course material

1. If your example is a figurative work, what are the
TASKClass discussion: How does an artist create a visual experience that takes the viewer
from mundane cares to otherworldly spiritualism? Byzantine and Islamic aesthetics aim for
just this kind of transcendent experience. The purpose of this exercise is to search for
methods used by Byzantine and Islamic designers to evoke a sense of the divine,
concentrating on examples from the 6th through the 10th centuries.For this activity, search
the Internet to find a sampling of Byzantine or Islamic architecture or interior
decoration. Choose one, such as an interior or a specific mosaic, to research and introduce
to the class. Analyze the work, considering how the designer attempted to connect the
viewer to the sacred. Think primarily in terms of style qualities referring to specific details
in your example.Class post⦁ If your example is a figurative work, what are the abstracted
style qualities? What is it about the image that veers from our optical perception of the
world? How do figures invite us into their heavenly realm?⦁ If your example is architectural,
what is it about the structure that creates a mysterious ambiance? Does the exterior have
the same dramatic appearance as the interior?⦁ What materials are used, and how do they
add to the effect?In your responses, respond to a classmate with a one-paragraph post
introducing a similar, but much later, even modern, example that uses the same aesthetic
goal and the same style qualities. For example, by the 11th century, Russia was borrowing
the Byzantine style for religious icons. 14th-century Italian painting incorporated
Byzantine style characteristics. Byzantine-styled icons are still produced for Greek
Orthodox and Russian Orthodox churches. Spectacular and complex ornament adorns later
Islamic structures throughout the world. Include an image or link to an image.Classmate 1
(Andrew Wayne):“The mosaic I selected to write about are the Central Domed Space and
Apse in the Katholikon at the monastery of Hosios Loukas. The monastery was built outside
of the village of Stiris in central Greece. Even though it was outpost, Greece was still a part of
the Byzantine Empire. This is a good example of Middle Byzantine architecture with a
compact central plan and dome supported on squinches over an octagonal core. The outside
of the structure has a polychromed decorative effect and the vaulting roofs of the interior
are disguised by rising forms of apses, walls and roofs (Stokstad pg. 253). The mosaics in
the church were separated into three different levels. The most heavenly subjects appeared
on the tops of the domes, such as Christ, the Virgin Mary or angels. In the middle were
scenes from Christ’s life on earth and the last level pictured saints. The saints were placed in
the lowest level to be closer to the viewer and easier individual prayer (Stokstad pg.
255). The church itself was designed to evoke the feeling of being in heaven itself with its

2. glittering mosaics. The church was said to give the impression that it was moving, with the
mosaics on all sides. This was designed to convey the personal connection to the heavenly
objects on the walls (Freeman & Freeman).”Stokstad, M., & Cothren, M. W. (2018). Art
history. Pearson.Freeman, D. E., & Freeman, D. E. (n.d.). Mosaics and Microcosm: The
monasteries of Hosios Loukas, Nea Moni, and Daphni. Smarthistory. Retrieved February 23,
2023, from https://smarthistory.org/mosaics-and-microcosm/Classmate 2 (Andrew
Michael):“The work I have chosen this week is the Justinian Mosaic in the Church of San
Vitale in Ravenna, Italy. The mosaic was created and consecrated around 547 AD. In the
mosaic, we see the Roman Emperor Justinian standing in the center with a halo, crown, and
royal purple robes. To Justinian’s left are soldiers and to his right are members of the
imperial administration. He is flanked by clergy members. The symbology of the
arrangements “establishes the central position of the Emperor between the power of the
church and the power of the imperial administration and military. Like the Roman
Emperors of the past, Justinian has religious, administrative, and military authority”
(Farber, n.d.). There is also a lot of symbology built into the mosaic as the clergy members
are holding various important religious items, such as Justinian holding a large gold paten
that is designed to hold Eucharistic bread and the clergy members holding a jeweled cross, a
golden book cover, and an incense censer.”ReferencesFarber, A. (n.d.). Justinian Mosaic, San
Vitale. Retrieved from Khan Academy: https://www.khanacademy.org/humanities/ap-art-
history/early-europe-and-colonial-americas/medieval-europe-islamic-world/a/justinian-
mosaic-san-vitaleLinks to an external site.