AP ART HISTORY: SHMERYKOWSY

EARLY CHRISTIAN/ BYZANTINE

SOME INFORMATION:

Late Antiquity:

  • As a complicated period bridging betweenRoman artandMedieval artandByzantine art, the Late Antique period saw a transition from the classical idealizedrealismtradition largely influenced by Ancient Greek art to the more iconic, stylized art of the Middle Ages.
  • Unlike classical art, Late Antique art does not emphasize the beauty and movement of the body, but rather, hints at the spiritual reality behind its subjects.
  • As the soldier Emperors emerged from the provinces in the 3rd century, they brought with them their own regional influences and artistic tastes. For example, artists jettisoned the classical portrayal of the human body for one that was more rigid and frontal. This is markedly evident in the combinedporphyryPortrait of the Four TetrarchsinVenice. With these stubby figures clutching each other and their swords, allindividualism,naturalism, the verism or hyperrealism of Roman portraiture, and m Greekidealismdiminish.
  • Sarcophagicarved in relief had already become highly elaborate, and Christian versions adopted new styles, showing a series of different tightly packed scenes rather than one overall image (usually derived from Greekhistory painting) as was the norm. Soon the scenes were split into two registers, as in theSarcophagus of Junius Bassus(the last of these exemplifying a partial revival of classicism).
  • Nearly all of these more abstracted conventions could be observed in the glittering mosaics of the era, which during this period moved from being decoration derivative from painting used on floors and walls likely to become wet to a major vehicle of religious art in churches. The glazed surfaces of thetesseraesparkled in the light and illuminated the basilica churches.
  • As for luxury arts, manuscript illumination on vellum and parchment emerged from the 5th century, with a few manuscripts of Roman literary classics.

Early Christian Art

  • Early Christiansused the same artistic media as the surrounding pagan culture. These media includedfresco,mosaics,sculpture, andmanuscript illumination.
  • Early Christian art not only used Roman forms, it also used Roman styles. Late classical style included a proportional portrayal of the human body and impressionistic presentation of space. Late classical style is seen in early Christian frescos, such as those in theCatacombs of Rome, which include most examples of the earliest Christian art.
  • Early Christians adapted Roman motifs and gave new meanings to what had been pagan symbols. Among the motifs adopted were the peacock,grapevines, and the "Good Shepherd".
  • Early Christians also developed their owniconography, for example, such symbols as the fish (ikhthus), were not borrowed from pagan iconography.

Byzantine Art:

  • Byzantine artis the artistic products of theEastern Roman, orByzantine, Empire, as well as the nations and states that inherited culturally from the empire.
  • Though the empire itself emerged from Rome's decline and lasted until theFall of Constantinoplein 1453,manyEastern Orthodoxstates in Eastern Europe, as well as to some degree theMuslimstates of the easternMediterranean, preserved many aspects of the empire's culture and art for centuries afterward.
  • Art produced byEastern Orthodox Christiansliving in theOttoman Empireis often called "post-Byzantine." Certain artistic traditions that originated in the Byzantine Empire, particularly in regard to icon painting and church architecture, are maintained inGreece,Serbia,Bulgaria,Macedonia,Russia, Ukraineand other Eastern Orthodox countries to the present day.

East vs. West:

  • TheEast–West Schismis the medieval division ofChalcedonia ChristianityintoEastern (Greek) and Western (Latin) branches, which later became commonly known as theEastern Orthodox Churchand theRoman Catholic Church, respectively.

OLD SAINT PETER BASCILICA

  • begun 319, 320-327CE
  • atrium added later 4th century
  • erected by Constantine: first imperial patriot of Christianity
  • stood on stop of St. Peters grave

CHURCH OF SAINT VITALE

  • Ravenna
  • under construction from 520CE
  • mosaics 546-548CE
  • central domed octagon extended by excedra (semi circular bays)
  • ambulatory: passage, walkway around the apse
  • rectangular sanctuary and semicircular apse
  • dome rests on 8 SQUINCHES (arch or lintel built across the upper corners of a square space)
  • tesserae: small pieces of stone, glass or other materials for mosaics
  • narthex: vestibule or entrance porch of church

HAGIA SOPHIA

  • means “Holy Wisdom”
  • replaced after 4th century after destroyed
  • rebuilt under JUSTINIAN
  • chose two scholar theoreticians: ANTHEMIUS OF TRALLES and ISODORUS OF MILETUS to rebuild
  • ANTHEMEIUS specialist in geometry and optics
  • ISIDORUS a specialist in physics and studies vaulting
  • took mortal builders 5 years (532-537)
  • based on central plan with dome inscribed in square shape
  • longitudinal nave with half domes expanding outward from central dome to connect to narthex
  • Main dome supported on PENDENTIVES (triangular curving vault sections)
  • two half domes flank the main dome
  • has 40 windows around the base of the dome
  • Dome design favored by Eastern Church

SAN MARCO

  • begun 1063
  • cuniform ground plan
  • Five domed Apostoleion
  • served as a model for renovations in 10th century

TAJ MAHAL

  • “crown of palaces”
  • white marble mausoleum in India
  • base, dome, minaret (meaning lighthouse: tell spiral/ onion shaped conical crown)

BARMA AND POSTNIK

  • Cathedral of Saint Basil the Blessed, Moscow
  • Mid 16th century
  • exterior originally painted white and domes golden
  • color added later and names changed
  • originally dedicated to Intercession of Virgin Mary: a reflection of veneration of Mary in Eastern Church

DEEIS

  • mosaic south of gallery in HAGIA SOPHIA, Constantinople
  • 1260
  • commissioned for the retaking of the city
  • rendered in high detail and naturalism

VIRGIN AND CHILD FLANKED BY JUSTINIAN I AND CONSTANTINE I

  • 944CE
  • throne without back, feet on pedestal
  • Christ on lap, hand in blessing, other holding scroll
  • RIGHT: Constantine presenting model of city to Mary with inscription” Great Emperor Constantine om the Saints”
  • LEFT: Justinian offering model of Hagia Sophia
  • Medallions on both sides of Virgins head carry MONOGRAMS MP and OX (abbreviations of “Mater” and “Theou”)
  • Mother of God

CRUCIFIXION

  • mosaic in East Wall of CHURCH OF DORMITION, Daphni, Greece
  • Late 14th century
  • Jesus barely dressed and flanked by Mary and apostle John
  • by feet: blood and water represent EUCHARIST and BAPTISM

PANTOKRAT= Byzantine depiction of Christ as universal ruler

CHRIST PANTOKRATER

  • mosaic in central dome of CHURCH OF DORMITION, Daphni Greece
  • 1080-1100 CE
  • combined two persons of Holy trinity in portrayal

◦father and son

◦judge and savior

ENTHRONED MADONNA AND CHILD

  • mid to late 13th century E
  • typical Byzantine style
  • CHRYSOGRAPHY: art of writing letters in gold
  • tempera on panel

VIRGIN OF VLADIMIR

  • probably originally from Constantinople
  • 12th century (faces), rest has been retouched
  • tempera panel
  • brought to Kiev, Ukraine and Kievan Rus people learned and study art form
  • distinctive humanization of Mary and Christ
    Known as Virgin of Compassion
  • Arrived in Kiev in 1131-1136 and taken by Russia in 1480.

ANASTASIS

  • painting in apse of funerary chapel
  • Church of the Monastery of Christinchova
  • Christ as savior in white

EMPERIOR JUSTINTIAN AND HIS ATTENDANTS

  • mosaic in North wall of apse
  • Church of Vitale
  • Ravenna, 547
  • CHI RO: monogram of Greek letters standing for “Christ”
  • combined imperial ritual, Old testament narrative and Christian liturgical symbolism

EMPERRESS THEORDRA AND HER ATTENDANCRS

  • Mosaic on SOUCH wall of apse
  • St. Vitale Church, 547
  • classical illusionist devices
  • suggests richness of the Byzantine court

CARPET PAGE WITH CRISS

  • Illustration from LINDISFRANE GOSPELS
  • 710-725 CE
  • orderly division and symmetry govern entire page
  • exuberance of Irish ornament

BOOK OF KELLS

  • illuminated manuscripts
  • zoomorphic and anthropomorphic imagery
  • PAGES OF FOUR EVANGELISTS 710-725

◦MATTEW= angel

◦MARK= winged lion

◦LUKE= ox

◦JOHN= eagle

  • ARREST OF CHRIST (Book of Kells)

◦710-725/ 9th century

◦CHI RHO MONOGRAM PAGE (book of Kells)

◦CHI= X

◦RHHO= P

◦Irish ornamental style 710-725CE

SYMBOL OF MARK

  • Illustration of the GOSPELS OF SAINT WILLIBROID (ECHTERNACH GOSPELS)
  • 690CE
  • imagio leonis: earl Irish art of a free, flamboyant form of herodic beast

PAGE WITH REBECCA AT THE WELL

  • from BOOK OF GENSIS (Vienna)
  • Early 6th century CE
  • tempera, gold, silver paint on purple dyed vellum
  • purple dye= shells of murex mollusks
  • Illustrations appear in SINGLE SCENE: events from different times and placed in ONE scene

STORY OF JACOB

  • in VIENNA, BOOK OF GENESIS
  • 6th century
  • single narrative with multiple places and time frames

SAINT MARK

  • Illustration in GOSPEL BOOK OF EBBO
  • author in bulky mantel, seated frontally, sketchy landscape
  • tiny lion in upper right= INPSIRED EVENGALIST
  • lion= symbol of mystical revelation

PAGE WITH MARK THE EVANGELISTSBOOK OF MARK, GODESCALC EVANGELISTARY

  • 781-783 CE
  • ink, gold, colors on vellum
  • small halved lion in upper left corner: inspiration and iconographic symbolic modeled arms, hips, knees beneath garment
  • hint of 3D space

PAGE WITH MATTHEW THE EVANGELISTARY

  • BOOK OF MATTHEW
  • 2nd quarter of 9th century
  • ink, gold, colors on vellum
  • Medieval expressionism: less physical appearance but more internal spiritual excitement

SAINT MATTHEW

  • Illustration in LINDISFRANE GOSPELS
  • natural proportioned elder
  • background not painted, but drapery conceals witness
  • St. Matthew is receiving divine works which inspire his Gospel
  • Above: bust of his symbolized by winged man (imagio hominis)

INITIAL R WITH KNIGHT FIGHTING DRAGONS

  • folio 4 verso of the MORALIA IN JOB
  • from Citeaux, France
  • 1115-1125 CE
  • ink, tempera on vellum
  • ornamental initials

SAINT MATTHEW

  • Illustration in the CORONATION GOSPELS
  • Also known as SCHATZKANMER GOSPELS)
  • Early 9th Century
  • classical in style
  • purple stained parchment and silver text
  • monumentality of halo and figure: a serene portrait