The document discusses Byzantine art from the early to late periods. It focuses on Constantinople's Hagia Sophia and Ravenna's San Vitale as defining examples of early Byzantine architecture that combined Roman and Eastern influences. The document also examines the religious controversies around icons, the triumph of iconophiles, and common styles of the middle Byzantine period like the Dormition Church mosaics. Late Byzantine art is described as maintaining a conventional spiritual vision despite Western Crusader destruction and influence.
An intro to early medieval art: Christianity, Barbarians, Vikings, illuminated manuscripts, Carolingian era art and architecture, Charlemagne, Sutton Hoo, and more!
An intro to early medieval art: Christianity, Barbarians, Vikings, illuminated manuscripts, Carolingian era art and architecture, Charlemagne, Sutton Hoo, and more!
GUIDE 8 UNIT 2 Name:
Date:
EARLY CHRISTIAN ART
BYAZANTINE ARTCathedral of the Holy Wisdom in Kiev (Ukraine) preserves much of its original Byzantine interior. 1037.
http://en.wikipedia.org/wiki/Saint_Sophia_Cathedral_in_Kiev CHRISTIAN ART FROM CATACOMBS TO CATHEDRALS
We are entering another thousand-year period in the history of humanity and art.
Before you start reading this section, we need to touch the historical aspect of what happened with the powerful Roman Empire and Classical art (or Greco-Roman art).
In the 4th century the Roman Empire was divided into two parts: Western Roman Empire and Eastern Roman Empire (or Byzantine Empire). These parts would have very different historical fates. They will also provide two major branches for the Christian Church –Catholic (in the West) and Orthodox (in the East).
WEST
EAST
Roman Empire
Western Roman Empire
Capital: Rome
Eastern Roman Empire
Or Byzantine Empire
Capital: Constantinople
Christian Church
Catholic Church
Head of Church: Pope
Orthodox Church
Head of Church: Patriarch
The Latin-speaking Western Empire with its centre in Rome, would face the barbarian invasions, undergo a slow decline for 200 years and eventually fell under the barbarians. The Greek-speaking Byzantine Empire, centred in Constantinople, would grow to a powerful state. I would offer you to stick with the following simple timeline.
CHRISTIAN ART
1000 years
EARLY CHRISTIAN ART BYZANTINE ART
First 3 centuries A.D.4th - 14th centuries
Period of Persecution Period of Recognition
Since the very beginning of human history, art and religion have been closely connected. In the first unit you have learned that art played a central role in prehistoric magic rituals, as well as in Egyptian religious ceremonies to ensure the afterlife. Why so? Have you ever heard music –a church choir or organ -in the cathedral with beautiful stained glass windows? Yes, this is the answer – art has an ability to deliver a strong emotional message to the human soul.
Early Christian Art
Western Empire
Rome
Let us follow the events happening in the both parts of crumbling Roman Empire.
Name two key events that took place in the 3rd century.
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o As a new religion coming out of the aniconic background of Judai.docxdunhamadell
o As a new religion coming out of the aniconic background of Judaism and having no clear picture of what Jesus looked like, Early Christianity had to take some of its artistic ideas and symbols from the religious art of Greece and Rome. In your essay, provide examples of at least three “borrowings” of images from Roman art by Early Christian artists. Identify the images that are borrowed, their original religious meanings, and how the Christians gave them new meanings. Explain, where relevant, how the use of these Roman symbols either disguised Christian activity when the religion was illegal, and how it made Christian art appealing to polytheistic peoples as well after Constantine made Christianity the state religion.
o Discuss the symbolic meanings that fifteenth-century viewers would have comprehended in the objects contained in the domestic environments of either the Merode Alterpiece or the Arnolfini Double Portrait. How did the artists make these objects look so real?
o Which three religions lay claim to the importance of the location of “The Dome of the Rock?” Discuss why each of these religions believe this place to be “holy”. Who has control of this piece of land today? Which religion does the iconography of the interior and exterior decoration follow? Discuss these motifs in detail…colors, design, meaning, and whether you think the motifs are successful in telling the importance of “the Dome of the Rock”.
o Asian art combines material splendor and philosophical depth with an affinity for giving visual form to the spirituality of the natural world. Choose two pieces of art/architecture from two different countries that illustrate these qualities. Be sure to list names, titles, artist/architect, patron, country, and purpose of the art/architecture you chose. Discuss how they use/exploit each quality and whether or not you think the creation was a successful blend.
o Depictions of the Virgin Mary holding Jesus represent a continuing theme in the history of European Christian art, developed early on, and even continuing to this day. Describe the relationship between mother and son in each. Characterize the difference in artistic style. How does the choice of medium contribute to the distinction between them?
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Can you write these 2 art history questions I uploaded 2 pictures f.docxchestnutkaitlyn
Can you write these 2 art history questions? I uploaded 2 pictures for this question
I uploaded two pictures, see the picture files and focus on only this pic that is the topic of this art.
And all answers are should be separated!!
The words should be 80-150 words each section.
No plagiarism!
1. Sarcophagus of Junius Bassus, from Rome, Italy
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Description
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describe what you see- imagine that the person you are describing it to is not there or is blind.
How will you make the work of art visible through verbal description?
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Summary this text
- summarize
this
text
what i wrote on this question!!
you think are the most important pieces of information that you gleaned from the textbook- read the book closely and put it in your own words.
- Summary this ->
JUNIUS BASSUS SARCOPHAGUS Another pagan convert to Christianity was the city prefect of Rome, Junius Bassus, who, according to the inscription on his sarcophagus (FIG. 8-7), was baptized just before he died in 359. The sarcophagus is of eclectic format—decorated only on three sides in the western Roman manner (see Chapter 7), but divided into two registers of five compartments, each framed by columns in the tradition of Asiatic sarcophagi (FIG. 7-61). In contrast to the Santa Maria Antiqua sarcophagus (FIG. 8-6), the deceased does not appear on the body of the coffin. Instead, stories from the Old and New Testaments fill the niches. Christ has pride of place and appears in the central compartment of each register: as a teacher enthroned between his chief apostles, Saints Peter and Paul (above), and triumphantly entering Jerusalem on a donkey (below). Appropriately, the sculptor placed the scene of Christ’s heavenly triumph above that of his earthly triumph. Both compositions owe a great deal to official Roman art. In the center of the upper zone, Christ, like an enthroned Roman emperor, sits above a personification of the sky god holding a billowing mantle over his head, indicating that Christ is ruler of the universe. The scene below derives from portrayals of Roman emperors entering cities on horseback, but Christ’s steed and the absence of imperial attributes contrast sharply with the imperial models the sculptor used as compositional sources. All of the Old Testament scenes on the Junius Bassus sarcophagus are precursors of New Testament events (see “Jewish Subjects in Christian Art,” page 213). Adam and Eve, for example, are in the second niche from the left on the lower level. Their Original Sin of eating the apple in the Garden of Eden ultimately necessitated Christ’s sacrifice for the salvation of humankind. To the right of the entry into Jerusalem is Daniel, unscathed by flanking lions, saved by his faith. At the upper left, Abraham is about to sacrifice Isaac. Christians believe this Old Testament story was a prefiguration of God’s sacrifice of his own son, Jesus. The Crucifixion itself, however, does not appear on the Junius Bassus sarcophagus. Indeed, th.
4. Figure 12-2 ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, aerial view of Hagia Sophia (looking north), Constantinople (Istanbul), Turkey, 532–537.
5. Figure 12-3 ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, plan ( top ) and restored cutaway view ( bottom ) of Hagia Sophia, Constantinople (Istanbul), Turkey, 532-537 (John Burge).
6. Figure 12-4 ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, interior of Hagia Sophia (looking southwest), Constantinople (Istanbul), Turkey, 532–537.
7. Figure 12-5 Dome on pendentives (left ) and on squinches ( right ).
8. Figure 12-6 Aerial view of San Vitale (looking northwest), Ravenna, Italy, 526–547.
9. Figure 12-7 Plan of San Vitale, Ravenna, Italy, 526–547.
10. Figure 12-8 Interior of San Vitale (looking from the apse into the choir), Ravenna, Italy, 526–547.
11. Figure 12-9 Choir and apse of San Vitale with mosaic of Christ between two angels, Saint Vitalis, and Bishop Ecclesius, Ravenna, Italy, 526–547.
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13. Figure 12-10 Justinian, Bishop Maximianus, and attendants, mosaic on the north wall of the apse, San Vitale, Ravenna, Italy, ca. 547.
14. Figure 12-11 Theodora and attendants, mosaic on the south wall of the apse, San Vitale, Ravenna, Italy, ca. 547.
15. Figure 12-18 Virgin (Theotokos) and Child between Saints Theodore and George, icon, sixth or early seventh century. Encaustic on wood, 2’ 3” X 1’ 7 3/8”. Monastery of Saint Catherine, Mount Sinai, Egypt.
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17. Figure 12-1 Christ as Pantokrator, dome mosaic in the Church of the Dormition, Daphni, Greece, ca. 1090–1100.
18. Figure 12-23 Crucifixion, mosaic in the Church of the Dormition, Daphni, Greece, ca. 1090–1100.
19. Figure 12-25 Pantokrator, Theotokos and Child, angels, and saints, apse mosaic in the cathedral at Monreale, (Sicily) Italy, ca. 1180–1190.
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21. Figure 12-28 David composing the Psalms, folio 1 verso of the Paris Psalter , ca. 950–970. Tempera on vellum, 1’ 2 1/8” X 10 1/4”. Bibliothèque Nationale, Paris.
22. Figure 12-29 Virgin (Theotokos) and Child, icon ( Vladimir Virgin ), late 11th to early 12th century. Tempera on wood, original panel 2’ 6 1/2” X 1’ 9”. Tretyakov Gallery, Moscow.
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24. Figure 12-31 Christ as Savior of Souls, icon from the church of Saint Clement, Ohrid, Macedonia, early 14th century. Tempera, linen, and silver on wood, 3’ 1/4” X 2’ 2 1/2”. Icon Gallery of Saint Clement, Ohrid.
25. Figure 12-32 Annunciation, reverse of two-sided icon from Saint Clement, Ohrid, Macedonia, early 14th century. Tempera and linen on wood, 3’ 1/4” X 2’ 2 3/4”. Icon gallery of Saint Clement, Ohrid.