Kariye Mosque (Chora Church): A Byzantine Masterpiece Written in Mosaics

Nestled within Istanbul's historic fabric, the Kariye Mosque (formerly the Chora Church) shines like a jewel, representing one of the finest examples of Byzantine art and architecture. Often referred to as the most interesting Byzantine church in Istanbul after Hagia Sophia, Chora is special not only for its elegant design, but also for its magnificent collection of mosaics and frescoes. The word 'Khora' (or 'Chora') means 'rural area' in Greek. The church was given this name because it was located outside the walls of Constantinople in a rural area when it was first built. Even after the Theodosian Walls were built and the area became part of the city, the name 'Chora' continued to exist in a symbolic sense. The church's mosaic inscriptions refer to this name, calling Jesus the 'Land of the Living' and Mary the 'Place of the Uncontainable'.

Aerial view of the Chora Church in Istanbul

Exterior view of the historic Chora Church

Architectural section drawings of the Chora Church

View of the inner nave of Chora Church

Mosaic of the Virgin and Child (Theotokos)

Fresco of Theophanes

A hand-colored historical photograph of the Chora Church

History and Architectural Development

The history of Kariye Mosque can be divided into several main periods, and its structural development can be summarised as follows:

Foundation (11th century): The first iteration of the current building was constructed as a monastery church between 1077 and 1081 by Maria Doukaina, the mother-in-law of Emperor Alexios I Komnenos. It was probably a small, four-columned, cruciform (quincunx) church, which was a popular design at the time.

First Renovation (early 12th century): However, problems soon arose with the structure, particularly the collapse of the apse at the eastern end due to foundation slippage. The church was rebuilt at this time: an enlarged central apse and a larger dome were constructed, and a narrow side chapel (an early precursor of the present paraklesion) was added to the south side. This extensive restoration and renovation was carried out around the 1120s by Alexios' son, Isaac Komnenos.

The Metokhites period (early 14th century): 1204–1261 After surviving the Latin invasion, the church acquired its current appearance between 1315 and 1321. Theodoros Metokhites, one of Emperor Andronikos II's viziers, carried out an extensive renovation programme that virtually recreated the structure. During this period, the inner narthex was rebuilt and a new outer narthex and large side chapel (parekleision) were added to the south side. A passageway and gallery were also constructed along the outer wall on the north side. Most importantly, it was during this period that the church's marble cladding, mosaics and frescoes, which inspire admiration today, were created. We can also see Metokhites' own mosaic inside (see below for details).

Ottoman conversion (16th century): The structure remained a church for a long time after the conquest and was converted into a mosque in the early 1500s by Atik Ali Pasha during the reign of Bayezid II. During the conversion, the figurative mosaics and frescoes were not completely removed, but rather covered with plaster and paint. This meant that the unique Byzantine paintings were not completely destroyed and survived to the present day, remaining hidden for centuries.

Modern restoration: In the mid-20th century, mosaics and frescoes were uncovered and cleaned as part of a project to turn it into a city museum, under the leadership of American experts. Kariye officially became a museum in 1945 and remained open to visitors for many years as the Kariye Museum, showcasing its restored mosaics and frescoes.

Kariye Mosaics

The mosaics of the Kariye Mosque are world-renowned and represent the pinnacle of late Byzantine art. Dating from around 1315–1320, they are contemporaneous with Giotto's works in Italy. Although they differ in detail, they share a similar spirit of vitality and realism. Breaking away from the rigid style of traditional Byzantine iconography, these mosaics convey a sense of movement and facial expression in the figures, and even a sense of depth, almost heralding the Renaissance. The mosaics are examined in six main thematic groups according to their subjects and location. The mosaic programme at Kariye presents scenes from the Bible and apocryphal sources, arranged in cycles depicting the lives of Jesus and Mary. The main mosaic groups are summarised below:

Narthex Mosaics: A comprehensive series of biblical scenes can be found in the church's two narthexes (the inner and outer narthexes). In the inner narthex, the life cycle of the Virgin Mary is depicted in two small domes, including scenes of her birth, childhood, presentation in the temple, and other apocryphal narratives. The genealogy of Jesus Christ is also depicted. Additionally, panels depicting the miracles and sermons of Jesus adorn the vault and lunettes of the inner narthex. The outer narthex features scenes related to the birth and childhood of Jesus, such as the Annunciation to Mary, the Nativity and the Presentation in Jerusalem. At the beginning of the programme, monumental mosaics commemorate the consecration of the church. Above the entrance is a mosaic of Christ Pantocrator (the inscription above refers to the church's name, Chora, using the phrase 'Land of the Living'), and on the opposite wall is a mosaic of Mary in a praying position (the inscription above refers to her using the phrase 'Place of the Uncontainable'). In the inner narthex, the mosaic depicting Theodoros Metokhites presenting a model of the church to Jesus is also noteworthy. In this mosaic, Metokhites is depicted wearing the ornate turban worn by officials of the period. The narthexes are also adorned with depictions of saints, prophets and various religious scenes, giving the impression that the church is decorated with scenes from the Bible.

Byzantine mosaic depicting a donor figure presenting Chora Church

Kariye narthex ark of covenant

rescos of Christian martyrs and bishops in the Parekklesion of Kariye Mosque.

Fragmented fresco of the Virgin Mary under a decorative arch in Kariye Mosque.

Mosaic of the Dormition of the Virgin Mary surrounded by apostles, Kariye Mosque.

Excavated crypt under the apse of the Parekklesion in Kariye Mosque.

Mosaics of the apostles Peter and Paul in arch niches, Kariye Mosque.

Mosaics in the Naos (Main Space): Three important panels remain from the mosaic programme in the naos, the main space of the church. The most significant of these is the Dormition (Koimesis) of Mary, located above the doorway that connects the inner narthex to the naos. This mosaic depicts Mary's death: Mary lies on her funeral bed while Jesus stands behind her holding a baby wrapped in swaddling clothes, representing her soul. Surrounding them are the apostles, the Gospel writers and early Church bishops. At Jesus' head is a six-winged seraphim. This striking composition is a beautiful example of the emotional expression of Byzantine art. The other two mosaic panels in the naos depict Jesus and Mary and are located to the left and right of the apse entrance. In the Christ Pantocrator mosaic on the left, Jesus holds an open Gospel showing the verse, 'Come to me, all you who are weary... and I will give you rest' (Matthew 11:28). In the Hodegetria ('Guide Mary') mosaic on the opposite wall, Mary is depicted in the classic pose of pointing to the infant Jesus in her arms. These three main panels were located in the sacred area of the church, around the bema, conveying the building's most important religious messages to visitors.

Parekklesion Frescoes: The famous 'Anastasis' fresco in the parekklesion depicts Jesus descending into Hell to rescue Adam and Eve. The Parekklesion, a side chapel south of Kariye Mosque, was designed as a cemetery chapel for the church. Built by the Metokhites in 1320–1321, this section is adorned with magnificent frescoes covering the walls and vaults. In keeping with the chapel's function, the subject matter of the frescoes deals with themes of life after death, resurrection, and the apocalypse. The 'Anastasis' (Resurrection) scene in the semi-dome of the main apse is one of the most magnificent examples of Byzantine art. In this scene, Jesus is depicted with the gates of hell broken beneath his feet and Satan chained to the ground. He pulls Adam out of his tomb with his right hand and Eve out of hers with his left. Behind Adam are the prophets John, David and Solomon, along with other saints. Behind Eve are Abel and other righteous souls. Emphasising the role of the bridge between heaven and hell, this scene has been praised by experts as 'one of the greatest religious paintings in the world'.

Fresco of the Resurrection (Anastasis) showing Christ raising Adam and Eve, Kariye Mosque.

Interior dome of the Chora Church adorned with radiant golden mosaics, featuring Christ Pantocrator

Visitors observing a mosaic of Jesus Christ and the Virgin Mary inside the Chora Church, with light

A visitor taking a photo of the famous Deesis mosaic inside the Chora Church, depicting Christ and t

A close-up of the Wedding at Cana mosaic in Chora Church, showing servants pouring water into jars,

A mosaic depicting the Presentation of the Virgin Mary in the Temple, surrounded by architectural an

Mosaic scene showing Christ healing the blind man, located in the outer narthex of Chora Church, wit

Mosaic of the Dormition of the Virgin Mary in Chora Church, surrounded by apostles and with an ornat

Similarly, the frescoes in other sections of the Parekklesion continue the themes of the afterlife and the Last Judgement. The eastern vault features a large composition depicting the Second Coming (Parousia) of Jesus and the Last Judgement. Here, Jesus is portrayed as the judge, with symbolic images of heaven and hell at his feet. In this scene, the blessed are on Jesus' right and the damned are on his left. Souls suffering torment in rivers of fire are depicted alongside the passage of the chosen ones into heaven, accompanied by angels. The west wall features scenes such as the entrance to Heaven, where saved souls are greeted by St Peter at the gates, and the torments of Hell, depicted in four separate panels. The lower sections of the fresco programme feature a procession of saints and martyrs in the recessed parts of the walls. These saint figures are arranged sequentially in the form of a long procession, with the tombs of those buried in the chapel positioned between them. In this way, the Paraclete frescoes emphasise artistically that the space is a burial chapel, with scenes of salvation and the Last Judgement above and the hope of resurrection with the saints below. Thanks to their profound theological themes and exceptional artistic quality, the Kariye frescoes are considered to be among the most important legacies of Byzantine painting.

The Legacy of Theodoros Metokhites

Theodoros Metokhites, who rebuilt and decorated the Kariye Mosque in the 14th century, is one of the most interesting figures in Byzantine history. He served as the state's Grand Logothetis (treasurer and imperial vizier) and was also one of the leading intellectuals of his time, being a philosopher, astronomer, historian, poet and patron of the arts. When renovating Kariye, his aim was not only to create a place of worship, but also to leave behind a lasting work of art and faith. Indeed, his depiction in a mosaic presenting a model of the church to Jesus symbolises his view of it as his life's work. However, Metokhites' life took a tragic turn: When Andronikos III ascended the throne in 1328, overthrowing his patron Andronikos II, he dismissed the leading figures of the old era. Metokhites lost all his positions and wealth, and was imprisoned. Pardoned and released towards the end of his life, he took refuge in the Chora Monastery, which he loved dearly, to live in seclusion. He died in Kariye (inside the Chora Monastery) on 13 March 1331 and, according to his will, was buried in the paraklesion chapel he had built, in the shadow of his own work. Even in exile, Metokhites remained proud of the church he had left behind. His close friend, the historian Nikephoros Gregoras, wrote that the only thing that consoled Metokhites in his final days was the sight of his work and the opportunity to pray. In one of his poems, Metokhites expressed his hope that the Chora Church would 'live on in glory until the end of time'. This is precisely what has happened: the magnificent Kariye Mosque stands as a memorial to Metokhites, preserving his name and vision even centuries later.

Mosaic scene from Chora Church showing the Parable of the Good Samaritan, featuring a man carrying a

View of the inner nave of Chora Church adorned with intricate Byzantine frescoes and mosaics.

A collage of detailed Chora mosaics, including the dome of the Parekklesion, Anastasis (Resurrection

Wide-angle interior view of Chora Church, featuring the detailed mosaic ceiling of the dome and the

Interior dome of Chora Church (Kariye Camii) featuring Byzantine mosaics of Christ and angels.

Byzantine fresco from Chora Church illustrating a winged angel holding a celestial disc with the sun

Architectural detail of Chora Church showing marble columns and fresco-covered arches.

The Current State of Kariye Mosque

The Kariye Mosque continued to function as a place of worship under the same name during the Ottoman period until 1945. In 1945, it was decided to convert it into a museum and open it to visitors as the Kariye Museum. Mosaics and frescoes that had been uncovered during the restoration work were displayed to the public. Recently, changes were made to the status of some historical museum-churches in Turkey. In this context, Kariye was reopened for worship in 2020 and officially returned to its status as a mosque. Since then, the building, now known as Kariye Mosque, has been covered with special panels during prayer times, in accordance with Islamic sensitivities, while remaining open to visitors at other times. Today, Kariye is a unique place that serves as both a place of worship and a museum where Byzantine art can be seen. The structure's many changes throughout history are reflected in every wall, which continues to showcase the heritage of Istanbul and the artistic traces left by patrons such as Metokhites.

Chora is one of those rare places in Istanbul that still manages to surprise me, even after years of working as a private tour guide in the city. From the outside, it seems quiet and almost modest, but step inside and it feels as if time has shifted. My honest advice is not to rush. Take a moment, look up and listen. If the walls start telling you stories, then you know you're exactly where you should be. In a city like Istanbul, places like this help you connect with something deeper.

Bibliography

1. Robert G. Ousterhout, The Art of the Kariye Mosque. Scala Books, 2002.– A comprehensive work on the history, architecture, mosaics, frescoes, and place of the Kariye Mosque within Byzantine art.

2. Cyril Mango, Byzantine Architecture. Rizzoli, 1976.– The general development of Byzantine architecture; church plan types; Kariye among the important buildings in Istanbul..

3. Natalia Teteriatnikov, Mosaics of the Chora Church. Dumbarton Oaks, 1998.– The mosaic program of the Kariye Mosque, iconographic analyses, and its place in art history.

4. Semavi Eyice, Byzantine Remains in Istanbul Miniatures and Engravings. Turkey Turing and Automobile Association, 1993.– Traces of Byzantine structures in Istanbul, including Kariye, and their status during the Ottoman period.

5. Doğan Kuban, Istanbul Writings. Yapı Kredi Publications, 1998.– Istanbul's architectural heritage; the urban fabric of the Byzantine and Ottoman periods; historical structures around Kariye.