Hagia Sophia Artinya Dalam Islam

Loggia of the Empress

The loggia of the empress is located in the centre of the gallery of the Hagia Sophia, above the Imperial Gate and directly opposite the apse. From this matroneum (women's gallery), the empress and the court-ladies would watch the proceedings down below. A green stone disc of verd antique marks the spot where the throne of the empress stood.[241][242]

Two huge marble lustration (ritual purification) urns were brought from Pergamon during the reign of Sultan Murad III. They are from the Hellenistic period and carved from single blocks of marble.[19]

The Marble Door inside the Hagia Sophia is located in the southern upper enclosure or gallery. It was used by the participants in synods, who entered and left the meeting chamber through this door. It is said[by whom?] that each side is symbolic and that one side represents heaven while the other represents hell. Its panels are covered in fruits and fish motifs. The door opens into a space that was used as a venue for solemn meetings and important resolutions of patriarchate officials.[243]

The Nice Door is the oldest architectural element found in the Hagia Sophia dating back to the 2nd century BC. The decorations are of reliefs of geometric shapes as well as plants that are believed to have come from a pagan temple in Tarsus in Cilicia, part of the Cibyrrhaeot Theme in modern-day Mersin Province in south-eastern Turkey. It was incorporated into the building by Emperor Theophilos in 838 where it is placed in the south exit in the inner narthex.[244]

The Imperial Gate is the door that was used solely by the Emperor and his personal bodyguard and retinue.[227] It is the largest door in the Hagia Sophia and has been dated to the 6th century. It is about 7 meters long and Byzantine sources say it was made with wood from Noah's Ark.[245]

In April 2022, the door was vandalised by unknown assailant(s). The incident became known after the Association of Art Historians published a photo with the destruction. The Greek Foreign Ministry condemned the incident, while Turkish officials claimed that "a citizen has taken a piece of the door" and started an investigation.[246]

At the northwest of the building, there is a column with a hole in the middle covered by bronze plates. This column goes by different names; the "perspiring" or "sweating column", the "crying column", or the "wishing column". Legend states that it has been moist since the appearance of Gregory Thaumaturgus near the column in 1200. It is believed that touching the moisture cures many illnesses.[247][248]

Emperor Alexander mosaic

The Emperor Alexander mosaic is not easy to find for the first-time visitor, located on the second floor in a dark corner of the ceiling. It depicts the emperor Alexander in full regalia, holding a scroll in his right hand and a globus cruciger in his left. A drawing by the Fossatis showed that the mosaic survived until 1849 and that Thomas Whittemore, founder of the Byzantine Institute of America who was granted permission to preserve the mosaics, assumed that it had been destroyed in the earthquake of 1894. Eight years after his death, the mosaic was discovered in 1958 largely through the researches of Robert Van Nice. Unlike most of the other mosaics in Hagia Sophia, which had been covered over by ordinary plaster, the Alexander mosaic was simply painted over and reflected the surrounding mosaic patterns and thus was well hidden. It was duly cleaned by the Byzantine Institute's successor to Whittemore, Paul A. Underwood.[273][274]

The Empress Zoe mosaic on the eastern wall of the southern gallery dates from the 11th century. Christ Pantocrator, clad in the dark blue robe (as is the custom in Byzantine art), is seated in the middle against a golden background, giving his blessing with the right hand and holding the Bible in his left hand. On either side of his head are the nomina sacra IC and XC, meaning Iēsous Christos. He is flanked by Constantine IX Monomachus and Empress Zoe, both in ceremonial costumes. He is offering a purse, as a symbol of donation, he made to the church, while she is holding a scroll, symbol of the donations she made. The inscription over the head of the emperor says: "Constantine, pious emperor in Christ the God, king of the Romans, Monomachus". The inscription over the head of the empress reads as follows: "Zoë, the very pious Augusta". The previous heads have been scraped off and replaced by the three present ones. Perhaps the earlier mosaic showed her first husband Romanus III Argyrus or her second husband Michael IV. Another theory is that this mosaic was made for an earlier emperor and empress, with their heads changed into the present ones.[275]

The Comnenus mosaic, also located on the eastern wall of the southern gallery, dates from 1122. The Virgin Mary is standing in the middle, depicted, as usual in Byzantine art, in a dark blue gown. She holds the Christ Child on her lap. He gives his blessing with his right hand while holding a scroll in his left hand. On her right side stands emperor John II Comnenus, represented in a garb embellished with precious stones. He holds a purse, symbol of an imperial donation to the church. His wife, the empress Irene of Hungary stands on the left side of the Virgin, wearing ceremonial garments and offering a document. Their eldest son Alexius Comnenus is represented on an adjacent pilaster. He is shown as a beardless youth, probably representing his appearance at his coronation aged seventeen. In this panel, one can already see a difference with the Empress Zoe mosaic that is one century older. There is a more realistic expression in the portraits instead of an idealized representation. The Empress Irene (born Piroska), daughter of Ladislaus I of Hungary, is shown with plaited blond hair, rosy cheeks, and grey eyes, revealing her Hungarian descent. The emperor is depicted in a dignified manner.[276]

The Deësis mosaic (Δέησις, "Entreaty") probably dates from 1261. It was commissioned to mark the end of 57 years of Latin Catholic use and the return to the Eastern Orthodox faith. It is the third panel situated in the imperial enclosure of the upper galleries. It is widely considered the finest in Hagia Sophia, because of the softness of the features, the humane expressions and the tones of the mosaic. The style is close to that of the Italian painters of the late 13th or early 14th century, such as Duccio. In this panel the Virgin Mary and John the Baptist (Ioannes Prodromos), both shown in three-quarters profile, are imploring the intercession of Christ Pantocrator for humanity on Judgment Day. The bottom part of this mosaic is badly deteriorated.[277] This mosaic is considered as the beginning of a renaissance in Byzantine pictorial art.[278]

How to Get to Hagia Sophia?

Hagia Sophia is located in the Sultan Ahmed district, easily reached by the tramway. Visitors can get by tramway and head towards Sultan Ahmed station; the mosque is a 5-minute walk from the station. Or they can use any taxi to get there.

Arti Nama Hagia – Jepang (Laki-laki)

Popularitas Nama Hagia

Notable elements and decorations

Originally, under Justinian's reign, the interior decorations consisted of abstract designs on marble slabs on the walls and floors as well as mosaics on the curving vaults. Of these mosaics, the two archangels Gabriel and Michael are still visible in the spandrels (corners) of the bema. There were already a few figurative decorations, as attested by the late 6th-century ekphrasis of Paul the Silentiary, the Description of Hagia Sophia. The spandrels of the gallery are faced in inlaid thin slabs (opus sectile), showing patterns and figures of flowers and birds in precisely cut pieces of white marble set against a background of black marble. In later stages, figurative mosaics were added, which were destroyed during the iconoclastic controversy (726–843). Present mosaics are from the post-iconoclastic period.

Apart from the mosaics, many figurative decorations were added during the second half of the 9th century: an image of Christ in the central dome; Eastern Orthodox saints, prophets and Church Fathers in the tympana below; historical figures connected with this church, such as Patriarch Ignatius; and some scenes from the Gospels in the galleries. Basil II let artists paint a giant six-winged seraph on each of the four pendentives.[82] The Ottomans covered their faces with golden stars,[82] but in 2009, one of them was restored to its original state.[240]

Hagia Sophia Museum

Mustafa Kemal Ataturk, the first president of the Turkish Republic, turned Hagia Sophia into a museum in 1934, making it a destination for millions of tourists who visit it to enjoy the beauty of the mixture of Islamic and Christian decorations and ornaments.

th-century restoration

Following the building's conversion into a mosque in 1453, many of its mosaics were covered with plaster, due to Islam's ban on representational imagery. This process was not completed at once, and reports exist from the 17th century in which travellers note that they could still see Christian images in the former church. In 1847–1849, the building was restored by two Swiss-Italian Fossati brothers, Gaspare and Giuseppe, and Sultan Abdulmejid I allowed them to also document any mosaics they might discover during this process, which were later archived in Swiss libraries.[252][better source needed] This work did not include repairing the mosaics, and after recording the details about an image, the Fossatis painted it over again. The Fossatis restored the mosaics of the two hexapteryga (singular Greek: ἑξαπτέρυγον, pr. hexapterygon, six-winged angel; it is uncertain whether they are seraphim or cherubim) located on the two east pendentives, and covered their faces again before the end of the restoration.[253] The other two mosaics, placed on the west pendentives, are copies in paint created by the Fossatis since they could find no surviving remains of them.[253] As in this case, the architects reproduced in paint damaged decorative mosaic patterns, sometimes redesigning them in the process. The Fossati records are the primary sources about a number of mosaic images now believed to have been completely or partially destroyed in the 1894 Istanbul earthquake. These include a mosaic over a now-unidentified Door of the Poor, a large image of a jewel-encrusted cross, and many images of angels, saints, patriarchs, and church fathers. Most of the missing images were located in the building's two tympana.

One mosaic they documented is Christ Pantocrator in a circle, which would indicate it to be a ceiling mosaic, possibly even of the main dome, which was later covered and painted over with Islamic calligraphy that expounds God as the light of the universe. The Fossatis' drawings of the Hagia Sophia mosaics are today kept in the Archive of the Canton of Ticino.[254]

th-century restoration

Many mosaics were uncovered in the 1930s by a team from the Byzantine Institute of America led by Thomas Whittemore. The team chose to let a number of simple cross images remain covered by plaster but uncovered all major mosaics found.

Because of its long history as both a church and a mosque, a particular challenge arises in the restoration process. Christian iconographic mosaics can be uncovered, but often at the expense of important and historic Islamic art. Restorers have attempted to maintain a balance between both Christian and Islamic cultures. In particular, much controversy rests upon whether the Islamic calligraphy on the dome of the cathedral should be removed, in order to permit the underlying Pantocrator mosaic of Christ as Master of the World to be exhibited (assuming the mosaic still exists).[255]

The Hagia Sophia has been a victim of natural disasters that have caused deterioration to the buildings structure and walls. The deterioration of the Hagia Sophia's walls can be directly attributed to salt crystallization. The crystallization of salt is due to an intrusion of rainwater that causes the Hagia Sophia's deteriorating inner and outer walls. Diverting excess rainwater is the main solution to the deteriorating walls at the Hagia Sophia.[256]

Built between 532 and 537, a subsurface structure under the Hagia Sophia has been under investigation, using LaCoste-Romberg gravimeters to determine the depth of the subsurface structure and to discover other hidden cavities beneath the Hagia Sophia. The hidden cavities have also acted as a support system against earthquakes. With these findings using the LaCoste-Romberg gravimeters, it was also discovered that the Hagia Sophia's foundation is built on a slope of natural rock.[257]

The Imperial Gate mosaic is located in the tympanum above that gate, which was used only by the emperors when entering the church. Based on style analysis, it has been dated to the late 9th or early 10th century. The emperor with a nimbus or halo could possibly represent emperor Leo VI the Wise or his son Constantine VII Porphyrogenitus bowing down before Christ Pantocrator, seated on a jewelled throne, giving his blessing and holding in his left hand an open book.[258] The text on the book reads: "Peace be with you" (John 20, John 20:19, 20:26) and "I am the light of the world" (John 8, John 8:12). On each side of Christ's shoulders is a circular medallion with busts: on his left the Archangel Gabriel, holding a staff, on his right his mother Mary.[259]

The Viking Inscription

In the southern section of Hagia Sophia, a 9th-century Viking inscription has been discovered, which reads, "Halvdan was here." It is theorized that the inscription was created by a Viking soldier serving as a mercenary in the Eastern Roman Empire.[249]

The first mosaics which adorned the church were completed during the reign of Justin II.[250] Many of the non-figurative mosaics in the church come from this period. Most of the mosaics, however, were created in the 10th and 12th centuries,[251][better source needed] following the periods of Byzantine Iconoclasm.

During the Sack of Constantinople in 1204, the Latin Crusaders vandalized valuable items in every important Byzantine structure of the city, including the golden mosaics of the Hagia Sophia. Many of these items were shipped to Venice, whose Doge Enrico Dandolo had organized the invasion and sack of Constantinople after an agreement with Prince Alexios Angelos, the son of a deposed Byzantine emperor.