Most tourists who come to Derinkuyu spend their time underground. I abandoned this tour fearing for my back and had to spend an hour or so overground, waiting for The Family to return. Although I do not play the lyre, I did not turn to look behind me as I climbed up. I don’t know whether that was the reason, but The Family did return above ground soon. In the hour I had, I walked around the market square of the village, and found a structure which looked like an abandoned Greek Orthodox church which I could explore.
In the market I met another photography enthusiast from my bus who had remained above ground. We walked to the church together. Later I would find that this is the Üzümlü Kilisesi (Grape church), and maybe should be called St Theodoros Trion Church. The weather was very fickle. When we walked into the church yard through a gate below the elaborate bell tower the sun was bright. This photo from the south west corner of the yard shows the arcaded main entrance.
There was a very rusty door set into the southern facade. Around it was a beautiful low-relief sculpture of a stylized vine with leaves. From a distance I’d thought that this was made in terra cotta, but closer up I was not sure. These vines give the church its local name, the Grape Church. Most accounts say that this church was built in the 19th century CE. One source claimed very specifically that it was built during the reign of the Ottoman Sultan Abdulmejid.
Some accounts claim that the church may have been used by ethic Turkish Orthodox Christians who used the Greek alphabet (they were resettled in Greece in 1923), but there is an absence of definitive information. In any case, the church was clearly abandoned, but still in pretty good shape. In spite of a severe economy with decoration, the front facade was beautiful, with symmetric arcade arches that you see in the photo above.
The doors here were spectacular even in their rusted and neglected state. The beautifully carved curves in the stone above the door caught my eye. The lemniscates on the doors have the symbolic meaning of regeneration and endlessness, a meaning that predates its modern use in mathematics (and general culture) as the symbol for infinity. Although this church is said to have been built long after the symbol took on its modern, more mathematical meaning, its use on the main door into the church refers back to the earlier symbolism.
The arch above this doorway was spectacular. You can see the wonderful depiction of vines laden with grapes. On the outer edge of this band is another vegetable motif: is it sheafs of wheat? The rectangular panels inside the arch are not as well-preserved. I could see a human figure riding some animal in the panel on the left, but the one on the right has been defaced. The central panel is clearly symbolic: the largest piece has birds, and there are cattle below it. Some part of the panel may have broken and was replaced by a plain stone block at some point.
A keyhole in a door has been enlarged into a larger hole. I peered through it. The interior of the church seems to have the same elegant simplicity as the exterior. Light streamed in from open windows. There are cruciform windows on the sides (you can see one in the featured photo). When I looked in through this peephole I saw that the apse had several more of these windows. I regretted that the church was closed, and my regret became sharper later when I found that it is sometimes open, and a previous lucky visitor has posted photos of frescoes from the interior in TripAdvisor.
We completed our circuit of the church. A drunken local had led the way in. A couple of other visitors had walked in and out. Now we saw an old lady walk in. She seemed to have been here before; her walk was confident, she knew where she was going, and she did not bother to gawk at the church. I wondered whether she would open the church, but she was only there to rest for a while. From this end I could see the three cruciform windows in the apse which illuminated the inside. We completed our circuit and walked away.