Byzantine Art

Time Line
Beginning of Pagan Roman Empire- 200 B.C.E.
Roman Empire- 200 B.C.- 315 C.E.
Early Christian/Byzantine 315-750 C.E  (some sources say the Byzantine style survived all the way to 1450)
Romanesque 800-1150 C.E.
Gothic 1150-1350 C.E.

NOTE:  The chapter on Byzantine art in Stokstad is excellent and this section of the on-line textbook is a little skimpy so make sure you read it!
 

Hagia Sophia (Sofia) 532-37
architects: Anthemius of Tralles and Isidorus of Miletus
Istanbul, Turkey (Byzantium)
Byzantine

Form:  This is a central-plan design that expands on the original basilican design.  The design incorporates the use of pendentives, buttressing half domes, and arch and dome technology creating a large many storied central area.  Expands on the concept, engineering and design function of the Pantheon by adding cross vaulting technology that the Romans had developed. A good example of this cross vaulting technology is in the Basilica of Constantine. Decorative forms (in terms of two-dimensional designs) inside the Hagia Sofia reflect early Byzantine Style, which means that even up to the 1300's they are still using many of the same things in the Hagia Sofia to depict people. 

Iconography: The name Hagia Sofia can be translated as "Holy Wisdom."  The plan has the form of a Greek cross surmounted by a dome which as in the Pantheon is a symbol of the dome of heaven.  The engineering used is also symbolic of the power and intelligence of Constantine's empire.

Context:  The geographic location of Hagia Sofia places it in the region of Byzantium. The city where they moved the empire to is called Constantinople that is in modern day Turkey, and is also now called Istanbul. The four minarets that surround it were built later.  They were added by the Muslims to them to call the faithful to worship after the church was transformed into a mosque. A mosque is an Islamic place of worship. The ornamentation of the interior is Islamic looking.

For more details of images at Hagia Sofia go here.


 

Capital, Hagia Sophia (Sofia) 532-37
architects: Anthemius of Tralles and Isidorus of Miletus
Istanbul, Turkey (Byzantium)
Byzantine
Form:  This capital at first appears to be an almost Corinthian capital but on closer inspection it is the correction of the original Greek and Roman orders.  The designs on the capital are much more ornate and less solid looking then its predecessors.  The over all intricate organic patterning and weaving of the ornamentation is abstract and overly ornate. 

Iconography:  The organic vine like qualities refer to the symbol of Christianity as a vine that keeps spreading.   In the center of the column is the monogram or initials for Justinian the emperor who commissioned the structure.  The use of classical ornamentation and then the obvious changing of it is symbolic of the fusion of the Roman and Greek classic ideals wedded to the culture and decorative forms of the east as well as the iconography of Christianity.

The symbology of the vine relates to many images of vines in the Old and New Testament:
 

John
Chapter 15
1
"I am the true vine, and my Father is the vine grower.
2
He takes away every branch in me that does not bear fruit, and everyone that does he prunes so that it bears more fruit.
3
You are already pruned because of the word that I spoke to you.
4
Remain in me, as I remain in you. Just as a branch cannot bear fruit on its own unless it remains on the vine, so neither can you unless you remain in me.
5
I am the vine, you are the branches. Whoever remains in me and I in him will bear much fruit, because without me you can do nothing.
6
Anyone who does not remain in me will be thrown out like a branch and wither; people will gather them and throw them into a fire and they will be burned.
Go here for a Catholic Sermon on the iconography of vines: http://www.abideinchrist.com/messages/jn15v1.html
 
 

Mosaic of Christ from the interior of 
Hagia Sophia
created c 1300
Form:  Decorative forms (in terms of two-dimensional designs) inside the Hagia Sofia reflect early Byzantine Style, which means that even up to the 1300's they are still using many of the same things in the Hagia Sofia to depict people. 

The figures are stylized in a typical Byzantine mode.  The heads are too large and the bodies are covered completely with drapery that does not reveal the anatomy beneath.   It also shares some elements from the Arch of Constantine, the heads are big and there's no Contrapposto (liberal movement in figures).  The facial anatomy is stylized.  The face is also elongated and the nose meets the bridge of the brows and the eyebrows actually go directly into the nose.  These are some of the elements that become standardized in Byzantine Manuscript 

Iconography:  The distortions of the anatomy are symbolic.  The distortions and diagrammatic and cartoon like drapery deemphasizes the figure's naturalism and emphasizes the spiritual, intellectual and didactic aspects of the figures.  Jesus is represented as a teacher and his weapon against evil is the Holy Bible or Libris Mundi (Latin: "book of the world") and his compassion. 

Jesus is also surrounded by a halo which symbolizes an aura of light.  Possibly meant to be literally a symbol of "enlightenment."  Inscribed inside the halo is the cross on which Jesus was martyred and on either side of the cross are his initials IC XC.  Basically it is an acronim for his name in Greek.  The acronym when promounced sounds like "ichthys" which sounds very much like the Greek word for fish.  Hence the fish symbols on either side of his head.
 
 

Context:  The Byzantine style, although centered around the geographic region of Constantine's Byzantium, expands all through out the Christian world.  It was used for manuscript and church art throughout France, Italy, Spain and the rest of Europe well into the 1400's and perhaps even later.   As an artistic style it is used well into the Romanesque and Gothic periods.  Even during the Renaissance there are still artists who use Byzantine drapery and facial stylization.

For more details of images at Hagia Sofia go here.


Jacob Wrestling the Angel
The Vienna Genesis, 
Probably made in Syria or Palestine.
Early 6th century. 
Tempera, gold, and silver paint 
on purple-dyed vellum,
approx. 9"x12"
Osterreiche Nationalbibliothek, Vienna
Byzantine Style
detail images go to

see also Stokstad fig 7-35
Page with Rebecca at the Well

Form:  This manuscript page, made on animal skin, marks the evolution of Christian manuscript making.  Manuscripts combined two forms of art, calligraphy and painting.  The term calligraphy literally means beautiful writing (kalos: beauty graphos: to write)  The letters and words are written in silver (now tarnished black) in Greek and follow a fairly unified style of script without much of the variation and ornamentation that develops later in Christian and Islamic manuscripts.

The page was conceived of as a whole composition in which the words at the top, packed tightly and uniformly across the surface, balance with the almost frieze like image beneath.  The narrative beneath starts at the left and continues around in a reversed "C" like shape.  Multiple scenes with the same characters inhabit the same space.  This convention referred to as a continuous narrative, run throughout the entire manuscript and mimic the paintings of Dura Europos.

Iconography:  Color and the materials used to adorn the book are iconic.  The silver and gold paint elevate the physical and therefore highlight the spiritual value of the text.  The same is true of the expensive purple dye of the page which is also symbolic of royalty.  (Note the purple robes of Theodora and Justinian above.)  The decorative qualities of how things are written, called calligraphy (calos- beautiful graphy- to write) is symbolic in and of itself.  The beauty and care in which the letters, words, and decorative forms are written is symbolic of the beauty of the meaning of the words and phrases.  Figures are represented very much like Christ figure from Hagia Sofia, which exists from the 13th century. The drapery stylization and face are the same.

The story here is important Read Mencher Liaisons 15-21 (Selections from Genesis-Jacob and Esau) 

Context:  Early Christian artists or calligraphers, borrowed and developed the decorative forms of calligraphy from the Romans, Greeks and sacred books of the Jewish Torah, in order to decorate and honor the words of the Old and New Testaments. 

Since Jews and Christians share in many of the ideas expressed in the Old Testament, one of the concepts they share is the second commandment which forbids the creation of graven images.  Early Jews and Christians took this commandment quite literally and did not create any such sculptures or images.  The rational was that image making could lead to idolatry.  Some Jewish groups and Christians felt that the word graven indicated a ban on sculptural images but both graphic ones.  Christians were split over this decision but came on a comprise in which images were useful because they instructed. This controversy is called the iconoclastic controversy (see Stokstad "Iconoclasm" page 309).  This may account for the deliberate stylizations and lack of naturalism of the figures that is similar to the relief sculptures on the Arch of Constantine.

Virgin and Child with Saints and Angel
icon second half of 6th century
Encaustic on wood, 27x18"
Monastery of Saint Catherine,
Mount Sinai, Egypt
Form:  This encaustic painting (wax and pigments) is symmetrical in its composition.  The painting also combines several styles of painting faces and bodies.  The central figures are painted in a slightly more naturalistic Graeco Roman style while the two figures of Theodore (left) and George (right) are painted in a more Byzantine and codified manner.  There are more tonal transitions on the faces and bodies of the Virgin and Jesus and that the anatomy is revealed more by the drapery than in the flanking figures.

Iconography:  The symmetry of the composition places the most important figures at the center.  Icons like this begin the tradition of creating the symbolic system in which Mary serves as the throne of God referred to by Stokstad as an intercessor and the Throne of Wisdom.  The halos each wears are derived from the ideas of enlightenment they represent.  A halo is a graphic representation of the light or aura of wisdom or knowledge that sacred individuals exhibit.  The halos are often differentiated almost as if to give a rank.  For example, Jesus' halo is inscribed with a Greek cross.  Her clothing is both Jewish and eastern in style which precedes the invention of the Muslim Hijab but looks very much like it.  The clothing, organization of the composition and use of halos sets the standard for costuming and depictions of Mary and Jesus well into the Renaissance.  The two flanking figures are idealized types and one would have to be told how to identify them to know who they are.  Nevertheless, their attributions as Theodore (left) and George (right) are the warrior saints who slew serpents similar to the one that Adam and Eve were tricked by.

Context:  Not many icons exist from this period mainly because of the iconoclastic controversy.  (see Stokstad "Iconoclasm" page 309)


 
 
Church of San Vitale, Ravenna, Italy 526-47 CE
Byzantine Style












 

Form: This central plan structure has an octagonal shape and two levels.  The arches walls and floors are all covered with ornate and intricate Byzantine style mosaic and tile work.  Arches and some vaulting are used and the center even has a dome, which from the exterior looks like an octagons full of windows that flood the interior with light. Eight large piers alternate with columned niches to define precisely the central space and to create a many layered design.  Nevertheless, the technology used to construct San Vitale is not quite as advanced as Hagia Sophia although the walls were lightened by the use of hollow pots in its interior.

Iconography:  San Vitale reflects Byzantine influence and technological creativity. St. Vitale is the major Justinian monument in the West. It was probably built as a testament to the power of Orthodoxy in the declining kingdom of the Ostrogoths. He tries to establish a place where there are severe Christian Churches (people were forced to convert to Christianity). 

Context:  On the second level of the ambulatory, is a special gallery reserved for women. This was a typical custom of Jewish religious worship. The reason for this, was to segregate the males from the females in order for them to pray with greater devotion. 

For more details of  San Vitale go here.


 
Emperor Justinian and his Attendants
mosaic on north wall of the apse
Church of San Vitale, Ravenna, Italy 526-47 CE
Byzantine Style

Empress Theodora and Her Attendants.
mosaic on south wall of the apse
Church of San Vitale, Ravenna, Italy 526-47 CE
Byzantine Style

Form:  The interior of St. Vitale, is similar to the Pantheon and Hagia Sophia.  The design includes an enormous amount of different colored marble and all the other surfaces are decorated with mosaic or tile.  The ornamentation in the church's interior looks Islamic or Arabic although it predates Islam. 

The figures are stylized in a typical Byzantine mode.  The heads are too large and the bodies are covered completely with drapery that does not reveal the anatomy beneath.   It also shares some elements from the Arch of Constantine, the heads are big and there's no Contrapposto (liberal movement in figures).  The facial anatomy is stylized.  The face is also elongated and the nose meets the bridge of the brows and the eyebrows actually go directly into the nose.  These are some of the elements that become standardized in Byzantine Manuscript.

Stokstad discusses the reverse perspective of the image which basically is a denial of the illusionistic systems of Roman art that are apparent in the mosaics and frescoes of Pompeii.

Iconography:  Both the empress's and emperor's mosaics face one another across the apse and each holds one component of the eucharist.  Justinian holds the tray and the wafer which symbolizes the body of Christ.  In his twelve companions, which are roughly the equivalent to Jesus' twelve apostles, the emperor also has two symbols of the power he holds: on the earth he has his army to support him at his right hand.  Notice they have the implied mandate of the power of Constantine because of the chi ro on their shield.  (Here's what a chi ro is)

Chi-Rho n, pl Chi-Rhos [chi + rho] (1868): a Christian monogram and symbol formed from the first two letters X and P of the Greek word for Christ--called also Christogram 

What is Chi Ro? Chi Ro, pronounced (KI ROW), is probably the oldest monogram used for the name of Christ. It was found written along the walls of the catacombs, which were the cemeteries of the early Christians and also a place where they held their secret meetings. The Chi and Ro are the first two letters in the Greek word for Christ. Our CH was one letter in Greek and was shaped like our X. The Greek R had the shape of our P. By combining the RO or P to one arm of the Chi we get XP. As a pre- Christian symbol, the Chi Ro signified good fortune. The Chi Ro became an important Christian symbol when adopted by the Roman Emperor Constantine, representing the first two letters in the name Christ. According to Church Father Eusebius, on the eve of the Battle of Milvan Bridge, the Emperor saw the emblem in a dream, with the inscription "With this symbol, you shall conquer." According to the story, the battle was won. In return for the victory, Constantine erected Christian Churches. The symbol was the standard of the Emperor's army, prominently displayed on the Emperor's labarum, or battle standard. 

For his spiritual power he has the members of the clergy on his left.  Directly to his left is the archbishop Maximus whose face is almost as defined and unique as Justinian's. 

Theodora is surrounded by her ladies in waiting and the local clergy as well and Theodora holds the wine which symbolizes the blood of christ.  On her gown is an image of the three Magi carrying their gift to the newborn Jesus.  Both are wearing royal purple and both are placed at the center of the image.  The placement and the icons they carry and wear were meant to communicate to the viewer that the emperor and empress were the church and the only path to salvation.  This links theological and political power as a single theocratic unit.

Context:  (Stokstad gives a much more detailed discussion of the iconography in the Byzantine chapter.)
For more details of  San Vitale go here.
 
 
 

 


Capital, Church of San Vitale, 
Ravenna, Italy 526-47 CE
Byzantine Style
Form:  This capital at first appears to be an almost Tuscan or Doric capital but on closer inspection it is the correction of the original Greek and Roman orders.  Between the arch and the capital is an additional structure called an impost block.  The designs on the capital are much more ornate and less solid looking then its predecessors and combines carving, polychroming and mosaic.  The over all intricate organic patterning and weaving of the ornamentation is abstract and overly ornate. 

Iconography:  The organic vine like qualities refer to the symbol of Christianity as a vine that keeps spreading.   In the center of the column's capital and impost block are cruciform symbols.  Notice on the capital, the Greek cross formed of four circles that looks like the domed greek cross plan discussed on page 324 The Elements of Architecture, Multiple-Dome Church Plans.  The use of classical ornamentation and then the obvious changing of it is symbolic of the fusion of the Roman and Greek classic ideals wedded to the culture and decorative forms of the east as well as the iconography of Christianity.
 

 

Mosaic of Christ from the 
Archepiscopal Palace in Ravenna
late 6th Century

This image of Christ from San Vitale demonstrates a shift
in Christian thought.  If you look at how Jesus is depicted 
and how this passage relates to the Psalm at right you may 
notice that Jesus is now a Christian soldier and defender.

This relates somewhat to the politics that govern the 
interaction of Christianity with Islam in Byzantium almost 
a century later.

PSALM 91,

He who dwells in the shelter of the Most High
will rest in the shadow of the Almighty.
I will say of the Lord, "He is my refuge and my fortress,
my God, in whom I trust."

Surely he will save you from the fowler's snare
and from the deadly pestilence.
He will cover you with his feathers,
and under his wings you will find refuge;
his faithfulness will be your shield and rampart.

You will not fear the terror of night,
nor the arrow that flies by day,
nor the pestilence that stalks in the darkness
nor the plague that destroys at midday.

A thousand may fall at your side,
ten thousand at your right hand,
but it will not come near you.
You will only observe with your eyes
and see the punishment of the wicked.

If you make the Most High your dwelling --
even the Lord, who is my refuge --
then no harm will befall you,
no disaster will come near your tent.

For he will command his angels concerning you
to guard you in all your ways;
they will lift you up in their hands,
so that you will not strike your foot against a stone.
You will tread upon the lion and the cobra;
you will trample the great lion and the serpent.

(sometimes worded: 
You shall tread upon the asp and the viper, 
trample the lion and the dragon.)

"Because he loves me," says the Lord, "I will rescue him;
I will protect him, for he acknowledges my name.
He will call upon me, and I will answer him;
I will be with him in trouble,
I will deliver him and honor him.
With long life will I satisfy him
and show him my salvation."
 


 

S. Gall Benedictine Abbey, St. Gall Switzerland 7th-8th C
The Monastic System fulfilled the needs and took care of the people. It educated the Lords and the Serfs. The Monks kept the world going by praying, and they were very intelligent. The Monk Monasteries were like Universities, they were a place to learn spiritual renewal and a place to pray. They would also copy the Bible and make manuscript. They preserved some of the text that would have otherwise been burned. In the Monastery the servants slept next to the livestock. There was a big church at the entrance with statues of Gabriel and Michael (Archangels). The Monastery also included a hospice for the poor (a free clinic) where a medieval physician would bleed you. There was also a physicians house. There were breweries and bakeries etc. next to the kitchen. There was a caretakers house and a cemetery. In the middle there was a cloister, a courtyard where you go to reflect on the life of God. There was also a guest house and a school. There was a novitiate house (convent for the novices) for people who were thinking of becoming Monks and Nuns.
 Stokstad 497-502
Political and Theological Systems

570 or 580 AD- Pope Gregory comes to power. Everyone is worried because they are moving to a new century. He tries to save as many souls as possible. Some of the things that Pope Gregory does is to codify or systematize worship and the liturgy of the church. One such system was Gregorian Chant.

Gregorian Chant : all sing together (monophonic)

Why was chant invented? It passed on Catholic beliefs in an oral tradition and it helped people remember the words. Gregorian chant started with Pope Gregory -ceremonial from the Jewish temple Gothic cathedral and Gregorian chant-echo (overtones and undertones)

The next passage is quoted directly from the Encyclopaedia Britannica:

Gregorian chant, monophonic, or unison, liturgical music of the Roman Catholic Church, used to accompany the text of the mass and the canonical hours, or divine office. Gregorian chant is named after St. Gregory I the Great, pope from 590 to 604. It was collected and codified during his reign. Charlemagne, king of the Franks (768-814), imposed Gregorian chant on his kingdom, where another liturgical tradition--the Gallican chant--was in common use. During the 8th and 9th centuries, a process of assimilation took place between Gallican and Gregorian chants; and it is the chant in this evolved form that has come down to the present.

The Ordinary of the mass includes those texts that remain the same for each mass. The chant of the Kyrie ranges from neumatic (patterns of one to four notes per syllable) to melismatic (unlimited notes per syllable) styles. The Gloria appeared in the 7th century. The psalmodic recitation, i.e., using salm tones, simple formulas for the intoned reciting of psalms, of early Glorias attests to their ancient origin. Later Gloria chants are neumatic. The melodies of the Credo, accepted into the mass about the 11th century, resemble psalm tones. The Sanctus and Benedictus are probably from apostolic times. The usual Sanctus chants are neumatic. The Agnus Dei was brought into the Latin mass from the Eastern Church in the 7th century and is basically in neumatic style. The concluding Ite Missa Est and its substitute Benedicamus Domino usually use the melody of the opening Kyrie.

The Proper of the mass is composed of texts that vary for each mass in order to bring out the significance of each feast or season. The Introit is a processional chant that was originally a psalm with a refrain sung between verses. By the 9th century it had received its present form: refrain in a neumatic style--a psalm verse in psalm-tone style--refrain repeated. The Gradual, introduced in the 4th century, also developed from a refrain between psalm verses. Later it became: opening melody (chorus)--psalm verse or verses in a virtuosically embellished psalmodic structure (soloist)--opening melody (chorus), repeated in whole or in part. The Alleluia is of 4th-century Eastern origin. Its structure is somewhat like that of the Gradual. The Tract replaces the Alleluia in penitential times. This chant is a descendant of synagogue music.

The sequence flourished primarily from about the 9th century to the 16th. In its modern form the texts are sacred poems with double-line stanzas having the same accentuation and number of syllables for each two lines. The melody of the first line was repeated for the second line of then stanza, a new melody being given to the next stanza; the music is syllabic. The Offertory originally consisted of a psalm and refrain, but by the 12th century only the refrain remained. The music is quite melismatic. Peculiar to the Offertory is repetition of text. The Communion is, like the Offertory, a processional chant. The music is neumatic in style.

The canonical hours consist of eight prayer services: Matins, Lauds, Prime, Terce, Sext, None, Vespers, and Compline. Each includes antiphons or refrains, short texts that precede or follow each psalm and are set mostly in syllabic chant; psalms, with each set to a psalm tone; hymns, usually metrical and in strophes or stanzas, and set in a neumatic style; responsories, which follow the lessons of Matins and the chapter, a brief lesson of the other hours, and have the form response- salm verse-partially or entirely repeated response. The responsory is related to the form and style of the Gradual.

Encyclopaedia Britannica,

St. Augustine-theologen who wrote about man's relationship with God system to understand philosophical structure-spiritual world and physical world are tied together.

Greek Orthodox Church exists in Constantinople and the Roman Catholic Church lives in Rome, Italy. Everybody believes in the ten commandments, that Jesus has come to save them and that he died for our sins. This is a theology everybody has come to accept, except for the Jews and Islamics. The beginning of some of the problems that they have is that they start reading different doctrine and different ways of worshiping into that and that changes what people think. In the Greek Orthodox church they speak Latin, only because it's a trade language.

Feudalism- Starts at almost 600-700 A.D. Feudalism was a system of military service and land ownership that created a pyramid of political and military power. Feudalism is a system of government in which the minority rules the majority. For every Lord there are 60 to 70 Serfs. It called for support mostly from the church and included mainly little kingdoms run by Landlords-kings. It did not rely on one single dictator or person to run the empire. During or about this time Monasteries were also built . They served as universities, hospitals, library, training schools for future monks, public shelter, and many other purposed. These same monasteries also were responsible for preserving many important documents that are so vital in today's history. If it weren't for them we may have not seen many of the documents that have provided us with many important information about history.

In around 500-600 AD there was a breakdown in the pre-established Roman order which had dominated Europe and the Near East.  Feudalism came to the fore and cities, as we know them, disappeared.  The Church at this time became the central repository of classical knowledge.

When Charlemagne, in the late 700 to early 800's attempted to centralize the "Holy Roman Empire," the churches he built also served as a kind of palace/throne room.  The architecture of these structures is not as sophisticated or ornamented as earlier basilica.

Another great achievement of the middle ages was the rise monasticism.  The monastery was almost a great fortress of information.  Scribes and scholars housed in monasteries were basically responsible for transcribing and storing the information of classical antiquity and later philosophers and theologians.
 
 

One of the main products or art forms the monks produced was the illuminated manuscript.