Early Byzantine Europe PDF

Early Byzantine Europe Rome to the East  How does patronage affect artistic and architectural production? Guiding Questions How are cultural exchanges reflected in art? Where we were... Key Point 1 Classical...

Early Byzantine Europe Rome to the East  How does patronage affect artistic and architectural production? Guiding Questions How are cultural exchanges reflected in art? Where we were... Key Point 1 Classical Architecture Byzantine Empire is in the east and evolves out of the remains of the Roman Angel (Cupid) Empire and uses the same iconography Toga Emperor’s staff Key Point 2 Concerned with symbolic representations of Christian concepts Christians had completely different concerns than the Roman Empire Art took on an entirely different direction becoming less focused on realism Reflects a hieratic style, one of extreme formality and stylization  Key Point 3 Illustrated Christian stories to a largely illiterate public Art served the role of church decoration, meant to create an atmosphere of devotion  Key Point 4 Byzantine architects invented the pendentive and squinch for churches with a dome PENDENTIVE: Triangular forms that transfer weight of dome to arches SQUINCH: Dome on a square – makes it an octagon  The Illuminated Manuscript The Codex Handwritten book on vellum or parchment The earliest version of a book (pages bound by stitching with a cover) replaced the scroll Animal skin was tanned for paper because it was more pliable than papyrus Vellum – calfskin Parchment – lambskin Illuminated = to adorn, ornament, or brighten Covers could be done in gold, jewels, ivory carvings, repoussé reliefs  Rebecca and Eliezer at the Well from the Vienna Genesis, Early Byzantine, 500 ce. Illuminated manuscript (pigments on vellum) CONTENT Continuous Narrative Two (or more) scenes being told at one time People can appear more than one time Abbreviated to tell the story Story of Eliezer finding Rebecca to be Isaac’s wife Script is Greek translation of Genesis Text was originally silver and has turned black Personification of Spring is sitting by well Shows the connection to the classical past Represents the source of the water  Rebecca and Eliezer at the Well from the Vienna Genesis, Early Byzantine, 500 ce. Illuminated manuscript (pigments on vellum) FORMAL/VISUAL Vellum was dyed a rich purple to indicate the imperial nature of the subject (CONTEXT: the Patron was the Emperor and purple was restricted to imperial use) CONTEXT Oldest well-preserved manuscripts containing biblical scenes Creates a separation from pagan art and Christian art Didactic – used as a learning tool, only way to allow for images so viewers can clearly understand the narrative Hebrew (Jewish) story from the Old Testament A transition piece from Roman to Christian (Byzantine) It is more stylized than Greek/Roman imagery This is to emphasize the spirituality of the work Still maintains a strong Classical influence  This story is from Genesis 24. Abraham wanted to find a wife for his son Isaac and sent his servant Eliezer to find one from among Abraham’s extended family. Eliezer took ten of Abraham’s camels with him and stopped at a well to give them water. Eliezer prayed to God that Isaac’s future wife would assist him with watering his camels. Rebecca arrives on the scene and assists Eliezer, who knows that she is the woman for Isaac. This story is about God intervening to ensure a sound marriage for Abraham’s son Jacob Wrestling the Angel, the story Genesis 32:22-32 (NIV) Jacob Wrestles With God 22 That night Jacob got up and took his two wives, his two female servants and his eleven sons and crossed the ford of the Jabbok. 23 After he had sent them across the stream, he sent over all his possessions. 24 So Jacob was left alone, and a man wrestled with him till daybreak. 25 When the man saw that he could not overpower him, he touched the socket of Jacob’s hip so that his hip was wrenched as he wrestled with the man. 26 Then the man said, “Let me go, for it is daybreak.” But Jacob replied, “I will not let you go unless you bless me.” 27 The man asked him, “What is your name?” “Jacob,” he answered. 28 Then the man said, “Your name will no longer be Jacob, but Israel,[a] because you have struggled with God and with humans and have overcome.” 29 Jacob said, “Please tell me your name.” But he replied, “Why do you ask my name?” Then he blessed him there. 30 So Jacob called the place Peniel,[b] saying, “It is because I saw God face to face, and yet my life was spared.” 31 The sun rose above him as he passed Peniel,[c] and he was limping because of his hip. 32 Therefore to this day the Israelites do not eat the tendon attached to the socket of the hip, because the socket of Jacob’s hip was touched near the tendon.  Jacob Wrestling the Angel from the Vienna Genesis Early Byzantine, 500 ce, Illuminated manuscript (pigments on vellum) Depicted in a way to make the scene easily understandable by the viewer Beth and Steve, 5 min Background details are diminished, and heads are enlarged, and gestures emphasized Continuous Narrative – this is an example of how it was difficult to convey a continuous narrative on a folio (page) instead of a scroll  Emperor Justinian and Early Byzantium (527-726) CONTEXT Justinian considered it his duty to wipeout all cult religions and any form of Christianity other than Orthodox All Byzantine emperors considered themselves the earthly vicars of Jesus Christ Their will was God’s will Had supreme reign (Divine Right to Rule) Combined functions of pope and Caesar (Leader of church and state) This was kept separate in the west (Rome) Made them quasi-divine  San Vitale Early Byzantine, Ravenna Italy, 540ce, brick, marble and stone CONTENT Central plan church Based on the traditional design of a Martyrium, a central planned shrine to honor the site of a martyrdom or a martyr’s grave site Based on pagan tholos, such as the Pantheon Dome is octagon with windows in clerestory Octagonal shape suggests a transitional space between earth and heaven Usually depicted in a circle and a square Central domed churches are typical of the eastern Orthodox (Byzantine) Emphasizes the plain exterior and decorated interior What is similar? What is different and why? San Vitale Floorplan  San Vitale Early Byzantine, Ravenna Italy, 540ce, brick, marble and stone VISUAL CHARACTERISTICS Eight piers support rounded arches beneath inner octagon Spatially complex space causes an emotional impact, typical of Byzantium - eastern Christianity Spiral staircases lead to gallery (walkway upstairs) Choir is groin-vaulted Off-set narthex no longer exists and may have paralleled a street CENTRAL PLAN Ambulatory allows for prayer while walking  San Vitale, plan. Ravenna, Italy. Early Byzantine Europe. C. 536-527 CE. Brick, marble, and stone veneer; mosaic.  San Vitale, Interior Early Byzantine, Ravenna Italy, 540ce, brick, marble and stone CONTENT Demonstrates: Power and Authority via extravagant decorations Divine Right to Rule via mosaic (more info coming later)  Pendentives & Squinches Most significant Byzantine church feature is placement of dome over a square Combines the axial plan and the central plan Weight is placed on piers rather than walls, which enables a dome on basilican structures Squinches bridge the corners of supporting walls to form an octagon from a square base Pendentives transition 4 arches into a circle  San Vitale, Interior Early Byzantine, Ravenna Italy, 540ce, brick, marble and stone Uses squinches to support dome A squinch diverts the weight of the arch downward. Squinches create an octagon Early Christian, Christ as the Good Shepherd Byzantine, Justinian and Attendants A good way to characterize Byzantine imagery is: 3 F’s and a G Flat – figures lack 3D effect Floating – figures hover Frontal – everyone is usually facing forward Gold backgrounds – depthless, conveys the spirituality of Christianity  San Vitale, Justinian Panel – VISUAL & CONTENT Early Byzantine, Ravenna Italy, 540ce, mosaic Typical Byzantine focus on spirituality The figures are: Flattened Elongated Placed side by side Wearing stylized drapery There is no indication of form or a body under the drapery Face frontally Big eyes, small feet Seem to hover, float The Mosaic with gold background represents heavenly light, not of the earth and is meant to evoke the immaterial spiritual realm, as opposed to the 3D physical worldly realm  San Vitale, Justinian Panel Early Byzantine, Ravenna Italy, 540ce, mosaic Imperial guard on one Clergy on other side side Displays his spiritual Displays his secular power power Shield has XPI -Chi-rho- iota “Maximus,” who was Monogram of Christ responsible for C-R-I = the first 3 letters Suggests a comparison to completing Constantine whose construction, is written soldiers painted this on their shields as they went above the bishop into battle Glorifies Justinian as the Justinian holds the defender of the Christian Their frontal positioning and direct faith (The eastern or paten, a sacred object Byzantine Orthodox did gaze suggests they are guarding this that holds the Eucharist not consider the western space Christianity as the true bread faith and thought they were heretics).  Location Apse Mosaic Justinian is on the Christ’s right side The two are united visually and symbolically: Both in purple and with halos Justinian has 12 attendants (like the 12 apostles) The juxtaposition (side-by-side placement) and the Imperial robes, crown, and halo implies Justinian’s divine right to rule via his role as priest-king The laws of state and church were united in the emperor  Dome and Apse Mosaics Themes: - Justinian’s divine right to rule - Christ’s redemption of humanity and the reenactment of it in the Eucharist San Vitale Ravenna, Italy 526-547  San Vitale, Justinian panel. Ravenna, Italy. Early Byzantine Europe. C. 536-527 CE. mosaic. Function (Context) Reinforces the idea of Justinian’s union of political and spiritual authority Reinforces the Byzantine “divine kingship” Proclaims Justinian’s imperial power over the Western empire and the supremacy of the Orthodox church Formal (Visual) Mosaic is done in tesserae The tiles are set on an angle to reflect more light and shimmer/sparkle from every angle  San Vitale, Justinian panel Ravenna, Italy. Early Byzantine Europe. C. 536-527 CE. mosaic. CONTENT - ICONOGRAPHY Purple robes = royalty Halo around crown = his holiness Hands are covered, = sign of respect Standard facial types On Jesus’s right-hand side Holds gold paten Bowl for communion bread Isocephalism – when the heads of the figures line up  San Vitale, Theodora panel. Ravenna, Italy. Early Byzantine Europe. C. 536-527 CE. Mosaic. CONTEXT Directly across from Justinian’s panel On left of Christ to show her lower rank VISUAL CHARACTERISTICS Not quite symmetrical in placement Indicates her secondary role to husband Ornately decorated, yet two dimensional Purposefully breaks from Classicism (Paganism) to be associated with a spiritual being  San Vitale, Theodora panel. Ravenna, Italy. Early Byzantine Europe. C. 536-527 CE. Mosaic. She holds the communion cup/chalice On her hem are the 3 Magi with offerings for the infant Jesus Christ This leaves it open to interpretation that Theodora is associated with the Virgin Mary  San Vitale, Theodora panel Early Byzantine, Ravenna Italy, 540ce, brick, marble and stone Location of the mosaics in the apse, gives the impression they are helping with the celebration of the Eucharist or Mass The two panels together marks their secular and religious power Neither Justinian nor Theodora ever went to Ravenna; these panels functioned as their proxies in their absence, demonstrating their ability to rule even from afar  Hagia Sophia Early Byzantine, Constantinople (Istanbul), 535ce Byzantine visual characteristics: Plain and unpretentious exterior Disguises the massive interior Function Site of emperors’ coronations Palace chapel for emperors Located next to the emperor’s palace Connecting the emperor to God – Divine Right to Rule Art History Abbreviated, 3 min Smart History, 11 min  Hagia Sophia Early Byzantine, Constantinople (Istanbul), 535ce Combines the axial (longitudinal or straight axis) plan and the centrally planned church Nave is made up of the main dome and two supportive domes 4 piers support the massive dome through the use of pendentives Huge nave directs attention to apse  Hagia Sophia Early Byzantine, Constantinople (Istanbul), 535ce Vertical emphasis – dome is 185 feet from floor Original dome fell in 558; they rebuilt it 20 feet higher to have less outward thrust and added buttressing on the exterior The half-domes of the apse flow outward from the central dome, both to carve out space and support the main dome  DOME – with halo of windows Roman in majestic size but not in plan Made of brick and cut stone PIER COLUMN  Elevation and Cross-Section View View of the entrance The galleries and buttresses behind the Note the visual effect of the building's exedra wall serve to support the dome by recession toward the dome piling up masonry that counteracts the outward thrust of the dome  Hagia Sophia Early Byzantine, Constantinople (Istanbul), 535ce CONTEXT Architects were a mathematician and a physicist Sets the standard for Eastern Orthodox churches with its utilization of domes Huge buttresses were added later Turned into a mosque in 1453 when: The Minarets are added The Mosaics are covered Was a museum until 2021 (contemporary political issue) Has been turned back into a mosque  Hagia Sophia Early Byzantine, Constantinople (Istanbul), 535ce Patrons: Emperor Justinian and Empress Theodora FUNCTION Church – house of worship for Christians FUNCTION for Patron - JUSTINIAN Size serves 2 purposes: 1. A tribute to God 2. To shock worshippers with an imposing space to make them realize their insignificance compared to Justinian (patron) and God CONTEXT Held many important relics Hagia Sophia Part of the Cross Early Byzantine, Constantinople (Istanbul), 535ce The lance that pierced Christ Noah’s olive branch The crown of thorns worn by Christ The mosaics are not original to the church, most were created after the iconoclasm (800’s time that prohibited the use of human representation for worship) FUNCTION Place of worship Meant to communicate imperial power and to glorify Christianity Combines secular and religious power; an example of power are the interior columns that were brought from Egypt Displays Divine Right to Rule by being connected to the palace  Hagia Sophia, interior. Constantinople (Istanbul). Anthemius of Tralles and Isiodorus of Miletus. 532-537 CE. Brick and ceramic elements with stone and mosaic veneer. Mystical quality of light Different from the Roman buildings in the amount of light Creates a halo of light – looks to be suspended from Heaven Light glitters off of the stone mosaics Light = divine perfection Interior was originally covered in tesserae in gold to glitter and reflect the light Architects wanted to create a mystical interior that outshone any other comparable structures  Hagia Sophia Early Byzantine, Constantinople (Istanbul), 535ce CONTENT Windows around base of dome create a “floating” dome adds to the mysticism and spirituality Lots of gold and purple, colors associated with the emperor, are used throughout the building All structural supports are hidden on the inside to give the effect of mass suspended on beams of light Pendentives provide additional curved surface for decoration and enhances the effect of the whole ceiling structure "opening up" to the sky beyond. AFTER ISLAMIC CONQUEST IN 1453: Covered Christian mosaics Added 8 huge disks with Arabic calligraphy quoting Qu’ran  Hagia Sophia Early Byzantine, Constantinople (Istanbul), 535ce Pendentives transition the weight of the circular dome to the piers  Series of semi-domes (conches) Give a curving flow Arcades are decorative Also support the main dome Dome is 108 feet across (smaller than the Pantheon) but the nave is longer, 290 feet  Hagia Sophia Early Byzantine, Constantinople (Istanbul), 535ce Mosaics on the pendentives depict seraphim The highest order of angels Indicates that because of the height of the dome, the church is the closest access to heaven possible Could also relate to a story that the building was constructed with the assistance of angels  Iconoclasm (726-843)—Context!! 627 attacks by the new Arabs, Muslims, conquered Byzantium’s eastern provinces and Persia and the Sasanians Soon were attacking Constantinople Almost 2/3’s of the empire was lost Emperor Leo III determined that it was God punishing the Christian Roman Empire for its idolatrous worship of icons and in 726 he formally prohibited the use of figural images Only symbols (cross, vacant Throne of Heaven, cabinet with scriptural scrolls, etc) could be used as imagery for prayer Was also influenced by the iconoclastic ideals of Islam Stylized floral, animal, and architectural motifs were used for decoration  Iconoclasm Devotion to icons led to the artistically devastating Iconoclastic Controversy (Critics thought the faithful were worshipping the images rather than the holy person it represented) Virtually all existing icons within the Byzantine empire were destroyed Theotokos and Child Early Byzantine Constantinople (Istanbul), 867ce Theotokos = bearer of God Done to replace one the “imposters” (iconoclasts) had destroyed (this is a copy of the original) Echoes early Byzantine style Still has Classical elements but: Folds are more stylized Figures are not proportionate No classical references Located in the apse of the Hagia Sophia Bench is covered in jewels “Floats” above the apse Beth and Steve, 5 min  Icons Small portable paintings of Mary, Jesus, and/or saints Strong EMOTIONAL appeal to eastern Christians who worshipped and prayed to the figures in the icons Byzantine Christians believed that icons allowed for more perfect communication with the divine Icons were thought to work miracles For private prayer, displayed in the home but also carried during processionals Not naturally depicted, wanted to show spirituality Usually painted on wood with encaustic or tempera  Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. 6th or early 7th century CE. Encaustic on wood. Content/Visual Symmetrical Mary is depicted as a mature woman (covered hair) She avoids eye contact so as not to take attention away from Christ Christ looks away into the future Christ is depicted like an older man and holds a scroll to symbolize he is all- knowing Theodore and George (soldier saints) look directly at the viewer to encourage direct pious communication Angels look towards heaven Foreground – Byzantine hieratic style, frontal (except the Virgin’s face) Contrast between foreground and background figures Some spatial recession Convincing drapery on Mary Twist of the Virgin’s body, leans on throne Spatial ambiguity (depth and flatness) bridges the real and spiritual worlds Strong contrast in value would appear to glow in candlelight – appears spiritual  Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. 6th or early 7th century CE. Encaustic on wood. Content/Visual Presented as a royal image Mary in enthroned (sitting on a throne) Context: Created in Egypt, located on Mt. Sinai – influenced by Egyptian art Function: for the worshipper to seek Mary to intercede on their behalf - held in processions, kissed, used as a focus for prayer  Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. 6th or early 7th century CE. Encaustic on wood. In background 2 angels look to a shaft of light where the hand of God appears to bless them Possibly 3 different artists – one for each grouping OR – shows the angels as idealized/otherworldly and the saints as mortals Encaustic = using pigments mixed with hot wax  Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. 6th or early 7th century CE. Encaustic on wood. Context Survived the Iconoclasm because it was in an area that had lost control to the Muslim rulers Egyptian St. Catherine Monastery at base of Mt. Sinai Earliest image known that depicts the Madonna and Child Establishes the iconography that remains for centuries More regal than maternal, she is imperial Purplish-blue robe and purple cushion symbolize imperial stature Overly large eyes look to the left NATURALISM: Classical influence Modeling of the faces, ¾ view on angels, muscles, shadows, perspective STYLIZATION: flatter, more symbolic, intentionally less naturalistic style used to depict the realm of the spirit Compressed space, hierarchy of scale, flat patterns, no bodies under robes Possibly 3 different artists – one for each grouping Spatial ambiguity (depth and flatness) bridges the real and spiritual worlds Only saints have a ground line, near us, on the “earth”