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Kariye Muzesi Review

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Kariye Müzesi

Address: 1 block north of Fevzi Pasa Cad., by Edirne Gate in city's outer walls, Istanbul
Phone: 212/631-9241

Kariye Museum or Church of the Holy Savior in Chora

Category: Museums/Galleries
Location: Western Districts

Write a review | Avg. member rating: 4.8/5

Fodor's Review:

The dazzling mosaics and frescoes in the former Church of the Holy Savior in Chora are considered to be among the finest Byzantine works in the world. Most of the mosaics, in 50 panels, depict scenes from the New Testament and date from the 14th century. They are in splendid condition, having been plastered over when the church became a mosque in the 16th century and were not uncovered until the 1940s. A cluster of Ottoman buildings surrounding the former church have also been restored, making this out-of-the-way corner of the city especially atmospheric. "Chora" comes from the Greek word for countryside; the church was originally outside the city walls that were built by Constantine the Great, but at the beginning of the 5th century AD Theodosius built new fortifications to expand the growing city, which brought the church inside the walls. The modern entrance is off to the side of the church, but it's best to head straight to the original front door, in the outer narthex. Here, a large figure of Christ bears the phrase "I am the land (Chora) of the Living." This door leads to the inner narthex, where you can see the mosaic of Theodore Metochites, a kind of Byzantine prime minister, presenting the church to Christ. Metochites was responsible for the restoration and redecoration of the church after the damage of the fourth crusade. To the left is a series of mosaics depicting the early life of the Virgin Mary: moving clockwise, the series starts at the far end with her parents, Joachim and Anne, her first steps, her service in the temple, her marriage to Joseph, and, finally, the Annunciation. Above in the dome are the ancestors of the Virgin. The story continues back in the outer narthex, at the same far end, with the journey of Mary and Joseph to Egypt. It continues in one long circle of the outer narthex, with the nativity, the wise men before Herod and, at the far end, the massacre of the innocents, continuing gruesomely over several scenes, and finally ending with the return from Egypt and the presentation of the young Jesus in the temple. On the ceiling are various scenes from the ministry of Christ, including his temptation by the devil, the multiplication of loaves, and the transformation of water into wine. These continue into the other side of the inner narthex with scenes of Christ healing the sick and a vast wall mosaic, known as a Deesis, with Christ and the Virgin, and some tiny imperial figures. The church proper is light and airy but has lost most of its decoration, though a mosaic of the Dormition of the Virgin survives over the door. The large chapel was used for burials and contains several large tombs including that of Theodore Metochites, which is surrounded by saints and stories from the Old Testament. In the apse is a forceful image, called the Anastasis or "Resurrection"; it's one of the masterpieces of Byzantine art, with Christ hauling Adam and Eve from their tombs at the end of time. Above, Christ sits enthroned with the saved, whilst the damned are hauled down to hell and an angel rolls up the heavens like a scroll.

Cost: $12
Open: Thurs.-Tues. 9:30-4:30

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Member Reviews and Ratings

Reviewed by Luisah from Florida on 11/7/09
We visited the Kariye Museum at the end of a three-week tour of Turkey. I'd already seen the mosaics and frescoes in Aya Sofya and in the Goreme cave churches and believe that the Kariye art is different but equal. I've read in the Fodor's forums that some people think the mosaics in Ravenna are superior but I think the Kariye stands on its own. The small stone church is interesting and the art is lovely; it's well worth a taxi ride to visit this museum.

I agree with Fodor's review and will add that our tour director told us that people had peeled off chips of paint from frescoes that were within reach believing that the chips would be a good luck talisman.