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Hagia Sophia – stay here
The Lord judged nations and kings!
After all, your dome, according to an eyewitness,
As if on a chain, suspended to heaven.
And to all centuries - the example of Justinian,
When to kidnap for foreign gods
Diana of Ephesus allowed
One hundred and seven green marble pillars.
But what did your generous builder think?
When, high in soul and thought,
Arranged the apses and exedra,
Pointing them to the west and east?
A beautiful temple, bathed in peace,
And forty windows - a triumph of light;
On sails, under the dome, four
Archangel is the most beautiful.
And a wise spherical building
It will survive nations and centuries,
And the seraphim's echoing sobbing
Will not warp dark gold plates.

O. Mandelstam, 1912

The Hagia Sophia in Constantinople is a miracle of engineering and construction art, the greatest creation of the golden age of Byzantium. One of the largest surviving structures of Byzantine architecture still amazes the imagination with the grandeur of its design and the brilliance of its execution. Having been the most important shrine of the Christian world for a thousand years, and then, over the next five hundred years, of the Muslim world, this temple has turned into a real historical encyclopedia, evidence of the centuries-old spiritual quest of mankind.

Outside

Saint Sophia of Constantinople, inside

The first basilica dedicated to the Wisdom of God (Hagia Sophia or Hagia Sophia from the Greek. Αγία Σοφία ), was founded in the city on the banks of the Bosphorus Strait under Constantine the Great in 324–327. The Byzantine monk-chronicler of the 8th century, Theophan the Confessor, writes about this in his “Chronography”. Apparently, the basilica was completed by Constantine’s son Constantius II during his reign in the 340–350s. The Byzantine historian of the early 5th century, Socrates Scholasticus, in his “Ecclesiastical History” indicates the exact date of the consecration of the church dedicated to Hagia Sophia - 360: “ on the construction of Eudoxia to the episcopal throne of the capital, the great church known as Sophia was consecrated, which happened in the tenth consulate of Constantius and the third of Caesar Julian, on the fifteenth day of the month of February". Surpassing in size all the temples that existed by that time in Constantinople, this basilica was known as “ Magna Ecclesia", which translated from Latin means "Big Church".

The naming of the cathedral in honor of Hagia Sophia should be understood as its dedication to Jesus Christ, God the Word. In the era of early Christianity, the idea of ​​Sophia - the Wisdom of God - comes closer to the image of Jesus as the incarnate Word of God. According to the Gospel of John, the Logos (Word) is the only begotten Son of God, who incarnates and is born, becoming the God-man Jesus Christ: “ And the Word became flesh and dwelt among us, full of grace and truth; and we have seen His glory, the glory as of the only begotten of the Father"(John 1:14). In the Christian dogma of the Trinity, the Logos (Word) or the Son of God is the second hypostasis of the one and only God. He, together with God the Father and God the Holy Spirit, created the visible and invisible world and is the provider and sanctifier of the whole world. Wisdom or Sophia (from Greek. «Σοφία» – wisdom) is an essential property of the Triune God. God knows from eternity all His actions and the results of these actions, all His goals and the best means to achieve goals. The Son of God, as a hypostasis of the Holy Trinity, contains within Himself all the divine properties in the same completeness as the Father and the Holy Spirit. The Apostle Paul, in his letter to the Corinthians, directly calls Christ “the Wisdom of God” (1 Cor. 1:24) and says: “ From Him you also are in Christ Jesus, who became for us wisdom from God, righteousness, sanctification and redemption."(1 Cor. 1:30).

In 404, the early Christian temple of Hagia Sophia burned down in a fire. Emperor Theodosius II in 415 ordered the construction of a new basilica in the same place, next to the imperial palace. This cathedral stood for a century and also died in a fire in 532 during the Nika uprising. Based on individual fragments found as a result archaeological excavations in 1936, one can only judge huge sizes, which the basilica of Theodosius II had, and about its magnificent carved decoration. Apparently, it was a grandiose five-nave structure with two-tier galleries and a wooden ceiling.

Facade of the Basilica of Theodosius II. 415. Reconstruction

All that has survived from it are parts of the columns, individual capitals, segments of arches, details of the ceilings, as well as part of the frieze with a bas-relief depicting twelve lambs, symbolizing the twelve apostles. These valuable finds are currently on display in the archaeological area of ​​the Hagia Sophia Museum.

On the left is the capital, on the right is the column of the Basilica of Theodosius II. 415 Constantinople

Frieze with the image of lambs. Basilica of the era of Theodosius II. 415 Constantinople

In 532–537, Justinian I built a new Sophia on the site of the burnt temple. To realize his ambitious plan to create a grandiose, hitherto unprecedented temple, the Byzantine emperor invites the best architects of his time - Isidore of Miletus and Anthemius of Tralles. These were not just builders, but outstanding scientists and engineers, famous for their research in the fields of mathematics and physics.

View of Constantinople in the Byzantine era. Reconstruction

Map of the center of Constantinople

For the construction of the temple, the best marble is delivered from the islands of Proconnesus and Euboea, from the city of Hierapolis (Asia Minor), from North Africa. According to legend, eight porphyry columns were brought from Rome to Constantinople, and green marble columns were brought from the Temple of Artemis in Ephesus. The famous poet of the 6th century Paul Silentiarius in his poem of 563 “Ekphrasis of the Church of Hagia Sophia” speaks of the amazing polychrome in the interior, mentioning the different marbles used in the decoration: Phrygian - pink with white veins, Egyptian - purple, Laconian - green, Carian - blood red and white, Lydian - pale green, Libyan - blue, Celtic - black and white.

Columns from the Temple of Artemis at Ephesus

« Who could count the splendor of the columns and marbles with which the temple is decorated? You would think that you are in a luxurious meadow covered with flowers. Indeed, how can one not be surprised at their purple or emerald color; some show a crimson color, others, like the sun, shine white; and some of them, being immediately multi-colored, show different colors, as if nature were their artist“,” wrote the Byzantine historian, a contemporary of Justinian, Procopius of Caesarea, who in his treatise “On Buildings” left a fairly detailed description of the Hagia Sophia.

Hagia Sophia, Constantinople. Byzantine capital

Gold, ivory, silver, and precious stones are used to decorate the temple. The cathedral amazed with its unprecedented splendor and royal luxury. " The ceiling is lined with pure gold, combining beauty and splendor; competing in brilliance, its radiance defeats the brilliance of stones (and marbles)

Hagia Sophia, Constantinople

Archbishop Anthony of Novgorod, having visited Hagia Sophia of Constantinople before its plunder by the crusaders in 1204, in his book “The Pilgrim” spoke about the rich decoration of the temple, replete with gold and silver, including mentioning golden lamps suspended from the ceiling, and a huge golden cross in the altar decorated precious stones and pearls.

However, what was unique in its impact on those entering the temple was not so much its decoration as its vast space, above which a gigantic dome rose to an incredible height. The huge temple, flooded with light, evoked a feeling of the grandeur of the universe, created according to the great Divine plan. This powerful visually sounding spiritual space transported believers to ethereal worlds. The Russian ambassadors who arrived in Constantinople in 987, visiting Hagia Sophia, experienced real delight from the liturgy unfolding under its arches. " We didn’t know whether we were in heaven or on earth: there is no such spectacle and such beauty on earth, and we don’t know how to tell about it. We only know that God dwells there with people“, they reported to Prince Vladimir, who was conducting a “test of faith” at that time. As a result, Vladimir chose for Rus' the path proposed by the Church of Constantinople.

Saint Sophia of Constantinople

Hagia Sophia is a brilliant engineering and architectural embodiment of the idea of ​​a temple as an image of the Divine universe. The grandiose basilica, which had a length of 82 meters and a width of 73 meters, was not an architectural innovation in itself. In the 4th–6th centuries, the basilica was the most common type of Christian church. The novelty was the combination of a huge basilica with a giant dome. Attempts to combine the type of basilica with a domed roof were made already in the 5th century. Suffice it to recall the temple of the second half of the 5th century at the Alahan monastery in Isauria (Asia Minor). The Hagia Sophia, designed by the brilliant Byzantine architects of the Justinian era, became the enchanting conclusion of this search.

Hagia Sophia in Constantinople. 532-537. Longitudinal section of the temple

The composition of the temple combines elements of a three-nave basilica and a centric domed volume. A giant dome with a diameter of 31 meters covers the central space of the temple, rising to a height of 55 meters. The sphere of the dome is like the dome of heaven, embracing the entire universe. Church worship is connected with the sacrament that takes place in heaven. And thus the idea of ​​universal liturgy is embodied. " And every time someone enters this temple to pray, he immediately understands that such a thing was completed not by human power or art, but by God’s permission; his mind, rushing to God, soars in heaven, believing that he is not far", wrote Procopius of Caesarea.

The architecture of Hagia Sophia, unlike early Christian basilicas, contains a fundamentally new concept. Horizontal movement, characteristic of the longitudinal spatial composition of the first Christian churches, gives way here to the vertical direction. The dome becomes the absolute center of the composition, evoking visible associations with the theme of the unity of all in God. Architecture develops from top to bottom, according to theory Heavenly hierarchy Pseudo-Dionysius the Areopagite. The dome is connected to the supporting structures of the temple through spherical triangles - sails, which marked an amazing architectural discovery of Byzantine architects, which largely determined the further development of church construction. In this building, Byzantine architects developed and fully implemented the principle of distributing the pressure of a huge dome using a system of semi-domes, arches, exedra, connected into a single whole. The weight of the dome is transferred to four huge pillars. At the same time, its expansion, as is clearly visible on the plan of the cathedral, is dampened by small semi-domes, which frame the large hemispheres in a semicircle, as well as by the vaults of the side naves.

Plan of the Hagia Sophia in Constantinople

Four domed arches rise to enormous height, creating the feeling of a floating dome. The effect of apparent weightlessness is enhanced by forty arched windows cut into its base. Thanks to this continuous ribbon of windows, it seems as if the dome, raised to a dizzying height, floats freely above the temple.

Dome of Hagia Sophia of Constantinople

Adjacent to the dome space from the east and west are two huge niches with hemispherical ceilings. The eastern niche, in turn, has three more niches, the middle of which served as an apse.

Hagia Sophia, Constantinople. Photo: alienordis.livejournal.com

Hagia Sophia, Constantinople. Dome, sails

Hagia Sophia, Constantinople

If in early Christian basilicas space was clearly divided into separate plastic volumes, in Hagia Sophia the constant flow of space from sphere to hemisphere, opening end-to-end perspectives embodied the idea of ​​a comprehensive, single homogeneous space. The indivisible space of the temple presupposed a similar unity of all believers, as the monolithic body of Christ.

The usual tectonics of the temple is being radically rethought. The feeling of heaviness and materiality of forms, as if dissolved in space, disappears. The connection between the structural elements of the structure is hidden from view. The rhythm of curved surfaces, cleverly disguised load-bearing supports, openwork colonnades of arcades, a huge number of windows cutting through the walls, choir-galleries of the second tier - everything creates the impression of an illusory shell, limiting the space in which the usual physical laws. A person had to comprehend a miracle not with his mind, but with his heart.

Hagia Sophia, Constantinople

Photo: Alexander Vlasov, vlasshole.livejournal.com

In Byzantine aesthetics key concept is light. One of the Greek Church Fathers of the 4th century, Athanasius the Great, believed that “ light is God, and likewise light is the Son; because He is of the same essence of true light". Architects Isidore of Miletus and Anfimius of Tralles developed an amazing technological concept, as a result of which light in architecture became perhaps the most important expressive means. The continuous ribbon of windows in the lower part of the dome and the light pouring through them created the feeling of a luminous cloud constantly hanging under the dome, as the embodiment of the image of God. Hagia Sophia has a completely different light drama than in early Christian basilicas. There are no areas of contrasting light here. The temple is completely flooded with light penetrating inside through a system of numerous windows. " One could say that this place is not illuminated from the outside by the sun, but that the brilliance is born within itself: such an amount of light spreads in this temple“,” noted Procopius of Caesarea.

Dome of the Cathedral of Hagia Sophia of Constantinople. Photo 1959

At night, apparently, the temple was illuminated by a huge number of lamps, many of which, according to the description of Paul the Silentiary, were in the shape of ships and trees. The illuminated temple probably gave such a glow that the poet figuratively compared it with the famous Faros lighthouse. This is how he described this phenomenon:

« Everything here breathes beauty, you will marvel at everything
your eye; but tell me, with what radiant radiance
the temple is illuminated at night, and the word is powerless. You'll say:
A certain night Phaeton shed this shine on the shrine!»
« This brilliance drives out all darkness from the soul, and looks upon it not only as a beacon,
but even in anticipation of help from the Lord God the sailor looks,
whether he is sailing along the Cherny or along Aegean Sea » .

Saint Sophia of Constantinople

The decorative decoration of the temple during the time of Justinian and his successor Justin II can be judged only by indirect data. According to many researchers, including the famous Russian Byzantinist V.N. Lazarev, Hagia Sophia was decorated with mosaics, which were mainly of a dogmatic icon character. However, this heritage of the 6th century was completely destroyed during the iconoclastic period (8th - early 9th centuries). Only a few mosaic fragments with elements of floral ornament have survived.

The dome of Hagia Sophia originally contained a huge image of a cross. However, this mosaic has not survived to our time, since in 989, as a result of a strong earthquake, the dome built by the architects of the Justinian era collapsed. The restoration of the dome ceiling was carried out in 994 under the leadership of the Armenian architect Trdat.

The most important source from which one can get some idea of ​​the individual elements of the decoration of Hagia Sophia is the poem “Ekphrasis of the Temple of Hagia Sophia” by Paul Silentiary. For example, the poet gives a colorful description of the woven image of Jesus Christ located in the cathedral, which represented the iconographic type of Pantocrator:

« Golden radiance, shining with the rays of the pink-fingered Eos,
reflected the cloak on the divine members,
and the tunic glows purple from Tyrian sea shells.
He covers the right frame with beautiful fabric.
And there the coverlet slipped off the clothes,
and, beautiful, falling from the shoulder,
spreads smoothly under the left hand, opening
part of the palm and elbow. And it’s as if Christ himself
He extended his right hand to us, revealing His eternal word.
In his left hand He holds a book of divine words,
Who announced to the world everything that by His protective will
The King Himself commanded us, establishing our foot on the earth.
All His clothes sparkle with a golden radiance,
For fine gold is woven everywhere between the threads» .

The main decoration of Hagia Sophia was the altar barrier, a detailed description of which we find in the same Paul the Silentiary. The poet notes that on the architrave the medallions depicted Christ, the archangels, Saint Mary, the apostles and prophets, with Christ occupying a central position in the composition. Paul the Silentiary does not indicate in what technique these images were made. But from his testimony that the columns of the altar barrier were lined with silver, one can assume that the images were also minted from silver. This composition, which occupied the central and most honorable place in the temple, and embodied the idea of ​​intercession, was nothing more than the Deesis. According to V.N. Lazarev, the architrave of the altar barrier of Hagia Sophia became the prototype of all future iconostases.

Altar barrier and pulpit of the Hagia Sophia in Constantinople, reconstruction. From the book V.N. Lazarev. Byzantine painting, 1971

The second half of the 9th century marks the end of the iconoclastic period. The Byzantine Church now begins to claim universal significance, Constantinople becomes a cultural and artistic center, the influence of which spreads over vast territories. From this time on, the reconstruction of the mosaics of St. Sophia Cathedral began. The mosaics of Hagia Sophia after the iconoclastic period represent the most striking examples of the classical Byzantine style, belonging to monumental art different eras, including the eras of the Macedonian dynasty, the Komnenos dynasty and the Palaiologan dynasty.

Madonna and Child Enthroned. Mosaic in the apse. 867 Hagia Sophia, Constantinople

Archangel Gabriel, mosaic of the vault of the vima, 867. Hagia Sophia, Constantinople

V. N. Lazarev considered these images to be among the most beautiful in Byzantine monumental art. They are truly distinguished by their exquisite beauty and the highest technical skill. They clearly show a connection with ancient traditions. Solemn, monumental figures, executed with a magnificent sense of proportion and scale, seem to protrude from a golden background. Saint Mary is presented in perspective, with her leg extended forward. The spectacular turn of her figure and the throne, which goes into the depths, create a feeling of the presence of the Mother of God in the real space of the temple. The Archangel Gabriel is also depicted in a light spread. The rhythm of movement of the sculptural folds of his clothes emphasize the volume and plastic shape of the figure. Antique reminiscences can also be read in the tonal modeling, turning mosaics into real picturesque images. The finest transitions of color, the absence of hard lines and contours, and soft colorful modeling give the faces an earthly, sensual character. But at the same time, these images of ideal anthropomorphic beauty are endowed with an extraordinary sense of spirituality. Large eyes, filled with sadness, are directed into the unknown distance. In the solemn calm and invulnerable self-sufficiency of the images one can read detachment from the world of earthly dimensions.

In 878, mosaics depicting sixteen prophets and fourteen saints appeared in the northern tympanum of the cathedral. Of these, only a few images have survived, including the images of John Chrysostom, Basil the Great, Gregory the Theologian and Ignatius the God-Bearer.

Saints John Chrysostom and Ignatius the God-Bearer. 878 Mosaics in the northern tympanum of Hagia Sophia, Constantinople. Photo by R.V. Novikov

John Chrysostom. Mosaic. 878 Hagia Sophia, Constantinople

The style of these mosaics tends towards the spiritualization of form and greater abstraction. The frontal, pillar-shaped figures of saints seem as if nailed to a golden background. The feeling of flatness is enhanced, which is emphasized by a clearly defined contour. Forms lose their material heaviness and volume. Persons acquire a strict ascetic character. And individual symbolic elements are deliberately increased in size: large crosses on the omophorions of saints, the palms of their right hands.

In the lunette above the central entrance to the cathedral is an unusual composition depicting Emperor Leo VI in front of Jesus Christ, dating from the period between 886 and 912.

Emperor Leo VI before Christ. 886-912. Mosaic above the entrance to the temple. Hagia Sophia, Constantinople

Christ in the image of Pantocrator solemnly sits on the throne with an open Gospel in his hand, broadcasting the Word of God. Above, on the sides of Christ, there are two medallions with half-figures of the Mother of God and the Archangel Gabriel - a peculiar version of the Deesis. Leo VI is depicted to the left of Jesus in a pose of deep proskynesis bow, with his hands outstretched to the Savior. Such iconography is interpreted as an illustration of the solemn religious ceremony described by the son of Leo VI, Constantine VII, in the treatise “On the Ceremonies of the Byzantine Court.” According to this document, the Byzantine emperor, met by the patriarch in the narthex of Hagia Sophia, prostrated himself three times before entering the temple and only then crossed the threshold of the cathedral. In general, the composition can be considered as a scene of the earthly ruler’s worship of the Heavenly King, who is the embodiment of the Wisdom of God, and at the same time as a scene of a prayer for intercession addressed to the Mother of God and the Heavenly Powers.

By ordering mosaics depicting scenes of worship, as well as votive mosaics with scenes of bringing gifts, Byzantine emperors thereby designated their status in the sacred space of the church and emphasized the primacy of spiritual power over secular power. The Byzantines' views on the emperor as the highest official appointed by God in order to take care of the people subordinate to him and lead them to the highest good are revealed in the treatise “The Royal Statue” by the Byzantine theologian, 13th-century encyclopedist Nicephorus Blemmides. All subordinates of the Byzantine state, according to this concept, are only executors of God's will. And the emperor in this case is no exception.

The votive mosaic, dating from 950 and located in the lunette above the door leading from the southern vestibule to the narthex of the cathedral, depicts the Virgin and Child enthroned and the emperors Constantine and Justinian presenting the city of Constantinople and Hagia Sophia to the Queen of Heaven.

Emperors Constantine and Justinian before the Mother of God. 950 Mosaic. Hagia Sophia, Constantinople

Emperors Constantine and Justinian before the Mother of God. 950 Mosaic. Hagia Sophia, Constantinople

This is a unique work where the two great emperors Constantine and Justinian are presented in the space of one composition. We are certainly not talking about portrait images with individual features. Historical figures are identified by the gifts they hold in their hands and the inscriptions indicating their names. For all its symbolism and hieroglyphics, this mosaic is distinguished by its unexpected spatial composition. The throne on which the Mother of God sits and its foot are presented from perspective. The earth is depicted with tonal transitions from light green to dark green, which further emphasizes the depth of space. And the figures of the emperors thus do not hang in the air, but stand firmly on the ground.

Another mosaic votive composition of the southern gallery of Hagia Sophia, dating from 1044–1055, dates back to the late period of the Macedonian Renaissance - an image of Emperor Constantine IX Monomachos and Empress Zoe Porphyrogenitus standing before Jesus Christ.

Emperor Constantine IX Monomakh and Empress Zoe before Christ. XI century. Mosaic. Hagia Sophia, Constantinople

On the left is Emperor Constantine IX Monomakh. On right -
Empress Zoe. Mosaic detail. XI century. Hagia Sophia, Constantinople

The symbolic composition represents the scene of the laying of gifts on the throne of Hagia Sophia by the imperial couple. Konstantin Monomakh holds a bag of gold in his hands, and his wife holds a letter listing gifts. They are dressed in luxurious, jeweled robes, and their heads are crowned with richly decorated crowns. Their faces are abstractly idealized. Before us, in fact, are conventional images of the beautiful-faced, eternally youthful empress and the courageous emperor, who are frozen for all eternity in the pose of standing before the Savior seated on the throne.

A similar composition is repeated in another votive mosaic of the southern gallery of Hagia Sophia, which already dates back to the period of the Komnenos dynasty, dates back to 1118 and depicts John II Komnenos with his wife Irene in front of the Mother of God.

John II Komnenos and his wife Irene before the Mother of God. 1118 Mosaic. Hagia Sophia, Constantinople

The strict symmetrical composition, clearly defined intervals between figures, frontality and flatness that distinguish this mosaic further emphasize the symbolism of the depicted scene. Flat, volumeless figures are drawn in silhouette on a golden background, which, due to very small smalt cubes, turns into a continuous, smooth, shining surface. In the elaboration of faces, the pictorial interpretation gives way to a linear-graphic approach. Even the blush on the cheeks is indicated by subtle strokes. However, these are no longer abstract conventional images. The faces not only reflect the individual portrait features of the Comnenian type: long thin nose, narrow eyes, architectural, well-defined eyebrows, small mouth. They also manifest a certain psychological shade of internal tension. And the Mother of God directs her gaze no longer to some unknown distance, but directly to the viewer.

Virgin and Child. Mosaic detail of John II Komnenos and his wife Irene in front of the Mother of God. 1118 Hagia Sophia, Constantinople

The undisputed masterpiece of Hagia Sophia is the Deesis from the south gallery.

This mosaic belongs to the Palaiologan Renaissance and dates back to 1261. In the second half of the 13th century, a refined, refined art was born in Constantinople, which has almost no analogues, and which amazingly combined deep Christian philosophy with the traditions of ancient art. The main artistic expression of the Deesis mosaic from Hagia Sophia is color. Thanks to the finest tonal transitions, the color scheme acquires extraordinary softness and naturalness.

Deesis. 1261. Mosaic. Hagia Sophia, Constantinople

The face of Jesus Christ, lined with tiny cubes of smalt with alternating dark and light shades, seems alive, vibrant, glowing from within. This shimmering inner radiance, combined with the feeling of embodied living flesh, conveys the essence of the fusion of the divine nature with the human nature. The Savior seems infinitely close and at the same time infinitely distant. His divine essence and remoteness from the earthly world are emphasized by the most mystical consonance of colors in Byzantine painting - the dark blue color of His himation and the gold of his chiton.

Jesus Christ. Detail of the Deesis mosaic. 1261 Hagia Sophia, Constantinople

The images of the Mother of God and John the Baptist, presented in the prayer of intercession before Jesus, reflected different shades of psychological state. Mary's face is filled with tender, touching love and humility. In the face of John the Baptist, furrowed with wrinkles, traces of spiritual quest and difficult internal struggles were imprinted.

On the left is the Mother of God. On the right is John the Baptist. Detail of the Deesis mosaic. 1261. Hagia Sophia, Constantinople. Photo by S. N. Lipatova

The Deesis of Hagia Sophia is an outstanding work of Byzantine art, which combined high classical nobility with lyrical softness, a sense of transcendence with a surprisingly lively chamber intonation.

Deesis. 1261 Mosaic. Saint Sophie Cathedral. Constantinople. Photo by S. N. Lipatova

In 1453, Constantinople was captured by the Ottoman Turks. The fall of Constantinople marked the end of the Byzantine Empire. The Ottoman Sultan Mehmed II, having solemnly entered the capital of the Eastern Roman Empire on May 30, 1453 and crossed the threshold of the Hagia Sophia, was so amazed by the beauty and perfection of this building that he ordered it to be preserved and converted into a mosque. Thus ended the Christian history of the main shrine of Constantinople.

Constantinople. Map. XVI century. Georg Braun, Franz Hogenberg. Image: www.raremaps.com

The mihrab, which was supposed to indicate the direction to Mecca, was placed in the southeastern corner of the structure. Mosaics with Christian themes were covered with plaster. In the 16th century, minarets grew around Sofia, and a carved marble minbar appeared in the interior. In the second half of the 16th century, to strengthen the building, due to the threat of a new collapse of the dome, rough, heavy buttresses were added, which, unfortunately, forever changed the appearance of the masterpiece of Byzantine architecture of the 6th century.

Saint Sophia of Constantinople

Mihrab. XIX century. Hagia Sophia

In the middle of the 19th century, urgent restoration of the mosque was required. Restoration work was carried out in 1847–1849 under the leadership of the Italian architect Gaspar Fossati, who served at the Russian embassy in Constantinople. Gaspar Fossati not only coped with the task brilliantly, but also completed a whole series of drawings depicting Hagia Sophia in 1853, which can serve as a historical document of his era.

Gaspar Fossati. Hagia Sophia. Color lithography. 1852. From the album Hagia Sophia in Constantinople. Library of Congress

During restoration work in Hagia Sophia, giant round medallions with a diameter of 7.5 meters appeared with inscriptions indicating the names of Allah, the Prophet Muhammad and the first four caliphs. Completed famous master Kazasker Mustafa Izzet Efendi, they are considered the largest works of art of Islamic calligraphy.

Hagia Sophia, Constantinople. Photo: Alexander Vlasov, vlasshole.livejournal.com

Hagia Sophia, Constantinople. Photo: alienordis.livejournal.com

In 1935, according to the decree of Ataturk, the founder of the modern Turkish state, the first president of the Turkish Republic, Hagia Sophia became a museum. Layers of plaster were removed from the mosaics, and five hundred years later the faces of Christ, the Mother of God and the saints were again revealed to the world. From now on, they live together with the symbols of Islamic culture in the same space. Thus, centuries later, the Hagia Sophia of Constantinople, a grandiose creation of Byzantine architecture, united two of the world's greatest religions under its dome.

Our Lady in the apse, mosaic. 867 Hagia Sophia, Constantinople

Minbar. End of the 16th century. Hagia Sophia. Photo: pollydelly.livejournal.com

The Hagia Sophia in Constantinople became the most perfect embodiment of the ideals of the Byzantine Christian worldview and the newly realized idea of ​​the Church as a universal liturgy, and the temple as an image of the universe. " This temple presented a wonderful sight - to those who looked at it it seemed exceptional, to those who heard about it - completely incredible - Procopius of Caesarea testified in the 6th century . – It rises in height as if to the sky and, like a ship on high waves of the sea, it stands out among other buildings, as if leaning over the rest of the city» .

Saint Sophia of Constantinople

Hagia Sophia, Constantinople. Photo: Alexander Vlasov, vlasshole.livejournal.com

This work occupies an exceptional position not only in the history of world art, but also in the history of all spiritual quests of mankind. It fully reflected the desire to embody in stone the elusive beauty of the mysterious, incomprehensible world created by Divine Wisdom, characteristic of early Byzantine architecture. Saint Sophia of Constantinople became the starting point for the further development of church architecture and was the prototype of many subsequently created churches. At the same time, it still remained a unique phenomenon in terms of the pathos of grandeur inherent in it and the idea of ​​cosmicity embodied in it. Byzantine churches will eventually decrease in size, become simpler in design, and more stable in their cross-domed composition. But all of them, as a rule, trace their origins to Sophia of Constantinople, in which for the first time a huge basilica received a gigantic domed completion.

The cathedral is located in the historical center of Istanbul in the Sultanahmet area. Today it is one of the symbols of the city and a museum.

Hagia Sophia is recognized as one of the greatest examples of Byzantine architecture surviving to this day, which is even sometimes called "the eighth wonder of the world."

According to the Russian scientist N.P. Kondakova, this temple “did more for the empire than many of its wars.” The Temple of Hagia Sophia in Constantinople became the pinnacle of Byzantine architecture and for many centuries determined the development of architecture in the countries of Western and Eastern Europe, the Middle East and the Caucasus.

The temple is one of the most ancient and majestic buildings related to the Christian religion. Hagia Sophia is considered the 4th museum in the world, equal in scale to such masterpieces as the Church of St. Paul in London, San Pietro in Rome and the Houses in Milan.

The name Sophia is usually interpreted as “wisdom”, although it has a much broader meaning. It can mean “mind”, “knowledge”, “skill”, “talent”, etc. Christ is often identified with Sophia in the sense of wisdom and intelligence. Thus Sophia represents the aspect of Jesus as the image of Divine Wisdom.

Sophia is not only a spiritual category, but also a popular female name. It was worn by the Christian Saint Sophia, who lived in the 2nd century - her memory is celebrated on May 15. The name Sofia is common in Greece, Romania and South Slavic countries. In Greece, there is also a male name Sophronios with a similar meaning - reasonable, wise.

Sophia - Numerous Orthodox churches are dedicated to the Wisdom of God, among which the most famous is Hagia Sophia in Constantinople - main temple Byzantine Empire.

"Hagia Sophia"

The lamps were on, it was unclear
The language sounded, the great sheikh read
The Holy Koran - and the immense dome
He disappeared into the gloomy darkness.

Throwing a crooked saber over the crowd,
The sheikh raised his face, closed his eyes - and fear
Reigned in the crowd, and dead, blind
She was lying on the carpets...
And in the morning the temple was bright. Everything was silent
In humble and sacred silence,
And the sun brightly illuminated the dome
In an incomprehensible height.
And the doves in it, swarming, cooed,
And from above, from every window,
The vastness of the sky and the air called sweetly
To you, Love, to you, Spring!

Ivan Bunin

This is how Byzantine writes about the temple chronicler Procopius: “This temple is a most wonderful sight... It soars up to the very sky, standing out among other buildings, like a boat in stormy waves open sea... It is completely full of sunlight, it seems as if the temple itself is emitting this light.”

FOR MORE THAN 1000 YEARS, SOPHIA'S CATHEDRAL IN CONSTANTINOPLE REMAINED THE LARGEST TEMPLE IN THE CHRISTIAN WORLD (UNTIL THE CONSTRUCTION OF ST. PETER'S BATHDRAL IN ROME).
Its height is 55 meters, dome diameter is 31 meters, length is 81 meters, width is 72 meters. If you look at the temple from a bird's eye view, you can see that it is a cross measuring 70x50.

The most spectacular part of the structure is its dome. Its shape is close to a circle, with a diameter of almost 32 meters. For the first time, sails were used for its construction - curved triangular arches. The dome is supported by 4 supports, and itself is formed by 40 arches with windows cut into them. The light entering these windows creates the illusion that the dome is floating in the air. The interior space of the temple is divided into 3 parts - naves, using columns and pillars.

Experts conclude that dome system of this ancient building such colossal sizes, which still amazes experts and remains a true masterpiece of architectural thought. However, like the decoration of the cathedral itself. It has always been considered the most luxurious.

The interior decoration of the temple lasted for several centuries and was particularly luxurious - 107 columns made of malachite (according to legend from the Temple of Artemis in Ephesus) and Egyptian porphyry support the galleries surrounding the main nave. Mosaic on the golden floor. Mosaic completely covering the walls of the temple.

The central nave of the cathedral, the altar and the main dome

Tradition tells that the builders of the Temple of Sophia competed with their predecessors, who had once created the legendary Temple of Solomon in Jerusalem, and when the Hagia Sophia was completed on the Nativity of Christ 537 and was consecrated, Emperor Justinian exclaimed: “Solomon, I have surpassed You.”

An angel shows Justinian a model of Hagia Sophia

Even on modern man Hagia Sophia produces great impression. What can we say about the people of the Middle Ages! That is why many legends were associated with this temple. In particular, it was rumored that the plan of the building was handed to Emperor Justinian by the angels themselves while he was sleeping.

The Hagia Sophia is about a thousand years old, as are the frescoes on its walls and ceilings. These frescoes depict contemporaries of biblical events that took place at the turn of the first millennium, 10 centuries ago. The Hagia Sophia has been reconstructed since 1934.

Above the entrance you will see an icon of Our Lady of Blachernae with angels; the childhood of Christ is depicted in the exonarthex.

Mosaic image of the Virgin Mary in the apse

Emperors Constantine and Justinian before the Virgin Mary

Emperor Alexander

Archangel Gabriel (mosaic of the vault of the vima)

John Chrysostom

Mihrab located in the apse

When Constantinople was captured by Sultan Mehmed II (1453), the temple was converted into a mosque. 4 minarets were added, the interior decoration was greatly changed, the frescoes were covered with plaster, and the altar was moved. The St. Sophia Cathedral was renamed the Hagia Sophia Mosque.

After the Turkish conquest of Constantinople Sultan Mehmed Fatih in 1453, Ayia Sofia was converted into a mosque. Sultan Mehmed II Fatih (the Conqueror) renovated the building and built one minaret. The frescoes and mosaics were covered with a layer of plaster and were rediscovered only during restoration work. In numerous reconstructions carried out during the Ottoman period, Hagia Sophia was significantly strengthened, including through stabilizing minarets. Subsequently, additional minarets appeared (there were only 4 of them), a library at the mosque, a madrasah at the mosque (a Muslim educational institution that plays the role of high school) and Shadyrvan (a place for ritual ablution before prayer).

Since 1935, by order of the founder of the Turkish Republic Mustafa Kemal Ataturk, Hagia Sophia became a museum, and mosaics and frescoes covered by the Ottomans were uncovered, but fascinating Islamic ornaments were also left next to them. Therefore, now inside the museum you can observe an unimaginable mixture of Christian and Islamic symbols.

The Fall of Constantinople (painting by an unknown Venetian artist of the late 15th - early 16th centuries)

Hagia Sophia Museum included in list of attractions in Istanbul which tourists look at first. This cathedral is also part of one of the ready-made walking routes, where you can walk on your own.

Hagia Sophia in Istanbul- This shrine of two religions: at first it was the main one orthodox cathedral (more than 1000 years), then main mosque(almost 500 years old), and now a museum. The history of Hagia Sophia is sometimes very tragic, and the existing secrets are enough for more than one book. All this, as well as how to visit the museum yourself, will be discussed below.

A Brief History of the Hagia Sophia in Istanbul

• The Hagia Sophia Cathedral was built 15 centuries ago (532-537) by order of the Byzantine emperor Justinian (this emperor, oddly enough, came from peasants). He wanted the cathedral to be the main building of the capital (then Constantinople) and to emphasize the power of the empire. By the way, we would not have seen Hagia Sophia in Istanbul now if the Nika popular uprising had not happened. During this very bloody riot (on Hippodrome about 35 thousand townspeople were killed) the church of the same name burned down, on the site of which a cathedral was built. Need to say, that even earlier there was also a church here: it also burned down and was also called Hagia Sophia. And even earlier there was a shopping area here. In fact, the place where the Hagia Sophia Cathedral now stands in Istanbul is the very heart of ancient Constantinople and the entire Byzantine Empire.
• Justinian wanted his creation to be truly grandiose. To expand the construction site, he bought up nearby plots of land and demolished the buildings that were on them. The Emperor invited two best architects, which showed themselves during the construction of the temple, now known as Little Hagia Sophia. It must be said that “little Sophia” served as a prototype for the future “big” cathedral.

• The construction took 130 tons of gold, which amounted to three ready-made budgets countries! During almost 6 years worked here every day 10 000 builders. Marble of various types was brought from all corners of the empire. They also brought parts of ancient buildings from everywhere, which were also used in construction. For example, from the city of Ephesus (from Temple of Artemis, who set fire to Herostratus to become famous) they brought 8 columns of green marble, and from Rome– 8 columns from the Temple of the Sun. Also, the design used very strong, but lightweight bricks made from material with Rhodes Islands. Used in decoration ivory, silver and a lot of gold. They say that Justinian wanted to cover the entire interior space with gold from floor to ceiling. However, astrologers persuaded him not to do this, predicting that after him there would be “weak rulers” who would destroy the cathedral when they plundered it.

• At the base the cathedral is a rectangle 76x68 meters. The height of the dome reaches 56 meters, and its diameter is 30 meters. The thickness of the walls reaches in some places up to 5 meters. To make the masonry stronger, it was added to the solution ash leaf extract.
• IN better times they “worked” in the cathedral 600 clergy.
• In 1204 Constantinople was captured by the Crusaders during the Fourth Crusade. This campaign, unfortunately, is a shameful stain on world history. Agree, it is very strange how it could happen that the participants in the crusade, the purpose of which was initially to head to Egypt for an allegedly religious war against Muslims, captured and devastated a Christian city - a city of brothers in faith. Constantinople was completely sacked, and, of course, the Hagia Sophia Cathedral suffered no less. The crusaders took with them all the jewelry and sacred relics. It is believed that 90% Christian relics, which are now in Europe, were taken out during this campaign.

• Last Christian service took place in the cathedral on the night of May 29, 1453. The emperor himself was present with his retinue.
• The next day the cathedral was plundered by the Turks, who captured Constantinople under the leadership of Sultan Mehmed II the Conqueror (Fatiha). Subsequently, the cathedral was converted into a mosque, with minarets added to it. The mosaics inside the mosque were hidden under a layer of plaster - this saved them. The cathedral served as a mosque 500 years and became the prototype for many mosques in Istanbul, for example, for Blue Mosque, which is located nearby, and for Suleymaniye Mosque, which was built in Market quarter.
• In 1935 By order of President Ataturk, the mosque was given the status of a museum. The plaster hiding the mosaics was removed. The museum is currently being actively restored.

Curious facts

• Hagia Sophia in Istanbul They were not named after the martyr Hagia Sophia, although she also existed. In Greek sofia is wisdom. This is the Cathedral of the Wisdom of God. The wisdom of God is something like a conductor between the Lord and man.
• The most important cat of Istanbul lives in the Cathedral named Gli. This cat behaves like a real master in the cathedral and loves to sit near the Imperial Seat. He also became famous for being stroked by American President Barack Obama.
• Princess ancient Russian state Olga baptized in the Hagia Sophia Cathedral, presumably in 957. She was the first ruler of Rus' to be baptized.
• Events took place in the Hagia Sophia Cathedral who gave the beginning of the church split into two branches: Catholic and Orthodox. This happened in 1054, when during a service the envoy of the Pope presented the Patriarch with a letter of excommunication. The Patriarch thought for a couple of days and excommunicated the Pope's envoy. Since this all started.

• Moscow - Third Rome. After the fall of Constantinople ( Second Rome) and after the main Orthodox temple of Hagia Sophia was converted into a mosque, the center of Orthodoxy virtually disappeared in the world. It was obvious that the growing strength of the young Moscow Principality was becoming the successor to Orthodoxy, because there was no other Orthodox center. It was this idea that led to the fact that Moscow began to be called Third Rome.
• Shroud of Turin, according to one legend, was kept in Hagia Sophia and was stolen during the fourth crusade. According to legend, the body of Jesus Christ was wrapped in it. In 1898, an amateur photographer photographed the shroud and saw a human face on the negatives. Now the shroud is kept in one of the cathedrals in Turin (Italy).
• In 2007 Influential US politicians and businessmen led the movement to return the cathedral back to the church. So far they haven't achieved anything.

The mysticism of Hagia Sophia

• "Weeping Column", the base of which is covered with copper plates. It is also called the Column of St. Gregory. There is a small depression in the column, which is associated with a superstition. We need to stick it in thumb into the recess and rotate your palm in a circle three times, touching the copper sheets with it. If at the same time you feel moisture, then make a wish - it will supposedly come true. This belief has existed since the 13th century: even Anthony of Novgorod, during his pilgrimage to Constantinople, wrote that people came to the weeping column and “rubbed their fingers... to heal diseases...”.
• A niche from which a slight noise is heard. According to descriptions, it is located in the southern part of the cathedral. This phenomenon was associated with another legend. According to it, at the time when Constantinople fell under the onslaught of Turkish troops and they burst into the cathedral, a service was going on there. The invaders were ready to kill the priest reading the prayer, but at that moment the walls parted and hid the priest behind them. According to legend, the priest is still there and will appear again when the cathedral again becomes a Christian church.
• Cold window- another mystery of the Hagia Sophia Cathedral in Istanbul. A cool breeze blows from this window, even when it is very hot outside. This window is located on the second floor (southern part of the cathedral) and overlooks Blue Mosque.

Secrets of the flooded dungeon of the Hagia Sophia Cathedral

In addition to the visible part of the cathedral, Hagia Sophia in Istanbul also has little-studied underground part. From the chronicles it is known that in order to make the foundation, they allegedly dug a 70-meter pit. Various sources also report that under Hagia Sophia there is huge tanks for storing water and many tunnels. Apparently, the cistern should resemble a huge one, which is located not far from the cathedral.

Get to the flooded dungeon The Americans tried in 1945. To do this, they decided to pump water out of there. But no matter how hard they tried, the water level did not drop. As a result, the idea was abandoned after the pumps burned out.

More successful attempts were from Turkish researchers. But they immediately decided that they would not pump out the water, but made several successful dives into the flooded underground part of the cathedral. The last descent occurred in 2013. Some legends were confirmed, while others turned out to be simply exaggerations.

Submariners found places intended for burial. Well researched 12 meter well at the main entrance. A in a well in the central part of the temple The remains of a very large lamp were found. The walls were found tightly closed doors , which they did not try to open. Perhaps behind these doors there are large cisterns for collecting water, which travelers of the past wrote about. This is confirmed by scanning the cathedral floor for voids. This scan showed that under the floor there is huge empty spaces!

There was also a descent into dry stone tunnel. They're coming from the corridor two moves: one to Hippodrome Square, the second – to Topkapi Palace. These corridors bifurcate, and some branches end in dead ends. But one of the branches has access to the courtyard of the Topkapi Palace.

• It's best to come either before the opening of the museum in the early morning, or closer to closing, in the evening, because there are a lot of visitors during the day. It’s even better to visit the museum on weekdays, since on weekends, especially in high season, it’s simply not crowded. At the peak of visitation, a queue at the ticket office of several tens of meters is a common occurrence.
• After purchasing a ticket you have to go through a check: every tourist goes through a metal detector, and their backpack is checked, like at an airport, by x-ray.
• Restoration has been going on inside for a long time: Part of the Hagia Sophia Cathedral in Istanbul is covered from floor to ceiling with scaffolding. This spoils the impression somewhat.

Inspection sequence

• We begin the inspection from the first floor. First we enter through the large gate to the first porch, and then - to the second porch. (The narthex is an extension to the temple). Before entering the cathedral, pay attention to the “pit” dug to the left of the entrance. These are traces of an older building that was here even before the construction of the cathedral.
• First porch. This extension is devoid of finishing - the marble slabs have long been removed. On the left side of the vestibule are stone baptismal bowl (5) babies and a big screen showing a film about the history of Hagia Sophia (in English). There are chairs in front of the screen where you can sit and watch a movie. On the right side of the vestibule against the wall stands huge sarcophagus (4), opposite him bell (3), and then – gift shop.

• Second porch. This extension has retained its finishing from the moment of construction - the ceiling is tiled gold mosaic, on the walls - marble with mirror pattern. On the left side of the second porch there is staircase (ramp) (2) to the second floor. This staircase has no steps. This was done on purpose to make it easier to carry the Empress on a palanquin (special stretcher) to the second floor in imperial box. There is also such a staircase on the right side of the vestibule, but it is closed. There, on the right side, there is a gate through which you can exit into the courtyard ablution fountain (6). Above the gate, which is called Beautiful gate, one of the the most famous mosaics of the cathedral, which depicts the builder of the temple, Emperor Justinian, the Mother of God on the throne and Emperor Constantine, the founder of the city. The mosaic is visible as you move from the courtyard to the cathedral, and not from the cathedral to the courtyard. Second mosaic is above imperial gate (9). It's called Jesus Pankrator. Detailed description For all mosaics and information on where to find them, see below. Imperial Gate (9), according to legend, converted from fragments of Noah's Ark. Previously, only the emperor himself could enter them, but now you can too. Those especially close to the emperor entered through the neighboring doors. Above the imperial gate on the second floor there is imperial box. More details will be written about him below.

• Inner courtyard of the baptistery. You can get there through the second porch (go to the right side of it), then, immediately upon exiting, go through the door on the left. In the courtyard there is stone font, which was moved directly from the baptistery premises. The font is large, with steps. Several people were baptized (converted to faith) in it. mature age. Later, when Orthodoxy was quite widespread, smaller fonts (for infants) began to be used for baptism. Look small font (5) possible on the left side of the first vestibule. At one time, the courtyard and baptistery were used by the Turks to store oil for the lamps that illuminated the cathedral. Vessels for oil placed along the walls of the baptistery courtyard.

• Baptistery (baptistery). Now this is the tomb of Sultans Mustafa I and Ibrahim I. From the courtyard of the baptistery, you can see the baptistery itself through a glass door, but you cannot get there from the courtyard. You can visit the tomb for free, but to do this you need to leave the territory of the Hagia Sophia Museum and approach the cathedral from its right (eastern) side. See more details. Tombs of Hagia Sophia.

• Main space of the cathedral. From the second porch through imperial gate (9) We enter the main space of the Hagia Sophia in Istanbul.
• The central part of the first floor. We go to the very center of the cathedral, under the dome. Let me remind you that the diameter of the dome is 30 meters, and the height is 56 meters. By the way, this dome was destroyed by an earthquake in 557 and then rebuilt. The dome is surrounded by 40 windows. Nowadays a sura from the Koran is written on the dome, but earlier, during Byzantine times, there was an image of Jesus here.

• Looking back on imperial gate (9). Left and right we see two marble vases (11), brought from Pergamon. The whole space is illuminated low hanging chandeliers, which were added under the Ottomans. Hanging at the top eight huge Islamic medallions(7.5 meters in diameter), on which the names of Allah, the Prophet Muhammad, the first caliphs Ali and Abu Bakr are written in Arabic letters. Without lowering our heads, we look above the medallions. There are depicted four six-winged seraphim. In Christianity, a seraphim is an angel closest to God. The length of these images is 11 meters. Now only one face of the seraph is open, the others were closed under the Ottomans with designs of a polygonal star. Initially, faces were drawn in the form of an eagle and a lion, as well as the faces of angels.

• Now we look forward again and approach the fenced area. This place is called omphalion (12) and symbolizes "The center of the world", that is "Center of the World". In the central circle there used to be the throne of the emperor, and in small circles nearby stood his entourage. It was in this place that the coronation ceremony of the emperors took place. There is a version that the arrangement of circles has a secret encrypted meaning. Next to the omphalion there is a special elevation - something like a covered pavilion. This muezzin stand (13). It is intended for the mosque minister who calls to prayer from the minaret.
• Let's move forward. We see right above mosaic of the Virgin Mary and baby Jesus. For a detailed description of all the mosaics and information on where to find them in the cathedral, see below. Under the mosaic is mihrab (15)- a decorated niche that shows the direction to Mecca. To the right of the mihrab is minbar (14)– a high platform with steps from where the imam reads a sermon.

• Left side of the first floor. On the left side is weeping column (10), the lower part of which is covered with copper plates. Make a wish cherished wish, insert your thumb into a small depression and roll your palm three times in a circle, without lifting your palm from the surface of the copper sheets. It looks funny from the outside. According to legend, if you feel moisture, your wish will supposedly come true. This belief has been around for several centuries.
• Right side of the first floor. Here it is library (17) of Sultan Mahmud I. The books were brought here during the reign of this sultan. Now they are on display in another museum, and you can only admire the patterned latticework of the arched windows.

• Second floor. Now it's time to go up to the second floor. Let's go to the second porch and by stairs (ramp) (2) we go up to the upper gallery. Once upon a time, the Empress was carried here, lifted into the imperial box. Walk along the perimeter and look at the lower part of the cathedral from above. At the same time, look for inscriptions on the parapets (stone fences) Scandinavian runes. Look for them on the parapets on the south side of the cathedral. Runes are the writing system of the ancient Germans. These inscriptions were scratched by Varangian mercenaries who served the Byzantine emperor for hire.
• In the right (south) wing on the second floor find an empty Tomb of Doge Enrico Dandolo- Ruler of Venice. This is a niche in the floor, which is covered with a stone lid with the name of the Doge. In fact, the tomb is empty - the remains of the ruler of Venice are not in it. Enrico Dandolo became famous for capturing Constantinople during the Fourth Crusade at the age of 97, almost blind. Ironically, his tomb is located in the very cathedral in which she personally took part in the looting. According to legend, Sultan Mehmed II the Conqueror (Fatih) ordered the bones of the former ruler of Venice to be taken out and thrown out to be eaten by dogs.

• Opposite the tomb is a mosaic The Last Judgment. The other two mosaics are located on the far side of the south wing. And four more mosaics are in the northern part of the second floor. Read below for a detailed description of all the mosaics and information on where to find them in the cathedral.
• It has been mentioned here often imperial box. It was on the second floor directly above imperial gate (9). The Empress and her ladies-in-waiting sat in this box during services. During the period of early Christianity, women and men were separated from each other in the cathedral.

Where to look for mosaics in the cathedral

The first mosaics appeared in the cathedral three centuries after its construction. Some are still well preserved and you can see them. By the way, in Istanbul there is a whole mosaic museum that were found at the excavation site Grand Palace(the palace itself has practically not been preserved).

• Mosaic No. 1: Christ Pankrator(late 10th century). Located in the second porch above imperial gate (9). This is in western part of the cathedral. The mosaic depicts Christ sitting on a throne. In his hands He holds a book with the inscription: “Peace be with you. I am the light of the world." Emperor Leo VI bowed before Him. To the left of Jesus Christ stands the Virgin Mary, to the right is the Archangel Gabriel. The image symbolizes the eternal power that God gave to the emperors. There is an opinion that Emperor Leo VI is on his knees because he asks for forgiveness for his fourth non-canonical marriage. Because of this, the patriarch did not allow the emperor into the cathedral and did not perform the wedding.
• Mosaic No. 2: Emperor Justinian, Our Lady, Emperor Constantine. It is located on the right side of the second porch above the first gate to the courtyard. The mosaic is visible as you move from the courtyard to the cathedral, and not from the cathedral to the courtyard. On the mosaic on the left is Emperor Justinian (the builder of the cathedral). In his hands is the Hagia Sophia, which he presents to the Mother of God. In the middle is the Mother of God with a child in her arms, she sits on a throne. On the right is Emperor Constantine (the founder of the city). In his hands is Constantinople, which he presents to the Mother of God.

• Mosaic No. 3: Virgin Mary and baby Jesus(867). Located on the half-vault above the mihrab in the eastern part of the temple. It is clearly visible from almost any part of the building - it is difficult not to notice it.
• Mosaic No. 4: The Last Judgment. Located on the second floor of the cathedral (southern part) opposite tomb of the ruler of Venice Enrico Dandolo. The mosaic depicts Christ in the very center, the Mother of God to the left, and John the Baptist to the right. They ask Jesus Christ to save the human race. It is believed that part of the mosaic was destroyed by the Crusaders.

• Mosaic No. 5: Emperor Constantine Monomakh, Christ and Empress Zoe(about 1044). Located on the second floor in the eastern part of the cathedral south gallery. The mosaic depicts Christ in the center, on the left is Constantine Monomakh (Zoya’s husband) presenting Him with gifts (a bag of money), and on the right is Empress Zoya presenting a letter of gift. During the reign of Zoe's stepson, the empress's face was chipped off on the mosaic. When Zoe ascended the throne again, the mosaic was restored. By the way, at first Zoya’s second husband was depicted on the mosaic, but when she married Konstantin Monomakh for the third time, the face of the second husband was chipped off, replacing it with the face of the third husband.
• Mosaic No. 6: Emperor John Komnenos, Virgin Mary and Empress Irene(around 1120). Located next to mosaic No. 5 on the second floor in the eastern part of the temple in the southern gallery. The mosaic depicts Emperor John Komnenos on the left and his wife Irene on the right. In the middle is the Virgin Mary. The Emperor presents gifts (a bag of money), and the Empress presents a deed of gift.

• Series of mosaics of bishops: John Chrysostom, Dionysius the Areopagite, Basil the Great, Gregory the Theologian, Ignatius the God-Bearer (about 878). These mosaics are located in niches on the northern part of the temple. It's best to look at them from the southern part of the second floor. You need to stand approximately in the center of the southern gallery.

Operating mode. Cost of visit

• Working hours: from 09.00-19.00 ( summer schedule, from April 15 to October 30), from 09.00-17.00 (winter schedule, from October 30 to April 15). The museum is closed on Mondays.
• Cost of visit: 72 TL. You can pay with a bank card. Tickets stop selling one hour before closing. Children under seven years old are admitted free of charge. When visiting this museum, you can save money if you use.

How to get to the Hagia Sophia Museum in Istanbul

The most convenient way to get to Hagia Sophia in Istanbul is by high-speed tram (see. Transport in Istanbul) to the Sultanahmet stop. Then take a 5-minute walk through Sultanahmet Park.

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When you enter Hagia Sophia, you understand how the ambassadors of Vladimir the Red Sun felt, who, having attended an Orthodox service in Constantinople, could not understand “were they in heaven or on earth.” Even today, having lost most of its golden mosaics, being turned into a museum with a crowd of tourists and obligatory souvenirs at the entrance and exit, Sofia retained some indescribable atmosphere of “that same temple” that pilgrims from all over the Christian world sought to get to. In this note I will try to show how people saw Hagia Sophia before Constantinople was conquered by the Turks and it was turned into a mosque.

Entrance to Hagia Sophia through the royal doors.

The note was written based on the book by S. Ivanov “In Search of Constantinople”.

Exterior view of the Church of Hagia Sophia.

Considering the external appearance of Hagia Sophia, it is difficult to abstract from the minarets. They, of course, distort the impression of the temple, but Sofia, even in Byzantine times, was furnished on all sides with rooms with which it was connected by internal passages.

Reconstruction of part of Constantinople, including Grand Palace, the Church of Hagia Irene, the Church of Hagia Sophia and the Hippodrome (by Giroux-A. Vogt).

Source: http://www.ec-patr.org/mones/fanarion/ENG/a-period-eng.htm

Reconstruction of the Hagia Sophia and surrounding buildings (by A. Pasadaios)

Source: http://www.ec-patr.org/mones/fanarion/ENG/a-period-eng.htm

On the wall of the temple you can still see traces of the high vaulted rooms of the patriarchal palace adjacent to it.

View of the southern wall of Hagia Sophia.

The minaret is now located exactly in the place where there was a spiral staircase that led to the patriarch’s chambers.

A minaret on the site of the stairs to the patriarch's chambers.

Today the building does not give the impression of being particularly tall. However, the temple held the record for the most tall building in the world for the height of internal space - only the Florentine Duomo in 1436 beat it.

Exterior view of the Church of Hagia Sophia.

The current impression of the temple is largely determined by the buttresses added to it at different periods, that is, powerful transverse support walls. Their main goal was to save the gigantic building from earthquakes, and also to stop the walls and columns from moving away under the colossal pressure of the dome.

The earliest buttresses are considered to be those attached to it on the western side. They date back to the 9th-10th centuries.

Buttresses on the western side of the temple.

Now the cathedral is entered through the western doors, but in ancient times (no later than the 7th century) they were opened only on major holidays.

Narthex. On the left are the open western doors, on the right are the doors to the nave.

Source: Wikipedia.

Usually the temple was entered through the southwestern vestibule, where the exit is now located.

Above this entrance you can still see a mosaic depicting the Virgin and Child on a throne, in front of which, with their heads bowed, stand: on the right is Emperor Constantine, dedicating the city of Constantinople to the Ever-Virgin, and on the left is Emperor Justinian, offering the Church of St. Sophia to her. This mosaic dates back to the 10th century.

Mosaic above the entrance.

The lobby doors are finished in bronze only on the street side. On the doors there is an inscription “[Theophilus] (destroyed) and Michael the Victors.” Emperor Theophilus was an iconoclast and subsequent icon-worshippers tried to erase all reminders of him.

Doors of the southwest vestibule.

Source: Wikipedia

Through bronze doors people entered the narthex of the temple. (The narthex is something like a “dressing room” (no matter how mundane this word may sound) - a room located on the western side and separated from the main volume of the temple. Not only catechumens and penitents, but also Jews could enter there (at least from IV c.), heretics, schismatics and pagans).

Narthex of Hagia Sophia.


Source: http://dibazolllll.livejournal.com/41582.html

The ceilings here are decorated with golden mosaics. This is the original, Justinianic decor. Once upon a time, all surfaces of the temple were covered with a golden carpet. The only type of ornament that the builders allowed themselves were garlands of flowers. They are still visible in the arches of window openings.

Ceiling of the narthex.

Black crosses with “drops” on the transverse bars already date back to the era of iconoclasm (8th - early 9th centuries).

Ceiling and windows of the narthex.

Clumsy spots of yellow paint are traces of restoration in the 19th century.

Ceiling of the narthex.

The central doors that led from the narthex to the main room of the temple were called Royal and no one except the basileus had the right to enter through them.

Royal Doors

Source: Wikipedia

Above the royal doors there is a mosaic depicting Christ seated on a throne between two medallions: in the right, the Virgin Mary stretches out her hands to Him in a pleading gesture, in the left - the Archangel Michael, looking straight ahead. Below, Emperor Leo prostrated himself before the throne of Christ. VI Wise.

Mosaic over the royal doors.

On both sides of the Royal Doors, at the height of human height, niches were preserved in which two famous (apparently mosaic) icons were placed. According to legend, one could confess to the icon on which Christ was depicted if one was ashamed to go to the priest. The popularity of such confession is evidenced by a hole in the marble floor to the left of the Royal Doors, worn out by the knees of sinners.

Floor under the icons

The dome of Hagia Sophia seems to float above the building.

The dome space of Hagia Sophia.

Forty ribs radiate from the center of the dome, which are separated at the base by forty windows (the four western ones were blocked during renovations in the 10th century). The dome is visible from almost everywhere in the temple. The dome shows signs of several repairs. One section each - from the north and from the south - refers to the very first repairs that had to be made after an earthquake in 557 (shortly after completion of construction) collapsed part of the dome. One section in the west was made during the second reconstruction in 989, and one in the east during the third reconstruction in 1346. The resulting inconsistencies are especially noticeable on the cornice.

Dome of Hagia Sophia.

The gigantic space is all flooded with light, and this despite the fact that the buttresses obscured many of the windows. Initially there were 214 of them, but now there are only 181. The temple was brightly lit from the inside: some lamps descended from the ceiling, others were mounted on the walls or on columns.

Natural and artificial lighting of Hagia Sophia.

On many columns you can still see traces of fastening lamps at a level slightly higher than human height.

Column with fastening in the form of a ring.

The columns in Hagia Sophia are crowned not with classical, but with special early Byzantine “basket” capitals. Bronze collars at the top and bottom of many columns, as well as lead rods sometimes stretched between them, were installed in the Middle Byzantine period - these are traces of efforts to equalize the pressure of the dome.

Columns with bronze collars and lead rods.

On the capitals of many columns you can see monograms: interspersed with “Justinian the Emperor” and “Theodore Augustus”.

Round monograms are visible in the center of the capitals.

All the walls of the nave are decorated with marble slabs. Each marble slab was split into two and unfolded like a “book”, so two adjacent doors always form a symmetrical pattern.

A marble slab opened like a "book".

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Above the entrance to the central nave (the main dome space) on the inside there is a large slab of green marble. An icon depicting a scene from the life of St. Theodosius once hung on it.

View from the cathedral to the entrance to the nave.

Just above this slab is an image of the Calvary cross under a canopy, made using the marble appliqué technique, surrounded by two dissolved and tied curtains (9th-10th centuries). Perhaps this picture reproduces the structure that decorated the altar of the temple. This structure itself, made entirely of precious metals, was kidnapped by the Crusaders after the capture of Constantinople in 1204.

Image of the Calvary cross under a canopy.

In Byzantine times, many of the greatest relics of Christianity were kept in Sofia: from the chariot of Saints Constantine and Helen to the vessel with blood and milk (!) of Saint Panteleimon. The relics were displayed along the walls of the temple, in the “pier” between them and the columns framing the main space under the dome. All pilgrims moved strictly in one direction - clockwise - so as not to create a crush.

Some relics were placed in columns - on the western side of the columns, limiting the space of the southern nave on the northern side, rectangular bald spots with traces of fastenings are clearly visible.

The only Byzantine pilgrimage site that has survived to this day is the Column of St. Gregory. The humidity coming from underground made the stone fragile; in ancient times it was covered with a metal box. It was believed that by rubbing the column one could receive healing from illnesses. Dozens of generations of pilgrims have rubbed a hole in the metal case. Today tourists stick their hand through it to the column.

A line of tourists to the Column of St. Gregory.

In the northeast corner of Sofia, behind the porphyry columns, the curtain rings are still preserved. Behind them, the clergy prepared for the Great Entrance (part of the liturgy, during which the prepared Holy Gifts are transferred from the altar to the throne).

Rings for curtains on the ceiling.

The altar elevation, now sloping to the south, was thus rebuilt by the Turks to build a mirhab. In Byzantine times it was symmetrical.

Apse and altar elevation.

The earliest figurative mosaics preserved in Hagia Sophia are the image of the Mother of God on the semicircular vault covering the altar, and the Archangel Gabriel on the southern slope of the vault (the second archangel on the northern slope is almost lost). They date back to the 2nd half of the 9th century.

Image of Our Lady and Archangel Gabriel.

The space for the mosaic with the figure of the Mother of God was specially rebuilt: in the time of Justinian, the windows cutting through the conch were even larger.

Apse conch with windows and mosaics.

The image of the Mother of God is shifted to the left, relative to the central window, the Baby in her arms is also turned to the left. The curvature of the apse surface reinforces the impression that the Divine Family is looking south, to where the emperor was during the service.

View of the apse conch from the southwestern corner of the Temple, where the emperor sat during the service.

Where the emperor's throne itself was located is not entirely clear. To the right of the altar there is a circle of porphyry, but it is too small to accommodate the altar. The cross of Constantine was erected here when it was carried into the church before the emperor marching there.

Near the southeastern support pillar, a huge circle of granite is laid out on the floor, surrounded by smaller circles of red porphyry and green marble. It is sometimes believed that the imperial throne stood here, but this circle was laid out no earlier than the 14th century.

In literature, this place is referred to as “omphalos” - the navel of the earth.

At the western edge of the southeastern support pillar, traces of a square of 80x80 cm are noticeable on the floor - they can also be a trace from the throne.

The floors in Hagia Sophia are white marble, much of them have been preserved since the time of Justinian. Of the significant losses: three of the four stripes of green marble, which were likened to the four rivers of paradise, disappeared. Now only one “river” remains intact. Apparently, there was an altar barrier here, which in those days was a low fence on columns.

The river (even the only one preserved) is not visible in the photo (and we didn’t find it live either) - apparently, it is hidden under the altar dais.

Many crowns hung above the holy throne, donated by emperors to the temple in different centuries. In Byzantium there was no special and only royal headdress. There were many crowns different cases, and they were worn and even ordered not only by the emperors themselves, but also by their relatives.

The apse, in front of which there was once an altar.

All four arches forming a small dome in the south-eastern corner of the temple are equipped with rings attached to the ceiling, 9 pieces on each side. Precious curtains hung from the rings to the floor, enclosing the so-called myratorium - a special space where the emperor could be during the liturgy, remaining invisible to his subjects.

I’ll show you the plan again to get your bearings on the area.

To the west of the myratorium, in the southern nave, the highest officials of the Empire stood at the liturgy.

View of the dome space and the southern nave.

Initially, the “catechumens” who had not yet been baptized stood on the second floor gallery. But since Byzantines began to be baptized in infancy, the word lost its meaning and women were usually on the second floor.

Second floor gallery

The women walked up the ramp located in the northeast corner of the temple.

Ascent to the second floor galleries.