The naos preserves a few mosaics. The vaults and
upper walls were probably decorated with the major scenes from
the lives of Christ and the Virgin, the so-called Dodekaorton
or Feast Cycle, as was standard in a Byzantine church, along
with a bust of Christ in the dome and the Virgin enthroned in
the apse.
To the left and right of the sanctuary are framed mosaic icons
of Christ and the Virgin, who are shown in pendant images throughout
the building. Christ's inscription is only partially preserved
but originally read as "Dwelling-place (chora) of the Living" [186]. The
Virgin is inscribed "Dwelling-place (chora) of the Uncontainable" [187]. Both
play on the name of the monastery, Chora, giving it a mystical
meaning as appellations of the Virgin and Christ.
The only remaining part of this decorative program is the Koimesis,
or Dormition of the Virgin, above the western entrance [185]. Following
a common Byzantine iconography, the Virgin lies on a funeral bier
and is surrounded by the Apostles and other mourners. Behind her
is Christ, who has descended in a blaze of glory to carry her soul—represented
as a swaddled infant—up to heaven. Christ is garbed in gilded
drapery, surrounded by a mandorla filled with elegant grisaille
angels.
This discussion of the Kariye Camii iconography is adapted from
Robert G. Ousterhout, The Architecture of the Kariye Camii in Istanbul,
Washington, D.C.: Dumbarton Oaks Research Library and Collection,
1987. We would like to thank Professor
Ousterhout for generously allowing us to adapt his text for this Web site.
