The subject of the study was the military weapons in the depictions and the pseudo-kufic in clothes. The pseudo-kufic, which were seen in Byzantine and Western art in the 9th century, and which were applied in Christian religious structures as of the 10th century, were evaluated by scientists as a purely symbolic form of semantic and visual expression that was borrowed from a foreign language that could not be read. Their special meanings and legibility were mostly not considered, and were considered purely as ornaments or decorative elements. The dual nature of pseudo-kufic, in which Arabic names, verses, good intentions, and wishes were conveyed, allowed them to spread in a wide range and be evaluated as a transitional decoration at the crossroads of various fields. It was reported previously that the practices explained with various expressions such as trade, conquest, occupation, captives, and interaction had an essentially apotropaic meaning, and those that could not be read were ornaments that had decorative designs. It was determined that pseudo-kufic in depictions of military weapons and clothing had a special meaning, and therefore, they were frequently applied in Byzantine painting, illustrated manuscripts, and small handicrafts. The Arabic independent letters in the depictions of military clothes and weapons, the texts in the form of the abbreviation of the verse Al-Mulk or Al-Mulk Lillah had a U-form or mirror form structure. The application of the verse Al-Mulk or Al-Mulk Lillah on military weapons and clothes depictions in practice shows that the expression of power was at the forefront rather than the meaning of property in buildings and other works. This symbolizes that pseudo-kufic had a symbolic meaning rather than ornamentation in military areas, and that they had very special and protective meanings such as reclaiming the areas where the works were located from the Arabs. Aside from the aesthetic and symbolic characteristics of pseudo-kufic, theoretical questions and problems were also evaluated, and it was aimed to determine the application purpose of the interaction between Christian-Islam in military depictions.

With the emergence and spread of Christianity, many basilicas were built in Anatolia. The early period basilicas were generally designed in the same form by the masters of the period. There are no pastophorium cells in these basilicas. They usually appear as structures with a simple rectangular narthex. Our main problem is to evaluate these basilicas from a mathematical point of view. At the beginning of the questions to be asked about these basilicas, did every master apply the mathematical operation exactly? Did the masters build these structures by continuing the traditional method or did they do it with a good knowledge of mathematics? What kind of differences do basilicas built from region to region? This study, which we have discussed, asks the question of the effectiveness of traditional methods as well as mathematical methods when building basilicas. The question of whether architects adhere to mathematical methods and how important traditional methods can be for them is emphasized. Moreover, our study deals with how the early period basilicas are proportionally related. At this point, the churches were determined and the results were obtained.

The subject of the research is the artophorion exhibited in the Nasreddin Hodja Archeology and Ethnography Museum, registered at Selçuk Neighborhood, Ulucami Street No. 20 in Akşehir District of Konya. The bread and wine obtained from the eucharist, which is held on the last Thursday before Easter, are preserved in the Artophorions standing on the altar, one of the most important liturgical elements in the church. In this context, artophorions have a special importance. It was determined that the artophorion, whose architectural and general features were examined during the surveys carried out in 2019, has not been documented in any scientific study before. Within the scope of the study, photographs of the artophorion were taken, drawings were prepared and detailed descriptions were made. Artophorion; analyzed within the scope of material-technical, ornamentation, style and iconography features, and then evaluated comparatively with similar contemporary examples in Anatolia and outside Anatolia, especially in Konya. At the end of the study, a restoration proposal was presented by addressing the problems of preservation and exhibition of the artifact, which is exhibited in a glass panel in Akşehir Nasreddin Hodja Archeology and Ethnography Museum.

This article has been checked for plagiarism. BİZANS SANATINDA RHİPİDİON (FLABELLUM) VE GEÇ BİZANS DÖNEMİ (13.-15. YÜZYIL) DUVAR RESİMLERİNDE GÖRÜLEN ÖRNEKLER RHIPIDION (FLABELLUM) IN BYZANTINE ART AND EXAMPLES SEEN ON LATE BYZANTINE (13th-15th CENTURIES) WALL PAINTINGS РИПИДА (ПОКЛОННИК) В ВИЗАНТИЙСКОМ ИСКУССТВЕ И ПРИМЕРЫ ИЗОБРАЖЕНИЙ В ПОЗДНЕВИЗАНТИЙСКОЙ (13-15 ВВ.) НАСТЕННОЙ ЖИВОПИСИDurmuş GÜR  Cahit KARAKÖK  ÖZ Araştırmanın konusunu, Hıristiyan liturjisinde büyük öneme sahip olan rhipidionların (=rhipidia/liturjik yelpaze), geç Bizans dönemi (13.-15. yüzyıl) duvar resimlerinde görülen örnekleri oluşturmaktadır. Rhipidion hakkında ilk yazılı bilgiler, Aziz Clementine'nin metinlerinde (4. yüzyıl sonu) yer almaktadır. 4. yüzyıldan 5. yüzyıla kadar Suriye'deki eski kilise kararnamelerinden derlenen Apostolik Anayasalar'da, rhipidionların liturjideki önemi hakkında bilgilere yer verilmiştir. 500'lerde bir liturji ayini sırasında, sunağın iki yanında sembolik altı kanatlı temsili kıyafetler giyen diyakonların ellerinde rhipidionların bulunduğu, Pseudo Dionysos'un Ecclesiastica Hierarchica eserinde anlatılmaktadır. 6. yüzyılın başına tarihlendirilen bir diptikonda da hakkında bilgiler yer alan rhipidionların ilk defa kumaş, deri, ahşap, tavus kuşu tüyü, parşömen ve keten gibi çeşitli malzemelerden yapıldığı bilinmektedir. İlk kullanıldığında liturjik eşyalardan (artos, kalis, haç, kutsal kitap) böcek ve tozları uzaklaştırmaya yarayan rhipidionlar sonrasında liturjinin parçası haline gelmiştir. Daha sağlam olması için madeni örneklerden yapılan rhipidionlar, geç Bizans dönemine kadar liturjinin parçası olarak kullanılmış, günümüzde de kiliselerde kullanılmaya devam etmektedir. Liturjide bir elinde rhipidion diğer elinde ise buhurdan tutan din adamları dışında ellerinde rhipidion taşıyan melek-diyakonlar, ayinde ön sıralarda yer almaktadır. Tek başına yer alabildiği gibi birden fazla rhipidionun da ayinde bulunabileceği tespit edilen örneklerle kanıtlanmıştır. Din adamları rhipidionları, uzun metal ya da ahşap saplar yardımıyla ayine katılanların görebilmesi amacıyla yukarıda tutmaktadır. Bir yüzünde sembolik figürlerin yer alabildiği gibi iki yüzünde de betimlenen sembolik tasvirler (haç, kherub, seraph) ile yazıtlar, rhipidionların üslup ve ikonografik

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