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Transcript of Byzantine
Byzantine Art
William V. Ganis, PhD
Byzantine ArtByzantine art is the term commonly used to describe the artistic
products of the Byzantine Empire from about the 4th century until the Fall of Constantinople in 1453.
In 323 Emperor Constantine moved the capitol of the Roman Empire to
Byzantium. It was then renamed Constantinople. The majority of the art in this period and place were created for the
Eastern Orthodox Church. The Eastern Orthodox preferred a somber reflected tone to worship instead of the large congregational worship of the West. This focus is also reflected in their art and architecture. The figures in their art appear flat and one dimensional with little use of shadowing to give any life-like appearance. Figures are almost always from the front with somber and solemn looks coming from starring eyes. Faces were long and narrow. In all, very little attempt was made for realism in the painting and mosaic depictions.
• During the Eighth and Ninth Centuries, the painting of people was prohibited by the iconoclasts. This was started by Emperor Leo III in 726. He stated that the painting of people was a form of idolatry and that all icons (painting of people) should be destroyed. This spilt the empire into two sections which became know as the Iconoclastic Crisis. The painting and mosaics came back again in the Ninth century till the fall of the Empire to the Turks.
• Sculpture was very limited in the Byzantine Era. The only sculpture which developed was limited mostly to small ivory book covers.
Justinian as world conqueror (Barberini Ivory)
mid-6th centuryivory1 ft. 1 1/2 in. x 10 1/2 in.
Justinian I or Justinian the Great, was the second member of the Justinian Dynasty (after his uncle, Justin I) and Eastern Roman Emperor from 527 until his death. During his reign, Justinian sought to revive the greatness of the classical Roman Empire.
Justinian as world conqueror (Barberini Ivory)
mid-6th centuryivory 1 ft. 1 1/2 in. x 10 1/2 in.
Saint Michael the Archangel
early-6th centuryivory1 ft. 5 in. x 5 1/2 in.
Saint Michael has specific roles within Roman Catholic teachings that range from acting as the chief opponent of Satan to the saving of souls at the hour of death.
Anthemius of Tralles & Isidorus of Miletus
Hagia Sophia
Constantinpole, (Istanbul), Turkey
532-537
Anthemius of Tralles & Isidorus of Miletus
Hagia Sophia
Constantinpole, (Istanbul), Turkey
532-537
Anthemius of Tralles & Isidorus of Miletus
Hagia Sophia
Constantinpole, (Istanbul), Turkey
532-537
Anthemius of Tralles & Isidorus of Miletus
Hagia Sophia
Constantinpole, (Istanbul), Turkey
532-537
Anthemius of Tralles was a Greek professor of Geometry in Constantinople (present-day Istanbul in Turkey) and architect, who collaborated with Isidore of Miletus to build the church of Hagia Sophia by the order of Justinian I.
Anthemius of Tralles & Isidorus of Miletus
Hagia Sophia
Constantinpole, (Istanbul), Turkey
532-537
Anthemius of Tralles & Isidorus of Miletus
Hagia Sophia
Constantinpole, (Istanbul), Turkey
532-537
Anthemius of Tralles & Isidorus of Miletus
Hagia Sophia
Constantinpole, (Istanbul), Turkey
532-537
Virgin (Theotokos) and Child enthroned
Apse mosaic, Hagia Sophia
867mosaic
Theotokos is the Greek title of Mary, the mother of Jesus used especially in the Eastern Orthodox,Oriental Orthodox, and Eastern Catholic Churches.
San Vitale
Ravenna, Italy
526-547
San Vitale
Ravenna, Italy
526-547
Saint Vitalis of Milan, known as San Vitale in Italian and Saint Vital in French, was an early Christian martyr
The church was begun by Bishop Ecclesius in 527, when Ravenna was under the rule of the Ostrogoths, and completed by the 27th Bishop of Ravenna, Maximian in 548 during the Byzantine Exarchate of Ravenna. The architect of this church is unknown, but he was certainly among the best architects of his time.
San Vitale
Ravenna, Italy
526-547
San Vitale
Ravenna, Italy
526-547
Apse MosaicSan Vitale
Ravenna, Italy
526-547mosaic
The central section is surrounded by two superposed ambulatories. The upper one, the matrimoneum, was reserved for married women. A series of mosaics in the lunettes above the triforia depict sacrifices from the Old Testament:
Justinian, Bishop Maximianus and attendants
north wall apse mosaic, San Vitale
Ravenna, Italy
ca. 547mosaic
Theodora and attendants
south wall apse mosaic, San Vitale
Ravenna, Italy
ca. 547mosaic
Abraham and the Three Angels (Philoxeneos), and the Sacrifice of Isaac
north lunette mosaic, San Vitale
Ravenna, Italy
ca. 547mosaic
Sacrifice of Abel, Sacrifice of Melchisedech
north lunette mosaic, San Vitale
Ravenna, Italy
ca. 547mosaic
Sant’Apollinare in Classe
Ravenna, Italy
533-549
Sant’Apollinare in Classe
Ravenna, Italy
533-549
When the UNESCO inscribed eight Ravenna sites on the World Heritage List, it cited this basilica as "an outstanding example of the early Christian basilica in its purity and simplicity of its design and use of space and in the sumptuous nature of its decoration".
Saint Apollinaris amid sheepSant’Apollinare in Classe
Ravenna, Italy
533-549mosaic
Transfiguration of Jesusapse mosaic, Church of the VirginMonastery of Saint CatherineMount Sinai, Egypt
ca. 565mosaic
Jesus became radiant, spoke with Moses and Elijah, and was called "Son" by God. It is one of the miracles of Jesus mentioned in the Gospels.
Transfiguration of Jesusapse mosaic, Church of the VirginMonastery of Saint CatherineMount Sinai, Egypt
ca. 565mosaic
Virgin (Theotokos) and Child between Saints Theodore and George, icon
6th or early 7th centuryencaustic on wood2 ft. 3 in. x 1 ft. 7 3/8 in.
Anicia Juliana Between Magnanimity and Prudence
folio 6 of the Vienna Dioskorides
from Honoratainear Constantinople (Istanbul)
ca. 512tempera on parchment1 ft. 3 in. x 1 ft. 11 in.
Anicia Juliana (Constantinople) was a Roman imperial princess, the daughter of the Western Roman Emperor Olybrius, of the Anicii, by Placidia.
The Vienna Dioscurides or Vienna Dioscorides is an early 6th-century illuminated manuscript of De Materia Medica by Dioscorides in Greek. It is an important and rare example of a late antique scientific text.
Ascension of Christ Rabbula Gospels
From Zagba, Syria
586tempera on vellum 1 ft. 1 in. x 10 1/2 in.
The Rabbula Gospels, or Rabula Gospels, (Florence, Biblioteca Mediceo Laurenziana, cod. Plut. I, 56) is a 6th century illuminated Syriac
Gospel Book. One of the finest Byzantine works produced in Asia, and one of the earliest Christian manuscripts with large miniatures, it is distinguished by the miniaturist's predilection for bright colours, movement, drama, and expressionism.
Katholikon and Church of the Theotokos
Hosios Loukas, Greece
Katholikon early 11th century, Church of the Theotokos, 10th century
Katholikon and Church of the Theotokos
Hosios Loukas, Greece
Katholikon early 11th century, Church of the Theotokos, 10th century
A Katholikon' or Catholicon is the major temple (church building) of a monastery, or diocese in the Eastern Orthodox Church.
Apse of the Katholikon
Hosios Loukas, Greece
11th centurymosaic
Dome of the Katholikon
Hosios Loukas, Greece
11th centuryfresco
Dome of the Katholikon
Hosios Loukas, Greece
11th centuryfresco
Nativity of Christ
Katholikon
Hosios Loukas, Greece
11th centurymosaic
Baptism of Christ
Katholikon
Hosios Loukas, Greece
11th centurymosaic
Pantocratordome mosaic in the Church of the Dormition
Daphni, Greece
ca. 1090-1100 mosaic
Pantocrator or Pantokrator (is one of
many names applied to God. When the Hebrew Bible was translated into Greek as the Septuagint,
Pantokrator was used to translate the Hebrew title El Shaddai. Christians ascribed this title to Jesus.
Crucifixion in the Church of the Dormition
Daphni, Greece
ca. 1090-1100 mosaic
Saint Mark’s Cathedral
Venice, Italy
begun 1063
Saint Mark’s Cathedral
Venice, Italy
begun 1063
is the most famous of the city's churches and one of the best known examples of Byzantine architecture.
interior of Saint Mark’s Cathedral
Venice, Italy
ca. 1180mosaic
interior of Saint Mark’s Cathedral
Venice, Italy
ca. 1180mosaic
Anastasis
From west vault of Saint Mark’s Cathedral
Venice, Italy
ca. 1180mosaic
The Greek word (anástasis) meaning "resurrection" which gave rise to the names
Pala d’Orofrom Saint Mark’s Cathedral
Venice, Italy
ca. 1105gold cloisonné with precious stones
Archangel
Pala d’Orofrom Saint Mark’s Cathedral
Venice, Italy
ca. 1105gold cloisonné with precious stones
Pala d’Oro (Italian, "Golden Pall" or "Golden Cloth") is the high altar retable of the Basilica di San Marco in Venice. It is universally recognized as one of the most refined and accomplished works of Byzantine craftsmanship, with both front and rear sides decorated.
ApseCathedral at Monreale
Monreale, Sicily, Italy
ca. 1180-1190 mosaic
PantocratorCathedral at Monreale
Monreale, Sicily, Italy
ca. 1180-1190 mosaic
Theotokos and Child, angels and saintsCathedral at Monreale
Monreale, Sicily, Italy
ca. 1180-1190 mosaic
Hodegetria, icon (front)
ca. 1150-1200tempera on wood
Hodegetria is an iconographic
depiction of the Theotokos
holding the Child Jesus at her side while pointing to Him as the source of salvation for mankind
Hodegetria, icon (back)
ca. 1150-1200tempera on wood
Hodegetria, icon
ca. 1150-1200tempera on wood
Christ enthroned with Saints(Harbaville Triptych)
ca. 950ivory9 1/2 in. x 5 1/2 in. high
David composing the PsalmsParis Psalter
ca. 950-970tempera on vellum14 1/8 in. x 10 1/4 in.
Israelites’ Flight from EgyptParis Psalter
ca. 950-970tempera on vellum14 1/8 in. x 10 1/4 in.
Anastasisapse fresco in parekklision of the Church of Christ in Chora
Constantinpole, (Istanbul), Turkey
ca. 1310-1320 fresco
Christ as Savior of Souls, icon
early 14th centurytempera, linen and silver on wood3 ft. 1/4 in. x 2 ft. 2 1/2 in.
Annunciation, reverse of 2-sided icon
early 14th centurytempera and linen on wood3 ft. 1/4 in. x 2 ft. 2 3/2 in.
Annunciation, obverse of 2-sided icon
early 14th centurytempera, linen and silver on wood 3 ft. 1/4 in. x 2 ft. 2 3/2 in.
Virgin (Theotokos) and Child, icon
Late 11th to early 12th centurytempera on wood2 ft. 6 1/2 in. x 1 ft. 9 in.
Andrei RublyevThree Angels, icon
ca. 1410tempera on wood4 ft. 8 in. x 3 ft. 9 in.
Andrei Rublev (Russian: Андре́Qй Рублёв, also transliterated Andrey Rublyov and other permutations is considered to be the greatest medieval
Russian painter of Orthodox icons and frescoes.
Trinity depicts the three angels who visited Abraham at the oak of Mamre but the painting is full of symbolism and often interpreted as an icon of the Holy Trinity.
Iconostasis
In Eastern Christianity an
iconostasis (plural: iconostases) is a wall of icons and religious paintings, separating the nave from the sanctuary in a church. Iconostasis also refers to a portable icon stand that can be placed anywhere within a church. The iconostasis evolved from the Byzantine templon, a process complete by the fifteenth century.
The word comes from the Greek εἰκονοστάσι(-ον) (eikonostási(-on), still in common use in Greece and Cyprus), which means "icon stand".