A Komnenos Mosaic in Hagia Sophia: On Its Dating and Iconology
Yavuz ErdihanThis paper presents an examination of the Komnenos mosaic in the south gallery of Hagia Sophia by focusing on its dating and iconography. The mosaic often dates to, around 1122 and depicts Byzantine Emperor John II Komnenos, Empress Irene, and their son, the co-emperor Alexios, on either side of the Mother Mary and Christ the Child. The dating is based on the coronation of Alexios, which is thought to have occurred in 1122. Byzantine scholars further argue that the mosaic shows a donation Emperor John II Komnenos made to Hagia Sophia, based on the purse held by the emperor. However, documents show the coronation date of Alexios to have actually occurred in 1119. Moreover, no historical evidence indicates Emperor John II Komnenos to have given any financial support to Hagia Sophia. When considering these facts, the study aims to offer a reexamination of the mosaic. In this context, the paper argues the mosaic to depict the coronation ceremony of Alexios Komnenos, and to be a reflection of the dynastic policy of John II Komnenos, opposing both his sister, Anna Komnena, and brother Isaac Komnenos’ claims to the throne. Consequently, this paper reveals references that tie the mosaic to this context in terms of iconology.
Ayasofya’da Komnenos Mozaiği: Tarihi ve İkonolojisi Üzerine
Yavuz ErdihanBu çalışma yeni belgeler ışığında Ayasofya’nın güney galerisindeki Komnenos Mozaiği’nin tarihi ve ikonografisi üzerine odaklanmaktadır. Genel olarak 1122 civarına tarihlenen mozaikte; Bizans İmparatoru II. Ioannes Komnenos, İmparatoriçe Irene ve oğulları Müşterek İmparator Aleksios, Meryem ve Çocuk İsa’nın iki yanında betimlenmiştir. Mozaiğin tarihlenmesi Aleksios Komnenos’un 1122’de müşterek imparator ilan edildiğinin kabulüne dayanır. İmparator II. Ioannes Komnenos’un elindeki para kesesi ile betimlenmesi nedeniyle de mozaik ikonografik olarak Ayasofya’ya yapılan bir mali destekle ilişkili olarak yorumlanmıştır. Bununla birlikte, belgeler Aleksios Komnenos’un aslında 1119’da müşterek imparator ilan edildiğini kanıtlamaktadır. Aynı zamanda İmparator II. Ioannes Komnenos’un iktidarı döneminde Ayasofya’ya mali destek sağladığına ilişkin kanıt da yoktur. Bu saptamalar mozaiğin tarihi ve ikonografisinin yeniden sorgulanmasını gerekli kılmaktadır. Çalışmamız bu bağlamda mozaiğin tarihi ve ikonografisine ilişkin yeni görüşleri tartışmaya açmaktadır. Tarihsel kayıtlar ve ikonografik detaylar mozaiğin bir mali destekle ilişkili değil, İmparator II. Ioannes Komnenos’un hanedan politikası ve bunun sonucu Aleksios Komnenos’un müşterek imparator olarak taç giymesiyle ilişkili olduğuna işaret etmektedir. Sonuç olarak çalışma; mozaiği Aleksios Komnenos’un müşterek imparator olarak taç giymesi töreninin görsel bir yorumu olarak değerlendirerek gerekli tarihsel ve ikonografik referansları ortaya koymayı amaçlamaktadır.
By focusing on dating and iconology, this article discusses the Komnenos mosaic in the south gallery of Hagia Sophia. The mosaic has often been dates to 1122 or shortly after and depicts the Byzantine Emperor John II Komnenos (1118-1143), Empress Irene, and their son, the co-emperor Alexios Komnenos, on either side of the standing Mother Mary and Christ the Child in the center. The emperor holds a moneybag (apokombion), while the Empress holds a scroll.
The dating of the mosaic mentioned above has been based on the coronation of Alexios, which is believed to have occurred in 1122. According to the present hypothesis, because the inscription of Alexios in the mosaic refers to him as Basileus Romaion (Emperor of Romans), the mosaic must have been ordered at a time when Alexios had been declared co-emperor or shortly after. Furthermore, scholars agree that the mosaic commemorates a donation Emperor John II Komnenos made to Hagia Sophia, due to the moneybag he holds. However, neither of these hypotheses have been clearly proven with documents. Firstly, historical documents show the coronation date of Alexios Komnenos to have actually been in 1119. In addition, no historical evidence indicates any financial support given by Emperor John II Komnenos to Hagia Sophia. These facts necessitate a reexamination of the mosaic within its own specific context.
Therefore, the study firstly discusses the possible coronation dates of Alexios and tries to indicate the importance of his co-emperor status regarding the depiction of the mosaic. John II and Alexios were also represented together another time, in Christ’s company on a miniature in the Vatican Library (folio 19v. of the Tetraevangelion, Urb. Gr. 2). This miniature has also been dated to 1122 or shortly after. Interestingly, no other images of John II have survived, apart from those representing him with Alexios. The article then turns to examine the events that occurred during the possible dates suggested for the coronation of Alexios. An examination of these events paves the way for an iconographical discussion of the mosaic in the context of John II’s dynastic policy and indicates Alexios to have been an image put forward when a threat arose to his father’s throne, firstly by Anna Komnena in 1119 and later by Isaac Komnenos around 1122. The representation of Alexios hereby becomes the main iconographical element for placing the mosaic within a dynastic context.
As is known, dynastic stability had been major policy of the Komnenian system, since Emperor Alexios I, the founder of the Komnenian dynasty. John II put more emphasis on this policy and aimed to ensure the succession of his sons: thus, Alexios became the main image of this dynastic policy. Historical evidence indicates that a conscious effort had indeed occurred that intended to create such an image of Alexios.
Therefore, the mosaic appears to be a visual representation of the coronation ceremony of Alexios as the main image of his father’s dynastic policy. The other elements and figures of the mosaic give more hints that link the subject to the coronation of Alexios. For instance, as indicated in Book of Ceremonies, the emperors were known to distribute moneybags, full of gold coins, during the coronation ceremonies held in Hagia Sophia. Therefore, the moneybag held by Emperor John II Komnenos appears to be a symbol indicating the coronation ceremony. Furthermore, the representation of Empress Irene seems to be another sign referring to the coronation of Alexios, as the mother of the crowned prince would also have been present in the coronation representations of a co-emperor, as exemplified by the poem by Theodoros Prodromos. Moreover, the choice of Mary in the mosaic also has an iconographic meaning as an interpretation of this context, because she was regarded as an image that legitimized power and dynasty in Byzantium. In the literature of the period, Mary was portrayed as one of the main images of John II’s power and political ideology. One can thus conclude that both historical and iconographical evidences offer an adequate framework that links the subject to the dynastic policy of John II, especially its main image to the coronation of Alexios rather than to an imperial donation.
