General Information
Joachim Anna Church
Plan and Structural Description: Joachim Anna Church, also referred to as Yovakim Anna in some sources, is a two-aisled structure located in Kızılçukur Valley. Dated between the sixth and tenth centuries, this church was designed as a monastic complex with chapels on both sides. Although the southern wall and apse of the southern nave are largely destroyed, the northern nave has been better preserved. The two naves are interconnected by a triple arcade providing direct access between them. The narthex of the southern nave has a flat ceiling and is adorned with an arched cross aligned with the entrance.
In the narthex floor lies the tomb of a monk named Niketas, while the burial chamber contains a single arcosolium tomb and a second tomb on the floor. The southern church and narthex were carved during the initial phase, whereas the northern church and burial chamber were completed later (Ousterhout, 2019: 116).
Exterior Features: A western door opens into the burial chamber, which is associated with a large window facing the valley. This window measures approximately 2 meters by less than 1 meter. Two short tombs are located on the floor, and a niche carved into the western wall contains an offering table.
"The southern chapel is largely ruined. However, the southwest corner adjacent to the narthex, the northeast section of the apse adjoining the northern chapel, and most of the vault remain intact. The chapel, including its apse, measures approximately 3.70 meters in length and 1.75 meters in width, with a height of 2.80 meters. The barrel vault sits on a cornice with indentations, making it narrower than the nave" (Thierry, 1994: 204).
Interior Description: The southern chapel, including its apse, is 3.70 meters long, 1.75 meters wide, and 2.80 meters high. The barrel vault sits on an indented cornice, and the ceiling of the chapel is narrower than the nave. The northern chapel is larger, measuring 4.25 meters in length and 2.20 meters in width. Its barrel vault rests on a simple cornice. The apse of the chapel is 2 meters deep and wide (Thierry, 1994: 204).
On the northern wall, three wide blind arcades framed by columns are present, with a rectangular niche in the eastern arcade. The walls of the northern chapel are adorned with figurative and dogmatic paintings, which hold significant importance in Christian iconography.
"A western door opens into the burial chamber. This door leads to a very large window that opens into the valley, measuring less than 2 meters by 1 meter. Two very short tombs are located on the floor, and a niche carved into the western wall contains an offering table" (Thierry, 1994: 204).
Exterior Description: The exterior of the chapel presents a simple appearance with its plain lines and isolated location. The doors leading to the burial chamber and narthex were carved in accordance with the topography of the region.
Decorative Program: The decorations of the church predominantly date back to the pre-iconoclastic period. Among the decorative and symbolic embellishments of the southern chapel are red line ornaments and Maltese crosses. A large Latin cross on the barrel vault and symmetrically drawn Maltese crosses on the northern and southern walls stand out.
"Initially, some consecration crosses were painted directly onto the rock; one such example, a Maltese cross enclosed in a circle, remains in good condition on the southern wall of the southern chapel. Later, the narthex and chapels were painted. A very thin layer of white plaster, rarely exceeding a millimeter in thickness, was applied over the rock. In some areas, as seen in the northeastern corner of the northern corridor where the first, thicker layer has fallen off, traces of brush strokes on the plaster remain visible. When two layers can be identified, it is evident that the base plaster was applied roughly, while the second layer was quickly smoothed with a brush. On the western wall of the northern chapel, the decorative arcatures were executed using the drypoint technique. Over the centuries, colors have faded and disappeared, leaving behind only rings of painted surfaces" (Thierry, 1994: 205).
The narthex and chapels were enriched with frescoes painted on plaster. A medallion between two angels is found on the eastern wall, while the decorations in the northern chapel contain figurative, narrative, and dogmatic elements. The apse is adorned with depictions of Jesus and the Apostles, while the triumphal arch features Theotokos enthroned within a mandorla. The nave vault and side walls are decorated with Marian-themed scenes (Thierry, 1994: 209). The term Mariology refers to artistic depictions focusing on the life and sacred role of Mary in Christianity.
"The decorations on the eastern wall were covered with a second thin layer of plaster; above the door, two angels holding a central medallion are depicted. The medallion has been erased, making it unclear whether it contained a bust of Jesus or a cross. The angel on the right is particularly well-preserved; his face is round, framed by short, curly blond hair, and his sharply pointed red wings follow the curve of the nimbus. His tunic is pink, with folds marked by double lines; this detail, along with square-toed sandals and straps of antique shoes, allows us to attribute this painting to one of the artists of the northern chapel" (Thierry, 1994: 206).
"The frame consists of an undulating pattern surrounding alternating red, green, and dark yellow eight-petaled rosettes; in between are three-leaved green flowers. The large Latin cross is incomplete today; its base lies in the west, where leaves grow. The patched ends resemble rectangular knobs emerging from a sheath, ending in bulbous protrusions encircling the joints. The cross was golden, and the knobs were white; the arms simulated round, diamond-shaped stones framed with four pearls each. Many of these details, making the cross resemble the work of a wealthy jeweler, have been lost over time" (Thierry, 1994: 207).
The painting program features depictions of Jesus, Mary, and angels, as well as the tomb inscription of Niketas. The techniques and stylistic elements of the frescoes bear similarities to those in the churches of Çavuşin and Kavaklıdere (Thierry, 1994: 207). Detailed drapery, color transitions, and the realistic rendering of figures highlight the artistic value of the church.
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