AP Art History Unit Sheet #9: Byzantine – Chapter 9 Mrs. Cook Works of Art Medium Date Page # 9-2: St. Michael the Archangel ivory Early 6 th century 257 9-4: Justinian as world conqueror ( Bar barini Ivory) ivory 650CE 259 9-5 to 9 -8: Hagia Sophia, Constantinople Architecture 537CE 260 -261 Architects: Anthemius of Tralles and Isidorus of Miletus 9.1 & 9.10 to 9 -12: San Vitale, Ravenna Architecture 550CE 263 -265 9-13: Justinian, Bishop Maximianus and attendants Mosaic ca. 547 265 9-14: Theodora and attendants 9-15: Santa Apollinare in Classe, Architecture 550CE 266 9-16: Transfiguration of Jesus mosaic (Egypt) 500CE 267 9-18: Virgin (Theotokos) & Chil d between Saints Theodore and encaustic on wood 600CE 269 George 9-23: Christ the Pantokrator mosaic (Greece) 1100CE 272 9-26: St. Marks, Venice Architecture 900CE 274 9-30: Paris Psalter Tempura on Vellum 950CE 277 9-31: Vladimir Virgin Icon - encaustic wood panel 1100CE 277 9-35 : The Three Angels Tempera on wood Ca. 1410 280 Preview: In 324, Constantine founded Constantinople (modern Istanbul, Turkey) on the site of ancient Byzantium. With the subsequent division of the Roman Empire into eastern and western centers, the city became the capital of the Eastern Christian, or Byzantine Empire. Byzantine art is divided into three periods: Early Byzantine (324-726), Middle Byzantine (843-1204), and Late Byzantine (1261-1453). The art and architecture of Byzantium glorified its emperors and gave visual form to the Orthodox Christian doctrine, which became the official religion of the realm under the Emperor Justinian. Though countless Early Byzantine artworks were destroyed in the era of iconoclasm (726-843), Middle Byzantine art marks a golden age after iconoclasm’s repeal. In the paintings and sculpture, Byzantine artists carry on classical traditions, but their depictions lack the naturalism and illusionism one sees in the art of Ancient Rome. Orthodox church architecture incorporates forms established in Rome, though Byzantine architects favored Greek-cross plans. A hallmark of Byzantine architecture is the construction of the dome set on pendentives, the most spectacular example of which is to be seen in the Hagia Sophia (532-537) in Constantinople. The Byzantine Empire falls when the Ottoman Turks seize Constantinople in 1453, and many of its churches, including the Hagia Sophia, are converted to mosques. Byzantine Art- Context 1 Constantinople – founded in 330 CE by Constantine as center of the eastern Roman Empire. Byzantine Empire ended when Constantinople “falls” in 1453 CE to the Ottoman Turks 2 Theocracy –the belief that the ruler (as head of state) is also the religious leader (head of the church/religion). Emperor Justinian also head of Eastern Orthodox Church- the vicar of Christ on Earth in competition to Pope in Rome. Eastern church splits with Western church in 1054 3 Justinian –c. 550 Emperor of Byzantine Empire. Invades Ravenna - comes under Justinian’s control- Maximian is Justinian’s designate. Declares Christianity to be only lawful religion of his empire . 4 Mosaics –main decorative element on the interiors of churches- best preserved examples in Ravenna iconic representations of complex theological ideas Vocabulary: iconoclast/ icons, theocracy, orthodox, tesserae, encaustic Architecture Terms/ Techniques: Central plan: dome , squinch, pendentive, Basilica plan: atrium, narthex, nave, aisles, transept, crossing, arcade, blind arcade, colonnade, clerestory AP Art History Unit Sheet #9: Byzantine – Chapter 9 Mrs. Cook Byzantine Mosaics- The Golden Age of Mosaics: mosaic from Ravenna, Constantinople, Venice and Rome during the th th 4 - 10 centuries Definition: The art or technique of creating picture or design with tesserae (Latin for cubes or dice) set in a mastic or a plaster grout. Technique: tesserae pieces can be set into wall, ceilings, floors, portable icons. tesserae pieces may be small pieces of colored glass, stones, marble pottery or any other hard imperishable material. Byzantine Mosaics as Iconic Art: (icon=image symbolic of an idea) - Symbolic representation of a message - Conceptual experience of work of art – conceptual reality – primary purpose to convey an idea - Use of simplification and stylization but at the service of concept and less on appearance or rich visual experience - Simplification of presentation of this idea into an easily recognizable form - Move toward realism – but not exact representation of visual reality - Decorative elements secondary to central image or icon .