<ul><li>ART ID 111 | Study of Ancient Arts </li></ul><ul><ul><ul><li>Slide concept by William V. Ganis, PhD  </li></ul></u...
<ul><li>the term commonly used to describe the artistic products of the Byzantine Empire from about the 5th century until ...
<ul><li>the Eastern Roman Empire during the periods of Late Antiquity and the Middle Ages, centered on the capital of Cons...
<ul><li>In 324,  Constantine I  founded the city  Constantinople  on the site of the ancient city of  Byzantium  to serve ...
<ul><li>Art historians divide the history of Byzantine art into the three periods of its greatest glory: </li></ul><ul><li...
 
Justinian as world conqueror  (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in.
Justinian as world conqueror  (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in.
Saint Michael the Archangel  early-6th century ivory 1 ft. 5 in. x 5 1/2 in.
Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey  |  532-537 The domed church of...
Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey  |  532-537
 
Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey  |  532-537
 
Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey  |  532-537
Virgin (Theotokos) and Child enthroned Apse mosaic, Hagia Sophia  867 | mosaic
 
San Vitale | Ravenna, Italy  |  526-547
San Vitale Ravenna, Italy 526-547
San Vitale | Ravenna, Italy  |  526-547
Apse Mosaic San Vitale | Ravenna, Italy  |  526-547
Justinian, Bishop Maximianus and attendants north wall apse mosaic, San Vitale | Ravenna, Italy |  ca. 547 | mosaic
Theodora and attendants south wall apse mosaic, San Vitale| Ravenna, Italy |  ca. 547 | mosaic
Abraham and the Three Angels ( Philoxeneos) , and the Sacrifice of Isaac north lunette mosaic, San Vitale| Ravenna, Italy ...
Sacrifice of Abel, Sacrifice of Melchisedech north lunette mosaic, San Vitale| Ravenna, Italy |  ca. 547 | mosaic
Sant’Apollinare in Classe Ravenna, Italy |  533-549
Sant’Apollinare in Classe Ravenna, Italy |  533-549
Saint Apollinaris amid sheep Sant’Apollinare in Classe Ravenna, Italy 533-549 mosaic
 
Transfiguration of Jesus apse mosaic, Church of the Virgin Monastery of Saint Catherine Mount Sinai, Egypt ca. 565 mosaic
Transfiguration of Jesus apse mosaic, Church of the Virgin | Monastery of Saint Catherine Mount Sinai, Egypt  |  ca. 565  ...
Virgin (Theotokos) and Child  between Saints Theodore and George, icon 6th or early 7th century encaustic on wood 2 ft. 3 ...
 
Anicia Juliana  Between Magnanimity  and Prudence folio 6 of the  Vienna Dioskorides from Honoratai near Constantinople (I...
 
Ascension of Christ  Rabbula Gospels From Zagba, Syria 586 tempera on vellum  1 ft. 1 in. x 10 1/2 in.
 
Katholikon and Church of the Theotokos Hosios Loukas, Greece |  Katholikon early 11th century, Church of the Theotokos, 10...
 
Apse of the Katholikon Hosios Loukas, Greece 11th century | mosaic
Dome of the Katholikon Hosios Loukas, Greece 11th century fresco
Dome of the Katholikon Hosios Loukas, Greece 11th century | fresco
Nativity of Christ Katholikon Hosios Loukas, Greece 11th century mosaic
Baptism of Christ Katholikon Hosios Loukas, Greece 11th century mosaic
 
Pantocrator dome mosaic  in the Church of the Dormition Daphni, Greece ca. 1090-1100  mosaic
Crucifixion  in the Church of the Dormition Daphni, Greece ca. 1090-1100  mosaic
 
Saint Mark’s Cathedral Venice, Italy begun 1063
Saint Mark’s Cathedral Venice, Italy |  begun 1063
interior of  Saint Mark’s Cathedral Venice, Italy |  ca. 1180 | mosaic
Anastasis From west vault of Saint Mark’s Cathedral Venice, Italy  ca. 1180 mosaic
Pala d’Oro from Saint Mark’s Cathedral Venice, Italy ca. 1105 gold cloisonné with precious stones
Archangel |  Pala d’Oro  from Saint Mark’s Cathedral Venice, Italy |  ca. 1105 | gold cloisonné with precious stones
 
Apse Cathedral at Monreale Monreale, Sicily, Italy ca. 1180-1190  mosaic
Pantocrator Cathedral at Monreale Monreale, Sicily, Italy ca. 1180-1190  mosaic
Theotokos and Child, angels and saints Cathedral at Monreale Monreale, Sicily, Italy ca. 1180-1190  | mosaic
Hodegetria, icon (front) ca. 1150-1200 tempera on wood
Hodegetria, icon (back) ca. 1150-1200 tempera on wood
Hodegetria, icon |  ca. 1150-1200 | tempera on wood
Christ enthroned with Saints (Harbaville Triptych) ca. 950 | ivory | 9 1/2 in. x 5 1/2 in. high
David composing the Psalms Paris Psalter ca. 950-970 tempera on vellum 14 1/8 in. x 10 1/4 in.
Israelites’ Flight from Egypt Paris Psalter ca. 950-970 tempera on vellum 14 1/8 in. x 10 1/4 in.
 
Anastasis (Ressurection) apse fresco in parekklision of the Church of Christ in Chora Constantinpole, (Istanbul), Turkey |...
 
Christ as Savior of Souls, icon early 14th century tempera, linen and silver on wood 3 ft. 1/4 in. x 2 ft. 2 1/2 in.
Annunciation, reverse of 2-sided icon early 14th century tempera and linen on wood 3 ft. 1/4 in. x 2 ft. 2 3/2 in.
Annunciation, obverse of 2-sided icon early 14th century tempera, linen and silver on wood  3 ft. 1/4 in. x 2 ft. 2 3/2 in.
 
Virgin (Theotokos) and Child, icon Late 11th to early 12th century tempera on wood 2 ft. 6 1/2 in. x 1 ft. 9 in.
Andrei Rublyev Three Angels, icon ca. 1410 tempera on wood 4 ft. 8 in. x 3 ft. 9 in.
Iconostasis A wall of icons between the sanctuary and the knavea in an Eastern Orthodox church
<ul><li>Themes: </li></ul><ul><ul><li>Religious </li></ul></ul><ul><ul><li>Imperial </li></ul></ul><ul><li>Partly a result...
<ul><li>The most salient feature of this new aesthetic was its “abstract,” or anti-naturalistic character. If classical ar...
<ul><li>IMPORTANT GENRES </li></ul><ul><li>Icon </li></ul><ul><ul><li>an image of Christ, the Virgin, or a saint, used as ...
<ul><li>IMPORTANT GENRES </li></ul><ul><li>Acheiropoieta  (Byzantine Greek: αχειροποίητα, &quot;made without hand&quot;; s...
<ul><li>HIGHLIGHTS </li></ul><ul><li>Encompasses two periods in the history of the Byzantine Empire when Emperors, backed ...
Sources <ul><li>http://www.wadsworth.com/art_d/templates/student_resources/0155050907_kleiner/studyguide/ch12/ch12_1.html ...
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  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
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  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
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  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
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  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD with modifications by Edeliza V. Macalandag, UAP FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
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  • ARTID121 Byzantine Art

    1. 1. <ul><li>ART ID 111 | Study of Ancient Arts </li></ul><ul><ul><ul><li>Slide concept by William V. Ganis, PhD </li></ul></ul></ul><ul><ul><ul><li>NYIT Center for Teaching and Learning with Technology </li></ul></ul></ul><ul><ul><ul><li>With modifications by Arch. Edeliza V. Macalandag, UAP </li></ul></ul></ul>Rome in the East: The Art of Byzantium
    2. 2. <ul><li>the term commonly used to describe the artistic products of the Byzantine Empire from about the 5th century until the Fall of Constantinople in 1453. </li></ul><ul><li>also used to refer to the art of Eastern Orthodox states which were contemporary with the Byzantine Empire and were culturally influenced by it, without actually being part of it (the &quot;Byzantine commonwealth&quot;), such as Bulgaria, Serbia, or Rus and also for the art of the Republic of Venice and Kingdom of Sicily, which had close ties to the Byzantine Empire despite being in other respects part of western European culture. </li></ul>Byzantine Art (527-726) Art produced by Eastern Orthodox Christians living in the Ottoman Empire is often called &quot;post-Byzantine.&quot; Certain artistic traditions that originated in the Byzantine Empire, particularly in regard to icon painting and church architecture, are maintained in Greece, Serbia, Bulgaria, Russia and other Eastern Orthodox countries to the present day.
    3. 3. <ul><li>the Eastern Roman Empire during the periods of Late Antiquity and the Middle Ages, centered on the capital of Constantinople. </li></ul><ul><li>Known simply as the &quot;Roman Empire&quot;) or Romania to its inhabitants and neighbours, it was the direct continuation of the Ancient Roman State and maintained Roman state traditions. </li></ul>Byzantine Empire Byzantium is today distinguished from ancient Rome proper insofar as it was oriented towards Greek culture, characterised by Christianity rather than Roman paganism and was predominantly Greek-speaking rather than Latin-speaking.
    4. 4. <ul><li>In 324, Constantine I founded the city Constantinople on the site of the ancient city of Byzantium to serve as the new capital of the Roman Empire. </li></ul><ul><li>After the collapse of the empire in the west in the 5th century, Constantinople and the eastern portion of the empire continued to flourish artistically for another thousand years, until the 15th century when it was finally defeated and occupied by the Ottoman Turks. </li></ul>Byzantine Empire Church and state united: Under the rule of Justinian, Orthodox Christianity became Constantinople's only lawful religion. The Byzantine emperors were believed to be the earthly vicars of Jesus Christ, whose imperial will was God's will.
    5. 5. <ul><li>Art historians divide the history of Byzantine art into the three periods of its greatest glory: </li></ul><ul><li>Early Byzantine </li></ul><ul><li>Middle Byzantine </li></ul><ul><li>Late Byzantine </li></ul>Byzantine Empire The Golden Age of Justinian A distinctive Byzantine style emerged during the reign of Justinian in the sixth century.
    6. 7. Justinian as world conqueror (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in.
    7. 8. Justinian as world conqueror (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in.
    8. 9. Saint Michael the Archangel early-6th century ivory 1 ft. 5 in. x 5 1/2 in.
    9. 10. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey | 532-537 The domed church of Hagia Sophia in Constantinople is one of the supreme accomplishments of world architecture.
    10. 11. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey | 532-537
    11. 13. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey | 532-537
    12. 15. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey | 532-537
    13. 16. Virgin (Theotokos) and Child enthroned Apse mosaic, Hagia Sophia 867 | mosaic
    14. 18. San Vitale | Ravenna, Italy | 526-547
    15. 19. San Vitale Ravenna, Italy 526-547
    16. 20. San Vitale | Ravenna, Italy | 526-547
    17. 21. Apse Mosaic San Vitale | Ravenna, Italy | 526-547
    18. 22. Justinian, Bishop Maximianus and attendants north wall apse mosaic, San Vitale | Ravenna, Italy | ca. 547 | mosaic
    19. 23. Theodora and attendants south wall apse mosaic, San Vitale| Ravenna, Italy | ca. 547 | mosaic
    20. 24. Abraham and the Three Angels ( Philoxeneos) , and the Sacrifice of Isaac north lunette mosaic, San Vitale| Ravenna, Italy | ca. 547 | mosaic
    21. 25. Sacrifice of Abel, Sacrifice of Melchisedech north lunette mosaic, San Vitale| Ravenna, Italy | ca. 547 | mosaic
    22. 26. Sant’Apollinare in Classe Ravenna, Italy | 533-549
    23. 27. Sant’Apollinare in Classe Ravenna, Italy | 533-549
    24. 28. Saint Apollinaris amid sheep Sant’Apollinare in Classe Ravenna, Italy 533-549 mosaic
    25. 30. Transfiguration of Jesus apse mosaic, Church of the Virgin Monastery of Saint Catherine Mount Sinai, Egypt ca. 565 mosaic
    26. 31. Transfiguration of Jesus apse mosaic, Church of the Virgin | Monastery of Saint Catherine Mount Sinai, Egypt | ca. 565 | mosaic
    27. 32. Virgin (Theotokos) and Child between Saints Theodore and George, icon 6th or early 7th century encaustic on wood 2 ft. 3 in. x 1 ft. 7 3/8 in.
    28. 34. Anicia Juliana Between Magnanimity and Prudence folio 6 of the Vienna Dioskorides from Honoratai near Constantinople (Istanbul) ca. 512 tempera on parchment 1 ft. 3 in. x 1 ft. 11 in.
    29. 36. Ascension of Christ Rabbula Gospels From Zagba, Syria 586 tempera on vellum 1 ft. 1 in. x 10 1/2 in.
    30. 38. Katholikon and Church of the Theotokos Hosios Loukas, Greece | Katholikon early 11th century, Church of the Theotokos, 10th century
    31. 40. Apse of the Katholikon Hosios Loukas, Greece 11th century | mosaic
    32. 41. Dome of the Katholikon Hosios Loukas, Greece 11th century fresco
    33. 42. Dome of the Katholikon Hosios Loukas, Greece 11th century | fresco
    34. 43. Nativity of Christ Katholikon Hosios Loukas, Greece 11th century mosaic
    35. 44. Baptism of Christ Katholikon Hosios Loukas, Greece 11th century mosaic
    36. 46. Pantocrator dome mosaic in the Church of the Dormition Daphni, Greece ca. 1090-1100 mosaic
    37. 47. Crucifixion in the Church of the Dormition Daphni, Greece ca. 1090-1100 mosaic
    38. 49. Saint Mark’s Cathedral Venice, Italy begun 1063
    39. 50. Saint Mark’s Cathedral Venice, Italy | begun 1063
    40. 51. interior of Saint Mark’s Cathedral Venice, Italy | ca. 1180 | mosaic
    41. 52. Anastasis From west vault of Saint Mark’s Cathedral Venice, Italy ca. 1180 mosaic
    42. 53. Pala d’Oro from Saint Mark’s Cathedral Venice, Italy ca. 1105 gold cloisonné with precious stones
    43. 54. Archangel | Pala d’Oro from Saint Mark’s Cathedral Venice, Italy | ca. 1105 | gold cloisonné with precious stones
    44. 56. Apse Cathedral at Monreale Monreale, Sicily, Italy ca. 1180-1190 mosaic
    45. 57. Pantocrator Cathedral at Monreale Monreale, Sicily, Italy ca. 1180-1190 mosaic
    46. 58. Theotokos and Child, angels and saints Cathedral at Monreale Monreale, Sicily, Italy ca. 1180-1190 | mosaic
    47. 59. Hodegetria, icon (front) ca. 1150-1200 tempera on wood
    48. 60. Hodegetria, icon (back) ca. 1150-1200 tempera on wood
    49. 61. Hodegetria, icon | ca. 1150-1200 | tempera on wood
    50. 62. Christ enthroned with Saints (Harbaville Triptych) ca. 950 | ivory | 9 1/2 in. x 5 1/2 in. high
    51. 63. David composing the Psalms Paris Psalter ca. 950-970 tempera on vellum 14 1/8 in. x 10 1/4 in.
    52. 64. Israelites’ Flight from Egypt Paris Psalter ca. 950-970 tempera on vellum 14 1/8 in. x 10 1/4 in.
    53. 66. Anastasis (Ressurection) apse fresco in parekklision of the Church of Christ in Chora Constantinpole, (Istanbul), Turkey | ca. 1310-1320 | fresco
    54. 68. Christ as Savior of Souls, icon early 14th century tempera, linen and silver on wood 3 ft. 1/4 in. x 2 ft. 2 1/2 in.
    55. 69. Annunciation, reverse of 2-sided icon early 14th century tempera and linen on wood 3 ft. 1/4 in. x 2 ft. 2 3/2 in.
    56. 70. Annunciation, obverse of 2-sided icon early 14th century tempera, linen and silver on wood 3 ft. 1/4 in. x 2 ft. 2 3/2 in.
    57. 72. Virgin (Theotokos) and Child, icon Late 11th to early 12th century tempera on wood 2 ft. 6 1/2 in. x 1 ft. 9 in.
    58. 73. Andrei Rublyev Three Angels, icon ca. 1410 tempera on wood 4 ft. 8 in. x 3 ft. 9 in.
    59. 74. Iconostasis A wall of icons between the sanctuary and the knavea in an Eastern Orthodox church
    60. 75. <ul><li>Themes: </li></ul><ul><ul><li>Religious </li></ul></ul><ul><ul><li>Imperial </li></ul></ul><ul><li>Partly a result of the pious and autocratic nature of Byzantine society, and partly a result of its economic structure: the wealth of the empire was concentrated in the hands of the church and the imperial office, which therefore had the greatest opportunity to undertake monumental artistic commissions. </li></ul><ul><li>Mosaics were more central to Byzantine culture than to that of Western Europe. Byzantine church interiors were generally covered with golden mosaics. Mosaic art flourished in the Byzantine Empire from the 6th to the 15th centuries. </li></ul>The Byzantine Aesthetic
    61. 76. <ul><li>The most salient feature of this new aesthetic was its “abstract,” or anti-naturalistic character. If classical art was marked by the attempt to create representations that mimicked reality as closely as possible, Byzantine art seems to have abandoned this attempt in favor of a more symbolic approach. </li></ul><ul><li>“ Minor” or “luxury” arts (i.e. ivories, steatites, enamels, jewelry, metalwork, ceramics, etc.) were produced in large number throughout the Byzantine era. Many of these were also religious in nature, although a large number of objects with secular or non-representational decoration were produced: for example, ivories representing themes from classical mythology, and ceramics decorated with figures that may derive from the Akritic epics. </li></ul>The Byzantine Aesthetic
    62. 77. <ul><li>IMPORTANT GENRES </li></ul><ul><li>Icon </li></ul><ul><ul><li>an image of Christ, the Virgin, or a saint, used as an object of veneration in Orthodox churches and private homes alike.  </li></ul></ul><ul><li>Illumination of manuscripts* </li></ul><ul><ul><li>most ommonly illustrated texts were religious, both scripture itself (particularly the Psalms) and devotional or theological texts (such as the Ladder of Divine Ascent of John Climacus or the homilies of Gregory of Nazianzus) </li></ul></ul><ul><ul><li>secular texts were also illuminated: important examples include the Alexander Romance and the history of John Skylitzes. </li></ul></ul>The Byzantine Aesthetic *An illuminated manuscript is a manuscript in which the text is supplemented by the addition of decoration, such as decorated initials, borders (marginalia) and miniature illustrations. In the most strict definition of the term, an illuminated manuscript only refers to manuscripts decorated with gold or silver, but in both common usage and modern scholarship, the term is now used to refer to any decorated or illustrated manuscript from the Western traditions.
    63. 78. <ul><li>IMPORTANT GENRES </li></ul><ul><li>Acheiropoieta (Byzantine Greek: αχειροποίητα, &quot;made without hand&quot;; singular acheiropoieton) — also called Icons Made Without Hands (and variants) — are a particular kind of icon which are alleged to have come into existence miraculously, not created by a human painter. Invariably these are images of Jesus or the Virgin Mary. The most notable examples are, in the Eastern church the Image of Edessa or Mandylion, and in the West, the Veil of Veronica and the Shroud of Turin. </li></ul>The Byzantine Aesthetic Such images functioned as powerful relics as well as icons, and their images were naturally seen as especially authoritative as to the true appearance of the subject. Like icons believed to be painted from the live subject, they therefore acted as important references for other images in the tradition. They therefore were copied on an enormous scale, and the belief that such images existed, and authenticated certain facial types, played an important role in the conservatism of the Byzantine tradition.
    64. 79. <ul><li>HIGHLIGHTS </li></ul><ul><li>Encompasses two periods in the history of the Byzantine Empire when Emperors, backed by imperially-appointed leaders and councils of the Orthodox Church imposed a ban on religious images or icons. </li></ul><ul><li>The &quot;First Iconoclasm&quot;, as it is sometimes called, lasted between about 730 and 787, when a change on the throne reversed the ban. </li></ul><ul><li>The &quot;Second Iconoclasm&quot; was between 814 and 842. </li></ul><ul><li>Iconoclasm has generally been motivated by an Old Covenant interpretation of the Ten Commandments, which forbid the making and worshipping of &quot;graven images&quot;, see also Biblical law in Christianity. </li></ul>The Byzantine Iconoclasm Iconoclasm, Greek for &quot;image-breaking&quot;, is the deliberate destruction within a culture of the culture's own religious icons and other symbols or monuments, usually for religious or political motives. People who engage in or support iconoclasm are called iconoclasts, a term that has come to be applied figuratively to any person who breaks or disdains established dogmata or conventions.
    65. 80. Sources <ul><li>http://www.wadsworth.com/art_d/templates/student_resources/0155050907_kleiner/studyguide/ch12/ch12_1.html </li></ul><ul><li>http://websites.swlearning.com/cgi-wadsworth/course_products_wp.pl?fid=M20b&product_isbn_issn=0155050907&discipline_number=436 </li></ul><ul><li>http://en.wikipedia.org/wiki/Byzantine_art </li></ul><ul><li>Art Through the Ages, 12th/11th ed., Gardner </li></ul>
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