ARTHISTORY - Early Christian & Byzantine Art (2AD4)

1. HISTORY OF ARTS REPORT HELLO 2-AD-4 Please listen Okie?

2. HISTORY OF ARTS 2 –AD 4 EARLY CHRISTIAN ART REPORTERS: DAYON, Jovie Angelica CASTANEDA, Micah CONCEPCION, Sharmaine CRUZ, Jessica Ann

3. Early Christian Art Art and Architecture Works of art exhibiting Christian themes and structures designed for Christian worship created relatively soon after the death of Jesus. Most date from the 4th to the 6th century A.D Itis the art produced by Christians or under Christian patronage from about the year 100 to about the year 500. Prior to 100 there is no surviving art that can be called Christian with absolute certainty. After about 500 Christian art shows the beginnings of Byzantine artistic style.

4. The Martyrium Basilica and the Holy Sepulchre ARCHITECTURE • Church of the Resurrection • Garden of Golgotha (335 AD)

5. Early Christian Art The Martyrium Basilica and the Holy Sepulchre Church of the Resurrection Garden of Golgotha (335 AD) Architecture The Church of the Holy Sepulchre (Latin: Sanctum Sepulchrum), also called the Church of the Resurrection by Eastern Christians, is a Christian church within the walled Old City of Jerusalem. The site is venerated by most Christians as Golgotha, (the Hill of Calvary), where the New Testament says that Jesus was crucified, and is said to also contain the place where Jesus was buried (the sepulchre). The church has been an important pilgrimage destination since at least the 4th century, as the purported site of the death and resurrection of Jesus. Today it also serves as the headquarters of the Greek Orthodox Patriarch of Jerusalem, while control of the building is shared between several Christian churches and secular entities in complicated arrangements essentially unchanged for centuries.

6. Early Christian Art The Martyrium Basilica and the Holy Sepulchre Church of the Resurrection Garden of Golgotha (335 AD) Architecture Built by Emperor Constantine in 335 A.D. on the very site of Christ's resurrection, the Holy Sepulchre houses the Calvary or Golgotha and the tomb of Christ. The building was destroyed in successive wars, transformed in the Persian period and finally rebuilt by the Crusaders. During restorations following the fire of 1808 and the earthquake of 1927, it was possible to determine the topography of the Golgotha and the tomb of Christ. The Holy Sepulchre has private and communal areas. The former are given to the seven communities who share the church while the communal areas are under the authority of the Armenians, Greek Orthodox and Latin churches. A two million dollar renovation project of the rotunda of the Holy Sepulchre was completed at the end of 1996 with inauguration ceremonies on January 2, 1997.

7. Early Christian Art The Martyrium Basilica and the Holy Sepulchre Church of the Resurrection Garden of Golgotha (335 AD) Architecture A diagram of the church and the historical site, based on a German documentary.

8. Sant' Apollinare in Classe ARCHITECTURE • Italy, Ravenna; 530

9. Early Christian Art Sant' Apollinare in Classe Italy, Ravenna; 530 Architecture The Basilica of Sant' Apollinare in Classe is an important monument of Byzantine art in Ravenna, Italy. When the UNESCO inscribed eight Ravenna sites on the World Heritage List, it cited this basilica as "an outstanding example of the early Christian basilica in its purity and simplicity of its design and use of space and in the sumptuous nature of its decoration". The Basilica of Sant'Apollinare is dedicated to St. Apollinaris, patron saint of Ravenna. His dates have been difficult to determine, but he is said to have arrived at the port of Classis and converted the local population, which consisted mainly of merchants and sailors. Most estimates put his lifetime in the late 2nd century.

10. Early Christian Art Sant' Apollinare in Classe Italy, Ravenna; 530 Architecture Sant'Apollinare in Classe is one of the most charming structures in all of Italy and should on no account be missed. The location of the basilica in the flat countryside, surrounded by umbrella pines, further enhances the effect, especially on a sunny day. This massive brick church was erected by order of Bishop Ursicinus (Ursicino) in the early 6 C and paid for by the Greek banker, Iulianus Argentarius. It was located next to a Christian cemetery and quite possibly on top of a pre-existing pagan one, as some of the ancient tombstones were re-used in its construction. Classe (Classis) was the main port of Ravenna, and there is an archaeological area where some of the Roman port has been uncovered between Classe and Ravenna.

11. Early Christian Art Sant' Apollinare in Classe Italy, Ravenna; 530 Architecture The main highlight of Sant'Apollinare in Classe is the glittering mosaics of the presbytery, apse and triumphal arch, which range in date from the 6th to 12th centuries. The unique and beautiful mosaic of the apse dates from the 6th century.

12. Archangel Michael SCULPTURE & RELIEF • Archistrategos • Capuchin church of Santa Maria della Concezione, Rome, 1636

13. Early Christian Art Archangel Michael Archistrategos Capuchin church of Santa Maria della Concezione, Rome, 1636 Sculpture & Relief Michael is an archangel in Jewish, Christian and Islamic tradition. He is viewed as the field commander of the Army of God. He is mentioned by name in the Book of Daniel, the Book of Jude and the Book of Revelation. In the book of Daniel, Michael appears as "one of the chief princes "who in Daniel's vision comes to the angel Gabriel's aid in his contest with the angel of Persia (Dobiel), and is also described there as the advocate of Israel and "great prince who stands up for the children of your [Daniel's] people”. The Talmudic tradition rendered Michael's name as meaning "who is like El?", - so Michael could consequently mean "One who is like God." But its being a question is alternatively understood as a rhetorical question, implying that no one is like God.

14. Early Christian Art Archangel Michael Archistrategos Capuchin church of Santa Maria della Concezione, Rome, 1636 Sculpture & Relief Through many succeeding cycles of time, as Ray after Ray provided The Pathway for the descent of new Spirits, Lord Michael has remained as the Guardian Overlord of the Angelic Host, the Elemental Kingdom and humanity. He shall not fold his Cosmic Wings about him to return home until the final Angelic Being is freed, the last man is redeemed and the last Elemental returned to its perfect state. This is the love of Lord Michael, who like many others, is a Prisoner of Love to the life he serves. Archangel Michael is referred to as the greatest of all angels in writings throughout the world, including Jewish, Christian and Islamic. n. The guardian archangel of the Jews in the Hebrew Scriptures.

15. Early Christian Art Archangel Michael Archistrategos Capuchin church of Santa Maria della Concezione, Rome, 1636 Sculpture & Relief St Michael's Victory over the Devil, sculpture above the main entrance to St. Michaelis in Hamburg, Germany.

16. Pyxis & Exaleiptron SCULPTURE & RELIEF • (Pottery) • After 4th century B.C.

17. Early Christian Art Pyxis (pottery) Sculpture & Relief The pyxis (pl. pyxides) is a small round box, probably used for storing trinkets, ointments or cosmetics. The type can be traced back to Geometric examples, which are often topped by horses, but the most common black-figure shape seems to have been borrowed from Corinth. In red-figure, pyxides are regularly decorated with scenes of female activity, and the shape is shown in feminine contexts. Contemporary references to vessels of this sort use the word kylichnis, and the term pyxis is found mainly after the fourth century B.C. However, its connection with the Greek pyxos - boxwood, may reveal something about the shape's material origins, and examples of the shape can be found in other media, such as stone.

18. Early Christian Art Pyxis and Exaleiptron (pottery) Sculpture & Relief Another type of container is the exaleiptron (pl. exaleiptra) which may have been used primarily for liquids (compare the Greek exaleipho, - wash over, anoint). It is not entirely clear to which specific shape, if any, the term refers, and in modern literature other Greek names such as kothon or plemochoe may be used.Typical however is the cylindrical form of the body and an incurving lip that would prevent spillage of the contents whilst carrying. In the sixth century, some may have three (often decorated) feet, but later examples tend to have a high splaying foot. They are carried by women as they approach the grave on white-ground lekythoi.

19. Early Christian Art Pyxis and Exaleiptron (pottery) Sculpture & Relief

20. Sant' Apollinare Nuovo MOSAIC & PAINTING • Ravenna, Emilia-Romagna (Italy)

21. Early Christian Art Sant' Apollinare Nuovo Ravenna, Emilia-Romagna (Italy) Mosaic and Painting The Biblical Mosaics Left Wall: Miracles and Parables Miracle at Cana Miracle of Loaves and Fishes Call of Peter and Andrew Healing of the Blind Men at Jericho Healing of the Woman with Issue of Blood Samaritan Woman at the Well Raising of Lazarus Pharisee and Publican at the Temple Gate Widow's Mite Separation of Sheep and Goats Healing of the Paralytic at Capernaum Healing of the Man Possessed by a Devil Healing of the Paralytic at Bethesda

22. Early Christian Art Sant' Apollinare Nuovo Ravenna, Emilia-Romagna (Italy) Mosaic and Painting The Biblical Mosaics Right Wall: Passion and Resurrection Last Supper (similar to a miniature in the 6th-century Codex Purpureus) Garden of Gethsemane Kiss of Judas and Arrest of Christ Trial before Caiphas Prediction of Peter's Denial Peter's Denial Remorse of Judas Pilate Washing His Hands Via Dolorosa Holy Women at the Tomb Pilgrims on the Road to Emmaus Doubting Thomas

23. Early Christian Art Sant' Apollinare Nuovo Ravenna, Emilia-Romagna (Italy) Mosaic and Painting

24. Early Christian Art Sant' Apollinare Nuovo A Virgin and the Three Magi Ravenna, Emilia-Romagna (Italy) Mosaic and Painting Virgin Balthasar Caspar Melchor

25. Early Christian Art Rebekah and Abraham's Servant Vienna Genesis, 6th cent. Mosaic and Painting

26. HISTORY OF ARTS REPORT I’M BACK! Wake Up sleepyheads READY?

27. HISTORY OF ARTS 2 –AD 4 REPORTERS: DAYON, Jovie Angelica CASTANEDA, Micah CONCEPCION, Sharmaine CRUZ, Jessica Ann BYZANTINE ART

28. Byzantine Art Art and Architecture Art associated with the Byzantine Empire. Its characteristic styles were first codified in the 6th century and persisted with remarkable homogeneity until the capture of Constantinople by the Turks in 1453. Concerned almost exclusively with religious expression, it tends to reflect an intensely hierarchical view of the universe. It relies on vigour of line and brilliance of colour; individual features are absent, forms are flattened, and perspective is absent. Walls, vaults, and domes were covered in mosaic and fresco decoration in a total fusion of architectural and pictorial expression. Byzantine sculpture was largely limited to small ivory reliefs. The importance of Byzantine art to European religious art was immense; the style was spread by trade and expansion to the Mediterranean basin, eastern European centres, and especially Russia. See also Byzantine architecture.

29. Anthemius of Tralles and Isidorus of Miletus ARCHITECTURE • Hagia Sophia, • Constantinople (Istanbul), Turkey, • ca 532-537

30. Byzantine Art Anthemius of Tralles and Isidorus of Miletus Hagia Sophia, Constantinople (Istanbul), Turkey, ca 532-537 Architecture Byzantium's grandest building and one of the supreme accomplishments of world architecture; its steel-less structure is about 270 feet long and 240 feet wide. The dome is 108 feet in diameter, and its crown rises 180 feet above the ground. In scale, Hagia Sophia is like the Pantheon, the Baths of Caracalla, and the Basilica of Constantine. However, the building's present external aspects are much changed from the origial appearance; the first dome collapsed in 558 and was replaced by the present one, greater in height and stability. Huge buttresses were added to the Justinianic design, and four Turkish minarets were constructed after the Ottoman conquest of 1453, when Hagia Sophia became an Islamic mosque. Even though the walls and floors are lavishly decorated with colored stones from around the world, what distinguishes Hagia Sophia from the interiors of Roman buildings is the mystical quality of the light that floods the interior. Figure 12-3

31. Byzantine Art Anthemius of Tralles and Isidorus of Miletus Hagia Sophia Constantinople (Istanbul), Turkey, ca 532-537 Architecture The architects were ahead of their time in that they used pendentives to transfer the weight from the dome to the piers beneath, rather to the walls. In this, the space beneath the dome was unobstructed and allowed room for windows in the walls, which created the illusion of the suspended dome. This technicality can be explained by experts today, but was a mystery to Anthemius' and Isidorus' contemporaries in the 6th century. Additionally, the fusion of two independent architectural traditions [the vertically oriented central-plan building and the horizontally oriented basilica] was previously unseen, and was the successful conclusion to centuries of experimentation. Figure 12-3

32. Byzantine Art Anthemius of Tralles and Isidorus of Miletus Hagia Sophia Constantinople (Istanbul), Turkey, ca 532-537 Architecture The mystical quality of the light that floods the interior has fascinated visitors for centuries. The canopy-like dome that also dominates the inside of the church rides on a halo of light from windows in the dome's base. The forty windows create the illusion that the dome is resting on the light that comes through them--like a "floating dome of heaven." Thus, Hagia Sophia has a vastness of space shot through with light and a central dome that appears to be supported by the light it admits. Light is the mystic element that glitters in the mosaics, shines from the marbles, and pervades spaces that cannot be defined. It seems to dissolve material substance and transform it into an abstract spiritual vision. Figure 12-3

33. BYZANTINE ART PERIODS(5th century - 1453) • Early Byzantine Age • JustInian Age (5th-6th Century) • Invasions of the Avars, Slavs and Arabs (7th century) and Iconoclasm (730 - 843) • The Macedonian Dynasty (843-1025) • The Comnene Dynasty (1025-1204) • The Latin Occupation of Constantinople (1204-1261) • The Palaiologan Period (1261-1453)

34. Byzantine Art Justinian, Bishop Maxanius and attendants, mosaic from the north wall of the apse, San Vitale, Ravenna, italy, ca. 547 Early Byzantine Age Artistic characteristic of Byzantine art began to develop in the Roman Empire as early as the 4th century. As the classical tradition declined in vitality, eastern influences were more widely felt. The founding of Constantinople in 324 created a great new Christian artistic centre for the eastern half of the Empire. Artistic traditions flourished also in rival cities. Constantinople established its supremacy after the fall of Alexandria and Antioch to the Arabs, and Rome to the Goths. Leaf from an ivory diptych of Areobindus, consul in Constantinople, 506. Areobindus is shown above, presiding over the games in the Hippodrome, depicted beneath.

35. Byzantine Art Justinian, Bishop Maxanius and attendants, mosaic from the north wall of the apse, San Vitale, Ravenna, italy, ca. 547 Justinian Age (5th-6th Century) The first great age of Byzantine art coincided with the reign of Justinian I (483-565). Justinian was the last Emperor of the whole Greco-Roman world, and was devoted to reconquering Italy, North Africa and Spain. He laid the foundations of the imperial absolutism of the Byzantine state, codifying its laws and imposing Christian views on all subjects by law. Part of his program of imperial glory was a massive building program, including Hagia Sophia and the Church of the Holy Apostles in Constantinople and the Church of San Vitale in Ravenna.

36. Byzantine Art The Emperor Justinian and His Retenue mosaic from the south wall of the apse, San Vitale, Ravenna, italy, Mosaic and Painting On the viewer's left, facing the Enthroned Christ mosaic or the apse, is the mosaic of Justinian and his retinue. Justinian is wearing the same imperial robes as Christ. This is very significant and symbolic. The purpose of the mosaic is to clearly depict Justinian as Christ's representative on earth, and to show him as a worthy successor to Constantine (referred to by the Chi-Rho shield of Constantine's) - to express his power as head of both Church and State. This power is further implied by the significant placement of the mosaics. Justinian is present in the main altar of the church, the most sacred part, where only the priest could stand. Thus, by including himself, Justinian wields his power over the priest, perhaps even suggesting his holiness, which is suggested through the halo.. The mosaic displays obvious hierarchic characteristics in the symmetry, frontality, stiffness of pose, centrality of Justinian. An iconic elevation of Justinian's person was intended here. He is portrayed as the saintly emperor eternally present at the celebration of the Mass in San Vitale.even suggesting his holiness, which is suggested through the halo..

37. Byzantine Art The Empress Theodora and Her Retenue mosaic from the south wall of the apse, San Vitale, Ravenna, italy, Mosaic and Painting Opposite the Justinian mosaic is the Empress Theodora and her retinue. She to is wearing the purple royal robe. She is also crowned with a halo. She is bringing a gift, echoed by the three magi bearing gifts which is embroidered on her robe. The prominent position of Theodora's mosaic shows her status as co-regent, it is subordinate to Justinian's only by being on Christ's left, a less exalted position than Christ's right. Theodora was known for her ravishing beauty as well as her ruthless manner and haughty disposition. She was responsible for Justinian's victory in Constantinople, he was going to flee, to give up, she refused, and so he stayed and consequently was victorious. Framed in huge, towering tiara with emeralds, pearls, diamonds, and sapphires, Theodora peers out, the proud queen. She died a year after this portrait was made.

38. Byzantine Art St. Demetrios with donors Mosaic from the church of Hagios Demetrios in Thessaloniki, late 7th or early 8th century Invasion of Avars Slavs and Arabs (7th cent) The Justinian Age was followed by a decline. Empire faced acute crisis with the invasions of the Avars, Slavs and Arabs in the 7th century. The rise of Islam had important consequences for Byzantine art. The Islamic view that the depiction of the human form was blasphemous made the Emperor Leo III in 730 to ban the use of images of Jesus, Mary, and the saints. This inaugurated the Iconoclastic period, which lasted, with interruptions, until 843. Period of Iconoclasm was the period of military and political crisis of the Empire and great decline in artistic achievement. With icon-painting banned and the state too preoccupied with warfare to commission major buildings, this was a thin period for Byzantine art.

39. Byzantine Art the "Handy Tables" of Ptolemy Helios in his chariot, surrounded by symbols of the months and of the zodiac From Vat. Gr. 1291 produced during the reign of Constantine V. Iconoclasm (730 - 843) Intense debate over the role of art in worship led eventually to the period of "Byzantine iconoclasm."[48] Sporadic outbreaks of iconoclasm on the part of local bishops are attested in Asia Minor during the 720s. In 726, an underwater earthquake between the islands of Thera and Therasia was interpreted by Emperor Leo III as a sign of God's anger, and may have led Leo to remove a famous icon of Christ from the Chalke Gate outside the imperial palace.[49] However, iconoclasm probably did not become imperial policy until the reign of Leo's son, Constantine V. The Council of Hieria, convened under Constantine in 754, proscribed the manufacture of icons of Christ. This inaugurated the Iconoclastic period, which lasted, with interruptions, until 843.

40. Byzantine Art St. Demetrios with donors Mosaic from the church of Hagios Demetrios in Thessaloniki, late 7th or early 8th century The Macedonian Dynasty (843-1025) The lifting of the ban on icons was followed by the Macedonian Renaissance, beginning with the reign of Emperor Basil I the Macedonian in 867. In the 9th and 10th centuries the Empire's military situation improved, and art and architecture revived. New churches were again commissioned, and the Byzantine church mosaic style became standardized. One of the best known examples is at Hosias Lukas, near Athens. More sophisticated techniques were used to depict human figures.

41. Byzantine Art The Annunciation from Ohrid icons of the Paleologan Mannerism 12th Century The Palaiologan Period (1261-1453 Nevertheless the Palaeologan Dynasty, beginning with Michael VIII Palaeologus in 1259, was a last golden age of Byzantine art, partly because of the increasing cultural exchange between Byzantine and Italian artists. Italian-style frescoes began to replace the traditional mosaic-work. The Byzantine era, properly defined, came to an end with the fall of Constantinople to the Ottoman Turks in 1453, but by this time the Byzantine cultural heritage had been widely diffused, carried by the spread of Orthodox Christianity, to Bulgaria, Serbia, Romania and, most importantly, to Russia, which became the centre of the Orthodox world following the Ottoman conquest of the Balkans. Even under Ottoman rule, Byzantine traditions in icon-painting and other small-scale arts survived. The Annunciation from Ohrid, one of the most admired icons of the Paleologan Mannerism, bears comparison with the finest contemporary works by Italian artists. .

42. Byzantine Art Virgin (Theotokos) and Child, icon (Vladimir Virgin), tempera on wood, Late 11th to Early 12th Century The Comnene Dynasty (1025-1204) The Macedonian emperors were followed by the Comnene dynasty, beginning with the reign of Alexius I Comnenus in 1057. Empire lost most of its eastern territories to the Seljuk Turks. Although Byzantium was no longer a great power, following the Battle of Manzikert in 1071, the Comnenans were great patrons of the arts, and with their support Byzantine artists continued to move in the direction of great emotion in their works. Themes such as the Virgin and Child and the Threnos (the lamentation over Christ's body) became more common. The finest Byzantine work of this period was actually outside the Empire: the Basilica of St Mark in Venice, begun in 1063. The basilica is based on the great Church of the Holy Apostles in Constantinople, now destroyed, and is thus an echo of the age of Justinian. The acquisitive habits of the Venetians mean that the basilica is also great museum of Byzantine artworks of all kinds.

43. HISTORY OF ARTS REPORT THE END Thanks for Listening BYE! 