Byzantine Empire 330- 1453 A.D.

Byzantine Empire 330- 1453 A.D.

It started in 330 A.D when Roman Emperor Constantine I chose “Byzantium” (Greek site as new Roman capital and gave it name “Constantinople”. Constantine 5 years earlier declared Christianity as the official religion of Rome; citizens of Constantine were Christians whereas Eastern Roman Empire identified them as Romans.   (Slide 1)

slide 1

Byzantine Empire is divided into three periods

1.      Early Byzantine  324 AD- 726 AD

2.      Middle Byzantine 843 AD- 1204 AD

3.      Late Byzantine 1261- 1453 AD

Early Byzantine 324 AD- 726 AD

This period starts with the founding of Constantinople in 324 and ends with the destruction of images used in religious worship (iconoclasm) under Leo III in 726 AD.

Middle Byzantine 843 AD- 1204 AD

It begins with the rejection of iconoclasm and ends with Western crusaders occupation of Constantinople.

Late Byzantine 1261-1453

This period corresponds to the two centuries 

i.                    After the Byzantine recaptured Constantinople 1261

ii.                  Final loss in 1453  to the Ottoman Turks- conversion of churches to mosques

Early Byzantine period is also called as “Golden Age” of early Byzantine art. It started with the succession of Justinian in 537. (Justinian was a Byzantine Emperor from 527-565 A.D.)

Some of the important artworks survive before Justinian’s reign especially ivories and illuminated manuscripts. Before Justinian Archangel Michael was a master craver, he produced largest Byzantine ivory panel. This panel depicts Saint Michael the Archangel. (slide 2)

The inscription on the top of the panel means “receive these gifts”

Characteristics which reveal Roman influences

·         Flowing and detailed drapery

·         Incised (engraved) wings                               Facial expressions

·         Byzantine sculptors did not focus on natural representation.

·         In this panel one can see that the figure is of same size as of the arch. Michael’s foot lies on three steps at a time.

·          His lower body in-front of the base of the column and his arms on the top end of the column.

·         Three dimensional qualities were also not present. This figure is engraved and carved into the panel.

Another example which survived before Justinian period was an illustration from a manuscript (slide 3)

Anicia Juliana between Magnanimity and Prudence, folio 6, Vienna Dioskorides,  ca. 512

Vienna Dioskorides was the earliest surviving manuscript. It was an encyclopedia of medicinal herbs called De Materia Medica early 6^th century copy. This book has 498 illustrations- all images of plants. These illustrations were different from Byzantine paintings and mosaics of religious subjects.

This illustration features a portrait of Anicia Juliana in an eight point star and circle frame. Anicia is shown enthroned between personifications of Magnanimity and Prudence, with a kneeing figure labeled Gratitude of the Arts at her feet. The princess holds a book in her left hand, probably this “De Materia Medica”

Justinian Period 527-565 (Byzantine’s Golden Age)

Christianity became the official religion of Constantinople but Justinian was the one who proclaimed that Christianity should only be the lawful religion, also called as Orthodox Christianity.

Orthodox Christianity means Trinity, Father, Son and Hole Spirit. Equality.

Example 1: Barberini Ivory

Justinian art was both religious and secular. This was a political subject matter panel. It was carved in five parts. In the center is the emperor, identified as Justinian, riding on a horse, while a barbarian is shown half hidden behind the Justinian. Dynamic twisting posture of horse and rider and the motif of the spear- show influence of Roman Imperial works.

At the bottom of the panel a rectangular piece shows people giving tribute. Behind them are animals are shows lion, elephant, tiger. These animals are mainly found in Africa and Asia and these were the sites of Justinian conquest.

On the left rectangular piece Roman soldier carries a statuette. The source of emperor’s strength comes from the upper piece where two angels are shown and in the center Christ is shown holding a cross in one hand and with his right hand’s gesture it shows that as if he is approving Justinian’s act.

Another of Justinian’s great masterpiece was “Hagia Sophia”. He was an ambitious builder. In Constantinople he restored or built more than 30 churches. His monuments defined the Byzantine style in architecture forever.  (slide 4)

Hagia Sophia is also known as “Church of the Holy Wisdom”. It was designed and built by Miletus, who was a mathematician and a physicist.  It was built between 532 and 537. It was built immediately after fire destroyed an earlier church on the site during the Nika riot in January 532.

(Nika riot was a revolt that happened in eastern Roman Empire again Justinian’s empire)

·         Hagia Sophia is 270 ft long 240 ft wide

·         Dome is 108 ft Diameter

·         Crown rises from pavement 180 ft

·         First dome collapsed in 558 and was repaired in 9^th and 14^th century

·         Building’s external structure is changed from their original appearance, numerous elements were added

·         Buttresses were added later during the Ottoman reign

·         when Hagia Sophia became a mosque  Turks built four minarets at the corner

·         Building is now a museum

Feature which differentiates Hagia Sophia from Pantheon is the special mystical quality the light flooding the interior. The 40 windows at the base of the dome are the source of light in the building and create a magical effect. 

Byzantine Architecture’s important feature was building of dome on Pendentives and Squinches method.

Pendentives and Squinches (Slide 5-6)

 Manuscripts and Icon Painting

Manuscript painting was an important art form during the Early Byzantine era. This period marked the beginning of icon painting during Byzantine period.

Example 1: Ascension of Christ from Rabbula Gospels (Slide 7)

Background story: Christ rose from the tomb after 3 days and on the 40^th day, ascended from the Mount of Olives to Heaven. The Crucifixion, Resurrection and Ascension are all subjects of full page painting.

In this illustration Ascension of Christ is depicted surrounded by a mandorla. Below Mary and various apostles can be seen. Just below Christ, Theotokos is painted gazing towards viewers

(Theokotos title for Mary, mother of Jesus)

Christ does not rise in a cloud instead he ascends in a mandorla above a fiery winged chariot. The chariot carries the symbols of the four evangelists- the man, lion, ox and eagle.

Icons and Iconoclasm

Gospel books played an important role in monastic religious life. Unfortunately few early icons survive.  Why?

Icons are small portable paintings depicting Christ, the Virgin, saints. Icons survive from as early as 4^th century. From the 6^th century on they became enormously popular in Byzantine worship both public and private. Some icons were believed as “healing powers”.

Icons were not accepted universally. Some of the Christian parties were suspicious of the practice of imaging the divine, whether on portable panels, on the walls of the churches etc.

Iconoclasm

Opposition to icons became strong in the 8^th century when the faithful knelt before the icons in prayer to seek protection or a cure for illness.

Example of Icons

Virgin and Child between Saints Theodore and George- 6^th –early 7^th c (slide 8)

          

Middle Byzantine

In the late 8^th, 9^th century, a reaction against “iconoclasm” spread. Saint John of Damascus (675-749) was the one who raised voice and argued that God made an image of himself in his son Jesus and in humankind. Thus icons were the likeness of hole figures and not making them means opposing God’s actions.

During this time period Macedonian Dynasty took the responsibility of reviving icon making from Early Byzantine art.  Basil I was the head of new dynasty, who regarded himself as the restorer of the Roman Empire.  Because of Iconoclasm Byzantine artists moved towards West and they found employment at the courts of Germanic Kings and influenced Western European art. But when icon making got support Byzantine mural painters, mosaics, book illustrators, ivory carvers, metal workers once again received commissions. Basil I and his successors also undertook the repair of churches which iconoclasts defaced.

Example 1: Virgin and Child enthroned, apse mosaic, Hagia Sophia, 867 

Macedonian dynasty dedicated a new mosaic in Hagia Sophia depicting the enthroned Virgin with the Christ child in her lap. This figure is 16 ft tall. There is an inscription now fragmentary means “pious emperors” referring to the Macedonian. This was commissioned to replace the “imposters” the iconoclasts had destroyed.

Some other mosaic paintings include

Example 2: Christ as Pantokrator, dome mosaic in the church of the Dormition, Daphni, Greece, 1090-1100

This mosaic was restored in the 19^th century. Pantokrator means “ruler of all” in Greek but in Christianity it was referred to Christ. Here the portrait was made on the inner side of Rome. The image was painted on the top to show a connection between man and the heaven. (slide 9)

Another mosaic example found on the east wall of south gallery of Hagia Sophia was about the 11^th c Byzantine empress Zoe Porphyrogenita. (slide 10)

In this example portrait of Zoe and her husband flanked the enthroned Christ. The emperor holds a purse, signifying the generous donation Constantine made to the church. Zoe holds a scroll also a reference to her gifts to the church. Inscription next to the portraits describe Constantine as “pious emperor and King of the Romans” and Zoe as “pious empress”

Middle Byzantine artists also produced carved ivories in large numbers. Triptych was much in fashion rather than diptych.

Example 3: Harbvilee Triptych: Christ enthroned with saints ca. 950, Ivory 

It was used for private devotion. Three part shrine with looser classical stances, in contrast to the Byzantine style.  

One of the famous wall paintings from that time period was “Lamentation”  It is an image of passionate grief over the dead Christ. The artist captured Christ followers in attitudes, expressions and gestures of quite human bereavement. Joseph of Arimathea and the disciple Nikodemus kneel at his feet. Mary presses her cheek against her dead son’s face. Saint John clings to Christ’s left hand. Neither John nor Mary was present at the entombment of Christ.

Example 4: Vladimir Virgin. Late 11^th c or early 12^th c. tempera on wood

It was the most renowned Middle Byzantine icon produced in Russia. Unfortunately the revered image has been repainted many times, and only traces of the original surface remain. It clearly reveals the stylized abstraction resulting from centuries of working and reworking the devotional image. Probably the work of a painter from Constantinople, The Vladimir Virgin displays all characteristics of the Byzantine icon of the Virgin and Child. Russians believed that the sacred picture saved the city of Kazan from the later Tartar invasions.  

Late Byzantine Art

During the 14^th and 15^th century, artists throughout the Byzantine world produced masterpieces of mural and icon painting rivaling those of the earlier periods.

Example 1: Anastasis, fresco in the apse of the parakklesion of the Church of Christ in Chora, 1310-1320 ca. (slide 11)

A fresco of the Anastasis (side chapel in this instance a funerary chapel) of the Church of Christ in Chora in Constantinople.

Anastasis is here central to a cycle of pictures portraying the themes of human morality. Christ raises Adam and Eve from their tombs. Looking on are John the Baptist, King David and King Solomon on the left and various martyr saints on the right. The figures float in a spiritual atmosphere, space less and without material mass or shadow casting volume. 

Another example notable for the lavish use of finely etched silver foil to frame the painted figure of Christ as Savior of Souls dates to the beginning of the 14^th century. It comes from the church of Saint Clement at Ohrid in Macedonia, where many Late Byzantine icons imported from the capital have been preserved.

Example 2: Christ as Savior of Souls, icon from Saint Clement, Ohrid, Macedonia, early 14^th c, Tempera, linen and silver on wood