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Art Changing and Being Adopted by Later Cultural Traditions:

The art within Hagia Sophia underwent significant transformations and adaptations:

• Byzantine Christian Art: The original art program was rich in Christian iconography, including mosaics depicting Christ, the Virgin Mary, saints, and biblical scenes. The architectural design itself, with its soaring dome and use of light, was integral to the spiritual experience.
• Islamic Adaptations: After the Ottoman conquest in 1453, the building was converted into a mosque. This led to several key changes:
  • Addition of Islamic Architectural Elements: Minarets were added to the exterior, and a mihrab (niche indicating the direction of Mecca), a minbar (pulpit), and large calligraphic roundels with the names of Allah, Muhammad, and the early caliphs were installed in the interior.
  • Covering of Christian Imagery: To adhere to Islamic principles, many of the figural Christian mosaics and frescoes were covered with plaster or concealed behind curtains during prayer times. However, they were not entirely destroyed, which speaks to a degree of preservation, albeit sometimes out of necessity or gradual adaptation.
  • Integration of Islamic Decorative Arts: Ottoman decorative arts, such as intricate tilework and calligraphy, were added, further layering the visual experience of the space.

Examples:

• The apse mosaic of the Virgin and Child remained a central feature even after the conversion to a mosque. While it might have been covered at times, its presence continued to resonate with the history of the building.
• The Byzantine mosaics in the galleries, such as the Deësis mosaic, were later uncovered during the period when Hagia Sophia served as a museum, revealing the artistic heritage that had been overlaid by subsequent traditions.
• The placement of the mihrab in the direction of Mecca necessitated a slight shift from the original Christian orientation towards the east, demonstrating a practical adaptation of the existing structure to new religious requirements.
• The massive calligraphic roundels are a prominent example of Islamic art directly integrated into the Byzantine architectural framework, creating a visual dialogue between the two traditions.

Meaning for Our Historical Understanding and Reading of the Space:

This transformative process has profound implications for our historical understanding and reading of Hagia Sophia:

• Complexity of Identity: It reveals that historical spaces are rarely static. Hagia Sophia embodies a complex and evolving identity, shaped by the different cultures and beliefs that have occupied and utilized it. Our reading of the space must acknowledge this multi-layered history rather than focusing solely on one particular era.
• Syncretism and Adaptation: The changes demonstrate processes of syncretism and adaptation. Later cultures did not simply erase the past but rather integrated and reinterpreted existing elements within their own frameworks. This highlights the dynamic interplay between continuity and change in cultural history.
• Power and Appropriation: The transformations also reflect shifts in power and the appropriation of sacred spaces. The conversion of a major cathedral into a mosque symbolized the Ottoman conquest and the establishment of a new political and religious order. Understanding these transitions is crucial for grasping the historical power dynamics at play.
• Preservation and Loss: The act of covering and uncovering artwork over centuries raises questions about preservation, intentional concealment, and the rediscovery of lost heritage. Our reading of the space is informed by what has been preserved, what has been lost, and what has been intentionally revealed or hidden at different times.
• Contested Heritage: The ongoing debates surrounding Hagia Sophia’s status underscore its continued significance as a site of contested heritage. Different groups hold different interpretations of its history and its rightful place in the present. A nuanced historical understanding requires acknowledging these diverse perspectives.

In conclusion, watching the video has shifted my understanding of Hagia Sophia from a structure with a sequential history to a dynamic and layered contextual space. The art and architecture bear witness to centuries of cultural exchange, adaptation, and the assertion of power. This transformative process necessitates a more complex and inclusive reading of the space, one that acknowledges its multi-religious, multi-political, and multi-purpose past and present, and the ongoing dialogue between its various historical strata.