ulug‘vor bo‘lib tuyulishi, serhashamliligi bilan kishiga psihologik ta’sir o‘tkazishga qaratilgan. Vizantiya me’morligi va madaniyati jahon halq- lari me’morligi san’atini madaniyatini rivojlanishiga katta ta’sir o‘tkazdi. Jumladan, bu madaniyat janubiy slavyanlarga o‘z ta’sirini ko'rsatdi. Qa dimgi Rus arxitekturasi va madaniyati taraqqiyotida muhimrol o‘ynadi. Markaziy mehrobli cherkovlar — Vizantiya imperiyasida xristianlik davrining dastlabki asrlarida markaziy mehrobli cherkovlar plani ma’lum ma’noda umumiydir. Yevseviy Antioxiyadagi Konstantin cherkovi haqida yozma ma’lu- motlar qoldirgan; bu sakkizburchakli binolar bo4 Igan. Avliyo Grigoriyning otasi Nazianzin ham o‘z shahrida sakkizburchakli plan asosida cherkov qurgan346. ________________ 145
History o f A rchkectee A.D.F.Ham!in. A. M. Professor o f the history o f Architecture in the school o f Architecture,
COLUMBIA, UNIVERSIRY, 1998 SEVENTH EDITION. (H agia Sophia (from the Greek: ATta Sotpia, " M y
Wisdom": Latin:
Sancta Sophia or
Sancta Sapientia; Turkish:
Ayasojya) is
a
former
Greek
Ortho
dox Christian patriarchal basilica (church), later an imperial mosque, and now a museum (Ayasofya Miizesi)
in
Ifitanbul-TmfccY.
From the date o f its construction in 537 until 1453, it served
as
an Orthodox cathedral and scat of
the Patriarch o f Constantinople, except between 1204 and 1261, when it was converted to a Roman Catholic cathedra!
under tbe Larin Empire, The building was a mosque from 29 May 1453 until 1931. It was then secularized and opened
as a museum on 1 February 1935)
346Auguste Choisyv H ie World History o f Architecture. London, 2009.P-32i(The church was conceived as a single
unique space, interrupted only by two rows o f six columns, in which the interior light would be filtered through scarlet-
toned opalescent glass, in memory o f the night o f Jesus’ agony. The mosaics decorating tbe apses were inspired by
the events that took place at Gethsemane: the agony, the arrest with the kiss o f Judas, and Ego Sum. The decorations