Byzantine Art

Four F’s and a G The term byzantine refers to the eastern Christian empire, but the Byzantines called and thought of themselves as Romans. Hieratic means stylized, rigid, and formulaic. When looking at Byzantine art, we will see a standard formula for portraying the human figure: FORMAL (expressionless and emotionless) FRONTAL (facing front and stiff) FLAT (no modeling or depth) FLOATING (no sense of ground or perspective) GOLD In architecture, the major development is the use of pendentives and squinches to support domes. These innovations allow for lofty domed ceilings (like the Pantheon), without a solid cylindrical base. Byzantine architecture also features the heavy use of mosaics and gold. Most Byzantine structures have rich, multi-layered surfaces, lending an almost gaudy aesthetic to the interiors. The Emperor Justinian and his wife Theodora are the most important historical figures in this segment. Pay close attention to their portraits.

Justinian as world conqueror (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in. Justinian as world conqueror (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in.

Justinian as world conqueror (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in. Justinian as world conqueror (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in.

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 Minarets are not original

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 Cross-Section 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 Plan

Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537 Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), interior

Anthemius of Tralles & Isidorus of Miletus Hagia Sophia interior Dome was designed to look like it was floating on a halo of light. What innovations made this possible? Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537 Anthemius of Tralles & Isidorus of Miletus Hagia Sophia interior

San Vitale Ravenna, Italy 526-547

San Vitale Ravenna, Italy 526-547 This central-planned church is unique because of its octagonal shape. San Vitale Ravenna, Italy 526-547

San Vitale Ravenna, Italy 526-547

San Vitale Ravenna, Italy 526-547

Apse Mosaic San Vitale Ravenna, Italy 526-547 mosaic Do you see the Four F’s? Apse Mosaic San Vitale Ravenna, Italy 526-547 mosaic

Caesaropapism Corpus iuris civilis Is this scene propagandistic? What message is being conveyed, and about whom? Caesaropapism Corpus iuris civilis Justinian, Bishop Maximianus and attendants north wall apse mosaic, San Vitale Ravenna, Italy ca. 547 mosaic

Theodora and attendants south wall apse mosaic, San Vitale Ravenna, Italy ca. 547 mosaic

Artists within a culture often use depictions of ancestors, siblings, couples, or other types of family groupings to communicate larger social, political, mythical, and historical concerns.   Select and fully identify two works, in any medium, that represent family groupings or relationships. The works should come from two different cultures. At least one of the two examples must be from beyond the European tradition. Discuss the specific cultural concerns the work communicates and analyze the visual means used to communicate those concerns.

Virgin (Theotokos) and Child between Saints Theodore and George, icon You should understand the following words: Icon Iconoclasm iconostasis Virgin (Theotokos) and Child between Saints Theodore and George, icon 6th or early 7th century encaustic on wood 2 ft. 3 in. x 1 ft. 7 3/8 in.

Virgin (Theotokos) and Child enthroned Apse mosaic, Hagia Sophia

Ascension of Christ Rabbula Gospels From Zagba, Syria 586 tempera on vellum 1 ft. 1 in. x 10 1/2 in.

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

Apse of the Katholikon Hosios Loukas, Greece 11th century mosaic

Dome of the Katholikon Hosios Loukas, Greece 11th century fresco Christ as Pantocrator Dome of the Katholikon Hosios Loukas, Greece 11th century fresco

Dome of the Katholikon Hosios Loukas, Greece 11th century fresco

Nativity of Christ Katholikon Hosios Loukas, Greece 11th century mosaic

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

interior of Saint Mark’s Cathedral Venice, Italy ca. 1180 mosaic

From west vault of Saint Mark’s Cathedral Venice, Italy Anastasis From west vault of Saint Mark’s Cathedral Venice, Italy ca. 1180 mosaic

Pala d’Oro from Saint Mark’s Cathedral Archangel Pala d’Oro from Saint Mark’s Cathedral Venice, Italy ca. 1105 gold cloisonné with precious stones

Hodegetria, icon ca. 1150-1200 tempera on wood Front Back

Christ enthroned with Saints (Harbaville Triptych) ca. 950 ivory 9 1/2 in. x 5 1/2 in. high

David composing the Psalms Paris Psalter ca. 950-970 tempera on vellum 14 1/8 in. x 10 1/4 in.

Anastasis apse fresco in parekklision of the Church of Christ in Chora Mandorla: football shaped halo that signifies the Transfiguration Anastasis apse fresco in parekklision of the Church of Christ in Chora Constantinpole, (Istanbul), Turkey ca. 1310-1320 fresco

Virgin (Theotokos) and Child, icon Late 11th to early 12th century tempera on wood 2 ft. 6 1/2 in. x 1 ft. 9 in.

Iconostasis