Byzantine Art 5th Century to 1453 AD

1. Byzantine Art 5th Century to 1453 AD

2. New Vocabulary-- Pendentive Psalter Iconoclasts Iconophiles

3. During the Reign of Justinian, the shift between early Christian and Byzantine was complete- Constantinople had become a center for art • Justinian (527-565) was a huge patron of the arts • Very definite coherence of style • Architecture- first golden age (526-726 AD)- survives in Ravina, Italy- stronghold of Byzantine rule in Italy

4. S. Vitale- most important church of the time –octagonal plan, central dome like Sta. Constanza in Rome but S. Vitale is much larger and richer in spatial effects 527-47

5. Below the Cleristory, nave wall is a series of niches that enter into the aisle, linking them together • Aisle has been given a second story, large windows on every level Plan, S. Vitale • The Basicilican plan is almost gone- domed, central axis churches dominated the east while the Basilican plan dominated the west Interior, S. Vitale

6. Detail Emperor Justinian and Attendents, c. 547, S, Vitale • Ideal of human beauty is much different than 4th and 5th century short, squat figures • Now slim and tall, tiny feet, small almond-shaped faces, huge staring eyes, bodies are used only for displaying costumes, not moving- eternal present rather than action • Combination of divine and secular court

7. Interior reflects the tall, slenderness of the figures in the mosaics Altar, S. Vitale

8. Hagia Sophia, Istambul, 532-537 • Most important monument of Justinian’s rule- “the Church of the Holy Wisdom” • Architects- Anthemius of Tralles and Isidorus of Miletus- minarets were added after the Turkish conquest of 1453

9. Plan includes a unique combination of elements- has longitudinal axis of basilica,but central feature of the nave is a square compartment with a dome and two half-domes • Dome rests on 4 arches that carry weight up to the piers • Transition of the square to the round dome are spherical triangles called pendentives • This allows for taller, lighter and more economical domes • The plan also recalls basilica of Constantine, uniting east and west

10. All sense of weight disappears in the interior • Expanding, inflated space • Light plays a key role • Glitter of light and mosaics create an illusion of unreality Interior, Hagia Sophia

11. Motifs of scrolls and foliage, derived from classical architecture, but effect is radically different- no longer look as if they cushion the impact of the weight of the column- now is delicate and pattern defies the weight of the stone. Capital,Hagia Sophia

12. Image of Christ staring down, huge scale • Surrounded by much smaller images of old testament prophets • Corners show the divine and human natures of Christ- fit very well into the architecure Dome Mosaics, Monastery Church, Daphne Greece

13. St. Mark’s, Venice, begun 1063 • Largest and most lavishly decorated church of the 2nd golden age • Venice was under Byzantine sovereignty • Greek cross plan, each arm has its own dome

14. Architecture and religion spread to Russia • Used wood instead of stone • Very fairy-tale like- under the role of Ivan the Terrible • Derived from the more austere Byzantine style Cathedral of St. Basil, Moscow, 1554-60

15. Iconoclasts v. Iconophiles • Imperial edict of 726 prohibited religious images • Controversy raged for 100 years, dividing population • Iconoclasts- “Image destroyers”- led by emperor, supported in the eastern provinces- insisted on a literal translation of the biblical ban against graven images (like the Jews)- wanted to restrict religious art to abstract symbols • Iconophiles-led by monks and centered in western provences- the edict remained ineffective • Power struggle between church and state • Edict was not enforceable • Brought about a resurgence in secular art

16. Classical Revival • Reappearance of late classical motifs • David- looks a lot older than it is- landscape recalls Pompeii mural • Figures are classical in form and dress • Allegorical figures rather than directly related to the bible David Composing the Psalms, 900 AD

17. Classical qualities extend to the psychological realm • Classicism merges with Christian spiritual ideal of human beauty • Figures convey sense of Pathos- this was not seen in early Christian art • We first see human view of the sufffering of Christ • Introduced compassion The Crucifixion, 11th C. Monastery Church, Daphne

18. Anastasis Fresco, 1310-20, Istambul • 1204 -armies of 4th crusade took the city of Constantinople, remained in Latin hands for 50 years until it became independent again- marks last burst of energy- empire was poorer- painting replaced mosaics • Anastasis- Greek word or resurrection- shows radiant Jesus repelling Satan • Dramatic force is unknown to Byzantine art- movement!

19. Icons- left over from Iconoclastic controversy • Claims that Christ himself had allowed St. Luke to paint his portrait- considered original true sacred images- source for later man-made images • These images are linked with Greco- Roman painting • Reflects painting style of S. Vitale mosaics • Most reflected craftsmanship rather than art • Shows melancholy (classicism) • Painted on a highly reflective gold surface- reflects spiritual radiance Madonna Enthroned, late 13th c.

20. Icon painting spread and shifted to Russia and Balkans • Rublev considered the finest Russian Icon painter • Harmonious beauty of design- definitely studied Byzantine and Greek art • The most individual and distinctly Russian characteristic is the color- much brighter Andrei Rublev, Old Testament Trinity, 1410-20

21. Monumental sculpture disappeared in Byzantine art- small scale relifs continued to be produced • Small portable altar for private use • Refined and detailed- like the Daphne Crucifixion Harbaville Triptych, late 10th C., Ivory

22. Sacrifice of Iphigenia, 10th C. Casket • Meant for wedding gifts • Decorated with scenes from Greek mythology- shows classicism that was seen after the iconoclasm controversy • Ornamental figures rather than emotional