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along-the-silkroad · 1 month ago

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Georgios Pachymeres: The Life of a Palaiologan Scholar

Georgios Pachymeres' father was part of the large group of Byzantines who fled the capital of the Eastern Roman Empire, Constantinople, after the Latin conquest of 1204 during the Fourth Crusade. He sought refuge with the Laskarid dynasty in Nicaea, one of the Byzantine successor states, where Georgios is believed to have been born around 1242. Here, the Laskarid dynasty prospered, ensuring a pleasant childhood for Georgios. In his historiographical work, nostalgia for this period often resonates in the form of criticism directed at emperor Michael VIII (r. 1261-1282), who neglected the situation in Asia Minor.

Georgios had a wealthy father who could afford to provide his son with a solid and broad education. When Michael VIII recaptured Constantinople in 1261, Pachymeres followed the new emperor to the ancient capital of Byzantium. There, he continued his higher studies, although the details remain unclear. It is generally assumed that his teachers were Georgios of Cyprus and Georgios Akropolites (1217–1282). Akropolites was a gifted writer and diplomat who became a central figure in the revival of higher education in Constantinople. Pachymeres undoubtedly had much to learn from him. Akropolites was a specialist in rhetoric, the quadrivium, and philosophy—fields in which Pachymeres would later excel.

Pachymeres demonstrated an exceptionally strong knowledge of both religious and secular law, which increased his chances of securing a lucrative position within the patriarchate or the court. Indeed, he quickly found his way into imperial circles and joined the ranks of the Constantinopolitan clergy.

His ecclesiastical career began in 1265 when he was ordained as a deacon of the Hagia Sophia, the center of Orthodox faith. His intellectual abilities were clearly appreciated, as evidenced by his appointment in 1277 as didaskalos tou apostolou, a position in which he was responsible for providing commentaries on the letters of the Bible and the Acts of the Apostles. In 1285, he was appointed hieromnemon, a role that made him responsible for various ecclesiastical matters, including priestly ordinations. One of the highlights of his career was his appointment as protekdikos in the same year, an influential role within the ecclesiastical court. Additionally, he utilized his knowledge of secular law to attain the position of dikaiophylax, an imperial judge. These high-ranking positions brought him into contact with several prominent figures, including members of the imperial family, Ioannes Bekkos, Athanasios II of Alexandria, and Theodosios Prinkips.

In addition to these responsibilities, Georgios also demonstrated a remarkable talent for the liberal arts. During this time, higher education and the academic world experienced a flourishing period in the newly reconquered capital, thanks in part to the efforts of the aforementioned Akropolites. The "dark" 13th century gave way to the so-called Palaiologan Renaissance, a revival of the Greek intellectual world and the arts. A significant milestone was the reopening of the Patriarchal Academy which was closed after the Latin conquest.

In other words, Constantinople offered ample opportunities for intellectuals with pedagogical talent. That Pachymeres excelled in teaching challenging subjects is evident from his literary work, which will be discussed in part 2. He earned his living as an instructor at the renowned Patriarchal Academy. More specifically, he held the position of oikonomikos didaskalos until 1275. In this role, he earned the respect of his colleagues and students. His significant contribution to the Palaiologan Renaissance cannot be overstated.

As a professor, he taught philosophy and the quadrivium. It is possible that he also taught rhetoric, although this is not certain. The quadrivium comprised the second and final series of the septem artes liberales: geometry, music, astronomy, and arithmetic. It is often assumed that his work, the Quadrivium (see part 2), served as support for his lessons. In any case, he had a significant influence on the later study of these subjects.

During his philosophy lessons, he covered the two major traditions of antiquity: Plato and the (Neo-)Platonic tradition on one hand, and Aristotle on the other. His autograph manuscripts reveal a particular interest in relatively rare commentaries on Plato and Neo-Platonic scholars. For his courses on Aristotle, he wrote an extensive summary of Aristotle's works in 12 books, the Philosophia (see part 2). He held immense admiration for Aristotle.

According to Pachymeres, Aristotle's genius lay in his apparent anticipation of many Christian doctrines. Specialist Pantelis Golitsis situates this idea within the context of the polemic over the question of how best to reach God.

The monastic movement, which gathered around Patriarch Athanasios (r. 1289-1293; 1303-1309), believed that a monastic lifestyle was the only correct way to draw closer to God. These fundamentalists sought to impose this idea on the rest of the clergy. This movement, better known as Hesychasm, partly originated in the theology of the famous Gregorios Palamas. They stubbornly opposed any philosophical rationalism in the approach to God.

Pachymeres, on the other hand, believed in an alternative path to a divine experience: through philosophy. Understanding God's creation was also a legitimate form of devotion. In this way, he sought to give the ancient philosophy, which he cherished, a more accepted place within Byzantine society.

According to Arnakis, this attitude of Pachymeres is more understandable in the context of the new proto-nationalist trend among the Byzantines, where they no longer considered themselves solely as Romans, but also as Hellēnes, without the term necessarily carrying a pejorative or pagan connotation. The intellectual elite of Constantinople was well aware of the significant contributions of their fellow speakers to world history and was proud of this. Pachymeres’ love for and teaching of Aristotle and Platonism, therefore, according to Arnakis, can be seen as part of this development.

Judging from what has been said, it might be tempting for the sensationalist to unmask Pachymeres, like Plethon, as a pagan in Christian garb. However, this is unlikely. Nowhere in his works do we detect anti-Christian ideas. One of his poems (at the end of his commentary on Aristotle's Fysika) attests to his unwavering devotion to Christ and God. Likewise, in his Quadrivium, he claims that the salvation of mankind depends on God's grace. In his work, we also find other traditional Christian beliefs, such as the salvation found in the sacraments and the inherent weakness of humanity. Interestingly, he often supports the latter claim with references to ancient, pagan authors. This leads us to the next issue: to what extent are these professions of faith sincere? This question may give rise to endless discussions, but a final judgment is beyond the realm of possibility. In any case, Pachymeres sought to present himself as a traditional, orthodox Greek.

Yet, there is something innovative about Pachymeres. His attitude is reminiscent of that of the Italian humanists. By encouraging philosophy, he assigns a greater responsibility to humanity in creation. The idea that the Byzantines were the forerunners of the European Renaissance is a stance defended by many Byzantinists. Indeed, a certain Christian anthropocentrism characterizes Pachymeres, which, although it ends with God, begins with humanity.

We know a lot about his public life thanks to the various autobiographical elements in his works. However, he remains silent about his personal life. It is generally believed that Pachymeres died in the year 1310 at the age of 65. The cause of death remains a mystery. His friend Manuel Philès wrote an epitaph for him, although the date of this remains uncertain. A portrait of Pachymeres has been preserved, but the reliability of its depiction is also questionable.

Olivier Goossens

#byzantine empire #byzantine art #byzantine #roman empire #roman art #roman history #greek history #greek literature #greek orthodox #medieval history #middle ages #manuscript

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orthodoxydaily · 2 years ago

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Saints&Reading: Thursday, June 15, 2023

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SAINT NICEPHOROS the CONFESSOR PATRIARCH of CONSTANTINOPLE ( 829)

Saint Nikēphóros was a dignitary at the court of Empress Irene (797-802). After embracing monasticism, he became widely known for his piety. He assumed the Patriarchal Throne of Constantinople in 806 and became a zealous defender of the holy Icons. In 815, the Iconoclast Emperor Leo the Armenian (813-820) exiled him to Prokonnis, where he fell asleep in the Lord in 828.

Saint Nikēphóros left behind three writings against Iconoclasm.

In 846, the relics of Patriarch Nikēphóros were returned to Constantinople and placed in the Great Church of Hagia Sophia for one day before being transferred to and enshrined in the Church of the Holy Apostles.

SAINTS BLANDINA and PONTICUS OF LYONS (Gaul_177)

Their early date, the factual and moving contemporary record, faithfully transcribed by Eusebius and their subsequent cult, make these protomartyrs of Gaul altogether notable. Like many elsewhere, they suffered in the persecution of Marcus Aurelius (161–80). One of the most exciting features of the account is how the varied personnel of the martyrs is stressed: bishops, priests, deacons and laity, men and women, slave and free. Some of them had come from the nearby church of Vienne. The account was written for the churches of Asia and Phrygia, from which some of these congregations had come. At the same time, Irenaeus, the future bishop of Lyons, also took a copy to Eleutherius, bishop of Rome.

The document begins: ‘The severity of our trials here, the unbridled fury of the heathen against God's people, the untold sufferings of the blessed martyrs, we are incapable of describing in detail: indeed no pen could do them justice.’ Persecution had begun with social ostracism (exclusion from the market and the baths), it continued with popular violence (insults, blows, thefts, and stonings), and ended with official action. This brought Christians to the forum for interrogation and subsequent imprisonment. One young man called Vettius Epagathus asked to defend them against charges of treason and impiety. The judge then asked if he too, were a Christian. When he answered that he was, he was also sent to prison. At this point the pressure was so intense that ten Christians abjured.

The next move was to arrest the slaves of Christians. Some of these accused their masters of cannibalism, incest, and other abominations. The mob's fury was then directed against Sanctus, a Vienne deacon who, under repeated torture and interrogation, answered only: ‘I am a Christian.’ Blandina, a slave, showed fortitude unexpectedly by her mistress. The aged bishop of Lyons, Pothinus, reputed to be aged ninety (Polycarp was claimed to be eighty-six) also suffered like the others. When asked to explain who was the God of the Christians, he replied: ‘If you are worthy, you will know.’ He was then beaten, kicked, and stoned until he was unconscious. Two days later, he died in prison.

The martyrs were killed in more ways than one. At least four were killed by wild beasts in the surviving amphitheater; others were tortured with whips or roasted on the iron chair. Others died as a result of their varied sufferings. These tortures were repeated in some cases. Other lethal factors were the brutality of the jailers and the bad conditions of imprisonment. The courage of the martyrs never faltered, but they also helped to reconcile those who had failed to be constant. The emperor's rescript condemned Christians to death but ordered the release of those who had abjured. This, however, was the occasion for the lapsed to confess Christ boldly and join the other martyrs.

On the last day of the ‘single combats’ Blandina was again brought into the amphitheatre with a boy of fifteen called Ponticus. After he had endured every torment, he died. Blandina was thrown into a net and exposed to a bull. When she had been repeatedly tossed, she became unconscious but by no means unfaithful under the fatal goring. She, too, ‘upheld by her faith and communing with Christ, was immolated…the pagans themselves admitted they had never known a woman to show such endurance.’

Source: Oxford Reference

ROMANS 5:10-16

10 For if when we were enemies we were reconciled to God through the death of His Son, much more, having been reconciled, we shall be saved by His life. 11 And not only that, but we also rejoice in God through our Lord Jesus Christ, through whom we have now received the reconciliation. 12 Therefore, just as through one man sin entered the world, and death through sin, and thus death spread to all men because all sinned- 13 (Until the law sin was in the world, but sin is not imputed when there is no law. 14 Nevertheless, death reigned from Adam to Moses, even over those who had not sinned according to the likeness of the transgression of Adam, who is a type of Him who was to come. 15 But the free gift is not like the offense. For if by the one man's offense, many died, much more the grace of God and the gift by the grace of the one Man, Jesus Christ, abounded to many. 16 The gift is not like that which came through the one who sinned. The judgment from one offense resulted in condemnation, but the free gift from many crimes resulted in justification.

MATTHEW 8:23-27

23 when He got into a boat, His disciples followed Him. 24 And suddenly a great tempest arose on the sea, so the boat was covered with the waves. But He was asleep. 25 Then His disciples came to Him and awoke Him, saying, "Lord, save us! We are perishing!" 26 But He said to them, "Why are you fearful, O you of little faith?" Then He arose and rebuked the winds and the sea, and there was a great calm. 27 So the men marveled, saying, "Who can this be, that even the winds and the sea obey Him?"

#orthodoxy #orthodox christianity #easternorthodoxchurch #originofchristianity #spirituality #holyscriptures #bible #gospel

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buildingislam · 2 years ago

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Religion in Islamic Architecture

Even though there are some parts of Islamic architecture that to modern knowledge lack symbolic religious significance, there are, nevertheless, connections to religion. Islam, which believes that everything and anything created by God is under his order and should not be idolised, does not sensationalise living things, in contract to Christianity.

The monotheistic religion of Islam has its own tenets and traditions, such as charity, fasting during Ramadan, and if possible, a pilgrimage to Mecca - even though it shares the prophetic history of Judaism and Christianity. Although it can he challenging to define Islamic art, it is understood that not all Islamic art is religious and that not all artists who produce said art must be Muslims (Artsy Net., 2023).

With regards to architecture, as mentioned, there can often be no symbolic links to religion, and the connections that are made, are often portrayed through the use of calligraphy, colour and geometry - the hallmark characteristics of Islamic architecture.

This specific blog post will explore the architecture of some of the most outstanding examples of religious institutions within Islamic style architecture - beginning with The Blue Mosque in Istanbul.

Sultanahmet Mosque (The Blue Mosque)

The Blue Mosque, Istanbul, 1723.

The Sultanahmet Mosque (Sultanahmet Camii) more commonly known as The Blue Mosque was constructed between 1609 and 1616 during the rule of Ahmed I by architect Sedefkâr Mehmed Agha - the detailed workbook of the construction of this mosque consists of eight volumes and still lies in the Topkapi Palace library. The recognised name of 'The Blue Mosque' being attached to the building is due to the hand-painted blue tiles that adorn the interior walls, alongside the blue cast that envelopes the mosque of a night time as a result of lights framing the mosque's five main domes, six minarets and eight secondary domes.

The Blue Mosque features two main sections: a large unified prayer hall crowned by the main dome and an equally spacious courtyard (Smart History., 2023). As mentioned, the Mosque has six minarets (the only other mosque in the world with this many minarets was the Haram Mosque of Mecca - this led to the religious leaders of the time to become outraged and send out the Sultan's architect to Mecca to build a seventh minaret so that the holiest of mosques could retain 'superior status') and eight secondary domes, and its design was a culmination of two centuries of Ottoman Mosque design, with an incorporation of Byzantine elements of the neighbouring architectural masterpiece Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. Sedefkâr Mehmed Agha, the architect, synthesised the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour (Architectuul., 2023).

Tall wooden gates envelop the courtyard of the mosque, and the mosque itself is revealed behind the gates presenting spectacular dove-grey domes, marble walls and gold-tipped minarets. Tourists are recommended to use the south door of the Mosque as to allow worshippers to enter through the main door only, and allows for the prayer sections of the Mosque to retain its sacred air.

Upon entrance of the mosque, there is an introduction to the more than 20,000 blue Iznik tiles in traditional Ottoman patterns adorn the walls and ceilings. Lilies, carnations and tulips are depicted throughout. The Blue Mosque's interior domes are tiled intricately, painted and decorated with verses from the Quran and the sayings of prophet Muhammed (The Travel Bunny., 2021). Many of them written by Seyyid Karim Gubari, a 17th century Ottoman artist celebrated as one of the most accomplished calligraphers of his time.

The upper levels of the building have more than 200 stained glassed windows - the coloured glass for the windows were a gift from the Signoria of Venice to the Sultan - with beautiful designs allowing natural light to ascend the interior, as of modern day there are chandeliers to aid the lighting in the building. On the chandeliers, ostrich eggs are found that were meant to avoid cobwebs inside the mosque by repelling spiders.

The floors wear carpets that are regularly replaced by donations due to them getting worn out because of the number of visitors that walk upon it.

According to architectuul.com, the most important element of the interior of the mosque is the mihrab, which is finely carved and sculptured marble, with a stalactite niche and a double inscriptive panel above it. Surrounded by many windows - the adjacent walls are sheathed in ceramic tiles.

Mihrab of Sultanahmet. The Blue Mosque.

Architecturally, the best way to enter The Blue Mosque is to approach it from the hippodrome (west side of the mosque) - non-muslim tourists are encouraged to visit the mosque, however, they are not allowed in during prayer time, which is of course five times a day - the mosque closes for 90 minuted each time. Shoes have to be removed from your person, and it is vital that you are dressed appropriately, women should wear a head covering - but they are freely available upon entrance of the establishment. For everyone, legs and shoulders should be covered.

It is absolutely required that tourists do not use flash photography and remain quiet always - this is not just an architectural masterpiece, but a place of worship, and that should be respected always.

Selimiye Mosque

The second religious institution to be analysed on Building Islam is another Turkish mosque called Selimiye Mosque in Edirne, and started construction in 1568 with its completion in 1574 by architect Mimar Sinan - a famous architect of the time who will be explored in the upcoming blog post.

The Selimiye Mosque was built at the peak of the Ottoman military and cultural power, Sultan Selim II - the son and successor of Suleiman the Magnificent, chose Edirne instead of Istanbul as the location to build his own sultan mosque. It is debated amongst historians as to why this location was chosen with some speculating Selim II had a passion for the city as he serves as governer between 1548 and 1550, and others speculating it is because Selim II had not commanded a victorious military campaign which Islamic scholars believe to have been a requirement for building a sultanic mosque in Istanbul. The construction of this mosque was funded by the help of the sultan's share of the spoils from the successful conquest of Cyprus, Selim II died in December 1574 meaning he never saw the mosque fully completed (UNESCO., 2023).

The Selimiye Mosque is considered to be the masterpiece of architect Sinan's entire career, and is thought to be one of the most important buildings in the history of the world - architecturally and monumentality. The mosque, together with the two madrasas on its southeast and southwest is located within a courtyard. A row of shops and recitation school (darülkurra) to the west of the courtyard were added to the complex by architect Davud Aga in the reign of the Sultan Murad III (1574-95).

The mosque has a rectangular, borderline square, prayer hall and on the north side, a courtyard with porticoes. There are three entrances to the courtyard, north, east and west. In the centre of the courtyard is a 12-sided fountain. Each corner of the prayer hall features a 71m high minaret each with a balcony. The mentioned balconies are accessed by three separate corners on the northeast and northwest corners (Discover Islamic Art., 2023). The approach to the north façade of the mosque is dramatic with aligned gates of the outer precinct wall and forecourt focus the eye upwards towards the intricately designed dome.

The dome rests on eight muqarnas-corbelled squinches that are in turn supported by eight large piers.

Muqarnas are faceted decorative forms used in Islamic architecture to bridge a point of transition - in relation to the Selimiye Mosque, the broad base of the dome above and the slender piers below (Khan Academy., 2023). A complex system of exterior buttresses support the east and west piers and do most of the handling for the weight of the dome. The buttresses are purposely hidden amongst the exterior porticos and galleries. The interior allows for galleries to fill the spaces in between the walls and the piers. The Qibla wall (the wall facing Mecca) projects outwards to emphasise the vast interior space. Another unusual thing that was decided upon through construction by architect Sinan, was the placement of the muezzins platform - under the centre of the dome. From the platform, the muezzins who lead prayer chant to congregation, and art historians have compared its positioning within the mosque to that of a church altar - a raised stand for biblical readings - supporting the fact that Sinan was interested in surpassing Christian architecture. The platform also creates a vertical alignment of square, octagon and circle, using geometry to refer to earthly and heavenly spaces.

Through the centuries since the construction of the Selimiye Mosque, the interior had changed as it has been repainted and then extensively restored in the 20th century. The polychrome Iznik tiles remain largely untouched since the 16th century, but in the 19th century Sultan Abdülmecid I had most of the painted decoration including arabesque motifs, plant of flower motifs, and calligraphic inscriptions added for his ordered restoration.

The sultan's private balcony for prayers, is set to the eastern corner of the mosque in an elevated position and is intricately decorated with Iznik tiles also.

Iznik tiles next to the mihrab.

The Selimiye Mosque was not only an architectural masterpiece in relation to Mimar Sinan's incredible career but in regards to the influence it had on later mosque constructions. The form of Laleli Mosque in Istanbul built in the 18th century is based on the Selimiye Mosque, as well as the modern Sabancı Merkez Camii in Adana (1988). Despite being 80% the size of the Selimiye Mosque, the Nizamiye Mosque in South Africa is modelled on it and remains the largest in the Southern hemisphere.

Laleli Mosque, Istanbul Turkey.

Sabancı Merkez Camii, Istanbul Turkey.

Nizamiye Mosque, South Africa.

Having now discussed two architectural pieces of religious institutions in the Islamic architectural style, the following blog post will focus on the work of three of the most celebrated Islamic architects and their works containing Mosques.

The production of this blog took much longer than anticipated but to finalise this post, I will share that in the next couple of posts I will be incorporating images of my own families homes and local mosques in Pakistan - the incorporation of my personal family and life has come about thanks to a group of fellow students named The Blog Club that help me with deciding what to talk about next! And hopefully create an informal, comfortable space for everyone to discuss their thoughts and opinions!

P.S. The Blue Mosque and The Selimiye Mosque are some of my favourite examples of Islamic architecture!

Summer Marshall-Miller

BIBLIOGRAPHY:

THE BLUE MOSQUE

Artsy Net (2023) Islamic Art and Architecture. Available at: https://www.artsy.net/gene/islamic-art-and-architecture (Accessed: February 15, 2023).

Smart History (2023) The Blue Mosque (Sultan Ahmet Camii). Available at: https://smarthistory.org/the-blue-mosque-sultan-ahmet-camii/ (Accessed: February 15, 2023).

Architectuul (2023) Blue Mosque. Available at: https://architectuul.com/architecture/blue-mosque (Accessed: February 15, 2023).

The Travel Money (2021) Istanbul and the Beauty of the Blue Mosque. Available at: https://thetravelbunny.com/istanbul-blue-mosque/ (Accessed: February 15, 2023).

Blue Mosque (2023) Blue Mosque Mosque in Turkey. Available at: https://bluemosque.co/en/ (Accessed: February 15, 2023).

THE SELIMIYE MOSQUE

UNESCO (2023) Selimiye Mosque and its Social Complex. Available at: https://whc.unesco.org/en/list/1366/ (Accessed: February 20, 2023).

Discover Islamic Art (2023) Selimiye Mosque. Available at: https://islamicart.museumwnf.org/database_item.php?id=monument;isl;tr;mon01;23;en (Accessed: February 20, 2023).

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byzantine-suggestions · 2 years ago

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ranking theodora's design in various video games

civ iii: conquests: 6/10

do these designs look ugly? yes. are they ugly compared to the rest of the leaders in civ 3? no. theodora is the single most normal-looking woman in this game. so by normal standards these are probably the most mid designs on this list, but considering the art style of the game they come from and the fact that it came out in 2003, they're not that bad. also, bonus points for the fact that her outfit changes from era to era! i forgot that early civ games did this and i think it's kind of neat. i like that the mosaic behind her in her medieval era portrait becomes the painting in her modern portrait

civ v: gods and kings: 8/10

ngl, this one kind of slaps. it's obviously based on that one painting of her from like the 1800s, but they gave her the crown from the mosaic and added the hagia sophia to the background, and it kinda works? i've seen people complain that she's too tan/her makeup is too strong/she looks too "modern day" pretty instead of "byzantine" pretty, but civ v kind of did that to everyone, so i don't think it's a problem with her specifically. as far as civ designs go, i think this one is the best.

civ vi: great builders: 7/10

i know it's been said a million times before, but civ vi's cartoony art style is stupid and i hate it. it feels like such a step back from civ v's leader scenes. you used to get leaders chilling in beautiful scenery or sitting in fancy throne rooms or riding horses on the battlefield or whatever, and now they just stand in front of powerpoint backgrounds and i hate it. THAT BEING SAID, theodora's design is not bad as far as civ vi designs go. it's not as cartoony as most of them and her outfit is pretty normal, even though there's not enough purple (it's clearly based on her mosaic, but they removed her purple chlamys and didn't add any purple anywhere else for some reason.) and a lot of these goofy big-headed caricature designs do look very cute in motion.

evony: the king's return: 3/10

this one is just confusing. apparently theodora is a general in this game, which is weird because i don't think belisarius was included and i don't know why you wouldn't use him if you want a byzantine general? not sure how that works. one fan page i read said she's "excellent at monster looting," which, okay. aside from that, though, what is going on here? the dress is a lot. the hair is a lot. this looks like they superimposed theodora's head over pre-existing art of a fantasy medieval princess. there are a lot of details here and they're all weird. it does get some points for not being unnecessarily sexualized, but still. this is a lot. i feel like it seems okay at first but gets weirder the longer you look at it.

rise of kingdoms: 4/10

this one's ridiculous, but it's ridiculous in a way that kind of makes sense, and frankly every design in this game kinda looks like this (look at belisarius. he's wonderful.) i'm not going to say i particularly like this art style, because i don't, but at least it's stylized and silly instead of just all over the place like evony's. also, this is like the fourth game on this list to include theodora and belisarius but not justinian (belisarius is usually in the civ games as a great general) which i just find funny because that's how every piece of media about this time period is. every book and movie and video game is like This Is Belisarius, The Famously Loyal General. This Is Theodora, The Beautiful Empress From The Gutter. who's justinian? never heard of him

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devanshtraveler · 2 years ago

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Places to Visit in Hagia Sophia

Nestled in the heart of Istanbul, Turkey, Hagia Sophia stands as an architectural marvel and a testament to the intersection of history, culture, and religion. Originally built as a Byzantine cathedral in the 6th century, it later transformed into an imperial mosque during the Ottoman era, and today, it stands as a cherished museum, captivating millions of visitors from across the globe. This article will take you on a mesmerizing journey through the historical significance, architectural wonders, and cultural heritage of Hagia Sophia Museum. 1. The Historical Significance: Hagia Sophia, known as Ayasofya in Turkish, holds an unparalleled historical significance. It was commissioned by Emperor Justinian I in 537 AD and remained the largest cathedral in the world for nearly a thousand years. The edifice served as the principal religious center of Eastern Christianity for centuries, witnessing numerous imperial coronations and religious ceremonies.

2. The Architectural Marvel: Hagia Sophia's architectural brilliance lies in its unique blend of Byzantine and Ottoman design elements. The massive dome, an engineering marvel of its time, symbolizes the grandeur of the Byzantine era. The dome appears to float effortlessly, supported by an innovative system of pendentives. The interior is adorned with intricate mosaics, depicting religious figures and events from Christianity's early history, adding to the cathedral's splendor.

3. Transformation into a Mosque: With the conquest of Constantinople by the Ottoman Sultan Mehmed II in 1453, Hagia Sophia underwent a significant transformation. The cathedral was converted into an imperial mosque, and Islamic architectural elements were integrated, including the addition of minarets and the construction of the mihrab and minbar. Despite these changes, many of the original Christian mosaics were preserved, underscoring the structure's unique historical duality.

4. The Call to Prayer and Its Melody: For nearly five centuries, Hagia Sophia resounded with the Islamic call to prayer, a captivating melody that echoed through the vast interior. The juxtaposition of the Arabic calligraphic inscriptions alongside the Byzantine mosaics created a harmonious blend of religious expressions, symbolizing Istanbul's multicultural heritage.

5. Transformation into a Museum: In 1935, under the orders of Turkey's visionary leader, Mustafa Kemal Atatürk, Hagia Sophia was transformed into a museum as part of the country's modernization efforts. This decision aimed to preserve the cultural heritage of the monument and transform it into a symbol of unity, open to people of all faiths and backgrounds.

6. The Interior Splendor: Step inside Hagia Sophia Museum, and you will be awe-struck by the grandeur that awaits. The vast central nave leads the eye upward to the stunning dome, adorned with Islamic calligraphy. Wander through the galleries to admire the breathtaking mosaics and frescoes that depict biblical scenes, saints, and emperors. Each intricate detail is a testament to the skilled craftsmanship of the artisans of bygone eras.

7. The Omphalion: One of the most fascinating features within the museum is the Omphalion, a circular marble slab at the center of the building. It marks the spot where Byzantine emperors were crowned and is steeped in historical and spiritual significance. Visitors often stand on this sacred spot, contemplating the weight of history beneath their feet. Suggested Read: Hagia Sophia: A UNESCO World Heritage Site and Turkey’s Jewel in the Crown

8. The Tombs and Library: Hagia Sophia Museum houses the final resting places of several Ottoman Sultans and their families. These beautifully decorated tombs provide a glimpse into the opulent lifestyle of the Ottoman rulers. Additionally, the museum boasts a library that contains a vast collection of rare manuscripts and religious texts, making it a treasure trove for researchers and scholars.

Conclusion:

Hagia Sophia Museum stands as a living testament to the richness of human history and the intermingling of cultures through the ages. Its awe-inspiring architecture, historical significance, and cultural heritage have earned it the distinction of being a UNESCO World Heritage Site. As you traverse the halls of this magnificent structure, you will be transported through time, experiencing the echoes of civilizations that have left an indelible mark on Istanbul's landscape. Hagia Sophia Museum is not merely a destination; it is a journey into the heart and soul of humanity.

#travel #tours #tourism #holiday #vacation #trip #hagia sophia #istanbul #turkey #india

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anamedblog · 2 years ago

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Experiencing Istanbul Through Photography

Maréva U, GABAM-ANAMED Post-Doctoral Fellow (2022–2023)

Fig. 1. Istanbul, street leading up to the Galata Tower (photo by Albert Kahn, 1913, No. A2307S, Albert Kahn Museum). Fig. 2. Istanbul, Hagia Sophia, bronze door (photo by Gabriel Millet, Photo Archives, EPHE).

Photography is a technical and mechanical means of preserving a graphic representation of places, monuments, objects, people, and moments. It can be used as a historical testimony—an approach taken, for example, by the French banker and philanthropist Albert Kahn in his attempt to create the Archives of the Planet between 1908 and 1931[1]—or as a research and documentation tool—an approach we adopt in the humanities and social sciences, as evidenced by the photographs of monuments taken by the Byzantinist Gabriel Millet in the late nineteenth and early twentieth centuries.[2] Photography is also a means of expression that bears the signature of its author and whose objectivity is equal to any artistic work.

However, for several decades, photography has become, in the words of the sociologist Pierre Bourdieu, a ��popular art.”[3] Film cameras and the slow and complex process of developing photographs have given way to digital cameras and smartphones capable of capturing, in high definition, fixed images of our private lives and our travels. These digital tools allow for easy and instantaneous snapshots. They lead us, in a consumerist way, to take an unlimited number of images, most of which are stored indefinitely in our smartphones or computers, without much consideration.

Photography is today overexploited and tends to be conditioned by the dominant visual discourses conveyed by the vast media landscape. These discourses construct cultural codes that define the value of a place, transforming a specific site into an appreciable, visitable, or unmissable and “instagrammable” place. The same places and monuments of Istanbul, as in any tourist city, become the subject of countless photographs, or rather the background in front of which people pose in their best light. These stereotypical photographs, whose colors are often oversaturated by smartphone filters that alter our perception of reality, flood the internet and social media. Unconsciously, these discourses and images influence the way we perceive, experience, and photograph places.

Since my arrival at ANAMED, I have wanted to build my own experience and perception of Istanbul, trying to detach myself from these visual dictates (the choice of black and white photography is partly a result of this intention). My research on the experience of the architectural space of Byzantine monuments has undoubtedly influenced my relationship to the city and to photography. Of course, the architecture of the Byzantine buildings attracted most of my attention.

Fig. 3. Vefa Kilise Camii, western façade (photo by the author). Fig. 4: Küçük Ayasofya Camii (St. Sergius and Bacchus), columns and capitals (photo by the author).

Beyond photographic documentation, it is possible to look at and photograph the monuments we visit and study in a different way, especially by examining how they are integrated into the modern cityscape and how people use their spaces today. In doing so, details such as the contrast between the recently restored Tekfur Sarayı and the nearby pile of rubble, the calmness of a man praying in Fenari Isa Camii (Constantine Lips Monastery), or the movement of a child playing ball in front of Zeyrek Camii (Pantokrator Monastery) can attract our attention.

Fig. 5. Tekfur Sarayı (photo by the author).

Fig. 6. Man in Fenari Isa Camii (Constantine Lips Monastery) (photo by the author). Fig. 7. Child in front of Zeyrek Camii (Pantokrator Monastery) (photo by the author).

Besides Byzantine and Ottoman architectural heritage, Istanbul’s vibrant and colorful urban space deserves more attention. Istiklal Caddesi, which is difficult to avoid if you live in ANAMED, is passed by thousands of people every day. Many of them take selfies and pictures of each other or walk around with their smartphones in hand, continuously filming the hustle and bustle of the street, probably without really paying attention to the urban space. To experience it and to photograph it, it is necessary to slow down, to stop, to turn around, and to look up above the sometimes-oppressive crowd to observe and capture, for example, some architectural details or a man discreetly watching urban life from his window.

Fig. 8. Istiklal Caddesi (photo by the author). Fig. 9. Istiklal Caddesi (photo by the author).

Fig. 10. Sıraselviler Caddesi (photo by the author).

To experience Istanbul through photography, it is necessary to voluntarily lose oneself in the city and to be open to possibilities, opportunities, unexpected events, and encounters. In this way, it is possible to observe space, architecture, scenes of everyday life, people’s attitudes, spontaneous movements, effects of light and shadow. In short, the practice of photography allows us to see what is attractive and visible but also to pay attention to what is ordinary and sometimes hidden or invisible. Such an approach to the city can sometimes be uncomfortable, as it puts us in a contradictory position: between a voyeur, eager for aesthetic visuals, and a detached onlooker, aware of the various aspects of a place and its atmosphere. By unknowingly photographing children playing in the street, a man painfully carrying a washing machine, or a woman sitting on a bench focused on her phone, I experienced this ambivalent situation myself. Photography can thus lead us to question our relationships with others and sometimes to overcome our fears of rejection when we ask permission to take someone’s picture.

Fig. 11. Tünel, Istiklal Caddesi (photo by the author). Fig. 12. Children, Balat (photo by the author).

Fig. 13. House, Fatih (photo by the author). Fig. 14. House, Fatih (photo by the author).

Fig. 15. Man, Fatih (photo by the author).

The act of photography, in my opinion, has other effects on the person who practices it. It teaches us patience in order to capture the desired image, a quality we often lack in our productivity-driven society. Experiencing urban space through photography can allow us to take a break from the frenetic pace of our academic lives, as it leads us to develop an alternative conception of space and time.

Fig. 16. Cat, Fatih (photo by the author). Fig. 17. Woman, Taksim (photo by the author).

Therefore, photography is not just a matter of pressing a button to mechanically fix a part of the urban space and its inhabitants in an image. By walking around, looking for photographable objects and framing them, we appropriate the space and try to give a meaning to what we see. Photography can then be used by anyone (with a camera or a smartphone) to record their own experience of space, to visualize their perceptions and engagements with the place, or to explore their aesthetic and expressive capacities.

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[1] https://albert-kahn.hauts-de-seine.fr/en/collections/presentation/a-documentation-project-for-the-world/the-archives-de-la-planete.

[2] https://explore.psl.eu/fr/ressources-et-savoirs-psl/projets-psl-explore/la-phototheque-gabriel-millet-ecole-pratique-des.

[3] Bourdieu, Pierre, ed., Un art moyen : essai sur les usages sociaux de la photographie (Paris: Les Editions de Minuit, 1965).

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aksdjf-keyboardsmash-blog · 10 days ago

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1.24.25

A pencil, a cup, dead lovers, and imitating intimacy.

As I remember it: I had brought 6 bottles of ginger beer to the party. Hosted by J.M., it was my first Unofficial. I had come alone, and though I knew most everyone there, I remained alone. We were in J.M.'s apartment, which he shared with two roommates. A typical student apartment, complete with CPM furnishings, it had been rearranged to accommodate a folding table for beer pong and the only source of light were several strands of Christmas lights. T.S. was taking candid pictures of everyone with a knock-off Polaroid.

At some point, probably 3 drinks deep, I entered J.M.'s bedroom. He was 2 years older, a senior. He had a nerdy sort of charisma that is quite difficult to come by in our physics world. Still relatively in my shell, I admired him and those in his circle, about which I orbited but never quite made solid contact. His room was small, with a full sized bed against the right hand wall, headboard side nearest to the door, blue plaid bedspread neatly made. Along the left wall was a tall bookshelf, pressed against a black desk, very similar to the one in my apartment (also CPM). Fuzzy in my memory, I scan the knick-knacks scattered around. A framed picture of a woman near some trees, a plush stuffed animal of some kind, books...a cup of pens and pencils.

...

I love the act of snooping. People covet their privacy but so much of the joy and interest I find in life comes from revealing that which we hide. The most interesting people fill their private spaces with objects rich in meaning: a sketchbook with notes from a class that must have had a theme of self reflection; letters hidden under the bed from a longtime friend; a sticky note with passwords; so many photos.

Personal affects that ought to reflect who one is. And the details of a past life I crave to understand. I find it quite easy to overshare because that's when the sharing gets interesting, messy, and meaningful. A dam breaks and suddenly there's a sense of shared freedom. It is connection, or at least I imagine it is.

...

A mechanical pencil branded with the U.S. particle accelerator school logo and website - red grip and eraser holder. A decent amount of lead. I don't at all recall what drew me to it, perhaps just in its mundanity as something J.M. wouldn't notice had gone missing. In my invasions of privacy, I rarely, if ever, took anything. Most often I would leave hints of my presence, typically a doodle or note on a scrap piece of paper; "Halfdan was here" written on the Hagia Sophia.

J.M. appeared as I continued my invasion, though he didn't seem to mind. I said I was going to take something. He pointed to the framed photo on the bookshelf and said, "That's my dead girlfriend."

...

J.M. had been with her for about a year when she drove to the railroad intersection right at the edge of campus. She stood in front of the train and did not get out of the way.

...

Several years later, I would find myself half-heartedly jealous and mostly nostalgic for a past that was not mine upon discovering a set of photos in another romp of snooping. This time, the connection was personal, hence my complicated feelings. Yet just a few years later, that connection would end with another dead girlfriend too.

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netania-vidal · 28 days ago

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themes and subject

same subject different time frames.

1 image The Virgin & Child (Theotokos) Mosaic, 867 CE, Hagia Sophia, Istanbul, Turkey

2 image follower of Robert Camp in, Virgin & Child before a Fire screen, c 1440, oil with egg on tempera on oak, Netherlands

3 image Simon Vouet, Madonna & Child, 1633, oil on canvas, France

the first image is a mosaic with a gold background that represents divine status "Thus, gold illuminates the universe with the divine light and reveals at the same time the reason common to all things, namely God."(archaeology, 2012). the figures are very flat but firmly and solid showing power and greatness. there halo is also representing light and divinity.

the second image is the virgin and child in this tempera painting it represents the Madonna and Jesus more humanely. There is more sense of depth in the figures and the surrounding background. their flesh is more detailed and has a lot of warm tones. although it is more realistic the facial expression of the Madonna is more stylized. we know that it represents the Madonna other from the title it is the halo that is placed as part of the background resembling a woven chair.

3rd image Madonna and child are represented in a very natural pose looking away from the viewer and the child giving its back to the viewer. it represents the real scenario where a mother is tired and the child is playing. the symbolic gestures of the Madonna and Jesus are still there but shown within the color of their clothes and the plain back ground emphasizing the focus of the eye towards the figure. the painting is a very realistic painting with a polished look.

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ingreibusa · 29 days ago

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Thanks for explaining about the hijab and the requirement for modesty.

Our former prime minister was very rude about the niqab, referring them to post boxes. There was an understandable backlash against his comments.

I have western values, so my instinct is to support women's empowerment and freedom of choice. But I can see how this clashes with the concept of modesty.

I'm all for finding common ground between western values and Islam.

I worked as a gardener for a spell and I love the Islamic tradition of using water in the garden to create peaceful rippling sounds and movement. I'd love to visit Grenada.

I visited an Ismaili Centre a while back on an architecture tour and it has a lovely garden on the roof with 4 quarters. It's in the middle of a busy city but in the garden, you'd never know.

Further afield, I visited a hilltop village in india called Mandu which has a rich Islamic past. You can hire a bicycle and explore with hardly any tourists because it's so hard to get to from a train station. In another fantasy, I could be your tour guide and show you around. That would be amazing, serving your every need along the way, finding a quiet spot to have a picnic, obeying your requests, tipping the workers/key holders to let us in to see hidden gems.

Actually, the concept of modesty doesn't clash with women's freedom of choice. Because even if it's obligated, it's the woman's choice to get in or not get in hijab. For example, me. I'm not wearing hijab yet.

This doesn't only exist for women, but men as well. We just cover our body to drive less attention, lower the risk of unwanted gaze of people.

A lot of muslims can represent islam very badly, so let me shortly put it like this: Islam is never about women being opressed, never about women being obedient. In marriage, obedience, loyalty and respect is a must for both parts (wife and husband)

Also that seems lovelyyy

There are many islamic architectures in different countries I didn't see yet. But I would like to suggest to see the mosques in Turkey. Hagia Sophia Mosque (it's called Ayasofya here), Eyub Sultan Mosque, Sultan Ahmet Mosque, Grand mosque, Selimiye Mosque and etc.

Hagia Sophia Mosque used to be a cathedral, then it got turned into a mosque. The paintings on the marbles are so beautiful and detailed. Since it used to be a cathedral, there are paintings of biblically accurate angels, Prophet Jesus (yes, Jesus is also a prophet in islam)

There's also an icon of Mother Mary in front of the top window

I prayed there once, the experience wasn't so different than the other mosques but the fact that this mosque used to be a cathedral and is a museum material made this a more interesting experience

#anon asks #send anons #anon ask #anons welcome #asks #send me asks #ask me stuff #send asks #ask #asks are open #benari asks #benari answers

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bosphorus-dinner-cruise-istanbul · 30 days ago

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Camlica Tower: Istanbul’s Modern Marvel

İstanbul, a city bridging two continents and a tapestry of rich history, has witnessed countless landmarks rise to prominence. Among its most recent additions is the striking Camlica Tower, a testament to modern engineering and architectural ingenuity. Located on the Asian side of Istanbul, this awe-inspiring structure not only enhances the city’s skyline but also serves as a multifaceted symbol of progress and innovation.

Overview of Camlica Tower

Completed in 2021, Camlica Tower stands at a height of 369 meters (1,210 feet), making it the tallest structure in Turkey. Situated on Camlica Hill, a prominent vantage point offering panoramic views of Istanbul, the tower is visible from both the European and Asian sides of the city. Its primary purpose is to consolidate Istanbul’s numerous broadcasting towers into a single structure, reducing visual pollution and streamlining telecommunication services.

Beyond its functional role, the tower has quickly become a significant tourist attraction, drawing visitors from across the globe. With its sleek, futuristic design and state-of-the-art facilities, Camlica Tower is a prime example of how technology and aesthetics can coexist harmoniously.

Architectural Design

The design of Camlica Tower reflects a blend of modernism and cultural symbolism. Its unique silhouette, inspired by a tulip—a flower deeply ingrained in Turkish heritage—gracefully tapers as it ascends. This design choice not only pays homage to the nation’s cultural roots but also ensures the structure’s stability against strong winds and seismic activity, a crucial consideration in earthquake-prone Istanbul.

The exterior of the tower is clad in a reflective façade that changes appearance depending on the light conditions and time of day, creating a dynamic visual experience. At night, an intricate lighting system illuminates the tower, making it a beacon visible from miles away.

Facilities and Features

Camlica Tower offers a range of facilities designed to provide an unforgettable experience for its visitors. Some of its key features include:

Observation Decks: The tower boasts two observation decks, situated at 148 and 153 meters above ground level. From these heights, visitors can enjoy breathtaking 360-degree views of Istanbul, including iconic landmarks such as the Bosphorus Strait, Hagia Sophia, and Topkapı Palace. The decks are equipped with telescopes and interactive screens that provide detailed information about the sights.

Dining Experiences: Two restaurants and a café within the tower offer exquisite dining options. Visitors can savor Turkish and international cuisine while taking in the mesmerizing views. The rotating restaurant, a standout feature, adds a unique dimension to the dining experience, allowing guests to enjoy a constantly changing panorama.

Broadcasting and Telecommunication Hub: The primary function of Camlica Tower is to house broadcasting and telecommunication equipment. It consolidates over 100 antennas previously scattered across Camlica Hill, significantly improving signal quality and reducing electromagnetic pollution in the area.

Cultural and Event Spaces: The tower includes exhibition areas and event halls that host cultural activities, art exhibitions, and corporate events. These spaces provide a platform for showcasing Turkish art and culture to an international audience.

Sustainability and Environmental Impact

One of the most commendable aspects of Camlica Tower is its commitment to sustainability. The consolidation of multiple antennas into a single structure has dramatically reduced the visual and environmental impact on Camlica Hill. Additionally, the tower’s design incorporates energy-efficient systems, including LED lighting and advanced climate control technologies, minimizing its carbon footprint.

The surrounding landscape has been carefully preserved and enhanced with green spaces, walking paths, and recreational areas, making the site more inviting for visitors and locals alike. This harmonious integration with the natural environment underscores the project’s dedication to ecological balance.

A New Symbol for Istanbul

Camlica Tower has quickly established itself as a symbol of Istanbul’s modern aspirations. Its towering presence represents Turkey’s progress in technology, architecture, and sustainable development. The tower also serves as a reminder of the city’s unique ability to embrace the future while respecting its historical and cultural heritage.

For many, Camlica Tower has become a must-visit destination, offering a contemporary counterpoint to Istanbul’s ancient landmarks. It stands as a beacon of innovation in a city known for its timeless charm.

Visiting Camlica Tower

Visiting Camlica Tower is a seamless experience, with facilities designed to accommodate both local and international tourists. The site is easily accessible by public transport and offers ample parking for those arriving by car. Tickets can be purchased online or at the entrance, with options for guided tours that provide in-depth insights into the tower’s history and features.

Visitors are encouraged to allocate sufficient time to fully explore the tower’s offerings, including its observation decks, dining areas, and cultural exhibitions. The surrounding park area also provides a tranquil setting for relaxation and photography.

Future Prospects

As Istanbul continues to grow and evolve, Camlica Tower is poised to remain a central fixture of the city’s landscape. Plans are underway to further integrate the tower into Istanbul’s tourism network, including collaborations with travel agencies and the development of additional attractions in the vicinity.

Moreover, the tower’s role as a broadcasting hub ensures its ongoing relevance in the telecommunications sector. As technology advances, Camlica Tower will likely incorporate new innovations to enhance its capabilities and services.

Conclusion

Camlica Tower is more than just a structure; it is a symbol of Istanbul’s dynamic spirit and forward-thinking vision. Combining functionality, aesthetics, and sustainability, it encapsulates the essence of a city that continually reinvents itself while honoring its past. Whether as a broadcasting hub, a tourist attraction, or a cultural landmark, Camlica Tower stands tall as a beacon of inspiration and progress in the heart of Istanbul.

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john-william-12 · 1 month ago

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An Ultimate Guide on Visa to Turkey

Turkey is a land of stunning landscapes, rich history and vibrant culture that blend modern and ancient. This country is located in Southwestern Asia and Southeastern Europe, and served as the crossroads of many civilizations such as Romans, Greeks, Ottomans and Byzantines. Turkey's coastlines along with Mediterranean and Aegean Seas, mountains and historical sites such as the ancient city of Troy, the stunning Hagia Sophia, etc, makes it a famous affordable tourist destination. Before starting on this journey, you need to understand Turkey’s visa policies, extension, documents and application process to ensure a smooth entry into the country.

1. Do you need a visa to go to Turkey?

The main question in our mind: Do we need a visa for Turkey? The answer is Yes, you need an e visa to visit Turkey. Now, Turkey has simplified the process by introducing the Turkey Visa Online system that makes the process easier and quicker for eligible country citizens. This system allows travelers to apply for a Turkey e visa online from your comfort place and eliminate the need to visit any office. Turkey e visa is valid for tourism or trade purposes only, you can enter the turkey at any time within the validity of your e visa but make sure duration of stay and validity period of e visa are different.

2. Which Countries are eligible for Turkey e visa?

Before applying for a visa, you must know which countries are eligible for e visa Turkey. Here is the list of some countries who need a valid e-visa to enter Turkey.

Algeria

Bermuda

Cyprus

Taiwan

Vanuatu

Pakistan

Antigua and Barbuda

Bhutan

Dominican Republic

Suriname

Vietnam

Nepal

Armenia

Burkina Faso

Egypt

Sri Lanka

South Africa

Mauritania

Australia

Cambodia

Equatorial Guinea

Senegal

Solomon Islands

Bahamas

Cameroon

Fiji

Saint Vincent

Philippines

Bangladesh

Cape Verde

Grenada

Mauritius

Mexico

Barbados

China

India

Jamaica

Maldives

3. What are the requirements for e-visa Turkey?

If you are eligible to visit Turkey then understand the Turkey visa requirements that helps to apply for a successful e-visa application. You should need the following documents while applying Turkey e visa:

You must hold a valid passport with the validity of six months.

An active email to receive the e visa once approved.

Mastercard, Credit or Debit Card, VISA card to pay the processing fee.

You have to provide the details of Confirm tickets, Proof of funds, Purpose of travel and Accommodation Information.

4. How to get an e visa for Turkey?

Applying for an e-visa to Turkey is a very simple and straightforward process. It is important to apply for your e visa in advance of your trip to Turkey. Follow the below mentioned steps to fill the application.

Step 1: Fill out the Turkey visa application : You will need to fill the application form with your personal information such as name, email, passport number, travel details, contact number, etc. Double check your information before further proceeding.

Step 2: Pay the eVisa fee : Now, You have to pay the eVisa fee which depends on your nationality. You can use Mastercard, VISA, Credit or Debit card to pay the fee.

Step 3: Submit your application : After paying the processing fee, which is not refundable, submit your application. Your e-visa application will be reviewed.

Step 4: Receive Your e-Visa : Once your e-visa is approved, your visa is sent to your email. Print your e visa and travel to Turkey.

5. Visa Policy and Extension Process

Visa policies are different from the purpose of visit. Foreign travelers who visit Turkey, must fulfill the policies to enter and reside in Turkey. It is designed to maintain security and immigration control in Turkey. eVisa validity for tourism or business purposes is valid up to 90 days, If you want to stay more than 90 days then you have to apply another visa or extend your e visa.

Generally, e visa extension is not always possible but in some cases such as medical, it can be extended. To extend your e visa, you have to visit the Turkey office before expiring the current visa.

6. Can you obtain your e visa on arrival?

VOA or Visa on Arrival is a category of visa issued upon arrival in the country. It is issued for short stay for tourism or business purposes but only a few countries' citizens are eligible for VOA. The period of stay allows for 30 or 90 days within 180 days, depending on the traveler's nationality. VOA entry is the same as e visa entry which is single or multiple. Make sure to obtain your e visa in advance, which is a very fast and convenient process, to avoid wait times.

7. Conclusion

Turkey is a mixture of modern attractions and ancient traditions which makes it an incredible tourist destination. Understanding E visa and its process is the key to a seamless journey to Turkey. E visa allows you to enter Turkey and you can visit any place such as the bustling streets of Istanbul, experiencing the landscapes of Cappadocia, or soaking in the sun along the Aegean coast. So, excited for a trip to Turkey? Pack your bag and apply for an e visa in advance for a beautiful journey to Turkey.

#turkeyevisa #turkeyvisa #turkeyevisaapplication #onlinevisaforturkey #turkeyvisarequirements #turkeyvisaapplicationprocess #turkeyvisaapprovaltime #turkeyevisafees #visaforturkey #turkeytouristvisa #turkeyevisa2025 #evisaturkeyapplication #visatoturkey

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byzantine-suggestions · 1 year ago

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Theodora: A Summary

So, a few months ago, I decided to torment myself by reading Theodora by Samuel Edwards, a deeply questionable "vintage" novel from 1969 that, in many ways, makes Robert Graves's Count Belisarius look tame. I did a whole summary of it that I never posted because it got too long and unwieldy, but I got bored this past weekend, so I went back and edited it down to bullet points and individual sub-parts for more readability. So, if you're interested in Highly Questionable Byzantine Shennanigans, here goes:

The book starts off normally enough, detailing the gossip circulating around Constantinople in the weeks before Justinian and Theodora’s engagement. It quickly introduces several important characters by basically just listing their names and their thoughts about Theodora; predictably, the patricians all dislike her, the other courtesans are all jealous of her, the Monophysite clergy love her because she’s championing their cause, and Belisarius has no opinion whatsoever about her because he’s too loyal to Justinian to give a shit about his romantic entanglements. And *then* the book introduces Narses, and it immediately gets weird. Basically, Narses is sexually attracted to Justinian, to the point of having frequent erotic fantasies about him, and he’s therefore disappointed upon hearing of Justinian’s courtship with Theodora. This is a one-off sentence or two in the intro, but don’t worry, Narses’s crush on Justinian (and general sexual deviancy) will become a major recurring theme. So we’re already off to a great start.

The reader is then introduced to Justinian, who is quickly established as a.) mysterious, b.) devoted to his work, and c.) completely fucking insane. We are told that he only sleeps 3 hours a night and frequently goes 72 hours without rest, and is still somehow completely functional, so “the sleepless one” is a literal moniker. He’s also, inexplicably, a talented swordsman (this never comes up again) who’s so strong that he can walk around without guards because he can defend himself using his sheer physical prowess, and he recently graduated college, having completed fourteen years of coursework in five years. Basically, he’s amazing at everything to an absolutely ludicrous degree. The reader meets him in a flashback to the night he first met Theodora, so he’s presently very lonely, wandering Constantinople and pondering the emptiness of his heart.

It isn’t long before Justinian, still lonely and sexually dissatisfied, goes to the Hagia Sophia to seek life advice from God. Of course, Theodora is in the Hagia Sophia, and he’s instantaneously attracted to her, because of course he is. We are told that Theodora has long black hair and purple eyes like a teenage girl’s OC, her waist is so tiny that Justinian can encircle it in his hands, and she looks much younger than she is (it takes Justinian a while to realize that she’s in her twenties and not, in fact, sixteen. Her apparent youth, of course, makes her more attractive to him.) When Justinian first notices her, she’s reading a book, and he finds this astonishing. So astonishing, in fact, that he basically just walks up to her and demands that she read some lines aloud to him in order to prove that she’s actually reading and not just, I don’t know, quietly staring at paper. So she reads him a paragraph or so, but he’s still not satisfied, so he makes her translate some more lines for him, and it’s just kind of exhausting. Justinian really comes across as, like, an angry nerd who walks up to a girl wearing a Star Wars T-shirt and goes “oh, you like Star Wars? Prove it by answering my trivia!” But Theodora indulges him, then they get into an argument about the divine nature of Christ, and she’s so charmed by his shitty attitude that she decides to follow him home.

We are then introduced to Justinian’s house, which is a decrepit hovel that desperately needs a woman to make it into A Home. (Obviously, Theodora is that woman.) She makes Justinian dinner because he’s too inept to feed himself, Justinian infodumps to her about bread, and then he gets called away to some meeting. When he returns from his meeting, he discovers that Theodora has miraculously transformed his terrible house into a habitable environment, then fallen asleep on his couch. So he decides to let her stay, and she basically moves in with him (having known him for a sum total of a few hours). It has the same energy as, like, someone bringing home a stray alley cat, then adopting the cat because it turns out to be really good at interior decorating.

The next morning, Theodora has someone make Justinian his favorite stew, and he’s like “HOW DID YOU KNOW THIS IS MY FAVORITE?” and she’s like “idk, it was a lucky guess :)” But then the narration reveals that she has been obsessively targeting Justinian for weeks, noting all of his movements in the hopes of attracting him and ending up as his mistress, and, as part of her campaign to worm her way into his heart, she’s been following workmen from the same region as him and observing what they eat so she could use that knowledge to make Justinian meals that remind him of his childhood. Which is so incredibly Machiavellian that it kind of circles back around to being amazing. I mean, that’s delusional stalker behavior, but I respect it!

It turns out that Theodora also has access to some important intel about the general Vitalian, which she got by, idk, being a courtesan and knowing things, and right after she admits this to Justinian, Narses and Belisarius conveniently show up with a problem regarding Vitalian. Theodora is able to fix the problem (to Narses’s envy) and Justinian is so happy about this that he gives her some expensive jewelry, which makes her cry. The entire time she’s crying, he just hovers over her and does nothing, like a creep. And then they have sex, because there’s nothing sexier than crying.

They start living as a couple, obviously, but Theodora quickly becomes kind of a homebody, refusing to leave the house or go outside for any reason. This is obviously weird and abnormal, and Justinian is unnerved by it, so he asks her what’s up. Lo and behold, the issue is the Prostitute Dress Code.

What is the Prostitute Dress Code, you ask? Well, it’s a bizarre, inexplicable, completely ahistorical set of rules that governs what color socks prostitutes can wear. Prostitutes of a certain rank have to wear a ridiculous yellow outfit, and prostitutes of another rank have to wear a ridiculous red outfit, and you can be upgraded from a yellow prostitute to a red prostitute, and it’s all just really stupid. And that’s why Theodora doesn’t want to go outside. Because she’d have to wear red socks. I don’t know.

(As an aside, Theodora has been wearing red and purple this entire time. She was introduced in chapter one wearing purple, even though she was a penniless prostitute at the time. Which kind of takes the bite out of “purple is the noblest shroud,” right? If everyone can wear purple whenever they want, and purple has no special significance to her beyond being pretty and fun, her whole speech becomes kind of meaningless.)

Anyway, Theodora doesn’t want to wear the Prostitute Socks, but she doesn’t want to *not* wear the Prostitute Socks because that would mean breaking the law, and this leads to an argument between her and Justinian, which culminates in him proposing to her. As one does.

That concludes the courtship and falling-in-love montage! If you're thinking "this relationship sounds shaky and Justinian sounds very unpleasant," hold on to your stolas; it gets worse in part two.

#samuel edwards theodora #queue

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