Byzantine Art

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Byzantine Art 5th Century to 1453 AD
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New Vocabulary-- Pendentive Psalter Iconoclasts I
conophiles
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• 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

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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
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• 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
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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

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• Interior reflects the tall, slenderness of the
  figures in the mosaics

Altar, S. Vitale
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Hagia Sophia, Istambul, 532-537

• Most important monument of Justinians rule- the
  Church of the Holy Wisdom
• Architects- Anthemius of Tralles and Isidorus of
  Miletus- minarets were added after the Turkish
  conquest of 1453

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• 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

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• 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
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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
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• 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
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St. Marks, 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

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• 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
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• 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

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• 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
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• 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
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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!

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• 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.
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• 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
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• 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
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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