Sophia

In the 4th century AD e. the great Emperor Constantine built a Christian basilica on the site of the market square. A few years later this building was destroyed by fire. On the site of the fire, a second basilica was erected, which suffered the same fate. In 532, Emperor Justinian began the construction of a great temple, the likes of which humanity had never known, in order to glorify the name of the Lord forever.

The best architects of the time supervised ten thousand workers. Marble, gold, and ivory for decorating the Hagia Sophia were brought from all over the empire. The construction was completed in an unprecedentedly short time, and five years later, in 537, the building was consecrated by the Patriarch of Constantinople.

Subsequently, Hagia Sophia suffered from earthquakes several times - the first happened shortly after the completion of construction and brought serious destruction. In 989, an earthquake caused the collapse of the cathedral's dome, which was soon rebuilt.

Mosque of two religions

For more than 900 years, Hagia Sophia was the main Christian church of the Byzantine Empire. It was here in 1054 that events took place that split the church into Orthodox and Catholic.

From 1209 to 1261, the main shrine of Orthodox Christians was in the power of Catholic crusaders, who plundered it and took many of the relics stored here to Italy.

On May 28, 1453, the last Christian service in the history of Hagia Sophia was held here, and the next day Constantinople fell under the attacks of the troops of Sultan Mehmed II, and the temple was converted by his order into a mosque.

And only in the 20th century, when by the decision of Ataturk Hagia Sophia was transformed into a museum, the balance was restored.

Hagia Sophia is a unique religious building, in which frescoes depicting Christian saints juxtapose with suras from the Koran inscribed on large black circles, and minarets surround the building, built in a style typical of Byzantine churches.

Architecture and interior decoration

Not a single photo can convey the grandeur and austere beauty of Hagia Sophia. But the current building differs from the original building: the dome was rebuilt more than once, and during the Muslim period several buildings and four minarets were added to the main building.

The original appearance of the temple fully corresponded to the canons of the Byzantine style. The inside of the temple is larger than the outside. The massive dome system consists of a large dome, reaching more than 55 meters in height, and several hemispherical ceilings. The side naves are separated from the central one by malachite and porphyry columns taken from pagan temples of ancient cities.

From Byzantine decoration, several frescoes and amazing mosaics have survived to this day. In the years when the mosque was located here, the walls were covered with plaster, and its thick layer has preserved these masterpieces to this day. Looking at them, one can imagine how splendid the decoration was in better times. Changes from the Ottoman period, apart from the minarets, include a mihrab, a marble minbar and a richly decorated sultan's box.

• Contrary to popular belief, the temple is not named after Hagia Sophia, but is dedicated to the Wisdom of God (“sophia” means “wisdom” in Greek).
• On the territory of Hagia Sophia there are several mausoleums of the sultans and their wives. Among those buried in the tombs, there are many children who became victims of the brutal struggle for succession to the throne, common in those times.
• It is believed that the Shroud of Turin was kept in the St. Sophia Cathedral until the looting of the temple in the 13th century.

Useful information: how to get to the museum

Hagia Sophia is located in the oldest district of Istanbul, where there are many historical places - the Blue Mosque, the Cistern, Topkapi. This is the most significant building in the city, and not only native Istanbul residents, but also any tourist will tell you how to get to the museum. You can get there by public transport on the T1 tram line (Sultanahmet stop).

The museum is open from 9:00 to 19:00, and from October 25 to April 14 – until 17:00. Monday is a day off. There is always a long line at the box office, so you need to arrive early, especially in the evening: ticket sales stop an hour before closing. You can buy an electronic ticket on the official website of Hagia Sophia. Entrance costs 40 liras.

Despite the fact that I have been to Istanbul more than once and for quite a long time, despite my skeptical attitude towards piety and places of worship, Hagia Sophia for me is the focal point of Istanbul-Constantinople.

When you enter his territory (it would be more correct to say “into her domain”

), an amazing feeling arises - it’s not just interest, surprise, admiration, it’s like a state of inner calm, even freezing, when suddenly one and a half thousand years are “unzipped” right before your eyes.

Then pathetic words like “eternity”, “greatness”, “wisdom” come to mind, and you begin to think about this phenomenon: architectural, historical, cultural, religious.

Indeed, a fairly large number of Orthodox churches have been preserved in Istanbul, impressive with their history and architecture, for example, the Church of Pantocrator, the Church of Pammakarista, the Church of the Savior in Chora, the Cathedral of St. Irene, the Church of the Holy Great Martyrs Sergius and Bacchus. And this is only a small part. Some of them are under restoration, others have been completely or partially converted into mosques, and some have been created as museums.

However, Hagia Sophia remains first and only on this list.

Beautiful Saint Sophia. Milestones of history

Each work of art, just like a person, has its own story, its own “book of life”. At the Hagia Sophia this book is one of the thickest in the world.

The life history of the Cathedral dates back to the 4th century and goes back almost one and a half thousand years. You can imagine how many events he witnessed. To get a little more familiar with the main milestones of cathedral life, the seventeen-century period can be divided into three main parts - Byzantine, Ottoman, modern.

Byzantine Hagia Sophia - Cathedral of the Wisdom of God

The progenitor of this historical and architectural miracle, a masterpiece that we have the opportunity to marvel at today, was a small basilica built by Emperor Constantine II in 324-327.

Within a fairly short period of time it became too small for the city's population, and Constantine's successor, his son Constantius, ordered it to be expanded.

In 360, the basilica was expanded and received the name Megale Ekklesia (Greek Μεγάλη Εκκλησία - large church), and a little later, at the beginning of the fifth century, it became known as the Cathedral of Hagia Sophia - the Wisdom of God. The church was the largest in the Eastern Roman Empire and had a high status - rulers were crowned here.

In 404, during the reign of Arcadius (Arkadios), as a result of disagreements between his wife Eudokia (Eudoksia) and Patriarch John (Ioannes Chrysostomos), a popular riot occurred and the church burned down. After 11 years, in 415, the new ruler Theodosius the Younger (Theodosios II) rebuilt it. The church now had five naves, a monumental entrance, and the roof was still made of wood, like its predecessors.

And again a riot, again a fire. January 532. It was the largest riot in Constantinople, which occurred in the fifth year of the reign of Justinian I (527-565) and went down in history under the name “Nike” (Greek Στάση του Νίκα - Conquer). In this uprising against Justinian's empire, the two most significant groups united - the patricians and the plebeians. Like any outstanding reformer, Justinian aroused claims from many segments of the population with his innovations and harsh style of rule. The scale of their discontent was serious, and their plans to overthrow the emperor were almost realized. Justinian was already preparing to flee the city, but, using the cunning and devotion of his supporters, who bribed most of the leaders of the uprising and brought them to their side, he suppressed the rebellion and continued his rule for another 33 years.

As a result of the uprising, a significant part of the city was destroyed, including the Hagia Sophia, and about 35,000 people were killed. After this event, Justinian decided to perpetuate his victory, commemorating it with the construction of such a temple, “which has not been since the time of Adam and which will never be,” and its location on a hill near the Great Imperial Palace and the Hippodrome was supposed to further emphasize its grandeur and sublimity.

It must be said that the emperor succeeded, and today we have the opportunity to admire this building, erected 1479 years ago. True, over the past time the cathedral had to suffer more than once from earthquakes and fires, but each time it was carefully restored.

Construction and its scale

Preparations for construction were not too long, the location was determined. Where the Church of Hagia Sophia burned down on January 13, 532, already on February 23, just 40 days after the fire, the emperor personally laid the foundation stone of the new temple.

To implement the grandiose plan, two of the most famous architect- Anthemius of Thrall (from Thrall) and Isidore of Miletus (from Miletus), who already had experience collaboration- five years earlier they built the Church of Saints Sergius and Bacchus. Another hundred architects supervised the workers, about five thousand of whom worked on one side of the temple, and the same number on the other.

The emperor himself monitored the progress of work every day. During the construction of the temple, the entire empire had to pay a monetary tribute, and all classes from the lowest to the highest were burdened with this responsibility during the five years of construction.

In addition to these funds, the remains of ancient buildings, which were of particular value, were brought to Constantinople to decorate the interior of the cathedral.

Columns were sent from Rome, Athens and Ephesus, from the ancient cities of Anatolia and Syria, which we can see to this day.

And the porphyry columns of the first floor, eight in number, were delivered from the Temple of the Sun in Baalbek, the other eight from the Temple of Artemis in Ephesus.

On the capitals of the columns located along the perimeter of the main space, you can see the monograms of the emperor and his wife.

No expense or imagination was spared on the materials: lime was mixed with barley water, and olive oil was added to the cement. They even invented a new material for the throne board: the most precious stones - onyxes, pearls, topazes, sapphires, rubies - were thrown into melted gold, as a result of which this extraordinary alloy received about seventy color shades!

The marble for wall cladding was chosen most carefully, taking into account the characteristics of the deposits - Prokones was famous for its snow-white, Iasos - red-white, Karystos - light green, and Phrygia - pink with veins. In addition to marble, of course, the highest standard gold, silver, amber, jasper, and ivory were used for interior decoration.

To make the dome, clay was brought from the island - it was particularly durable combined with light weight.

It didn’t take much time for construction of such unprecedented design, scale and expense - after five and a half years the temple was ready.

On the day of the consecration of the temple, December 27, 537, Justinian expressed in one phrase both his delight at what he saw and the assertion of his own power: “Oh, Solomon! I have surpassed you!

From that day on and for the next nine hundred and sixteen years, Hagia Sophia was a symbol of the greatness and power of the Byzantine Empire.

Architectural secrets

Trying to describe the main discovery of Anthimius and Isidore - the domed system of the temple - I thought that the words that Justinian uttered should have belonged to them - the greatest architects of their era.

What they managed to design and implement aroused a lot of admiration among their contemporaries, and later became the “ABC” and gave rise to a new direction in architecture.

It turns out that what is familiar to us today and does not cause much surprise, originates one and a half thousand years ago, and then it was a fundamentally new word in the construction of temples. For example, “sails” are spherical triangles that fill the inter-arch space (they also transfer the load of a powerful dome to the pylons, and the adjacent half-domes provide stability and stability); cascades of domes combine both semantic load, and emotional, and are also a solution for special penetration of light into the room (pictured below).

What's special here? The main dome is a slightly elongated sphere with a diameter of 31 meters from east to west, and 30 meters from north to south, formed by 40 radial arches.

The dome has the same number of windows as there are arches - 40, and they are spaced from each other at the minimum possible distance. Because of this, on sunny days the effect of “floating”, “suspending” is especially noticeable - as if the dome is not fixed by anything, but is hanging in the air.

In addition, the dome is covered with gold mosaics, so the light reflected from it has a golden hue.

Smaller domes “cascade down” from the main dome, and thanks to this “lace” inside the cathedral, a feeling of vast space is created, which is really very difficult to describe in words. The emotional principle takes precedence over the rational, and at first you don’t want to analyze anything.

Later, from a distance, you begin to understand a little of the secret - the effect of “immense space” is created by a combination of numerous hemispheres and straight strict lines in the form of vertical colonnades and horizontal cornices - the result of very accurate calculations of scale ratios.

Not a single photograph conveys this optical effect. Try it yourself, but I’m not the only one who thinks it’s impossible.

For a detailed introduction to the architecture of Byzantine (and not only) churches, you can read “History of Architecture” by Auguste Choisy (Histoire De L "Architecture).

Certainly not last role plays in perception interior decoration cathedral - its cladding, mosaics, accessories. More about this.

Mosaics

You can look at the mosaics of the cathedral endlessly. The most amazing in beauty and skill are considered to be “The Virgin and Child” and “Archangel Gabriel” - they decorate apse(the place in the temple where the altar is located) and vimu(raisin, tribune adjacent to the altar). The mosaics are distinguished by a special style of execution - the softness of the sculpting, the play of halftones, the absence of hard lines, despite the fact that they belong to the earliest period of the formation of Macedonian monumental painting (the second half of the 10th century).

From the point of view of iconography, interesting are the mosaics from the reign of Emperor Leo VI (late 9th - early 10th centuries), when figurative compositions replaced the image of the cross that adorned eastern wall of the narfik in the era of Justinian (narfic or narthex - the entrance room, which is adjacent to the western side of the temple).

These are images of Jesus Christ, a half-figure of the Mother of God (left), Archangel Michael (right) and Emperor Leo VI, falling at the feet of the Almighty

Art critics say that this mosaic must be viewed from below and at a great distance - this is the only way to get a right angle with the viewer’s gaze and achieve the necessary visual effect.

Mosaics of the southern lobbyI are distinguished by a more mature style, due, of course, to the later period of their creation, although the difference in “age” with their predecessors is only fifty years.

On the mosaic there is a lunette (a part of the wall expressed as an arch and located above a door or window) above the door made of southern vestibule in narfik depicts the Virgin and Child and two great Byzantine emperors - Constantine and Justinian (second half of the 10th century).

On the mosaic southern gallery- Christ is on the throne, and Constantine Monomakh and Empress Zoe present gifts

This work dates back to the beginning of the 11th century.

The southern gallery also contains two mosaic icons from the 12th century, which are the only representatives of the Komnenos era preserved on the territory of Constantinople.

This is a portrait of the imperial couple - John II Komnenos and Empress Irene, located on either side of the Mother of God and presenting her with their gifts.

And Deesis, of whose original appearance, unfortunately, only less than half remains.

But even from these fragments one can see the level of skill of the authors. Experts compare the image with the most perfect examples of Byzantine painting of that time - icons of Our Lady of Vladimir and frescoes of the Demetrius Cathedral in Vladimir.

If you are interested in artistic, historical, iconographic details, a professional opinion, figures, facts, research, you can read about it in “The History of Byzantine Painting” by V. N. Lazarev.

There is also an interesting study about the restoration of mosaics, albeit in English: Mosaics of Hagia Sophia, Istanbul: The Fossati Restoration and the Work of the Byzantine Institute, Natalia B. Teteriatnikov.

Other attractions of the cathedral remaining from Byzantine times

While on the lower level of the temple, pay attention to omphalion- the place of coronation of the emperors of Byzantium.

To find it, stand under the center of the dome and look to the right. This is a large square, lined with colored stone, in the center of it is a circle on which the throne was placed for the newly proclaimed emperor.

Along the wide passage, climb to the second tier, which was used by church synods and where women worshiped. Pay attention to the interesting slope of the road - it was calculated specifically in order to achieve maximum smoothness during movement when the empress was carried on a palanquin (a stretcher on two poles).

From the top floor you can get a better look at the mosaics, look at the lower level from a twenty-meter height, and pay attention to the difference in the perception of the huge space below and above.

Stroll through the upper galleries and find Empress's box, located in the center of the western gallery.

From here she had an excellent view for observing rituals and ceremonies.

Walking along the northern gallery, go to the railing and try to find on it "graffiti"(translated from Italian this word means “scratches”). This is not at all the “hooliganism” of our contemporaries, this is Scandinavian runes- traces that Varangian warriors left in the 9th century, apparently wanted to perpetuate the memory of themselves.

In the southern gallery you will see a massive marble door, which at one time members of the Synod used to enter and exit the meeting room

Ottoman Hagia Sophia - mosque

1453 was the last year of the existence of the Christian Hagia Sophia. According to historians’ descriptions, on May 29, 1453, the last service took place there, during which the Ottomans broke into the temple and plundered it, not sparing the worshipers. Already on May 30, Mehmed II ordered the Hagia Sophia to be converted into a mosque.

Over the next five centuries, the mosque, called Hagia Sophia, just as when it was a Christian temple, continued to undergo changes - it was restored after destruction, reconstructed, some decorative elements were added and other decorative elements were removed.

First of all, minarets were added to the cathedral (first two hastily under Mehmed II, then two more under Selim II and Beyazid II) and mosaics and frescoes were plastered, and a mihrab was placed in the southeastern part of the temple.

They replaced the silver candelabra with iron ones, and later, under Akhmet III, they hung a huge chandelier that illuminates the cathedral to this day.

The appearance changed significantly already in the 16th century, when it was decided to strengthen the mosque building with massive buttresses.

In the mid-19th century, a serious restoration of the temple was carried out, which was carried out by Swiss architects - the brothers Gaspar and Giuseppe Fossati.

In 1935, under the rule of Ataturk, when the Turkish Republic was proclaimed secular, Hagia Sophia acquired the status of a museum.

The frescoes and mosaics from which centuries-old layers of plaster had been removed were returned to her, and a small space was allocated for Muslim rituals conducted by museum staff.

Landmarks of Ottoman times

From the moment the Christian cathedral was converted into a mosque and over the next five hundred years, almost every Ottoman sultan brought something of his own to the interior of Hagia Sophia.

Calligraphy inscriptions

The first thing that catches your eye is the huge circles and rectangular scrolls with calligraphic inscriptions against the backdrop of Orthodox themes.

These are the largest calligraphic panels in the Islamic world and contain the names of the prophets and early caliphs. They are made from donkey skin.

Marble vases

On the first tier, near the side naves, you will see huge vases carved from a single piece of marble.

They were brought to the Cathedral from the late 16th century during the reign of Murad III and were used to store water - about 1250 liters each.

Library of Mahmud I

In 1739, on the initiative of Mahmud II, a library was built in the cathedral. This room, located on the first tier in the southern gallery, was richly and tastefully decorated with marble and Iznik tiles. The library had a reading room connected by a corridor to the book depository. His cabinets, made of rosewood, contained more than 5,000 books. Nowadays, they are all kept in the library of the Suleymaniye Mosque under the name "Special Collection of Hagia Sophia".

On the eastern wall of the library hangs a “tugra” - the calligraphic signature of Mahmud I, who showed great interest in Hagia Sophia - in addition to the library, he ordered the cathedral to be repaired, a fountain for ablutions to be installed in the courtyard, and a canteen for the poor to be organized on the territory.

Sultan's Lodge

A small "room" in which the Sultan could participate in rituals without being noticed by the public. Tall carved bars sheltered it not only from the eyes of the common people, but also from ill-wishers - they ensured safety.

The stock really does resemble a golden cage - a beautiful carved hexagonal box mounted on stable supports. The lower part of the stock is a marble openwork panel, and the upper part is wooden, covered with gold.

The grilles are made in the Turkish style, and the supporting columns are Byzantine.

Previously, the box was located on the apse and had a different appearance, but in 1847, during the restoration of the temple, the Fossati brothers decorated it and moved it to where it is located to this day.

Mysterious cold window

At the entrance intended for the sultans, a small window was cut. The special microclimate that has formed next to it is surprising - in any weather, even on the hottest and windless day, it is always cool here.

Weeping Column

This column has a peculiarity - its walls are always wet. It is not known for certain when she began to “cry” and when they began to call her that, but today she has become a real tourist “attraction” - after all, people at all times believe that by performing a certain ritual they will become healthier, richer, happier.

The history of “magic” dates back to Byzantine times, when the icon of St. Nicholas the Wonderworker hung on a column, to which Christians came to ask for healing.

After the temple was captured by the Ottomans, the icon was torn down, and in its place there was a hole. Muslims came up with own ritual- you need to insert your thumb into this hole, use the other four to draw a circle and make a wish. If your finger becomes wet, your wish will come true. The ritual is still relevant today. Here's the story.

Where is it? It will not be difficult for you to find it - where there is a line, there is a column.

Some numbers

Often our impression of visual perception is helped by numbers and facts. Here are some measurements and calculations:

• area of ​​the cathedral - 7570 sq.m;
• height from floor to top of dome 55.6 m;
• columns: 104 in total, 40 in the lower gallery, 64 in the upper;
• dome diameter: 31.87 meters - from north to south, 30.87 - from east to west;
• number of windows in the dome - 40;
• capacity 100,000 people;
• the diameter of each circle with calligraphic inscriptions is 7.5 meters.

It was in Byzantine times:

• 6000 huge candelabra;
• 6000 portable candlesticks;
• each portable candlestick weighed 45 kg.

Modern Hagia Sophia - Hagia Sophia - museum

Today there is a huge amount of discussion about the ownership of the cathedral and its return to the Christian world. While the debate is ongoing, Hagia Sophia continues to be a museum of world significance, amazingly combining elements of different eras, worldviews and cultures.

About three million people come here every year.

You can start exploring the museum from the western garden, which contains the remains of columns and other fragments of the first two churches, found during excavations carried out by the Istanbul Institute of Archeology.

Then go inside, examine everything that interests you, and on the way out go to the former baptistery of the cathedral, where the mausoleum of Mustafa I and Ibrahim is now located.

And finally, look at the mausoleum of Sultan Selim II - the work of the genius Mimar Sinan, the mausoleums of Murad III and Mehmed III, which are located in a small separate area to the left of the exit from the baptistery.

How to get there

The Hagia Sophia Museum is located in the heart of the historical part of the city - in the Sultanahmet district.

You can get here by tram line T1, which runs almost through the entire center and connects the Zeytinburnu and Kabatas districts.

You need the Sultanahmet stop. Blue Mosque" is the name of another celebrity, the Blue Mosque.

When you get off the tram, you will find yourself exactly opposite the mosque, and to the left of it, about five hundred meters away, is Hagia Sophia. It's hard not to notice her.

Working hours

The museum is open:

• from April 15 to October 25 from 9.00 to 19.00, ticket offices and entrance to the museum close at 18.00;
• from October 25 to April 15 from 9.00 to 17.00, ticket offices and entrance to the museum close at 16.00.

Keep in mind that there is almost always a queue for at least 15 minutes to get into the museum; during the tourist season you can wait for an hour. Calculate your time, do not put off your visit until the evening.

Also keep in mind that:

• since May 2016, the museum is closed on Mondays;
• You will not be able to visit the museum on the first day of Ramadan and during the Sacrifice Festivals.

Ticket prices and how to purchase them

A regular full ticket costs about 12 euros or 14 dollars (40 TL).

There are no benefits for students.

Can go for free:

• Turkish children under 18 years of age;
• children of foreign citizens under 12 years of age;
• citizens of the Republic of Turkey over 65 years of age;
• disabled people and one accompanying person;
• soldiers and sergeants;
• COMOS, UNESCO, ICOM card holders;
• students studying in Turkey on exchange programs (for example, Erasmus) upon presentation of a contract.

You can buy a ticket:

Entrance to the territory of the burial grounds of the sultans is free.

What to see nearby

Nearby, of course, there are a lot of interesting things - the Blue Mosque, the Topkapi Palace, the Archaeological Museum, the Museum of Islamic and Turkish Art, and much more.

But since in this text we're talking about about the main attraction of Byzantine Orthodoxy, so as not to mix everything together, I will name only a couple of thematic places.

Cathedral of Saint Irene

Leaving Hagia Sophia, take a walk towards the Topkapi Palace, literally in a five-minute walk you will see another cathedral, which was recently opened to visitors.

This is one of the oldest churches in Constantinople - the Cathedral of Hagia Irene, which after the construction of Hagia Sophia was united with it.

Now restoration work is still underway there, and I personally really liked the idea of ​​​​opening the cathedral-museum to the public at an early stage of its restoration.

Kuchuk Hagia Sophia (Little Hagia Sophia)

I have already written that five years before the construction of Hagia Sophia began, its architects Anthymius and Isidore built the Church of the Great Martyrs Sergius and Bacchus. Justinian loved him very much and invited the same architects to repeat his image on a larger scale, so the similarity of the cathedrals is not surprising.

During the period of Beyazid II, the Ottomans converted the Temple of Sergius and Bacchus into a mosque and gave it the name "Kucuk Hagia Sophia", which means "Little Hagia Sophia".

If you walk from the Hagia Sophia Museum towards the Blue Mosque, then move down towards the sea,

you'll get into quite a situation quiet place. Personally, I really like it here.

Go into the yard and get to know its “inhabitants”.

And then go inside.

The mosaics are still covered with plaster, the interior decoration is a bit boring, there is nothing here that will take your breath away.

But I was curious to compare the cathedral with its “younger sister”, and the impressions were quite interesting. Come in and check it out, it won't take too long.

Mosaic Museum

And, if you want to complement the artistic image of ancient Constantinople, go to the Museum of Byzantine mosaics, which is located on the site of the former Grand Palace emperors, literally behind the Blue Mosque.

Magnificent Byzantine mosaics were discovered during excavations of the Great Imperial Palace, but that's another story...

After the museum

Personally, I don’t like to mix impressions and lump them into one pile, so after Hagia Sophia and nearby (primarily thematic) attractions, I recommend just taking a leisurely stroll.

If your “tour” ends at Kuchuk Hagia Sophia, then you can go down to the sea, walk along the embankment and look into one of the fish restaurants on the Kumkapi pier. It is very calm here, there are not many people, the food is always fresh and tasty, the service is very pleasant - no matter whether you order a full lunch or just drink a cup of coffee, you will be given the same decent attention. Prices are slightly lower than in the tourist center of the city.

If you stay near Hagia Sophia, then take a walk along the tram tracks towards Eminonu. Here you can look at the windows of small shops, and for 0.9 euros or 3 TL “win” ice cream (dondurma) from a cheerful seller

watch how Turkish women prepare manti and gozleme in the Han restaurant and the neighboring Ela Sofia.

Of course, you can taste them right there. We went to this restaurant out of curiosity. Tasty? Yes. Expensive? Yes.

It must be said that eating here on a budget will be more problematic than by the sea, so if you are hungry, but do not want to spend a lot of money and time, go to the Eminonu pier.

Fish lovers can try the famous “balyk ekmek” - fish in bread. A freshly caught sardine is fried in front of you and placed in crispy bread, generously adding green salad and onions for 0.9 euros (3 TL), and next to it you can buy a glass of pickled vegetables for the same price.

If you don’t eat fish, then the “meatball” (or “cutlet”?) favorite among Istanbul residents will suit you. Everything here is fast, tasty and inexpensive. Such establishments are called “köftecisi”, they are more expensive, such as the one in the photo below.

There are also simpler ones, mostly locals go there. The quality of food is equally good everywhere.

If you are not hungry, Gulhane Park will be a wonderful end to your walk. The entrance (free) is located just behind the row of shops and cafes that you passed along the tram tracks.

or you can just take a walk, dream, absorb new impressions,

climb to the top and admire the city.

I wish you good luck on your journey!

Anything to add?

Cathedral Hagia Sophia (Hagia Sophia) is one of the main attractions and business card. For a long time this Orthodox church was one of the largest temples in the world. Hagia Sophia is one of the greatest examples of Byzantine culture. Hagia Sophia is sometimes called the “eighth wonder of the world.” Hagia Sophia is under the protection of UNESCO.

Saint Sophia. Our review

First, you have to stand in a rather long line for tickets, and then another similar line to enter the cathedral itself. We were inside Hagia Sophia under New Year, December 31, around lunchtime. We had to wait in line for about half an hour.

Nearby they sell corn for 1.5 liras, you can refresh yourself while you stand in line. Very convenient 😎

Upon entering the Cathedral, bags are carefully checked and passed through a metal detector, just like at an airport.

Hagia Sophia amazes with its size. The length of the cathedral is 81 m, width 72 m. Light enters through 40 windows; due to the large amount of light, it seems that the dome is floating in the air.

You can go up to the second level, to the galleries and view Hagia Sophia from above.

The frescoes and mosaics of Hagia Sophia are of great interest, many of them have survived to this day.

One of the attractions of Hagia Sophia is the Weeping Column. You need to stick your finger into the hole, make a wish and rotate your finger 360 degrees. The wish must come true!

The cathedral is so huge that you can walk around it for a long time. We really liked the Hagia Sophia in Istanbul: it is amazing in size and has a very strong energy.

If you want, you can take it

And we are impressed and go out into the street, into the square between two shrines: Hagia Sophia and the current one. It is always crowded here. Even in winter, flowers and green trees are planted on the square, and a fountain is turned on.

And in summer it’s even better: you can lie on the grass and watch the commotion around you 😎

And in the evening, Hagia Sophia is beautifully illuminated. The square includes

If you are planning to visit Istanbul, I recommend booking your hotel in advance. It is best to live in the Sultanahmet area, within walking distance of Hagia Sophia. You can choose a hotel and book it

Enjoy your stay in Istanbul!

Hagia Sophia – stay here
The Lord judged nations and kings!
After all, your dome, according to an eyewitness,
As if on a chain, suspended to heaven.
And to all centuries - the example of Justinian,
When to kidnap for foreign gods
Diana of Ephesus allowed
One hundred and seven green marble pillars.
But what did your generous builder think?
When, high in soul and thought,
Arranged the apses and exedra,
Pointing them to the west and east?
A beautiful temple, bathed in peace,
And forty windows - a triumph of light;
On sails, under the dome, four
Archangel is the most beautiful.
And a wise spherical building
It will survive nations and centuries,
And the seraphim's echoing sobbing
Will not warp dark gold plates.

O. Mandelstam, 1912

The Hagia Sophia in Constantinople is a miracle of engineering and construction art, the greatest creation of the golden age of Byzantium. One of the largest surviving structures of Byzantine architecture still amazes the imagination with the grandeur of its design and the brilliance of its execution. Having been the most important shrine of the Christian world for a thousand years, and then, over the next five hundred years, of the Muslim world, this temple has turned into a real historical encyclopedia, evidence of the centuries-old spiritual quest of mankind.

Outside

Saint Sophia of Constantinople, inside

The first basilica dedicated to the Wisdom of God (Hagia Sophia or Hagia Sophia from the Greek. Αγία Σοφία ), was founded in the city on the banks of the Bosphorus Strait under Constantine the Great in 324–327. The Byzantine monk-chronicler of the 8th century, Theophan the Confessor, writes about this in his “Chronography”. Apparently, the basilica was completed by Constantine’s son Constantius II during his reign in the 340–350s. The Byzantine historian of the early 5th century, Socrates Scholasticus, in his “Ecclesiastical History” indicates the exact date of the consecration of the church dedicated to Hagia Sophia - 360: “ on the construction of Eudoxia to the episcopal throne of the capital, the great church known as Sophia was consecrated, which happened in the tenth consulate of Constantius and the third of Caesar Julian, on the fifteenth day of the month of February". Surpassing in size all the temples that existed by that time in Constantinople, this basilica was known as “ Magna Ecclesia", which translated from Latin means "Big Church".

The naming of the cathedral in honor of Hagia Sophia should be understood as its dedication to Jesus Christ, God the Word. In the era of early Christianity, the idea of ​​Sophia - the Wisdom of God - comes closer to the image of Jesus as the incarnate Word of God. According to the Gospel of John, the Logos (Word) is the only begotten Son of God, who incarnates and is born, becoming the God-man Jesus Christ: “ And the Word became flesh and dwelt among us, full of grace and truth; and we have seen His glory, the glory as of the only begotten of the Father"(John 1:14). In the Christian dogma of the Trinity, the Logos (Word) or the Son of God is the second hypostasis of the one and only God. He, together with God the Father and God the Holy Spirit, created the visible and invisible world and is the provider and sanctifier of the whole world. Wisdom or Sophia (from Greek. «Σοφία» – wisdom) is an essential property of the Triune God. God knows from eternity all His actions and the results of these actions, all His goals and the best means for achieving goals. The Son of God, as a hypostasis of the Holy Trinity, contains within Himself all the divine properties in the same completeness as the Father and the Holy Spirit. The Apostle Paul, in his letter to the Corinthians, directly calls Christ “the Wisdom of God” (1 Cor. 1:24) and says: “ From Him you also are in Christ Jesus, who became for us wisdom from God, righteousness, sanctification and redemption."(1 Cor. 1:30).

In 404, the early Christian temple of Hagia Sophia burned down in a fire. Emperor Theodosius II in 415 ordered the construction of a new basilica in the same place, next to the imperial palace. This cathedral stood for a century and also died in a fire in 532 during the Nika uprising. Based on individual fragments found as a result archaeological excavations in 1936, one can only judge the enormous size of the Basilica of Theodosius II and its magnificent carved decoration. Apparently, it was a grandiose five-nave structure with two-tier galleries and a wooden ceiling.

Facade of the Basilica of Theodosius II. 415. Reconstruction

All that has survived from it are parts of the columns, individual capitals, segments of arches, details of the ceilings, as well as part of the frieze with a bas-relief depicting twelve lambs, symbolizing the twelve apostles. These valuable finds are currently on display in the archaeological area of ​​the Hagia Sophia Museum.

On the left is the capital, on the right is the column of the Basilica of Theodosius II. 415 Constantinople

Frieze with the image of lambs. Basilica of the era of Theodosius II. 415 Constantinople

On the site of the burnt temple, Justinian I built in 532–537 new Sofia. To realize his ambitious plan to create a grandiose, hitherto unprecedented temple, the Byzantine emperor invites the best architects of his time - Isidore of Miletus and Anthemius of Tralles. These were not just builders, but outstanding scientists and engineers, famous for their research in the fields of mathematics and physics.

View of Constantinople in the Byzantine era. Reconstruction

Map of the center of Constantinople

For the construction of the temple, the best marble is delivered from the islands of Proconnesus and Euboea, from the city of Hierapolis (Asia Minor), from North Africa. According to legend, eight porphyry columns were brought from Rome to Constantinople, and green marble columns were brought from the Temple of Artemis in Ephesus. The famous poet of the 6th century Paul Silentiarius in his poem of 563 “Ekphrasis of the Church of Hagia Sophia” speaks of the amazing polychrome in the interior, mentioning the different marbles used in the decoration: Phrygian - pink with white veins, Egyptian - purple, Laconian - green, Carian - blood red and white, Lydian - pale green, Libyan - blue, Celtic - black and white.

Columns from the Temple of Artemis at Ephesus

« Who could count the splendor of the columns and marbles with which the temple is decorated? You would think that you are in a luxurious meadow covered with flowers. Indeed, how can one not be surprised at their purple or emerald color; some show a crimson color, others, like the sun, shine white; and some of them, being immediately multi-colored, show different colors, as if nature were their artist“,” wrote the Byzantine historian, a contemporary of Justinian, Procopius of Caesarea, who in his treatise “On Buildings” left a fairly detailed description of the Hagia Sophia.

Hagia Sophia, Constantinople. Byzantine capital

Gold, ivory, silver, and precious stones are used to decorate the temple. The cathedral amazed with its unprecedented splendor and royal luxury. " The ceiling is lined with pure gold, combining beauty and splendor; competing in brilliance, its radiance defeats the brilliance of stones (and marbles)

Hagia Sophia, Constantinople

Archbishop Anthony of Novgorod, having visited Hagia Sophia of Constantinople before its plunder by the crusaders in 1204, in his book “The Pilgrim” spoke about the rich decoration of the temple, replete with gold and silver, including mentioning golden lamps suspended from the ceiling, and a huge golden cross in the altar, decorated with precious stones and pearls.

However, what was unique in its impact on those entering the temple was not so much its decoration as its vast space, above which a gigantic dome rose to an incredible height. The huge temple, flooded with light, evoked a feeling of the grandeur of the universe, created according to the great Divine plan. This powerful visually sounding spiritual space transported believers to ethereal worlds. The Russian ambassadors who arrived in Constantinople in 987, visiting Hagia Sophia, experienced real delight from the liturgy unfolding under its arches. " We didn’t know whether we were in heaven or on earth: there is no such spectacle and such beauty on earth, and we don’t know how to tell about it. We only know that God dwells there with people“, they reported to Prince Vladimir, who was conducting a “test of faith” at that time. As a result, Vladimir chose for Rus' the path proposed by the Church of Constantinople.

Saint Sophia of Constantinople

Hagia Sophia is a brilliant engineering and architectural embodiment of the idea of ​​a temple as an image of the Divine universe. The grandiose basilica, which had a length of 82 meters and a width of 73 meters, was not an architectural innovation in itself. In the 4th–6th centuries, the basilica was the most common type of Christian church. The novelty was the combination of a huge basilica with a giant dome. Attempts to combine the type of basilica with a domed roof were made already in the 5th century. It is enough to recall the temple of the second half of the 5th century of the Alahan monastery in Isauria (Asia Minor). The Hagia Sophia, designed by the brilliant Byzantine architects of the Justinian era, became the enchanting conclusion of this search.

Hagia Sophia in Constantinople. 532-537. Longitudinal section of the temple

The composition of the temple combines elements of a three-nave basilica and a centric domed volume. A giant dome with a diameter of 31 meters covers the central space of the temple, rising to a height of 55 meters. The sphere of the dome is like the dome of heaven, embracing the entire universe. Church service connects with the mystery taking place in heaven. And thus the idea of ​​universal liturgy is embodied. " And every time someone enters this temple to pray, he immediately understands that such a thing was completed not by human power or art, but by God’s permission; his mind, rushing to God, soars in heaven, believing that he is not far", wrote Procopius of Caesarea.

The architecture of Hagia Sophia, unlike early Christian basilicas, contains a fundamentally new concept. The horizontal movement, characteristic of the longitudinal spatial composition of the first Christian churches, gives way here to a vertical direction. The dome becomes the absolute center of the composition, evoking visible associations with the theme of the unity of all in God. Architecture develops from top to bottom, according to the theory of the Celestial Hierarchy of Pseudo-Dionysius the Areopagite. The dome is connected to the supporting structures of the temple through spherical triangles - sails, which marked an amazing architectural discovery of Byzantine architects, which largely determined the further development of church construction. In this building, Byzantine architects developed and fully implemented the principle of distributing the pressure of a huge dome using a system of semi-domes, arches, exedra, connected into a single whole. The weight of the dome is transferred to four huge pillars. At the same time, its expansion, as is clearly visible on the plan of the cathedral, is dampened by small semi-domes, which frame the large hemispheres in a semicircle, as well as by the vaults of the side naves.

Plan of the Hagia Sophia in Constantinople

Four dome arches rise to great heights, creating the feeling of the dome floating. The effect of apparent weightlessness is enhanced by forty arched windows cut into its base. Thanks to this continuous ribbon of windows, it seems as if the dome, raised to a dizzying height, floats freely above the temple.

Dome of Hagia Sophia of Constantinople

Adjacent to the dome space from the east and west are two huge niches with hemispherical ceilings. The eastern niche, in turn, has three more niches, the middle of which served as an apse.

Hagia Sophia, Constantinople. Photo: alienordis.livejournal.com

Hagia Sophia, Constantinople. Dome, sails

Hagia Sophia, Constantinople

If in early Christian basilicas space was clearly divided into separate plastic volumes, in Hagia Sophia the constant flow of space from sphere to hemisphere, opening end-to-end perspectives embodied the idea of ​​a comprehensive, single homogeneous space. The indivisible space of the temple presupposed a similar unity of all believers, as the monolithic body of Christ.

The usual tectonics of the temple is being radically rethought. The feeling of heaviness and materiality of forms, as if dissolved in space, disappears. The connection between the structural elements of the structure is hidden from view. The rhythm of curved surfaces, cleverly disguised load-bearing supports, openwork colonnades of arcades, a huge number of windows cutting through the walls, choir-galleries of the second tier - everything creates the impression of an illusory shell, limiting a space in which the usual physical laws do not seem to apply. A person had to comprehend a miracle not with his mind, but with his heart.

Hagia Sophia, Constantinople

Photo: Alexander Vlasov, vlasshole.livejournal.com

In Byzantine aesthetics key concept is light. One of the Greek Church Fathers of the 4th century, Athanasius the Great, believed that “ light is God, and likewise light is the Son; because He is of the same essence of true light". Architects Isidore of Miletus and Anfimius of Tralles developed an amazing technological concept, as a result of which light in architecture became perhaps the most important means of expression. The continuous ribbon of windows in the lower part of the dome and the light pouring through them created the feeling of a luminous cloud constantly hanging under the dome, as the embodiment of the image of God. Hagia Sophia has a completely different light drama than in early Christian basilicas. There are no areas of contrasting light here. The temple is completely flooded with light penetrating inside through a system of numerous windows. " One could say that this place is not illuminated from the outside by the sun, but that the brilliance is born within itself: such an amount of light spreads in this temple“,” noted Procopius of Caesarea.

Dome of the Cathedral of Hagia Sophia of Constantinople. Photo 1959

At night, apparently, the temple was illuminated by a huge number of lamps, many of which, according to the description of Paul the Silentiary, were in the shape of ships and trees. The illuminated temple probably gave such a glow that the poet figuratively compared it with the famous Faros lighthouse. This is how he described this phenomenon:

« Everything here breathes beauty, you will marvel at everything
your eye; but tell me, with what radiant radiance
the temple is illuminated at night, and the word is powerless. You'll say:
A certain night Phaeton shed this shine on the shrine!»
« This brilliance drives out all darkness from the soul, and looks upon it not only as a beacon,
but even in anticipation of help from the Lord God the sailor looks,
whether he sails on the Black or Aegean Sea» .

Saint Sophia of Constantinople

The decorative decoration of the temple during the time of Justinian and his successor Justin II can be judged only by indirect data. According to many researchers, including the famous Russian Byzantinist V.N. Lazarev, Hagia Sophia was decorated with mosaics, which were mainly of a dogmatic icon character. However, this heritage of the 6th century was completely destroyed during the iconoclastic period (8th - early 9th centuries). Only a few mosaic fragments with elements of floral ornament have survived.

The dome of Hagia Sophia originally contained a huge image of a cross. However, this mosaic has not survived to our time, since in 989, as a result of a strong earthquake, the dome built by the architects of the Justinian era collapsed. The restoration of the dome ceiling was carried out in 994 under the leadership of the Armenian architect Trdat.

The most important source from which one can get some idea of ​​the individual elements of the decoration of Hagia Sophia is the poem “Ekphrasis of the Temple of Hagia Sophia” by Paul Silentiary. So, for example, the poet gives colorful description a woven image of Jesus Christ located in the cathedral, which represented the iconographic type of Pantocrator:

« Golden radiance, shining with the rays of the pink-fingered Eos,
reflected the cloak on the divine members,
and the tunic glows purple from Tyrian sea shells.
He covers the right frame with beautiful fabric.
And there the coverlet slipped off the clothes,
and, beautiful, falling from the shoulder,
spreads smoothly under the left hand, opening
part of the palm and elbow. And it’s as if Christ himself
extended his right hand to us, eternal word revealing.
In his left hand He holds a book of divine words,
Who announced to the world everything that by His protective will
The King Himself commanded us, establishing our foot on the earth.
All His clothes sparkle with a golden radiance,
For fine gold is woven everywhere between the threads» .

The main decoration of Hagia Sophia was the altar barrier, a detailed description of which we find in the same Paul the Silentiary. The poet notes that on the architrave the medallions depicted Christ, the archangels, Saint Mary, the apostles and prophets, with Christ occupying a central position in the composition. Paul the Silentiary does not indicate in what technique these images were made. But from his testimony that the columns of the altar barrier were lined with silver, one can assume that the images were also minted from silver. This composition, which occupied the central and most honorable place in the temple, and embodied the idea of ​​intercession, was nothing more than the Deesis. According to V.N. Lazarev, the architrave of the altar barrier of Hagia Sophia became the prototype of all future iconostases.

Altar barrier and pulpit of the Hagia Sophia in Constantinople, reconstruction. From the book V.N. Lazarev. Byzantine painting, 1971

The second half of the 9th century marks the end of the iconoclastic period. The Byzantine Church now begins to claim universal significance, Constantinople becomes a cultural and artistic center, the influence of which spreads over vast territories. From this time on, the reconstruction of the mosaics of St. Sophia Cathedral began. The mosaics of Hagia Sophia after the iconoclastic period represent the finest examples of the classical Byzantine style, belonging to the monumental art of different eras, including the eras of the Macedonian dynasty, the Komnenos dynasty and the Palaiologan dynasty.

Madonna and Child Enthroned. Mosaic in the apse. 867 Hagia Sophia, Constantinople

Archangel Gabriel, mosaic of the vault of the vima, 867. Hagia Sophia, Constantinople

V. N. Lazarev considered these images to be among the most beautiful in Byzantine monumental art. They are truly distinguished by their exquisite beauty and the highest technical skill. They clearly show a connection with ancient traditions. Solemn, monumental figures, executed with a magnificent sense of proportion and scale, seem to protrude from a golden background. Saint Mary is presented in perspective, with her leg extended forward. The spectacular turn of her figure and the throne, which goes into the depths, create a feeling of the presence of the Mother of God in the real space of the temple. The Archangel Gabriel is also depicted in a light spread. The rhythm of movement of the sculptural folds of his clothes emphasize the volume and plastic shape of the figure. Antique reminiscences can also be read in the tonal modeling, turning mosaics into real picturesque images. The finest transitions of color, the absence of hard lines and contours, and soft colorful modeling give the faces an earthly, sensual character. But at the same time, these images of ideal anthropomorphic beauty are endowed with an extraordinary sense of spirituality. Big eyes, filled with sadness, directed into an unknown distance. In the solemn calm and invulnerable self-sufficiency of the images one can read detachment from the world of earthly dimensions.

In 878, mosaics depicting sixteen prophets and fourteen saints appeared in the northern tympanum of the cathedral. Of these, only a few images have survived, including the images of John Chrysostom, Basil the Great, Gregory the Theologian and Ignatius the God-Bearer.

Saints John Chrysostom and Ignatius the God-Bearer. 878 Mosaics in the northern tympanum of Hagia Sophia, Constantinople. Photo by R.V. Novikov

John Chrysostom. Mosaic. 878 Hagia Sophia, Constantinople

The style of these mosaics tends towards the spiritualization of form and greater abstraction. The frontal, pillar-shaped figures of saints seem as if nailed to a golden background. The feeling of flatness is enhanced, which is emphasized by a clearly defined contour. Forms lose their material heaviness and volume. Persons acquire a strict ascetic character. And individual symbolic elements are deliberately increased in size: large crosses on the omophorions of saints, the palms of their right hands.

In the lunette above the central entrance to the cathedral is an unusual composition depicting Emperor Leo VI in front of Jesus Christ, dating from the period between 886 and 912.

Emperor Leo VI before Christ. 886-912. Mosaic above the entrance to the temple. Hagia Sophia, Constantinople

Christ in the image of Pantocrator solemnly sits on the throne with an open Gospel in his hand, broadcasting the Word of God. Above, on the sides of Christ, there are two medallions with half-figures of the Mother of God and the Archangel Gabriel - a peculiar version of the Deesis. Leo VI is depicted to the left of Jesus in a pose of deep proskynesis bow, with his hands outstretched to the Savior. Such iconography is interpreted as an illustration of the solemn religious ceremony described by the son of Leo VI, Constantine VII, in the treatise “On the Ceremonies of the Byzantine Court.” According to this document, the Byzantine emperor, met by the patriarch in the narthex of Hagia Sophia, prostrated himself three times before entering the temple and only then crossed the threshold of the cathedral. In general, the composition can be considered as a scene of the earthly ruler’s worship of the Heavenly King, who is the embodiment of the Wisdom of God, and at the same time as a scene of a prayer for intercession addressed to the Mother of God and the Heavenly Powers.

By ordering mosaics depicting scenes of worship, as well as votive mosaics with scenes of bringing gifts, Byzantine emperors thereby designated their status in the sacred space of the church and emphasized the primacy of spiritual power over secular power. The Byzantines' views on the emperor as the highest executive, set by God in order to take care of the people subordinate to him and lead them to the highest good, are revealed in the treatise “The Royal Statue” by the Byzantine theologian, encyclopedist of the 13th century Nicephorus Blemmydes. All subordinates of the Byzantine state, according to this concept, are only executors of God's will. And the emperor in this case is no exception.

The votive mosaic, dating from 950 and located in the lunette above the door leading from the southern vestibule to the narthex of the cathedral, depicts the Virgin and Child enthroned and the emperors Constantine and Justinian presenting the city of Constantinople and Hagia Sophia to the Queen of Heaven.

Emperors Constantine and Justinian before the Mother of God. 950 Mosaic. Hagia Sophia, Constantinople

Emperors Constantine and Justinian before the Mother of God. 950 Mosaic. Hagia Sophia, Constantinople

This is a unique work where the two great emperors Constantine and Justinian are presented in the space of one composition. We are certainly not talking about portrait images with individual features. Historical figures are identified by the gifts they hold in their hands and the inscriptions indicating their names. For all its symbolism and hieroglyphics, this mosaic is distinguished by its unexpected spatial composition. The throne on which the Mother of God sits and its foot are presented from perspective. The earth is depicted with tonal transitions from light green to dark green, which further emphasizes the depth of space. And the figures of the emperors thus do not hang in the air, but stand firmly on the ground.

Another mosaic votive composition of the southern gallery of Hagia Sophia, dating from 1044–1055, dates back to the late period of the Macedonian Renaissance - an image of Emperor Constantine IX Monomachos and Empress Zoe Porphyrogenitus standing before Jesus Christ.

Emperor Constantine IX Monomakh and Empress Zoe before Christ. XI century. Mosaic. Hagia Sophia, Constantinople

On the left is Emperor Constantine IX Monomakh. On right -
Empress Zoe. Mosaic detail. XI century. Hagia Sophia, Constantinople

The symbolic composition represents the scene of the laying of gifts on the throne of Hagia Sophia by the imperial couple. Konstantin Monomakh holds a bag of gold in his hands, and his wife holds a letter listing gifts. They are dressed in luxurious, jeweled robes, and their heads are crowned with richly decorated crowns. Their faces are abstractly idealized. Before us, in fact, are conventional images of the beautiful-faced, eternally youthful empress and the courageous emperor, who are frozen for all eternity in the pose of standing before the Savior seated on the throne.

A similar composition is repeated in another votive mosaic of the southern gallery of Hagia Sophia, which already dates back to the period of the Komnenos dynasty, dates back to 1118 and depicts John II Komnenos with his wife Irene in front of the Mother of God.

John II Komnenos and his wife Irene before the Mother of God. 1118 Mosaic. Hagia Sophia, Constantinople

The strict symmetrical composition, clearly defined intervals between figures, frontality and flatness that distinguish this mosaic further emphasize the symbolism of the depicted scene. Flat, volumeless figures are drawn in silhouette on a golden background, which, due to very small smalt cubes, turns into a continuous, smooth, shining surface. In the elaboration of faces, the pictorial interpretation gives way to a linear-graphic approach. Even the blush on the cheeks is indicated by subtle strokes. However, these are no longer abstract conventional images. The faces not only reflect the individual portrait features of the Comnenian type: a long thin nose, narrow eyes, architectural, clearly defined eyebrows, a small mouth. They also manifest a certain psychological shade of internal tension. And the Mother of God directs her gaze no longer to some unknown distance, but directly to the viewer.

Virgin and Child. Mosaic detail of John II Komnenos and his wife Irene in front of the Mother of God. 1118 Hagia Sophia, Constantinople

The undisputed masterpiece of Hagia Sophia is the Deesis from the south gallery.

This mosaic belongs to the Palaiologan Renaissance and dates back to 1261. In the second half of the 13th century, a sophisticated, refined art was born in Constantinople, which has almost no analogues, and which amazingly combined deep Christian philosophy with the traditions of ancient art. The main artistic expression of the Deesis mosaic from Hagia Sophia is color. Thanks to the finest tonal transitions, the color scheme acquires extraordinary softness and naturalness.

Deesis. 1261. Mosaic. Hagia Sophia, Constantinople

The face of Jesus Christ, lined with tiny cubes of smalt with alternating dark and light shades, seems alive, vibrant, glowing from within. This shimmering inner radiance, combined with the feeling of embodied living flesh, conveys the essence of the fusion of the divine nature with the human nature. The Savior seems infinitely close and at the same time infinitely distant. His divine essence and remoteness from the earthly world are emphasized by the most mystical consonance of colors in Byzantine painting - the dark blue color of His himation and the gold of his chiton.

Jesus Christ. Detail of the Deesis mosaic. 1261 Hagia Sophia, Constantinople

The images of the Mother of God and John the Baptist, presented in the prayer of intercession before Jesus, reflected different shades of psychological state. Mary's face is filled with tender, touching love and humility. In the face of John the Baptist, furrowed with wrinkles, traces of spiritual quest and difficult internal struggles were imprinted.

On the left is the Mother of God. On the right is John the Baptist. Detail of the Deesis mosaic. 1261. Hagia Sophia, Constantinople. Photo by S. N. Lipatova

The Deesis of Hagia Sophia is an outstanding work of Byzantine art, which combined high classical nobility with lyrical softness, a sense of transcendence with a surprisingly lively chamber intonation.

Deesis. 1261 Mosaic. Saint Sophie Cathedral. Constantinople. Photo by S. N. Lipatova

In 1453, Constantinople was captured by the Ottoman Turks. The fall of Constantinople marked the end of the Byzantine Empire. The Ottoman Sultan Mehmed II, having solemnly entered the capital of the Eastern Roman Empire on May 30, 1453 and crossed the threshold of the Hagia Sophia, was so amazed by the beauty and perfection of this building that he ordered it to be preserved and converted into a mosque. This is how it ended christian history the main shrine of Constantinople.

Constantinople. Map. XVI century. Georg Braun, Franz Hogenberg. Image: www.raremaps.com

The mihrab, which was supposed to indicate the direction to Mecca, was placed in the southeastern corner of the structure. Mosaics with Christian themes were covered with plaster. In the 16th century, minarets grew around Sofia, and a carved marble minbar appeared in the interior. In the second half of the 16th century, to strengthen the building, due to the threat of a new collapse of the dome, rough, heavy buttresses were added, which, unfortunately, forever changed the appearance of the masterpiece of Byzantine architecture of the 6th century.

Saint Sophia of Constantinople

Mihrab. XIX century. Hagia Sophia

In the middle of the 19th century, urgent restoration of the mosque was required. Restoration work was carried out in 1847–1849 under the leadership of the Italian architect Gaspar Fossati, who served at the Russian embassy in Constantinople. Gaspar Fossati not only coped with the task brilliantly, but also completed a whole series of drawings depicting Hagia Sophia in 1853, which can serve as a historical document of his era.

Gaspar Fossati. Hagia Sophia. Color lithography. 1852. From the album Hagia Sophia in Constantinople. Library of Congress

During restoration work in Hagia Sophia, giant round medallions with a diameter of 7.5 meters appeared with inscriptions indicating the names of Allah, the Prophet Muhammad and the first four caliphs. Made by the famous master Kazasker Mustafa Izzet Efendi, they are considered the largest works of Islamic calligraphy in size.

Hagia Sophia, Constantinople. Photo: Alexander Vlasov, vlasshole.livejournal.com

Hagia Sophia, Constantinople. Photo: alienordis.livejournal.com

In 1935, according to the decree of Ataturk, the founder of the modern Turkish state, the first president of the Turkish Republic, Hagia Sophia became a museum. Layers of plaster were removed from the mosaics, and five hundred years later the faces of Christ, the Mother of God and the saints were again revealed to the world. From now on, they live together with the symbols of Islamic culture in the same space. Thus, centuries later, the Hagia Sophia of Constantinople, a grandiose creation of Byzantine architecture, united two of the world’s greatest religions under its dome.

Our Lady in the apse, mosaic. 867 Hagia Sophia, Constantinople

Minbar. End of the 16th century. Hagia Sophia. Photo: pollydelly.livejournal.com

The Hagia Sophia in Constantinople became the most perfect embodiment of the ideals of the Byzantine Christian worldview and the newly realized idea of ​​the Church as a universal liturgy, and the temple as an image of the universe. " This temple presented a wonderful sight - to those who looked at it it seemed exceptional, to those who heard about it - completely incredible - Procopius of Caesarea testified in the 6th century . – It rises in height as if to the sky and, like a ship on high waves of the sea, it stands out among other buildings, as if leaning over the rest of the city» .

Saint Sophia of Constantinople

Hagia Sophia, Constantinople. Photo: Alexander Vlasov, vlasshole.livejournal.com

This work occupies an exceptional position not only in the history of world art, but also in the history of all spiritual quests of mankind. It fully reflected the desire to embody in stone the elusive beauty of the mysterious, incomprehensible world created by Divine Wisdom, characteristic of early Byzantine architecture. Saint Sophia of Constantinople became the starting point for the further development of church architecture and was the prototype of many subsequently created churches. At the same time, it still remained a unique phenomenon in terms of the pathos of grandeur inherent in it and the idea of ​​cosmicity embodied in it. Byzantine churches will eventually decrease in size, become simpler in design, and more stable in their cross-domed composition. But all of them, as a rule, trace their origins to Sophia of Constantinople, in which for the first time a huge basilica received a gigantic domed completion.