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Byzantine Art History of Western Art. Emperor Justinian and His Attendants (Mosaic), C.547. A.D. San Vitale. Emperor Justinian and His Attendants. Introduction:
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Byzantine ArtHistory of Western Art Emperor Justinian and His Attendants (Mosaic), C.547. A.D. San Vitale.
Emperor Justinian and His Attendants • Introduction: • Byzantine art belonged principally to the eastern Roman empire, with its magnificent centre, Constantinople (modern Istanbul). • In the year 330 A.D., the emperor Constantine transferred his capital from Rome to the site of the ancient Greek colony called Byzantium, to which he now gave his own name: Constantinople (the city of Constantine).
Emperor Justinian and His Attendants • It lies at the southeastern tip of Europe. Only a narrow strip of water separates it from Asia Minor. • In the sixth century, Byzantine art reached its maturity, in short but brilliant period called the First Golden Age, under Justinian (527 – 565 A.D.).
Emperor Justinian and His Attendants • The glory of this epoch was the building of the greatest and most splendid Byzantine church, known as Hagia Sophia (Holy wisdom). • The second Golden Age began under Basil I in 867, and lasted until the fourth crusade in 1204.
Emperor Justinian and His Attendants • Mosaics and Painting • The Byzantine artists showed their greatest originality and accomplishment in pictorial representations on flat surfaces, namely with mosaics, wall – paintings, manuscripts illuminations and icons.
Emperor Justinian and His Attendants • It was they who realized best the splendid possibilities of mosaic work. • This art, well suited to the decoration of churches, became their principal means of creating rich colour effects. • Their chief concern was spiritual rather than physical vision. Material details were ignored. This is why they preferred to concentrate on pictorial rather than sculptural art.
Emperor Justinian and His Attendants • Exact anatomy and perspective were disregarded. • Instead of using the landscapes of the classical style as a background, the figures were surrounded by golden light as if they are outside of space and time. • Garments are heavy and stiff, with stylized folds. They cover thin elongated, seemingly weightless bodies.
Emperor Justinian and His Attendants • Instead of employing light and shade, they made clear outlines by means of vivid colours, and stiffly stylized gestures, often repeated. • The figures are shown in front view; the three – quarter view being abandoned.
Emperor Justinian and His Attendants • Perspective is not confined to one vanishing point: the same composition may include views on the eye – level, above it, or below. Some times reverse perspective is used in place of the right one. • Not physical position but spiritual importance determines the size of the figure.
Emperor Justinian and His Attendants • Emperor Justinian and his Attendants (mosaic) • Here Justinian, accompanied by officials, the local clergy, attend the service as if this were a palace, chapel. • In these large panels, made shortly before the consecration of the church, we find an ideal of human beauty quite distinct from the squat, large – headed figures we encountered in the art of the 4th and 5th centuries.
Emperor Justinian and His Attendants • Extraordinarily tall, slim figures, with tiny feet, small, almond – shaped faces dominated by their huge, staring eyes, and bodies that seem to be capable only of slow ceremonial gestures and the display of magnificently patterned costume.
Emperor Justinian and His Attendants • Every hint of movement or change is carefully excluded – the dimensions of time and earthly space have given way to an eternal present amid the golden translucency of Heaven, and the solemn, frontal images seem to present a celestial rather than a secular court.
Emperor Justinian and His Attendants • This union of political and spiritual authority accurately reflects the “divine kingship” of the Byzantine Emperor. • We are, in fact, invited to see Justinian as analogous to Christ: Justine is flanked by twelve companions – the imperial equivalent of the twelve apostles (six are soldiers, crowded behind a shell with the monogram of Christ).
