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TOWARDS A NEW HONORIFIC COLUMN: THE COLUMN OF CONSTANTINE IN EARLY BYZANTINE URBAN LANDSCAPE/YENI BIR ANIT SUTUNA DOGRU: ERKEN BIZANS KENT PEYZAJINDA KONSTANTIN SUTUNU

Mimarlık Fakültesi dergisi, 2016-06, Vol.33 (1), p.121 [Peer Reviewed Journal]

COPYRIGHT 2016 Middle East Technical University ;ISSN: 0258-5316 ;DOI: 10.4305/METU.JFA.2016.1.5

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  • Title:
    TOWARDS A NEW HONORIFIC COLUMN: THE COLUMN OF CONSTANTINE IN EARLY BYZANTINE URBAN LANDSCAPE/YENI BIR ANIT SUTUNA DOGRU: ERKEN BIZANS KENT PEYZAJINDA KONSTANTIN SUTUNU
  • Author: Arslan, Pelin Yoncaci
  • Subjects: Architecture, Byzantine ; Columns ; Constantine I, Emperor of Rome ; Design and construction ; Emperors ; History ; Portrayals
  • Is Part Of: Mimarlık Fakültesi dergisi, 2016-06, Vol.33 (1), p.121
  • Description: The first and the most important honorary column in early Byzantine Constantinople, the Column of Constantine, Cemberlitas Sutunu in Turkish, still stands upright at its original location today but remained virtually hidden behind the distinct silhouettes of multiple Ottoman minarets and domes. Completed in 330 AD, during the inauguration of the new capital, this colossal column was the architectural manifestation of Constantine the Great's transfer of imperial administration to the New or the Second Rome. In literature, this monument has been either considered as a city ornament emulating the ones in Rome, or taken up as a monumental post that merely contributed to the iconographic readings of Constantine's statue at its summit. No in-depth investigation was placed on the possible relation to its precedents and successors. The present paper argues that this rather neglected monument occupied a significant place within Constantine's urban reprogramming efforts to build a new capital. The colossal column was as an idiosyncratic combination of two Tetrarchic column monuments, Diocletian's victory column in Alexandria and the Five-column monument in Rome. It was not unusual but differentiated from their contemporaries in terms of its subordinating scale, visual dominance and ritual dimension. As such, Constantine's column gained multivalent urban meanings both within the history of freestanding columns and early Byzantine urbanism. Its formidable presence elicited such awe and wonder that the column figured prominently in the late fourth or early fifth century Tabula Peutingeriana as an undeniable urban icon for Constantinople, along with Old St. Peter's Basilica representing Rome and the Temple of Apollo at Daphne representing Antioch. More directly than any other work of architecture, this Column provided both an image and an identity to the New Rome. Keywords: Column of Constantine; Early Byzantine Constantinople; Byzantine urban history; the urban skyline; imageability; visibility Uzerine heykel yerlestirilmis mustakil anit sutun, Roma sanat ve mimarisi icerisinde nispeten sinirli bir yapi turudur. Baslica islevleri, kazanilmis bir zaferi ve bu zaferi kazanan yoneticileri ovmek veya kisisel basarilarindan dolayi bir devlet gorevlisini onurlandirmak olarak tanimlanabilir. En iyi bilinen ornekleri Imparatorluk doneminde Roma'da yapilmis olsa da, bu tur sutunlar erken Bizans donemi Istanbul'unda da cokca kullanilmistir. Bu orneklerden ilki ve en onemlisi, Cemberlitas Sutunu olarak da bilinen Konstantin anit sutunudur. MS 330 yilinda tamamlanan bu devasa sutun, yeni baskentin kuruldugunun habercisi olmakla birlikte, imparatorluk yonetiminin eski Roma'dan, o zamanki adiyla yeni veya ikinci Roma'ya, yani Konstantinopolis'e, transfer edildiginin de mimari simgesidir. Anit, zamaninin en degerli ve en emperyal malzemesi olan porfirden, daha once hic gorulmemis bir olcekte yapilmistir. Yapildigi donemde kent imajini olusturan en onemli ogelerden biri olan Konstantin sutunu, gunumuzde ise Osmanli doneminin simgesi minarelerin ve kubbelerin, ve modern donemin anitlari olan gokdelenlerin sekillendirdigi Istanbul siluetinde gozden kaybolmustur. Konstantin sutunu Bizans literaturunde, ya Roma'daki orneklerini taklit eden bir sehir susu olarak kabul edilmis ya da uzerine Konstantin tarafindan yerlestirilen heykelin ikonografik okumalarina katkida bulunan anitsal bir kaide olarak ele alinmistir. Sutunun benzersiz tasarim ozelliklerine ve erken Bizans kent plani icerisindeki rolune ise su ana kadar pek deginilmemistir. Halbuki, bir mimari obje olarak bu sutun, diger anit sutunlar icinde ozellikli bir yere sahiptir. Bu calismada, Konstantin anit sutunu, Iskenderiye'deki Diocletianus zafer sutunu ile Roma'daki Bes Sutunlu Anit olarak bilinen yapinin ozgun bir yeniden yorumlanmasi olarak ele alinmistir. Mimari ozellikleri ve kentsel kurgudaki yeri incelendiginde, Konstantin doneminin yaraticiligina ve bu donemin inovasyona olan ilgisine isaret ettigi belirtilmis ve yeni bir baskent insa etmek isteyen Konstantin'in kentsel yeniden programlama cabalari icinde onemli bir yer isgal ettigi one surulmustur. Bu anit yapildigi donemde o kadar cok ilgi uyandirmis olmalidir ki, gec dorduncu veya erken besinci yuzyila tarihlenen Peutinger haritasinda, Roma'yi Eski Aziz Petrus Bazilikasi ve Antakya'yi da Apollon Tapinagi temsil edenken, Konstantinopolis'i de Cemberlitas Sutunu temsil etmistir. Dolayisiyla, yeni Roma'nin, bu sutun sayesinde daha gorunur ve imgelenebilir kilindigi sonucu vurgulanacaktir. Anahtar Sozcukler: Cemberlitas Sutunu; Erken Bizans Istanbul'u kent tarihi; kent silueti; kentsel peyzaj; imgelenebilirlik; gorunebilirlik
  • Publisher: Middle East Technical University
  • Language: Turkish
  • Identifier: ISSN: 0258-5316
    DOI: 10.4305/METU.JFA.2016.1.5
  • Source: Alma/SFX Local Collection
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