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Byzantine Icons. Comparative Civilizations 12. Kevin J. Benoy. Icons. Religious works are referred to as icons. This is the Greek word for image. Byzantine Icons. Late classical art moved toward the symbolic and away from the natural. This trend continued into the Byzantine Period. Icons.
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Byzantine Icons Comparative Civilizations 12 Kevin J. Benoy
Icons • Religious works are referred to as icons. • This is the Greek word for image.
Byzantine Icons • Late classical art moved toward the symbolic and away from the natural. • This trend continued into the Byzantine Period.
Icons • Such images varied in size and could be produced in mosaic, ivory, enamel, gold, or paint on wood. • Believers sought to connect with the sacred through venerating these images.
Depiction of iconoclast destroying a religious icon Icons • From time to time, religious and political authorities became uncomfortable with the practice of venerating icons as it seemed to go against the Biblical demand that people not worship “graven images.”
Icons • During the Byzantine period, sculpture in the round largely disappeared. • Low relief sculpture and surface detailing of architecture remained.
Icons • In painting, it was important to produce figures who were beautiful or notable – but not realistic. • The lack of solidity was intended to express spiritualism.
Compare the icon with Rembrandt’s painterly image of Christ Icons • Paintings are linear, not painterly. • Outlines are clear and there is little blending of colour to give three dimensionality.
Icons • There were two basic styles of presenting human figures. • The first expressed power and importance. • These images were frontal, full length, and serious. • The eye focuses on faces and hands – with the hands gesturing or holding important objects. This is a development from Roman portrait paintings and sculptural busts.
Icons • In the second style, feelings are expressed. • The subject is in action and shows distress, adoration, sympathy or another emotional state. • Hands are still important – generally gesturing. • Eyes and faces have a classical restraint to them and faces do not display extreme emotion. • Drapery indicates emotion. Simple vertical folds or no folds show the work to be serious. Fluttering drapery indicates emotion.
Icons • Three dimensionality achieved through light and shadow does not entirely disappear, but placement of figures on plain gold, silver, or other flat backgrounds tends to disconnect figures from the real world of time and space.
Icons • Architectural details are decorative and bear little relationship to the figures who often appear absurdly large in comparison.
Icons • The size of figures often relates to their importance or rank. • Higher figures, or those closest to the sanctuary, are most important. • Christ is always larger than other people. • He is usually portrayed in the central dome of churches.
Icons • Bright, rich colours are used so that images can be read from a distance. • Emperors and empresses wear purple robes and red shoes. • Other ranks wear other colours.
Icon by the Russian master Rublev Icons • Producing art was an honourable profession, yet we know the names of few artists before the 13th century.
Rublev The Transfiguration In the Cathedral of the Annunciation,Moscow Kremlin
Theophanes, The Greek • Virgin of the Don, by Theophanes, the Greek, in Moscow’s Cathedral of the Annunciation.
Icons • Artists learned their craft within their family, though we know that some artists were apprenticed to masters. • Painters also created mosaic works – as in Roman times.
Icons • The iconic tradition largely ended in Western Europe with the onset of the Renaissance. • It continues in Eastern Orthodox churches to the present day.
