General Information
Haçlı Church
The Haçlı Church derives its name from the large, well-preserved, and widely carved Latin cross that extends across the entire nave ceiling. This rock-cut church is carved into a naturally isolated cone located in the mountainous section of the valley (Photo 1).
It is classified within the group of "Archaic Painted Churches," and beneath the frescoes, cross carvings from an earlier period can be observed (Sen Ekici et al., 2022: 924).
Preservation Status
The structural condition of the Haçlı Church has been affected by static issues in the load-bearing rock formations and tectonic movements, resulting in both extensive and capillary fractures. The tuff rock, due to climatic conditions, is highly susceptible to erosion and deterioration. Although churches and other structures carved into large rock formations have largely preserved their structural integrity, tectonic movements, time, and climate factors have led to gradual degradation in rock masses and architectural elements. Cracks and fractures, as well as surface erosion, are visible on the walls and ceilings of the church (Sen Ekici et al., 2022: 930).
Plan and Architectural Description
The Haçlı Church is a cave church carved into an isolated cone and classified within the "Archaic Painted Churches" group. Believed to have been built in the 6th or 7th century, the church was later expanded with an added apse during the 9th and 10th centuries. The church consists of a rectangular nave measuring approximately 5x4 meters and a horseshoe-shaped, semi-circular apse. The apse has a depth of 3 meters and a width of 2 meters. The flat ceiling of the nave features a large Latin cross surrounded by palm motifs (Sen Ekici et al., 2022: 925).
The cone of the Haçlı Church stands out among a group of rocks at the beginning of the Kızılçukur Valley, on the northern edge of the upper cirque. The church has been used as a dovecote and was first opened for visitation in 1963, its accessibility dependent on the goodwill of its owner, a villager from Cavuşin. Before the tourism period, entry was through a square chimney with a 5-6 meter-high spire-like path. Climbing was facilitated using hand and footholds carved into the rock. The upper opening leads to the nave floor at the northern wall’s end. This original entrance was likely designed as a defensive measure to protect clergy and believers from potential Arab raids (Thierry, 1994: 242).
Exterior Description
The natural cone housing the church is located on the northern edge of the upper cirque of the valley. Initially used as a dovecote, access to the church was only possible via carved hand and footholds (Photo 2). This design is thought to have been a defensive feature against possible Arab incursions. The chimney entrance opens at the northern end of the nave floor.
Interior Description
Along the northern and southern walls of the church, rock-cut seating benches are present. The apse, elevated by two steps, contains a central throne. This throne, measuring 50 cm in depth, is shaped like a chair with armrests and a backrest (Thierry, 1994: 242). Along the nave walls, relief carvings of Maltese crosses and other geometric elements are visible.
“The church features a rock-cut bench along the northern and southern walls, reaching the summit near the entrance chimney at the northwest corner. The apse continues this bench, interrupted at the center by a throne placed upon two large steps, with the first step elevated above the bench. This throne appears as a chair with a niche, 50 cm deep (compared to the 30 cm depth of the bench), flanked by armrests and a backrest, and reaching a height of 96 cm” (Thierry, 1994: 242).
Decoration Program
The decorations of the Haçlı Church were enriched with frescoes applied after the Iconoclastic period. The large Latin cross on the ceiling is believed to be inspired by the Holy Cross in Jerusalem. The apse features scenes depicting Christ enthroned within a mandorla (Photo 3). Frescoes include figures of the twelve apostles, the Virgin Mary, John the Baptist, and other saints (Thierry, 1994: 254).
“The frescoes were painted after the excavation of the church and are part of Cappadocia’s ‘archaic’ decoration tradition. Only the sanctuary and the eastern corners of the nave are painted. In the apse, the theophanic image of Christ within a shell is framed by two registers of apostles, the Virgin, and John the Baptist, with two additional saints on the wall. The nave features only hagiographic icons” (Thierry, 1994: 246-247).
“The apse is dedicated to Christ in majesty among various angelic orders. The composition is set against a background of two bands—green at the bottom and blue at the top—symbolizing divine glory” (Thierry, 1994: 247).
The throne and the cross are positioned symmetrically, with the Virgin Mary standing in prayer to the left, arms raised, wearing a blue tunic and a purple mantle. Surrounding this central group are seven figures on each side, including the twelve apostles and one additional saint. Though the faces have been eroded, the names remain intact. To Mary’s left, Peter is depicted wearing a pale blue tunic and a brown cloak, blessing with his right hand while holding a large ring with two nearly erased keys in his left (Thierry, 1994: 248).
“The apse frame is adorned with seven medallions, with a Maltese cross in the center and busts on either side. The cross, painted in brown ochre like the saints' halos, features quadrants filled with purple leaves, resembling a late variant of 5th- and 6th-century crosses. The prophet busts, only partially preserved, include David with a bejeweled crown and loros, and Solomon depicted as a young, beardless figure with similar attributes. Below David are busts of Jeremiah and Malachi” (Thierry, 1994: 249).
The analysis of the frescoes suggests that they date back to the late 9th and early 10th centuries and align with Byzantine artworks from this period. Previously, it was believed that their artistic and stylistic elements indicated an evolution in Cappadocian “archaic” painting, particularly under the influence of Constantinople from the mid-10th century onwards. Today, it is believed that these frescoes mark the beginning of the Macedonian Renaissance in the province (Thierry, 1994: 254).
The Haçlı Church was carved during the Iconoclastic period and was intended from the beginning as a monumental refuge atop a secluded cone overlooking the valley. This small church may have replaced the Çavuşin Basilica, which had been devastated by an Arab raid and was vulnerable to seasonal attacks. Its general plan reflects the layout of a monastic dwelling, and its small size was adequate for the period of population decline. The church must have retained its importance for some time, as evidenced by the decision to decorate it with high-quality frescoes painted by a skilled artist (Thierry, 1994: 254).
The church’s frescoes, particularly in the apse and walls, exhibit characteristics of Byzantine art from the Macedonian Renaissance period. The harmonious use of colors—soft transitions between blues, greens, and pinks—distinguishes these frescoes within Cappadocia’s "archaic" decoration tradition. The apse composition, featuring Christ in majesty surrounded by angelic orders, presents a detailed and grand artistic design (Sen Ekici et al., 2022: 933).
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