Byzantine art developed after Constantine moved the capital of the Roman Empire to Constantinople in the 4th century. Art was primarily created for the Eastern Orthodox Church and featured somber, flat figures in mosaics and paintings with little realism. Iconoclasm prohibited depicting people from 726 to the 9th century. Sculpture was limited to ivory book covers. Major works included the Hagia Sophia and mosaics at Ravenna and the Kiev catacombs that depicted biblical and theological themes through the 15th century fall of Constantinople.

1. Byzantine Art William V. Ganis, PhD

3. Byzantine Art Byzantine art is the term commonly used to describe the artistic products of the Byzantine Empire from about the 4th century until the Fall of Constantinople in 1453. In 323 Emperor Constantine moved the capitol of the Roman Empire to Byzantium. It was then renamed Constantinople. The majority of the art in this period and place were created for the Eastern Orthodox Church . The Eastern Orthodox preferred a somber reflected tone to worship instead of the large congregational worship of the West. This focus is also reflected in their art and architecture . The figures in their art appear flat and one dimensional with little use of shadowing to give any life-like appearance. Figures are almost always from the front with somber and solemn looks coming from starring eyes. Faces were long and narrow . In all, very little attempt was made for realism in the painting and mosaic depictions. During the Eighth and Ninth Centuries, the painting of people was prohibited by the iconoclasts . This was started by Emperor Leo III in 726. He stated that the painting of people was a form of idolatry and that all icons (painting of people) should be destroyed. This spilt the empire into two sections which became know as the Iconoclastic Crisis. The painting and mosaics came back again in the Ninth century till the fall of the Empire to the Turks. Sculpture was very limited in the Byzantine Era. The only sculpture which developed was limited mostly to small ivory book covers.

4. Justinian I or Justinian the Great , was the second member of the Justinian Dynasty (after his uncle, Justin I ) and Eastern Roman Emperor from 527 until his death. During his reign, Justinian sought to revive the greatness of the classical Roman Empire. Justinian as world conqueror (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in.

5. Justinian as world conqueror (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in.

6. Saint Michael has specific roles within Roman Catholic teachings that range from acting as the chief opponent of Satan to the saving of souls at the hour of death. Saint Michael the Archangel early-6th century ivory 1 ft. 5 in. x 5 1/2 in.

7. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

8. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

9. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

10. Anthemius of Tralles was a Greek professor of Geometry in Constantinople (present-day Istanbul in Turkey) and architect , who collaborated with Isidore of Miletus to build the church of Hagia Sophia by the order of Justinian I . Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

11. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

12. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

13. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

14. Theotokos is the Greek title of Mary, the mother of Jesus used especially in the Eastern Orthodox , Oriental Orthodox , and Eastern Catholic Churches . Virgin (Theotokos) and Child enthroned Apse mosaic, Hagia Sophia 867 mosaic

16. San Vitale Ravenna, Italy 526-547

17. Saint Vitalis of Milan , known as San Vitale in Italian and Saint Vital in French , was an early Christian martyr The church was begun by Bishop Ecclesius in 527, when Ravenna was under the rule of the Ostrogoths , and completed by the 27th Bishop of Ravenna, Maximian in 548 during the Byzantine Exarchate of Ravenna . The architect of this church is unknown , but he was certainly among the best architects of his time. San Vitale Ravenna, Italy 526-547

18. San Vitale Ravenna, Italy 526-547

19. San Vitale Ravenna, Italy 526-547

20. The central section is surrounded by two superposed ambulatories . The upper one, the matrimoneum , was reserved for married women . A series of mosaics in the lunettes above the triforia depict sacrifices from the Old Testament : Apse Mosaic San Vitale Ravenna, Italy 526-547 mosaic

21. Justinian, Bishop Maximianus and attendants north wall apse mosaic, San Vitale Ravenna, Italy ca. 547 mosaic

22. Theodora and attendants south wall apse mosaic, San Vitale Ravenna, Italy ca. 547 mosaic

23. Abraham and the Three Angels ( Philoxeneos) , and the Sacrifice of Isaac north lunette mosaic, San Vitale Ravenna, Italy ca. 547 mosaic

24. Sacrifice of Abel, Sacrifice of Melchisedech north lunette mosaic, San Vitale Ravenna, Italy ca. 547 mosaic

25. Sant’Apollinare in Classe Ravenna, Italy 533-549

26. When the UNESCO inscribed eight Ravenna sites on the World Heritage List , it cited this basilica as " an outstanding example of the early Christian basilica in its purity and simplicity of its design and use of space and in the sumptuous nature of its decoration". Sant’Apollinare in Classe Ravenna, Italy 533-549

27. Saint Apollinaris amid sheep Sant’Apollinare in Classe Ravenna, Italy 533-549 mosaic

29. Jesus became radiant, spoke with Moses and Elijah , and was called "Son" by God . It is one of the miracles of Jesus mentioned in the Gospels. Transfiguration of Jesus apse mosaic, Church of the Virgin Monastery of Saint Catherine Mount Sinai, Egypt ca. 565 mosaic

30. Transfiguration of Jesus apse mosaic, Church of the Virgin Monastery of Saint Catherine Mount Sinai, Egypt ca. 565 mosaic

31. 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.

33. Anicia Juliana ( Constantinople ) was a Roman imperial princess, the daughter of the Western Roman Emperor Olybrius , of the Anicii , by Placidia . The Vienna Dioscurides or Vienna Dioscorides is an early 6th-century illuminated manuscript of De Materia Medica by Dioscorides in Greek. It is an important and rare example of a late antique scientific text. 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.

35. The Rabbula Gospels , or Rabula Gospels , (Florence, Biblioteca Mediceo Laurenziana, cod. Plut. I, 56) is a 6th century illuminated Syriac Gospel Book . One of the finest Byzantine works produced in Asia , and one of the earliest Christian manuscripts with large miniatures, it is distinguished by the miniaturist's predilection for bright colours, movement, drama, and expressionism . Ascension of Christ Rabbula Gospels From Zagba, Syria 586 tempera on vellum 1 ft. 1 in. x 10 1/2 in.

37. Katholikon and Church of the Theotokos Hosios Loukas, Greece Katholikon early 11th century, Church of the Theotokos, 10th century

38. A Katholikon' or Catholicon is the major temple (church building) of a monastery , or diocese in the Eastern Orthodox Church . Katholikon and Church of the Theotokos Hosios Loukas, Greece Katholikon early 11th century, Church of the Theotokos, 10th century

39. Apse of the Katholikon Hosios Loukas, Greece 11th century mosaic

40. Dome of the Katholikon Hosios Loukas, Greece 11th century fresco

41. Dome of the Katholikon Hosios Loukas, Greece 11th century fresco

42. Nativity of Christ Katholikon Hosios Loukas, Greece 11th century mosaic

43. Baptism of Christ Katholikon Hosios Loukas, Greece 11th century mosaic

45. Pantocrator or Pantokrator (is one of many names applied to God . When the Hebrew Bible was translated into Greek as the Septuagint , Pantokrator was used to translate the Hebrew title El Shaddai . Christians ascribed this title to Jesus. Pantocrator dome mosaic in the Church of the Dormition Daphni, Greece ca. 1090-1100 mosaic

46. Crucifixion in the Church of the Dormition Daphni, Greece ca. 1090-1100 mosaic

48. Saint Mark’s Cathedral Venice, Italy begun 1063

49. is the most famous of the city's churches and one of the best known examples of Byzantine architecture . Saint Mark’s Cathedral Venice, Italy begun 1063

50. interior of Saint Mark’s Cathedral Venice, Italy ca. 1180 mosaic

51. interior of Saint Mark’s Cathedral Venice, Italy ca. 1180 mosaic

52. The Greek word (anástasis) meaning " resurrection " which gave rise to the names Anastasis From west vault of Saint Mark’s Cathedral Venice, Italy ca. 1180 mosaic

53. Pala d’Oro from Saint Mark’s Cathedral Venice, Italy ca. 1105 gold cloisonné with precious stones

54. Pala d’Oro ( Italian , " Golden Pall " or "Golden Cloth ") is the high altar retable of the Basilica di San Marco in Venice . It is universally recognized as one of the most refined and accomplished works of Byzantine craftsmanship , with both front and rear sides decorated. Archangel Pala d’Oro from Saint Mark’s Cathedral Venice, Italy ca. 1105 gold cloisonné with precious stones

56. Apse Cathedral at Monreale Monreale, Sicily, Italy ca. 1180-1190 mosaic

57. Pantocrator Cathedral at Monreale Monreale, Sicily, Italy ca. 1180-1190 mosaic

58. Theotokos and Child, angels and saints Cathedral at Monreale Monreale, Sicily, Italy ca. 1180-1190 mosaic

59. Hodegetria is an iconographic depiction of the Theotokos holding the Child Jesus at her side while pointing to Him as the source of salvation for mankind Hodegetria, icon (front) ca. 1150-1200 tempera on wood

60. Hodegetria, icon (back) ca. 1150-1200 tempera on wood

61. Hodegetria, icon ca. 1150-1200 tempera on wood

62. Christ enthroned with Saints (Harbaville Triptych) ca. 950 ivory 9 1/2 in. x 5 1/2 in. high

63. David composing the Psalms Paris Psalter ca. 950-970 tempera on vellum 14 1/8 in. x 10 1/4 in.

64. Israelites’ Flight from Egypt Paris Psalter ca. 950-970 tempera on vellum 14 1/8 in. x 10 1/4 in.

66. Anastasis apse fresco in parekklision of the Church of Christ in Chora Constantinpole, (Istanbul), Turkey ca. 1310-1320 fresco

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.

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.

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.

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.

73. Andrei Rublev ( Russian : Андре́й Рублёв, also transliterated Andrey Rublyov and other permutations is considered to be the greatest medieval Russian painter of Orthodox icons and frescoes . Trinity depicts the three angels who visited Abraham at the oak of Mamre but the painting is full of symbolism and often interpreted as an icon of the Holy Trinity . Andrei Rublyev Three Angels, icon ca. 1410 tempera on wood 4 ft. 8 in. x 3 ft. 9 in.

74. In Eastern Christianity an iconostasis (plural: iconostases ) is a wall of icons and religious paintings, separating the nave from the sanctuary in a church . Iconostasis also refers to a portable icon stand that can be placed anywhere within a church. The iconostasis evolved from the Byzantine templon , a process complete by the fifteenth century. The word comes from the Greek εἰκονοστάσι(-ον) ( eikonostási(-on) , still in common use in Greece and Cyprus), which means "icon stand". Iconostasis