Anthemius of Tralles and Isidorus of Miletus, interior of Hagia Sophia looking southwest , Constantinople Istanbul , Turkey, 532—537. Jesus in mandorla almond-shaped blue circle of light. For example a major detail that ties this to the Greeks is the drapery style robe. It is stated that Saint Michael in this panel is based of a classical winged Victory; however, Saint Michael appears to float in front of it rather than stand in it. Transfiguration of Jesus Transfiguration of Jesus, apse mosaic, Church of the Virgin, monastery of Saint Catherine, Mount Sinai, Egypt. Lamentation, Wall Painting, Saint Pantaleimon, Nerezi, Macedonia, 1164. The subject hid his face and refused to dismount from the vehicle.
Museo Nazionale Romano—Palazzo Massimo Alle Terme, Rome. Theotokos posed as orant directly under Christ. Nike alighting on a warship Nike of Samothrace , from Samothrace, Greece, ca. It is, along with the , one of two important surviving 6th-century Byzantine ivories attributed to the imperial workshops of under Justinian, although the attribution is mostly assumed due to the size and craftsmanship. It is crafted from ivory and its dimensions are one foot, five inches by five and a half inches. Justinian, Bishop Maximianus, and attendants, mosaic on the north wall of the apse, San Vitale, Ravenna, Italy, ca.
Justinian as world conqueror Barberini Ivory , mid-sixth century. Justinian rides a rearing horse accompanied by personifications of Victory and Earth. The formality and solemnity that was usually depicted in Byzantine art yielded here to a softer, more fluid technique. Focus on interior: philosophical discussion of decoration of soul vs. In the West, barbaric tribes set up different kingdoms that eventually evolved into modern-day Europe.
San Vitale mosaics reveal the new Byzantine aesthetic. This piece is known as the West Pediment of Artemis. The architectural space, however, is more typically Byzantine in its bending of spatial logic: the archangel's feet are at the top of a staircase that recedes from the base of the columns, but his arms and wings are in front of the columns. Katholikon, Hosios Loukas, Greece, fist quarter of 11th century. Christ Enthroned with Saints Harbaville Triptych , ca. Avobe, Christ blesses the emperor.
Portrait of a Roman General, from the Sanctuary of Hercules, Tivoli, Italy, ca. The way Justinian rides the rearing horse is meant to personify Victory and Earth. In this apse mosaic, unlike fig. It is possible that the man-like figure is Herakles, a Greek hero, and the centaur is Nessos. Rome Material: Marble Description: The Sarcophagus is for a roman prefect who converted from paganism to Christianity. They usually illustrated religious examples or Byzantine ideas of hierarchy. Anicia Juliana Anicia Juliana between Magnanimity and Prudence, folio 6 verso of the Vienna Dioskorides, from Honoratai, near Constantinople, Turkey.
Cross may represent that which Constantine erected on hill of Calvary to commemorate sacrifice of Jesus. Concrete domes and vaults of varying designs enabled Roman builders to revolutionize the history of architecture by shaping spaces in novel ways. The Western church remained firmly in support of the use of images throughout the period, and the whole episode widened the growing divergence between the Eastern and Western traditions in what was still a unified church, as well as facilitating the reduction or removal of Byzantine political control over parts of Italy. Advantages… Words 951 - Pages 4. By the 11th century, much of Scandinavia had become Christian, but Viking artistic traditions persisted.
Classical style and motifs lived on in Byzantine art in ivories such as this one. Although the scene is set in a landscape, the Byzantine artist rejected the classical illusionism of early mosaics. Wooden Portal of the Stave Church at Urnes, Norway, ca. It shows the formulas of precedence and rank. The artist drew inspiration from the Hellenistic naturalism of the pre-Christian Mediterranean world. Museo Della Civiltá Romana, Rome.
Middle Byzantine churches typically are small and high-shouldered, with a central dome on a drum and exterior wall surfaces with decorative patterns, probably reflecting Islamic architecture. Despite the figures looking undersized due to the vast space beneath the dome of the great church, the seated Theo tokos is more than sixteen feet tall. Chariot on which He ascends carries symbols of four Evangelists. For example, compare the famous Nike of Samothrace to the image of St. Crucifixion, Mosaic in the North Arm of the East Wall of the Church of the Dormition, Daphni, Greece, ca. Saint Michael the Archangel, Right Leaf of a Diptych, Early Sixth Century. The origin of the Archangel Michael diptych is unknown.