Transcript chapter 12 byzantine art

BYZANTINE ART
EUGENIA LANGAN
MATER ACADEMY CHARTER HIGH SCHOOL
HIALEAH GARDENS, FLORIDA
THEME: THE FOUR Fs OF HIERATIC ART
(HIERATIC = ASSOCIATED WITH SACRED
PERSONS AND SPACE)
FORMAL
FLAT
FRONTAL
FLOATING
GOALS
 UNDERSTAND CONSTANTINE’S MOVE TO THE
EAST AND THE EXTENT OF THE ROMAN EMPIRE IN
THE EAST.
 UNDERSTAND THE CULTURAL MIX OF ROMAN,
CHRISTIAN, AND EASTERN INFLUENCES IN THE ART
OF BYZANTIUM.
 DEFINE DISTINCT CHARACTERISTICS IN ART
AND ARCHITECTURE FROM VARIOUS PERIODS OF
THE BYZANTINE EMPIRE.
 DESCRIBE THE HISTORICAL CONTEXT OF
VARIOUS PERIODS OF THE BYZANTINE EMPIRE
AND HOW THE CONTEXT AFFECTED ART STYLES
 IDENTIFY EXAMPLES OF THE ART AND
ARCHITECTURE OF THE GOLDEN AGE OF
JUSTINIAN AND ANALYZE THEIR STYLISTIC AND
ICONOGRAPHIC CHARACTERISTICS.
 UNDERSTAND THE FORM AND ICONOGRAPHY
OF THE EARLY BYZANTINE MOSAICS.
 UNDERSTAND THE ICONOCLASTIC
CONTROVERSY AND ITS IMPACT ON BYZANTINE
ART.
 UNDERSTAND THE TRIUMPH OF THE
ICONOPHILES AND THE REJECTION OF WESTERN
POLITICS AND ART.
 DESCRIBE THE COMMON STYLISTIC
CHARACTERISTICS, THEMES AND MATERIALS IN THE
ART OF THE MIDDLE BYZANTINE PERIOD.
 EXAMINE WESTERN CRUSADER DESTRUCTION AND
SUBSEQUENT INFLUENCE IN ART AND
ARCHITECTURE.
 DESCRIBE THE BYZANTINE VIEW OF
“CONVENTIONAL VISION OF A SPIRITUAL WORLD
UNSUSCEPTIBLE TO CHANGE.”
 EXAMINE THE PURPOSE OF THE ICON AND THE
STYLE AND METHODS OF RUSSIAN ICON PAINTING.
 KNOW AND USE RELEVANT ARTISTIC AND
ARCHITECTURAL TERMINOLOGY
TIMELINE
BACKGROUND:
330 – CONSTANTINE I DEDICATED
CONSTANTINOPLE CAPITAL OF ROMAN EMPIRE
337 – DEATH OF CONSTANTINE I
410 - 540 +/- WESTERN “EMPIRE” RULED (IN
WHOLE OR PART) BY VISIGOTHS, OSTROGOTHS,
HUNS
527 – 726 - EARLY BYZANTINE ART
 527 – 565 – REIGN OF JUSTINIAN I

533-40 – HIS CONQUEST OF WESTERN PROVINCES
 565 – 726 – LOSS OF TERRITORY TO AVARS, SLAVS,
SERBS IN WEST, MUSLIM ARAB CALIPHATE IN EAST
 726 – BYZANTINE EMPEROR LEO III BANNED IDOLS

726 – 843 – ICONCLASM ERA
 POWER STRUGGLE: EMPERORS v. PATRIARCHS
 BEGAN DIVISION WESTERN / EASTERN CHURCHES
THE BYZANTINE EMPIRE AT ITS GREATEST EXTENT
(UNDER JUSTINIAN I) -- AFTER THAT, CONSTANT
SHRINKAGE
BYZANTINE EMPIRE IN 650
843 – 1204 – MIDDLE BYZANTINE ART
 867 – EMPEROR BASIL I DEDICATED ICON AT
HAGIA SOPHIA
 1054 – GREAT SCHISM
 1071 – BATTLE OF MANZIKERT – SELJUK TURKS
CONQUERED ANATOLIA
 1096 – FIRST CRUSADE
 1204 – FOURTH CRUSADE, SACK OF
CONSTANTINOPLE
BYZANTINE EMPIRE, 867
BYZANTINE EMPIRE, 1095
1204 - 1453 – LATE BYZANTINE ART
 1204 - 1261 – CRUSADER “LATIN EMPIRE”
 1261 – 1453 – REVIVED BYZANTINE “EMPIRE”
 1354 – OTTOMAN CONQUESTS BEGAN
 1453 – FALL OF CONSTANTINOPLE
UNDER WESTERN CRUSADER RULE 1204 - 1261
BYZANTINE EMPIRE, 1263
BYZANTINE EMPIRE (PURPLE), 1450
EARLY BYZANTINE ART
SCULPTURE – IVORY CARVINGS
JUSTINIAN AS WORLD
CONQUEROR
(BARBERINI IVORY),
MID-SIXTH
CENTURY.
IVORY, 1’ 1 1/2” X 10
1/2”. LOUVRE, PARIS.
ROMAN ELEMENTS?
CHRISTIAN
ELEMENTS?
EASTERN
ELEMENTS?
JUSTINIAN AS WORLD
CONQUEROR
SAINT MICHAEL THE
ARCHANGEL, RIGHT
LEAF OF A DIPTYCH,
EARLY SIXTH CENTURY.
IVORY, 1’ 5” X 5 1/2”.
BRITISH MUSEUM,
LONDON.
ROMAN ELEMENTS?
CHRISTIAN ELEMENTS?
EASTERN ELEMENTS?
ARCHITECTURE
ANTHEMIUS OF TRALLES & ISIDORUS OF MILETUS.
HAGIA SOPHIA, CONSTANTINOPLE, (ISTANBUL),
532-537
(LOOKING SOUTH) – DOME 558, BUTTRESSES &
MINARETS, OTTOMAN – 15TH C. AND THERAFTER
HAGIA SOPHIA (AERIAL VIEW, LOOKING NORTH)
HAGIA SOPHIA, LOOKING WEST
DOMED BASILICA – COMBINES CENTRAL
(EASTERN) AND AXIAL (LONGITUDINAL - WESTERN)
BASILICA PLANS
HALF-DOMES
AISLE
NAVE
NARTHEX
AISLE
APSE
ELEVATION, HAGIA SOPHIA
DIMENSIONS?
240’ W x 270’ L x 180’ HIGH -- CURRENT DOME
DIAMETER = 108’
DOME ON PENDENTIVES – IN THEORY,
PENDENTIVES BEAR WEIGHT OF DOME (NOT
WALLS OF BUILDING)
INTERIOR OF HAGIA
SOPHIA
PENDENTIVE
AT HAGIA SOPHIA,
PIERS WERE NECESSARY
TO BEAR WEIGHT OF
DOME
PIER
EVEN SO, WALLS
CRUMBLED 558 (BUT
WERE MOSTLY
MORTAR)
INTERIOR OF
HAGIA SOPHIA,
LOOKING
SOUTHWEST
DOME IS
CONSTRUCTED
OF?
THIN BRICKS
MOST
REMARKABLE
ASPECT?
LIGHT – 40
WINDOWS IN
DOME – IT
“FLOATS”
HAGIA SOPHIA – COLUMNS ARE:
CORINTHIAN
SPOLIA
AERIAL VIEW OF SAN
VITALE (LOOKING
NORTHWEST),
RAVENNA, 526–547.
REMARKABLE
BECAUSE?
BYZANTINE
CENTRALLY
PLANNED
CHURCH IN ITALY
SUPERIMPOSED
OCTAGONS –
WITH
POLYGONAL
APSE
?
CHOIR
?
NAVE
?
NARTHEX
APSE
?
AMBULATORY - W.
2ND STORY GALLERY
PLAN, ST. VITALE
EXEDRAE
NOTE OFF-CENTER PLACEMENT OF NARTHEX
PLAN AND
ELEVATION, ST.
VITALE
INTERIOR OF SAN VITALE (LOOKING FROM THE APSE
THROUGH THE CHOIR) (NOTE “PULSATING” NICHES)
ST. VITALE, NAVE, LOOKING TOWARD APSE
ST. VITALE, CLOSER
VIEW OF APSE FROM
NAVE
WHAT SUPPORTS THE
DOME?
SQUINCHES AND PIERS, ST .VITALE
SANT’APOLLINARE IN CLASSE, RAVENNA 533-549
WHAT KIND OF ARCHITECTURE IS THIS?
EARLY X’IAN BASILICA
SANT’APOLLINARE IN CLASSE
INTERIOR, SANT’APOLLINARE IN CLASSE
MOSAICS
MOSAICS
JUSTINIAN, BISHOP MAXIMIANUS, AND ATTENDANTS, MOSAIC
ON THE NORTH WALL OF THE APSE, SAN VITALE, RAVENNA © 547.
FOUR Fs? (EASTERN)
CLASSICAL?
THEODORA AND ATTENDANTS, MOSAIC ON THE SOUTH WALL OF
THE APSE, SAN VITALE © 547. SAME QUESTIONS!
APSE MOSAIC, SAN VITALE
ICONOGRAPHY: ZETA STANDS FOR ZOE (GK) =
LIFE – JESUS OFFERS ETERNAL LIFE
ABRAHAM AND THE THREE ANGELS, AND THE
SACRIFICE OF ISAAC, NORTH LUNETTE MOSAIC, SAN
VITALE. (3 ANGELS STORY = PREFIGURATION OF
ANNUNCIATION AND THE TRINITY)
SACRIFICE OF ABEL, SACRIFICE OF
MELCHISEDECH, NORTH LUNETTE MOSAIC, SAN
VITALE – CLASSICAL ELEMENTS?
SAINT APOLLINARIS
AMID SHEEP, APSE
MOSAIC,
SANT’APOLLINARE IN
CLASSE, RAVENNA,
533-549
MONASTERY OF ST. CATHERINE, MT. SINAI. EGYPT
© 548 – 65
TRANSFIGURATION OF JESUS, APSE MOSAIC,
CHURCH OF THE VIRGIN, MONASTERY OF SAINT
CATHERINE, MT. SINAI © 548 – 565
CLASSICAL?
EASTERN?
?
MANDORLA
SCENE FROM DAILY LIFE, FROM FLOOR PEBBLE
MOSAIC, GREAT PALACE OF CONSTANTINOPLE,
6TH C., GREAT PALACE MUSEUM, ISTANBUL EASTERN? CHRISTIAN? CLASSICAL?
PAINTING
VIRGIN (THEOTOKOS)
AND CHILD BETWEEN
SAINTS THEODORE
AND GEORGE, ICON,
6TH OR EARLY 7TH C.
ENCAUSTIC ON WOOD,
2’ 3” X 1’ 7 3/8”.
MONASTERY OF SAINT
CATHERINE, MOUNT
SINAI, EGYPT.
CLASSICAL, EARLY
CHRISTIAN, EASTERN?
NOTE THE “ADULT”
BABY JESUS
CHRIST PANTOCRATOR,
ICON, ENCAUSTIC ON
WOOD, 2’ 10” x 1’ 5 7/8”.
MONASTERY OF SAINT
CATHERINE, MT. SINAI
WHAT WAS THE
FUNCTION OF ICONS?
ROMAN? EARLY
CHRISTIAN? EASTERN?
ASCENSION OF CHRIST,
FOLIO 13 VERSO OF THE
RABBULA GOSPELS,
FROM ZAGBA, SYRIA,
586. TEMPERA ON
PARCHMENT, 1’ 1” X 10
1/2”. BIBLIOTECA
MEDICEALAURENZIANA,
FLORENCE.
HOW DOES IT
DIFFER FROM
EARLIER GOSPELS?
CLASSICAL, EARLY
CHRISTIAN,
EASTERN?
ICONOGRAPHY?
SYMBOLS OF THE EVANGELISTS:
ANGEL = MATTHEW; LION = MARK;
OX = LUKE; EAGLE = JOHN
ASCENSION OF
CHRIST
RABBULA
GOSPELS – A
BETTER PHOTO
ANICIA JULIANA
BETWEEN
MAGNANIMITY
AND PRUDENCE
FOLIO 6 OF THE
VIENNA
DIOSKORIDES
FROM HONORATAI
TEMPERA ON
PARCHMENT
1” 3” x 1” 11 IN”
FUNCTION?
DEDICATION PAGE,
DE MATERIA
MEDICA
STYLE?
ALMOST PURELY CLASSICAL
MIDDLE BYZANTINE ART
VIRGIN (THEOTOKOS)
AND CHILD
ENTHRONED, APSE
MOSAIC, HAGIA
SOPHIA,
CONSTANTINOPLE
(ISTANBUL), TURKEY,
DEDICATED 867.
SIGNIFICANCE?
VICTORY OF THE
ICONOPHILES
CLASSICAL, EASTERN?
NOTE THRONE AT
ANGLE!
CRUCIFIXION AND
THE ICONOCLASTS,
FROM THE
KHLUDOV
PSALTER, AFTER
843. TEMPERA ON
VELLUM
PARCHMENT,
7 ¾” x 6”.
STATE HISTORICAL
MUSEUM, MOSCOW
PATRIARCH DIPS
ICONS IN
WHITEWASH, AS
ROMANS PUT
SPONGES DIPPED
IN VINEGAR ON X’S
WOUNDS
ARCHITECTURE AND
MOSAICS
(IN THE PROVINCES AND THE
WEST)
KATHOLIKON AND CHURCH OF THE THEOTOKOS.
MONASTERY OF HOSIOS LOUKAS, GREECE
KATHOLIKON, FIRST QUARTER OF 11TH C.,
CHURCH, 10TH CENTURY
KATHOLIKON, HOSIOS LOUKAS,,
WHAT’S DIFFERENT
FROM EARLIER X’IAN
AND BYZANTINE
CHURCHES?
DECORATED
EXTERIOR
CLOISONNÉ
ARCTUATED
WINDOWS,
PROJECTING APSES,
DIFFERENT ROOF
LEVELS
1
1. DOME ON
PENDENTIVES
2
2. DOME ON
SQUINCHES
PLAN OF CHURCH (TOP) AND KATHOLIKON
(BOTTOM)
DOMES ARE OVER:
GREEK CROSSES (SQUARES).
KATHOLIKON PLAN =
2 RECTANGLES, CENTER = SQUARE TOPPED WITH
OCTAGON TOPPED WITH CIRCLE
INTERIOR OF KATHOLIKON (LOOKING INTO THE
DOME)
NATIVITY OF CHRIST, SQUINCH MOSAIC,
KATHOLIKON
BAPTISM OF CHRIST, SQUINCH MOSAIC,
KATHOLIKON
CHURCH OF THE
DORMITION, DAPHNI,
GREECE © 1090 - 1100
TYPICAL MIDDLE
BYZANTINE CHURCH
CHRIST
PANTOKRATOR,
DOME MOSAIC,
CHURCH OF THE
DORMITION,
DAPHNI © 1090–1100.
IC XC?
CHRISTOGRAM
JESUS CHRIST IN
GREEK =
ΙΗΣΟΥΣ ΧΡΙΣΤΟΣ =
IHCOYC XPICTOC
BAR ABOVE LETTERS
= SACRED NAME
CRUCIFIXION.
MOSAIC, CHURCH
OF THE
DORMITION
DAPHNI
CLASSICAL?
ROMAN
CHRISTIAN?
EASTERN?
NOT BYZANTINE –
BYZANTINE
INFLUENCE”
SAN MARCO, VENICE
BEGUN 1063
SAN MARCO
INTERIOR OF SAN
MARCO
ANASTASIS, MOSAIC, WEST VAULT, SAN MARCO © 1180
PALA D’ORO, ALTAR
RETABLE, SAN MARCO
BOTTOM SECTION © 1105
GOLD CLOISONNÉ WITH
PRECIOUS STONES
BOTTOM HALF, ITALIAN, UPPER HALF,
BYZANTINE (LOOTED FROM
CONSTANTINOPLE IN 4TH CRUSADE)
ARCHANGEL, PALA D’ORO (BOTTOM)
DEFINITELY NOT BYZANTINE: CATHEDRAL OF
MONREALE, SICILY © 1180 – 1190 – NORMANARAB
APSE, MOSAICS,
CATHEDRAL OF
MONREALE:
PANKRATOR,
THEOTOKOS AND
CHILD, ANGELS.
MISCELLANEOUS
SAINTS IN DOME
BEHIND CHANCEL
ARCH
SURROUNDING
MOSAICS = WILLIAM
II HANGING OUT
WITH JESUS AND BVM
PANTOKRATOR, CATHEDRAL OF MONREALE
THEOTOKOS AND CHILD, ANGELS AND SAINTS
CATHEDRAL AT MONREALE – MARY = FFFF!
IVORY CARVING AND
PAINTING
CHRIST ENTHRONED WITH SAINTS ((HARBAVILLE
TRIPTYCH) © 950. IVORY, 9 ½” X 5 ½”. LOUVRE
CLASSICAL. ROMAN X’IAN,
EASTERN?
THIS SCENE IS CALLED?
DEËSIS = SUPPLICATION. MARY AND JOHN THE
BAPTISTS AS INTERCESSORS WITH JESUS
DAVID COMPOSING
THE PSALMS,
FOLIO 1 VERSO OF
THE PARIS PSALTER
© 950–970.
TEMPERA ON
VELLUM,
1’ 2 1/8” X 10 ¼”.
BIBLIOTHÈQUE
NATIONALE, PARIS.
CL, X’IAN,
EASTERN?
ISRAELITES’
FLIGHT FROM
EGYPT.
PARIS PSALTER
LAMENTATION OVER THE DEAD CHRIST, WALL
PAINTING, CHURCH OF SAINT PANTALEIMON,
NEREZI, MACEDONIA, 1164.
DETAIL, LAMENTATION, ST. PANTALEIMON
CHURCH OF SAINT PANTALEIMON, NEREZI
THEOTOKOS AND
CHILD, ICON
(VLADIMIR VIRGIN),
LATE 11TH - EARLY
12TH C. TEMPERA ON
WOOD, ORIGINAL
PANEL 2’ 6 1/2” X 1’
9”. TRETYAKOV
GALLERY, MOSCOW.
CLASSICAL, ROMAN
X’IAN, EASTERN?
“VIRGIN OF COMPASSION”
ANOTHER TYPE OF
THEOTOKOS ICON
(THIS ONE FROM
13TH C.):
HODEGETRIA: “SHE
WHO SHOWS THE
WAY”
LATE BYZANTINE ART
CHRIST AS SAVIOR OF
SOULS, OBVERSE OF
2-SIDED ICON FROM
THE CHURCH OF SAINT
CLEMENT, OHRID,
MACEDONIA, EARLY
14TH CENTURY.
TEMPERA, LINEN, AND
SILVER ON WOOD, 3’ ¼”
X 2’ 2 ½”. GALLERY OF
SAINT CLEMENT, OHRID.
C, X, E?
ANNUNCIATION,
OBVERSE OF
(ANOTHER) 2-SIDED
ICON FROM ST.
CLEMENT, OHRID,
EARLY 14TH C.
TEMPERA, LINEN
AND SILVER ON
WOOD,
3’ ¼” X 2’ 2 ½”.
WHAT KIND OF
VIRGIN?
HODEGETRIA
ANNUNCIATION,
REVERSE OF TWOSIDED ICON
FROM SAINT
CLEMENT,
OHRID, EARLY
14TH C. TEMPERA
AND LINEN ON
WOOD, 3’ 1/4” X 2’
2 3/4”. ICON
GALLERY OF SAINT
CLEMENT, OHRID.
C, X, E?
UTILIZATION/ FUNCTION OF LATE BYZANTINE ICONS?
ICONOSTASIS ON TEMPLON IN CHURCHES -- NOTE USE
OF SACRED SPACE IN BYZ. CHURCHES!
INCREASED USE OF ICONS AND THEIR ADHERENCE TO
DISTINCTLY BYZANTINE CONVENTIONS = REJECTION
OF WESTERN CONVENTIONS
ICONOSTASIS AND TEMPLON
ANASTASIS, APSE FRESCO IN THE PAREKKLESION OF THE CHURCH OF
CHRIST IN CHORA (NOW THE KARIYE MUSEUM), CONSTANTINOPLE
© 1310–1320 – KNOW ICONOGRAPHY AND ITS MEANING
RUSSIAN ICONS
998 – VLADMIR I OF KIEV ADOPTED ORTHODOX
X’IANITY AS OFFICIAL RELIGION
ANDREI
RUBLYEV, THREE
ANGELS (OLD
TESTAMENT
TRINITY), © 1410.
TEMPERA ON
WOOD, 4’ 8” X 3’
9”. TRETYAKOV
GALLERY, MOSCOW.
IDENTIFY
SIMILARITIES TO
AND
DIFFERENCES
FROM
BYZANTINE
ICONS
HODGETRIA ICON,
13TH C., TEMPERA
ON WOOD.
CATHEDRAL OF
THE
ENTOMBMENT,
KREMLIN,
MOSCOW