Erdal İnci and the Kariye: preserving a Byzantine legacy

The Kariye Church, the main surviving church of the Khora Monastery, dates back to the sixth century and is one of the most important monuments of Byzantine art due to its magnificent mosaics and frescoes. It is part of the UNESCO World Heritage Sites of the Historic Areas of Istanbul. The name "Khora" possibly refers to the area's rural nature, as "Khora" means "country" or "outskirts." In the Ottoman period, it was known as Kariye, which could relate to the word "karye," meaning "village." Some of the representations of the Virgin Mary and Christ inside the church carry the "Khora" attribute, suggesting possible mystical meanings beyond the word’s literal meaning.

The early history of the Kariye Church is unclear due to conflicting sources. One tradition suggests it housed the relics of Saint Babylas in the 4th century, while another attributes its foundation to Empress Theodora and Saint Theodoros in the 6th century. It became a center of resistance during the Iconoclast period (726-843) and was significantly renovated in the 11th and 12th centuries under Emperor Alexios I and Isaac Komnenos. After the Latin occupation (1204-1261), the church fell into disrepair, though repairs were made in the 13th century. Following the Ottoman conquest in 1453, it was converted into a mosque, with its mosaics and frescoes covered.

The building also suffered damage from earthquakes, particularly in 1766. In the late 19th century, following the 1894 earthquake, repairs and uncovering of some mosaics were made. In 1945, the church was converted into a museum, and the American Byzantine Institute began restoration work in 1947, uncovering and preserving the church's mosaics and frescoes. These efforts restored the artistic significance of the church, especially during the Paleologan Renaissance.

The church’s plan is based on a closed-armed Greek cross, typical of Byzantine churches. Significant changes to the structure were made in the 12th and 14th centuries, including the addition of columns, a dome, and enlarged apses. In 2013, a large-scale restoration project began, funded by both local and international organizations. This work aimed to preserve both the architectural integrity of the building and the mosaics and frescoes inside. The restoration focused on repairing the structure of the church, including the dome and vaults, and addressing issues related to water damage and structural instability caused by previous earthquakes.

The mosaics and frescoes were cleaned and preserved, with some additional sections revealed that had been hidden under centuries of plaster and paint. In 2020, the building's museum status was revoked, and the Kariye Museum was reconverted into a mosque. However, the preservation efforts continued, ensuring that the mosaics and frescoes were safeguarded while the mosque remained in use. The mosaics were covered to protect them from exposure, but they continue to be a key feature of the structure, symbolizing the complex historical layers of the building.¹

Today, the church's mosaics and frescoes remain some of the best-preserved examples of Byzantine art. Although damaged over the centuries, these works continue to highlight the artistic achievements of the Byzantine Empire. In the early 20th century, parts of the church were uncovered during restoration efforts, and the mosaics were exposed once more. Today, Kariye remains an important historical and artistic monument, reflecting the cultural and religious shifts from Byzantine to Ottoman times.

The ongoing debate about whether the Kariye should be considered a church, museum, or mosque has been a topic of discussion since its official transformation into a mosque in 2020. Erdal İnci, a Turkish contemporary artist, has addressed this issue through his unique expressive language, aiming to protect the building's existence without being influenced by these labels. İnci, who works primarily in digital mediums, creates across various disciplines, including video, photography, photogrammetry, and digital art. His artistic practice focuses on exploring public spaces and collective memory. Additionally, he is a member of Oddviz (Odd Visualizations), an art collective based in Istanbul that specializes in scanning objects and locations using photogrammetry techniques to create 3D digital interpretations of cities and districts. The collective showcases these digitized objects in virtual environments through installations.

Unlike his other solo and collective works, which often focus on cities or neighborhoods, this piece stands out as one of the few where the artist focuses on a single, specific space. In his work Chora Church, aka Chora Mosque, 2024, an archival Diasec print with an aluminum frame, the artist aims to present the space as a structure with its cultural, architectural, and historical significance—without labeling it as a church, museum, or mosque. Rather than being a direct replica of the space, the piece is viewed from an axonometric perspective, emphasizing the architecture and referencing miniature techniques. What is particularly striking about this work is that it is turned inside out—revealing the frescoes and interior details as if they were part of the exterior. While the framing of the work may seem insignificant at first, it can also be interpreted as a statement of the need to protect the space.

In the video work Chora, 2024 (4K, single-channel video loop), the interior of the Kariye is showcased, highlighting its marvelous frescoes and architectural details through a highly architectural perspective. This is achieved using photogrammetry techniques and illumination effects that both reference the technique used in the artwork and emphasize the space's three-dimensional architectural structure. Although the video is a loop, it has a clear beginning and end, resembling a tour of the interior that focuses solely on the existing structure. The video allows the viewer to observe the space in its full, unaltered existence.

In conclusion, the Kariye Church/Museum/Mosque, with its rich historical and artistic significance, continues to captivate and inspire discussions on its identity and preservation. From its origins as a 6th-century Byzantine church to its transformation into a mosque and eventual conversion into a museum, the structure has witnessed centuries of cultural and religious changes. Efforts to restore and preserve its mosaics and frescoes have ensured that this monumental site remains a testament to the artistic achievements of the Byzantine Empire. Contemporary artists like Erdal İnci have further contributed to the ongoing dialogue surrounding Kariye, using modern mediums to explore the building's complex layers of history. Through his works, İnci emphasizes the importance of safeguarding the cultural and architectural integrity of the space, transcending the labels of church, mosque, or museum, and inviting viewers to appreciate the significance of Kariye in its entirety.