Byzantine Art

•In the eastern part of the former Roman Empire, a new

style of art developed during the Middle Ages. This style
thrived around the city of Constantinople (now Istanbul,
Turkey) and spread to towns such as Ravenna in Italy.
•Constantinople was built on the site of the ancient city of
Byzantium, which was the capital of the Byzantine empire.
Byzantine art featured very rich colors and heavily
outlined figures that appeared flat and stiff.
•Constantinople was close to Asia as well as Greece, and
because of it’s proximity, Greek, Roman, and Asian art and
culture all influenced Byzantine artists.
"Madonna and Child on a
curved throne" is a late
13th Century icon, tempera
on wood panel, 32 1/8" X
19 3/8". National Gallery
of Art, Washington, D.C.

This painting is a good

example of the Byzantine
blending of Western
Realism and Asian
decorative patterns. The
heads and graceful hands
are shaded to give the
illusion of roundness. The
Asian influence is seen in
the flat bodies and the
patterns of gold lines.
Madonna
Enthroned
By Giovanni
Cimabue
1280-90
Duccio Di Buoninsegna, Virgin and child Enthroned with Saints, principal panel of the
Maesta alterpiece, from the Siena Cathedral, Siena, Italy, 1308-1311
 Medieval Art Characteristics

Medieval Art Characteristics

• Disproportionate and no perspective

• All faces the same, unrealistic
• 2 dimensional, flat, and dull
• Religious themes
• 180 degree relief statues
• Storytelling, either about religion or
warfare.
• Artists are craftsmen, works for guild
The Art of Byzantium
Anthemius of Tralles and Isidorus of Miletus
Hagia Sophia
Constantinople (Istanbul), Turkey,
Architecture ca 532-537

The canopy-like dome that also

dominates the inside of the church
rides on a halo of light from
windows in the dome's base. The
forty windows create the illusion
that the dome is resting on the
light that comes through them--like
a "floating dome of heaven."

Huge wall piers to the north, half-

domes to the east and west, and
smaller domes covering columned
niches give a curving flow to the
design.

The "walls" in Hagia Sophia

indicate that the architects sought
Roman monumentality as an The use of brick instead of concrete was a further departure
effect, but did not design from Roman practice and characterized Byzantine
according to Roman principles. architecture as a distinctive style.

Figure 12-3
The Art of Byzantium
Anthemius of Tralles and Isidorus of Miletus
Hagia Sophia
Constantinople (Istanbul), Turkey,
Architecture ca 532-537

The architects were ahead of their time in

that they used pendentives to transfer the
weight from the dome to the piers beneath,
rather to the walls. In this, the space
beneath the dome was unobstructed and
allowed room for windows in the walls,
which created the illusion of the suspended
dome. This technicality can be explained by
experts today, but was a mystery to
Anthemius' and Isidorus' contemporaries in
the 6th century.

Additionally, the fusion of two independent

architectural traditions [the vertically
oriented central-plan building and the
horizontally oriented basilica] was previously
unseen, and was the successful conclusion
to centuries of experimentation.

Figure 12-3
The Art of Byzantium
Anthemius of Tralles and Isidorus of Miletus
Hagia Sophia
Constantinople (Istanbul), Turkey,
Architecture ca 532-537

The mystical quality of the light that floods the

interior has fascinated visitors for centuries. The
canopy-like dome that also dominates the inside of
the church rides on a halo of light from windows in
the dome's base.

The forty windows create the illusion that the dome

is resting on the light that comes through them--like
a "floating dome of heaven." Thus, Hagia Sophia
has a vastness of space shot through with light and
a central dome that appears to be supported by the
light it admits.

Light is the mystic element that glitters in the

mosaics, shines from the marbles, and pervades
spaces that cannot be defined. It seems to dissolve
material substance and transform it into an abstract
spiritual vision.

Figure 12-3
The Art of Byzantium
Anthemius of Tralles and Isidorus of Miletus
Hagia Sophia
Constantinople (Istanbul), Turkey,
Architecture ca 532-537

The poet Paulus described the vaulting as

covered with "gilded tesserae from
which a glittering stream of golden rays
pours abundantly and strikes men's
eyes with irresistible force. It is as if
one were gazing at the midday sun in
spring."

The use of the gilded mosaics serves to

create a more radiant light when the sun
hits it; the light is more complex and
multidimensional and creates a different
aura than if the light had just hit a plain
mosaic.

The gilded mosaic changes the color of

the light to a softer, more ethereal realm
that lends itself to the atmosphere of
Hagia Sophia.

Figure 12-3
The Art of Byzantium
Justinian, Bishop Maxanius and attendants,
mosaic from the north wall of the apse,
San Vitale, Ravenna, italy,
Mosaics ca. 547

The golden wreath of victory

Christ extends during the
Second Coming to Saint Vitalis
is also extended to Justinian, for
he appears on the Savior's right
side in the dependent mosaic
below and to the left of the apse
mosaic.

These rites confirmed and

sanctified his rule, combining the
political and the religious. The
laws of the Eastern Church and
the laws of the state, united in
the laws of God, were manifest
in the person of the emperor and
in his God-given right.

Justinian is distinguished from
those around him, not only by
his royal purple, but by his halo,
another indication of his god-like
status. Figure 12-10
Each figure's position in the mosaic is important. Justinian, in the
center, is distingushed by his holy halo. He seems to be behind
bishop to the right, and with the imperial powers to the left, yet
his bowl is in front of the bishop, unifying the two groups of
people.
The Art of Byzantium
Justinian, Bishop Maxanius and attendants,
mosaic from the north wall of the apse,
San Vitale, Ravenna, italy,
Mosaics ca. 547

All of the figures are

rigid in stature but the
objects everyone is
holding to the right
gives it the sense of
slow motion.

Their feet seem to

float on the ground
like divine powers and
they all have blank
stares and simple
charactersitics.

Iconography of
religion is used for
these figures instead
of veristic expression.

Figure 12-10
The Art of Byzantium
Theodora and attendants,
mosaic from the south wall of the apse,
San Vitale, Ravenna, italy,
Mosaics ca. 547

The empress stands in state

beneath an imperial canopy,
waiting to follow the emperor'
procession. An attendant
beckons her to pass through the
curtained doorway.

The fact she is outside the

sanctuary in a courtyard with a
fountain and only about to enter
attests that, in the ceremonial
protocol, her rank was not quite
equal to her consort's.

It is interesting in that neither

she, nor Justinian ever visited
Ravenna, where they are shown
in the mosaic.
Theodora's portrayal is more
surprising and testifies to her
unique position in Justinian's
court.
Theodora's prominent role in the mosaic is proof of the power she
wielded at Constantinople and, by extension, at Ravenna. In fact, the
representation of the Three Magi on the border of her robe suggests
she belongs in the elevated company of the three monarchs who
approached the newborn Jesus bearing gifts. Figure 12-11
The Art of Byzantium
Theadora and attendants,
mosaic from the south wall of the apse,
Mosaics San Vitale, Ravenna, italy, ca. 547

Again, the figures are elongated,

with bent elbows. The faces are
all facing forward, and the eyes
of the prominent figures are
looking towards the viewers.

The hands of the major figures in

the mosaic are across their
heart, and all of the poses are
very regal and stiff, upright.

The dimension of the mosaic is

flat and there is very little
attempt at portraying objects and
people in some type of Key word to use when describing the mosaics on the walls of San
perspective. Vitale:

Elongated, spiritual, ethereal, votive eyes, religiously symbolic,

Figure 12-11
denatured
The Art of Byzantium
Virgin (Theotokos) and Child,
icon (Vladimir Virgin), tempera on wood,
Mosaics Late 11th to Early 12th Century

The Vladimir Virgin clearly

reveals the stylized abstraction
that centuries of working and
reworking the conventional
image had wrought.

The characteristic traits of the

Byzantine icon of the Virgin and
Child are all present: the sharp
sidewise inclination of the
Virgin's head to meet the tightly
embraced Christ Child; the
long, straight nose and small
mouth; the golden rays in the
infant's drapery; the decorative
sweep of the unbroken contour The icon of Vladimir was
that encloses the two figures; placed before or above
the flat silhouette against the stairs in churches or private
golden ground; and the deep chapels, and incense and
pathos of the Virgin's smoke from candles that
expression as she burned blackened its
contemplates the futureFigure 12-29 surface.
sacrifice of her son.
The Art of Byzantium
Virgin (Theotokos) and Child,
icon (Vladimir Virgin), tempera on wood,
Mosaics Late 11th to Early 12th Century

It was exported to Russia in the

early twelfth century and then
taken to Moscow to protect the
city.

The Russians believed that the

Vladimir icon saved the city of
Kazan from later Tartar invasions
and all of Russia from the Poles
in the seventeenth century.

It is a historical symbol of
Byzantium's religious and
cultural mission to the Slavic
world.
These types of images were not
universally accepted by
Christians.
Those who opposed the use of
“icons” are termed iconoclasts
and those who embraceFigure
the 12-29
concept of the “icon” are known
The following passage from
Exodus 20:4,5 explains the
reason behind the iconclast
ideal: “Thou shalt not make unto thee
any graven image or any likeness of
anything that is in heaven above, or that
is in the earth beneath, or this is in the
water under the earth. Thou shalt not
bow down thyself to them, nor serve
them”
 Byzantine Costume

 From the Romans the Byzantines inherited their basic

clothing forms, the tunic and toga for men, and the stola,
a type of long dress, for women, as well as their shoes
and their hairstyles. These basic garments had become
more ornate and luxurious late in the Roman Empire, yet
it was not long after the fall of the Roman Empire in 476
C.E. that the Byzantines began to modify and extend the
Roman costume tradition to become something uniquely
their own.
 Changing styles
 By the end of the Roman Empire the toga, which had once been required
wear for Romans, was worn only on ceremonial occasions. The Byzantines,
who tended to prefer simple flowing clothes to the winding and draping of
the toga, did away with the toga altogether. They chose as their most basic
of garments the dalmatica, a long, flowing men's tunic, or shirt, with wide
sleeves and hem, and the stola for women. Unlike the Romans, the
Byzantines tended to be very modest about any display of flesh. Their
garments were worn close about the neck, sleeves extended all the way to
the wrist, and the hemline, or bottom edge, of their outer garments
extended all the way to the ground. They layered their clothing, with men
wearing a tunic and trousers under the dalmatica, and women wearing a
long undergarment beneath their stola and an outer garment called a
paludamentum, or long cloak.


 One of the key features of the
Byzantine Empire was its history of
trade with the Middle East and the
Orient. Traders brought exotic fabrics
and patterns into the capital city of
Constantinople from these regions, and
rich Byzantines eagerly adopted the
colors, patterns, and fabrics of the East
into their costume tradition.
Deep reds, blues, greens, and
Byzantine clothing became ever richer in color
yellows became common on the
and ornamentation,
garments of wealthy people, but the
richest color, purple, was reserved
for royalty. When Byzantine emperors
received foreign visitors, they
costumed themselves in rich purple
robes, glittering with gold
embroidery and jewels sewn onto the
fabric.
Court Dress 6th ce.
9th -10th ce.
Depiction of Byzantine fashion in the
first half of the 6th century AD. Sewn and
decorated leg wear seemed to be common in
Byzantine clothing very early.
Depiction of the clothing worn
by Christians in the 6th
century AD.
476AD saw the end of the
Western Roman Empire. At that
time the fashionable Roman
dress of 'New Rome' had
adopted oriental elements
which culminated in
Byzantine styles as shown in
the image of Empress Theodora
in 547AD below
Byzentine Jewelery
In Byzantine jewelry gold and silver, enamel,
pearls, precious and semi-precious stones are
often used in the same piece. This combining
of different techniques is characteristic of
some of the finest Byzantine jewelry. Jasper,
sardonyx, lapis lazuli, agates and rock
crystal were popular. Champleve and cloisonné
enamelling was especially fine, with pearls
and polychrome glass creating wonderfully
colourful effects.
A typically Byzantine style of earring was of
crescent shape in gold repoussé openwork with
a central cross in a circle often flanked by
peacock motifs.
Byzantine, 11th.Century , one of the
finest bronze Processional Crosses we
have ever seen, engraved with the Virgin
Orans with the Christ Child in clothing
suggestive of a warrior
The flanked
commonestby St's
pendant in
Peter and Paul. Byzantine jewelry became
the cross, although jewelled
pendants were not
uncommon.
Bronze Byzantine Jewellery
Byzantine jewelry is characterized by the
same love of luxury and precious materials
as that of ancient times The Byzantine
emperors and nobles were famed for the
precious jewellery they possessed or
presented as gifts. Centres of jewellery
production were not only the capitál
Constantinople but also provinces such as
Syria, which had a long tradition in this
art.
BYZANTINE FOLLES COIN NECKLACE
IN 14KY GOLD
7TH CENTURY AD
Earings
Byzentine textile

Earth Goddess Gaia to the upper part of a tunic with

Aphrodite and Eros, both from Egypt, 4th century.
Textile with Dionysos and Ariadne, 5th century
AD. Flax, wool, tapestry weave, flying needle
technique.
Textile with Orpheus, 6th century Ad.
Flax, wool, tapestry weave.
Textile with Dionysos, 4th
century AD. Flax, wool,
tapestry weave.
Byzentine
Motifs