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Peristremmatos Valley, Temple dervish Akin, paintings 1.

Identity of the monument The rock-cut temple of the 11th century, now called the dervish Akin (Akn), located in the valley of Peristremmatos (note Ihlara Vadisi) in Cappadocia, near the village of Selime. The iconographic program of the church is not complete. Indicates, however, that the oratory was beginning funerary purposes and may have been dedicated to St. Demetrius. Also delivers the form of takers in two plays, and directs the faithful to pay special honor to the Virgin. 2. The decoration The decoration of the Byzantine monument dervish Akin, which dates to the 11th century, the period of the founding of the church, is limited to individual paintings in the nave and narthika.1 2.1. The decoration of the nave In the center of the north wall of the nave stands the representation of the Virgin Mary. At the eastern piers depicted the Archangels Michael and Gabriel and his superior, the western piers, two military saints, George and (possibly) Theodore. The southern wall of the temple, right of entrance door, preserved dedicatory performance with Saint Demetrios and the founder of the church. The saint is depicted standing, frontal, in military uniform, while the woman is assigned a smaller scale than that, similarly upright and frontal, with hands raised in supplication, ie represented by a common and standard type foun show. Distinguished her clothes, and head covering, known in later years as the region baslk.2 2.2. The decor in the narthex The show saved the narthex to the left of the entrance door to the nave. It depicts the Virgin and Child, standing, resting her hand on the head of a woman, also standing and praying, which is depicted on a smaller scale, probably as part of a burial scene. The clothing and headgear of women are the same as the format of the foun parastasis.3 Nicole Thierry, which published the monument, and considers that this show depicts the Founder, as the two female gures are represented by the same clothing and the same type. The existence of the burial scene in the narthex is expected, since the space was often funerary use. In this cast, moreover, preserved burials and inscriptions texts on eternal life. 3. Review The architectural homogeneity of the church, and the fact that the paintings were made by the same artist, leads to the conclusion that the funerary function of the splint was anticipated from the beginning. The Founder cared for eternal residence decorating splint accordingly, did not fail to mention, however, and sponsored by foun show. The iconographic detail of Mary resting her hand on the head of woman is unique, at least in the region of Cappadocia. The intention of the founders was to invoke the special favor of the Virgin to her, after death and the Second Coming. The uniqueness of the show gave, probably prompted the

development distinct honor of Our Lady in the church, which is evidenced by later carvings preserved in space. 1. See Thierry, N., "Le portrait funraire byzantin. Nouvelles donnes ", in joy. Tribute to Manolis Hatzidakis (Athens 1992), p 584, Figure 1: Top view of the temple of dervish Akin (according tken). Marked with an asterisk posts dedicatory and funerary scene. 2. See Thierry, N., "Le portrait funraire byzantin. Nouvelles donnes ", in joy. Tribute to Manolis Hatzidakis (Athens 1992), pl. 328: Southeast corner of the church, St. Demetrios with the sponsor. 3. See Thierry, N., "Le portrait funraire byzantin. Nouvelles donnes ", in joy. Tribute to Manolis Hatzidakis (Athens 1992), pl. 330: Burial representation of sponsor beside the Virgin and Child.