The proliferation of images of Christ in the domes and apses is one of the noteworthy characteristics of the monumental program of Karanlık Kilise, a church carved out of the soft volcanic tufa in the Cappadocian Göreme valley and known for its fine frescoes and architectural sophistication. The writer analyzes two images of the youthful Christ and discusses the ways in which they acquired their meaning within the pictorial and ritual context of Karanlık. He reveals an elaborate network of spatial associations, sight lines, and iconographic choices that define the Christ Emmanuel as the perpetual eucharistic victim.
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