Byzantium Con’t Iconoclasm 726- 843 Middle Byzantine Art 843 -1204 Late Byzantine Art 1204-1453

ICONOCLASM (726-843) Byzantium in Crisis: During this period almost two-thirds of the Byzantine's Empire was lost.

MIDDLE BYZANTINE ART (843-1204) The Return of the Image Makers: Middle Byzantine art emerges in the wake of the Iconoclastic period with the renewal of image making and the need to refurbish defaced and neglected churches, including the Hagia Sophia.

Architecture and Mosaics Undoing Iconoclasm: In 867 the Macedonian dynasty dedicated a new mosaic in the apse of the Hagia Sophia.

12-16 Virgin (Theotokos) and Child enthroned, apse mosaic, Hagia Sophia, Constantinople (Istanbul), Turkey, dedicated 867.

New Churches for the Old Faith: Beginning in the 10th century, a number of domed, central-plan monastic churches were built in Greece. A large cruciform martyrium and palace chapel was built in Venice (St. Mark's), and the basilican church of Monreale was constructed in Sicily.

Katholikon, Osios Loukas, Greece, early 11th cent Katholikon, Osios Loukas, Greece, early 11th cent. Southwestern exterior.

Katholikon and Panaghia church, Osios Loukas, late 10th and early 11th cent. Eastern exteriors.

A Second Golden Age for Golden Mosaics: Many of these new buildings were extensively decorated with mosaics. Also noteworthy are richly worked church furnishings, carved ivory panels, manuscript illuminations, and relgious icons.

Crucifixion, mosaic in the Church of the Dormition, Daphni, Greece, ca

Venice and Byzantium: A resurgence of religious architecture and of th mosaicist's art also occured in areas of the former Roman empire.

12-21 Aerial view of Saint Mark's, Venice, Italy, begun 1063.

Interior of Saint Marks, Venice Christ Tramples Satan: Both Byzantine and local artists worked on Saint Mark's mosaics over the course of two centuries.

Another Interior of Saint Marks, Venice

A Royal Church in Sicily: Though they were the enemies of Byzantium, the Normans, like the Venetians, assimilated Byzantium culture and even employed Byzantine artisans.

12-24 Pantocrator, Theotokos and Child, angels, and saints, apse mosaic in the cathedral at Monreale, Sicily, ca. 1180–1190.

Luxury Arts Church of San Marco in Venice, Italy — The left part of the famous Pala d’oro that had once adorned the templon of the church of Christ Pantocrator in Constantinople.  New panels were added at various periods to the Pala, which is now in the Church of San Marco, Venice Church of San Marco in Venice, Italy — The archangel Michael.  Detail from the Pala d’oro.

Diptych to Triptych: In the Middle Byzantium period, the three-part triptych replace the earlier diptych as the standard format for ivory panels.

Painting Byzantium in the Balkans: Once the ban against religious images was lifted, a renewed enthusiasm for picturing key New Testament figures was universal. 12-27 Lamentation over the Dead Christ, wall painting, Saint Pantaleimon, Nerezi, Macedonia, 1164.

David as Greco-Roman Harpist: The Paris Psalter reasserts the artistic values of the classical past with astonishing authority. 12-28 David composing the psalms, folio 1 verso of the Paris Psalter, ca. 950-970. Tempera on vellum, 1' 2 1/8" x 10 1/4". Bibliotheque Nationale, Paris.

A Miracle-Working Russian Icon: The return of the painted icon best demonstrates the rejection of the iconoclastic viewpoint. 12-29 Virgin (Theotokos) and Child (Vladimir Virgin), icon, late eleventh–early twelfth century.

LATE BYZANTINE ART (1204-1453) The Sack of Constantinople: During the Fourth Crusade in 1203 and 1204, the crusaders attacked and sacked the city of Constantinople.

Architecture A Multiplication of Domes: Late Byzantine architecture became more elaborate and dramatic with more intricate patterning and rhythmically grouped of details which appear also on the exterior of the building. 12-30 Church of Saint Catherine, Thessaloniki, Greece, ca. 1280.

Resurrection and Redemption in a Funerary Chapel: Mural and icon painting becomes livelier and less abstract. Forms are more fluid, but also more formal. 12-31 Anastasis, apse fresco in the parekklesion of the Church of Christ in Chora (now the Kariye Muzesi), Constantinople (Istanbul), Turkey, ca. 1310–1320.

Art Suited for an Unchanging Spiritual World: Byzantine artists drew their images from a persistent and conventionalized vision of a spiritual world unsusceptible to change.

A Parade of Icons: In the Late Byzantine period, icons were often painted on two sides because they were intended to be carried in parades.

THE ANNUNCIATION / BLAGOVESHTENIE Early 14th c. , 94. 5 X 80 THE ANNUNCIATION / BLAGOVESHTENIE Early 14th c., 94.5 X 80.3 cm, Saint Clement, Ohrid This icon is the most famous of the Ohrid collection. It has been reproduced innumerable times and has been the subject of many scientific analyses. The dominant figure is that of the Archangel Gabriel, who is depicted, in all his splendor, as a young Greek, radiating vigor and displaying a degree of formal beauty rare in the art of icon painting. The dark brown strip at the bottom right of the painting indicates the original colors before restoration work and shows the darkening effect of the "olifa".

THE ANNUNCIATION / BLAGOVESHTENIE http://faq.macedonia.org/the.arts/mk.icons.html

12-32 Christ as savior of souls, icon from church of Saint Clement, Ohrid, Macedonia, early 14th century. Tempera, linen, and silver on wood, 3' 1/4" x 2' 1/2".

A Master Icon Painter in Russia: Russian paintings usually had strong patterns, firm lines, and intense contrasting colors.

12-34 ANDREI RUBLYEV, Three angels (Old Testament Trinity), ca. 1410. Tempera on wood, 4' 8" x 3' 9". Tretyakov Gallery, Moscow.

Luxury Arts God and Emperor on Priestly Robes: Byzantine priests celebrated the Orthodox liturgy wearing magnificent embroidered and bejeweled robes.

12-35 Large sakkos of Photius, ca. 1417. Satin embroidered with pearl ornament, approx. 4' 5" long. Kremlin Armory, Moscow. Patriarchal Treasury. The "Sakkos of the Tree of Jesse". The crimson fabric of the ground is embroidered in silver and gold threads with the Tree of Jesse on the back and with the Glorious Second Coming of Christ on the front.

The Third Rome: With the passing of Byzantium, Russia became the self-appointed heir and the defender of Christendom against the infidel.