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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 6th
century 257
9-4: Justinian as world conqueror (Barbarini Ivory) ivory 650CE 259
9-5 to 9-8: Hagia Sophia, Constantinople
Architects: Anthemius of Tralles and Isidorus of Miletus
Architecture 537CE
260-261
9.1 & 9.10 to 9-12: San Vitale, Ravenna Architecture 550CE 263-265
9-13: Justinian, Bishop Maximianus and attendants
9-14: Theodora and attendants
Mosaic ca. 547 265
9-15: Santa Apollinare in Classe, Architecture 550CE 266
9-16: Transfiguration of Jesus mosaic (Egypt) 500CE 267
9-18: Virgin (Theotokos) & Child between Saints Theodore and
George
encaustic on wood 600CE 269
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
4th
- 10th
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
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