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 The region of Göreme, is of considerable historical and archaeological
importance, famous for its caves, monasteries and churches. The curious
landscape of the valley, made up of volcanic tuff, owes its existence to the
activity of Mt Erciyes, and extinct volcano whose lava formations dominate the
area. Wind and rain have worn the tuff formations into free-standing outcrops
and rock-towers---"fairy chimneys". There are many such outcrops in the region
between Nevşehir, Ürgüp and Avanos, where rock-cut dwellings, churches and
monasteries have long attracted the attention of travelers and scholars. The
first accounts date from 19th century western travellers to the area.
Rock-cut monasteries were first founded in the region by Basilius, archbishop of
Caesareia, in the 4th century. Soon after the foundation of the first
monasteries in the valley of Göreme, they became the centre of pilgrimage for
Christians in search of physical and devotional succour.
The region was first named Korama according to the 6th century account of the
life of St. Hieron. It is said that this saint lived in a shelter carved out of
the rock which was extremely difficult of access. Since this account refers to a
much earlier saint, Hieron is not the earliest martyr to suffer death in these
troglodyte shelters.
According to the English historian Skene, St. George was also of Cappadocian
origin. It appears that the legend of St. George and the dragon is related to
older legends of Mount Erciyes and the snake.
Indeed, the dragon guarding a magic plant is a common feature of Anatolian
legends. St. George may be one of the various heroes who slay the mythical
creature. This perhaps accounts for the frequency with which one encounters the
image of St. George and the dragon in the rock-cut churches of Göreme.
Göreme was an important centre of Christianity during the 7th to 13th centuries.
According to the chronicles of a 10th century monk who lived in the area, there
were about 360 churches and monasteries of various sizes.
Most of the churches discovered to date contain frescos dating from the 9th to
the 13th centuries, a time when the monasteries of the region enjoyed prosperity
and tranquility. I followed a period of continual disturbance during which the
Christians in the area suffered from sectarian disputes, the effects of
iconoclasm and Arab invasions.
Although Cappadocia cannot be considered an artistic centre as important as
Byzantium, the monastic school created here possessed its own vitality and style.
Here one may encounter the frescos of monastic artists intent on giving
devotional expression to the church where he himself prayed and the monastery
where he lived. The visual images resulting from this simple devotion are not
the works of any particular school of art. It can be said that the effects of
the style of the capital have combined with folk art to produce an art in which
stylised forms of some sophistication are blended with naive drawings.
Rock Churches of Göreme Open Air Museum
TOKALI CHURCH
This church is the largest in the region and is situated on a slope a few
hundred metres from the group of churches within the Göreme open-air museum. The
entrance, today, opens onto a long, barrel-vaulted atrium which leads to a
transverse nave, somewhat larger in scale. The nave is separated from an apse by
a series of four columns supporting five arches. The apse is high and narrow.
The narthex and atrium are known as the "old church" and the large flanking nave
as the "new church". Both parts of the church date from various periods, as do
the frescos. Those on the walls of the old church are dated to the beginning of
the 10th century and are executed in a primitive provincial style. The frescos
of the new church, which date to the second half of the 10th century, however,
possess a quite well-developed realism. The use of blue pigment as in these
frescos is iconographically unique for the region. The walls are decorated with
frescos of scenes from the New Testament, in frieze form, particularly scenes
from the life of Christ. There are also representations of saints and scenes
from the iconography of the saints. Among the frescos are those illustrating an
account of the life of Basilius, archbishop of Caesareia.
ELMALI CHURCH
This is among the churches of the Göreme open-air museum. It has a typical cross-vaulted
inscribed-cross plan, with four roughly-hewn columns and a square interior. A
narrow passageway leads to the inner court, and from there one enters the church
via a second narrow passage. The iconostasis before the main apse has been
damaged. Otherwise the frescos decorating the walls and ceilings of the church
have preserved their original vitality. They are dominated by the warm yellow
ochre much used here. The paintings may be compared with those of the Karanlık
church and the Çarıklı church which, like these, are dated to the 11th century.
Flaked off in places, the red-dawbed Christian symbols of the iconoclastic
period may be discerned beneath the painted surface.
In a medallion in the central dome is a painting of Christ Pantocrator, and a
Deisis in the apes. Besides these are a number of scenes or related to from the
Christ cycle, including the Journey to Bethlehem, the Nativity, the Baptism of
Christ, the Transfiguration, the Raising of Lazarus, Entrance into Jerusalem,
the Last Supper, the Betrayal, the Way of the Cross, the Crucifixion, Entombment,
Women at the Tomb, Christ on Mount Olives and the Ascension and the Hospitality
of Abraham and the Three Hebrews. The scenes of the Baptism of Christ and the
Crucifixion are relatively well preserved.
CHURCH OF ST. BARBARA
The church is carved out to the rear of the outcrop containing the Elmalı church,
in the open-air museum of Göreme. It is cruciform in plan with two free-standing
pillars carved out of rock, and two partially engaged at the corners of the
carved out walls. Much of the decoration of the church, which is dated to the
11th century, is in the form of red ochre daub painted directly onto the rock
surface, which has led to the church being seen as typical of those carved out
and decorated during the iconoclastic period. The daubed motifs are mainly the
symbols of Christianity. The triple cross motif over the right-hand apse is
notable, the central cross being contained in a nimbus. This represents the
figure of Christ. Four red studs between the arms of the cross represent the
nails of the Cross and the two flanking crosses represent the two thieves
crucified with Christ. A Deisis and part of the figure of a saint executed in
fresco may also be seen to the left of the entrance. The colours of these
frescos are dull and the figures crudely drawn. Red is the dominant colour.
The figure of Christ Pantocrator is to be seen in the apse, while the patron of
the church, St. Barbara, is represented on the northern wall alongside the
figures of the warrior saints, Theodore and George, who are portrayed on
horseback, facing each other.
YILANLI CHURCH
This is two-celled church with an elongated, flat-roofed nave fronted by a
barrel-vaulted atrium. It is thought to be a small funerary chapel. It is in the
Göreme open-air museum. The apse has been carved out of the left-hand wall. The
church may be dated to the end of the 11th century. There are some daubed red
ochre geometrical shapes as well as a number of frescos in the church.
On the vault over the apse are depicted St. Onesimos,followed by the two warrior
saints, George and Theodore, facing each other on horseback. St. George on a
white horse carries a lance, as does Theodore on a red horse, and both are
engaged in slaying the dragon at their feet. Next to them stand the figures of
Emperor Constantine the Great (306-337 A.D.) and his mother, Helena. Both are
portrayed with auras, indicating their acceptance as saints. Between them they
hold the True Cross.
On the opposite vault wall are depicted three saints figures, St. Onophrius,
purported to have been a sinful woman, and on repenting to have changed into a
man. This figure is depicted naked. Flanking this is the figures of Thomas in a
benedictory pose, and St. Basil bearing the Holy Book.
At the opposite end of the vault stands Christ Pantocrator in the lunette,
flanked by a small, anonymous figure.
KARANLIK CHURCH
Part of the Göreme open-air museum, the church is called the "dark" as it is,
indeed, very dark within. The barrel-vaulted nartex is reached via a narrow
winding staircase. From there one enters the rectangular nave. It is typical
cross-vaulted cruciform-planned church with dome on four pillars. A fresco of
the iconostasis is damaged. The church has one small window. The lack of light
has preserved the vitality of the frescoes. Both the plan and decorations of
this church are strongly reminiscent of the Elmali and Carikli churches. The
paintings are characterised by figures with meaningful facial expressions and
figural movement, while an attempt has plainly been made to animate the painting
through the detailed use of architectural and decorative elements. The extensive
use of blue, a relatively rare pigment,is notable. There is no chronological
order to the frescos, with the most important scenes from the Christ cycle being
illustrated without regard for their sequence. The scenes illustrated are mainly
related to the to the feast of the Liturgy. The scenes shown in greatest detail
are the Annunciation, the Journey to Bethlehelm, the Nativity, Baptism of Christ,
the Transfiguration, the Raising of Lazarus, the Entry into Jerusalem, the Last
Supper, the Betrayal, the Crucification, the Women at the Tomb, Christ on Mt.
Olives and the Ascention.
The two biblical scenes of the Hospitality of Abraham and the Three Hebrews are
also included among the frescos.
Carikli Church
This church is reached via an open staircase and the only source of natural
light for the interior is through the entrance. Named after the carik (sandal)
marks on the floor, the nartex is in ruins. The subject matter of the frescos is
typical of these churches. The artist appears to have used the frescos of the
Karanlik church as a model in places. These three churches- Karanlik, Elmali and
Carikli- probably date the same period.
In the centre of the dome is a fresco of Chirist Pantocrator, with busts of
angle in madelions surrounding it and portraits of the four evangelists in the
pendentives. A Deisis on the main apse wall is flanked by six saints.
The figures of the Madonna and Child are in the northern apse and a bust of St.
Michael in the southern. Other frescos include scenes from the Christ cycle: the
Nativity, the Babtism of Christ, the Transfiguration, the Raising of Lazarus,
the Entrance into Jerusalem, the Way of the Cross, the Crucifixion, Three Women
at the Tomb, Christ on Mount Olives and the Ascension.
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