The ruins of Bana cathedral in 2007
|Location||Şenkaya, Erzurum Province, Turkey|
|Affiliation||Armenian Apostolic Church|
|Architect(s)||Kvirik from Bana (during the rule of Adarnase II of Tao-Klarjeti)|
|Architectural type||Monastery, Church|
|Completed||c. 653 - 658, rebuilt c. 881 - 923|
Bana or Banak(Armenian: Բանակ, bɑnɑk; Georgian: ბანა, bɑnɑ) is a ruined early medieval Orthodox cathedral in the Erzurum Province, northeastern Turkey, in what had formerly been a historical merchland known to Armenians as Tayk and to Georgians as Tao.
In 302 BC, this territory become the part of the ancient Kingdom of Iberia under king Pharnavaz I. Shortly afterwards it formed part of the Kingdom of Armenia and in the 9th century AD returned to Georgia until the 17th century when the Ottomans annexed this territory. in 1825 Russian empire withdrew Ottomans and this territory become the part of Georgia within Russian empire. in 1921 Turkey invaded and occupied this territory and after that Tao-Klarjeti and Shavsheti are part of Turkey.
This region was invaded and completely destroyed by the Arabs in the 7th century AD.
Bana is a large tetraconch design, surrounded by a near-rotunda polygonal ambulatory and marked with a cylindrical drum. After the construction of this monastery by the Georgian king Adarnase II of Iberia in the 7th century the church was reconstructed by another Georgian ruler Adarnase IV of Iberia at some point between 881 and 923, and emerged in written records in the 11th-century Georgian chronicles. Henceforth, it was used as a royal cathedral by the Bagrationi dynasty until the Ottoman conquest of the area in the 16th century. The former cathedral was converted into a fortress by the Ottoman army during the Crimean War in the 1870th monastery was almost completely ruined during the Russo-Turkish war of 1877-78.
Location and etymology
The Bana cathedral is located on the north bank of the Penek (Irlağaç) river near the village of Penek, in the Şenkaya district of Erzurum Province. "Penek" is a Turkified typonym deriving from the original name of the area: "Banak". Banak means "army" in Armenian and possibly takes its origin from the site in the Berdats Por district of Tayk – then a hereditary Mamikonid fief – where the royal army (Արքունի բանակ, Ark'uni Banak) was headquartered during the rule of Arshakuni in the Kingdom of Armenia in the 1st century. The name entered Georgian usage in the form of Bana because of Georgian phonology makes the "k" sound silent.
The dating of the Bana cathedral has been a subject of scholarly debate. The Bana cathedral is first mentioned in the 11th-century chronicle of Sumbat, who reports that the Georgian prince Adarnase IV (r. 881-923) ordered the building of the church of Bana "by the hand" of Kwirike, who subsequently became the first bishop of Bana. While the scholars such as Ekvtime Taqaishvili, Shalva Amiranashvili, and Stepan Mnatsakanyan tend to interpret the passage literally, Chubinashvili, Vakhtang Beridze and Tiran Marutyan identify Adarnase as a renovator, not a builder of the church. This view, now shared by most art scholars, dates the Bana church – clearly modeled on the contemporaneous Zvartnots cathedral near Yerevan – to the mid-7th century. It was when the Chalcedonian-Armenian catholicos Nerses III, who presided over several important religious projects Zvartnots included, resided in exile in Tayk c. 653-58.
Devastated during the 8th century by the Byzantine–Arab war, the region of Tayk/Tao was gradually resettled by its new masters, the Georgian Bagratids, and under their patronage a monastic revival took place. With the settlements gradually expanding from the predominantly Georgian-populated north to the predominantly Armenian populated south and south-west, the Georgian princes reconstructed a number of monasteries abandoned by Armenians and built new foundations.
From the time of Adarnase IV's reconstruction, the cathedral of Bana was one of the principal royal churches of the Georgian Bagrationi dynasty. It was used for the coronation of Bagrat IV in 1027 and his marriage to Helena, a niece of the Byzantine emperor Romanos III Argyros in 1032. In the 15th century, King Vakhtang IV of Georgia (r. 1442-1446) and his consort khatun were buried at Bana. It was also the seat of the Georgian Orthodox bishop of Bana, whose diocese also included the neighboring areas of Taos-Kari, Panaskerti, and Oltisi. With the Ottoman conquest of the area in the 16th century, Bana was abandoned by Christians. During the Crimean War (1853–1865), the Ottoman military converted the church into a fortress, adding the crude bulwark still visible on the south side. During the Russo-Turkish war of 1877-78, it was shelled by the Russian artillery, blasting the dome off and inflicting severe damage on the edifice. Later the Russians carted off much of masonry to build a late 19th-century church in Oltu.
The church was first described and sketched by the German botanist Karl Koch in 1843. He declared it the most remarkable church in the East after the Hagia Sophia. Koch was followed by the Russian ethnographer Yevgeny Veidenbaum in 1879 and the Georgian historian Dimitri Bakradze in 1881. The latter two found the church already without a dome, but reported about still surviving frescos and a Georgian inscription in the Asomtavruli script. From 1902 to 1907, the ruins of Bana were scrupulously studied by an expedition led by the Georgian archaeologist Ekvtime Taqaishvili. Inaccessible to Soviet nationals, the monument was a subject of study of some Western scholars during the Cold War era.
Bana is an interpretation of the tetraconch-in-ambulatory (aisled tetraconch) design that was probably influenced by the "Golden Octagon" at Antioch. Bana was a large tetraconch with three-tiered choirs and arcades in the lower parts of each apse. The tetraconch was contained in a continuous polygonal ambulatory, almost a rotunda, with a diameter of 37.45m and with façades adorned with colonnades. The interior was essentially a large pyramid formed by the exterior polygon, tetraconch and the cupola resting upon a cylindrical drum. The pylons, located between the arms of the tetraconch, accommodated galleries on three levels.
The lower portions of each of the four apses, rather than having an unbroken wall, opened through arches into the surrounding ambulatory. The building was more than 30 m tall. The architectural details are notable for high craftsmanship and artistry. Round pillars, located within the span of the apses and galleries, were provided with capitals adorned with volutes. The façade had a blind arcade along its perimeter, the arches adorned with floral ornaments. What remains of the church is part of the lower level floor half-submerged in its own ruins, including the east apse with one column of its colonnade with a carved capital.
- (Armenian) Marutyan, Tiran (2003). Հայ Դասական Ճարտարապետության Ակունքներում (From the Sources of Classical Armenian Architecture). Yerevan: Mughni Publishing. p. 185. ISBN 99941-33-03-9.
- Rapp, Stephen H. (2003), Studies in Medieval Georgian Historiography: Early Texts And Eurasian Contexts, p. 390. Peeters Publishers, ISBN 90-429-1318-5
- (Georgian) Abramishvili, G., Zakaraia, P., & Tsitsishvili, I (2000), ქართული ხუროთმოძღვრების ისტორია (History of Georgian Architecture), pp. 89-90. Tbilisi State University Press, ISBN 99928-56-52-1
- (Russian) Бана (Bana), in: «Православная энциклопедия», Т. 4, С. 298 (Orthodox Encyclopedia, Vol. 4, p. 298) [Online version]
- (Armenian) Marutyan, Tiran. «Բանակ» (Banak). Soviet Armenian Encyclopedia. vol. ii. Yerevan, Armenian SSR: Armenian Academy of Sciences, 1976, p. 269.
- Dorfmann-Lazarev, Igor, "The Apostolic Foundation Stone: the conception of Orthodoxy in the controversy between Photius of Constantinople and Isaac Surnamed Mŕut", p. 180; in: Louth, Andrew & Casiday, Augustine (ed., 2006), Byzantine Orthodoxies: Papers from the Thirty-Sixth Spring Symposium of Byzantine Studies, University of Durham, 23–25 March 2002. Ashgate Publishing, Ltd., ISBN 0-7546-5496-6
- Antony Eastmond (1998), Royal Imagery in Medieval Georgia. University Park, Pa: Penn State Press, p. 233. ISBN 0-271-01628-0
- Greenfield, Douglas M. (2000), Depictions: Slavic Studies in the Narrative and Visual Arts in Honor of William E. Harkins, p. 126, n. 3. Ardis, ISBN 0-87501-126-8
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