lecture, early christianity and byzantium
TRANSCRIPT
Early Christianity
& ByzantiumAndres Serrano, Piss Christ, 1987
Crucixion, mosaic, Church of the Dormition, Greece, 1090 CE
Detail from David composing the Psalms, ca. 950–970. Fig. 4-24.
Three Goddesses (Hestia, Dione, Aphrodite?)From the east pediment of the Parthenon, Greececa. 400 BCE
From Pagan to Christian
Syncretism – the combination of different forms of belief or practice (also known today as “appropriation”)
Icon – an image or representation; in Christianity, an image of a sacred figure
Iconography – the content or subject of an artwork, including the study of the symbolic meanings of images
Virgin (Theotokos) and Child between Saints Theodore and George, icon, sixth or early seventh century. Fig. 4-20.
Iconoclasm – the destruction of images; also the period
from 726 to 843 when there was an imperial ban on images
Empty niche where a destroyed 6th century Buddha statue once stood, destroyed in 2001 by the Taliban, Bamiyan Valley, Afghanistan
Early Christian – Margin Made Center
Dates and Places: • 3rd and 4th centuries CE• Rome
People:• Monotheistic • Co-exist with polytheistic
Roman religion• Christianity legalized by
Constantine in 313CE
Interior, Sant’Apollinare Nuovo, dedicated 504. Fig. 4-5.
DATES:Jewish already existing before this period and continuing
to the presentEarly Christian c.100 – 300 CEImperial Christian c. 300 – 500 CEByzantine c. 500 –1450 CE
Themes:• Christ as good shepherd,
emperor• Old Testament
prefigurations• Appropriated Roman
symbols for new useForms:• Stylized forms, non-
illusionistic • Conceptual, not optical
Miracle of the loaves and fishes mosaic, Sant’Apollinare Nuovo, ca.
504. Fig. 4-9.
Early Christian – Margin Made Center
Sarcophagus of Junius Bassus, ca. 359. Fig. 4-3.
#1
Early Christian – Margin Made Center
• Divided into 2 registers with five compartments each
• Old Testament prefiguration (Adam & Eve, Sacrifice of Isaac, Daniel in Lion’s Den)
• New Testament redemption (Christ enthroned)
• Christ central figure • Christ somewhat modeled
after Roman emperor (equestrian portraiture)
• Conventionalized, stylized forms like Arch of Constantine
• No crucifixion scene (focus on divinity and teachings vs. suffering)
• Scene with Pontius Pilate, Roman statesman, alludes to fate
Sarcophagus of Junius Bassus, ca. 359. Fig. 4-
3.
#1
Early Christian – Margin Made Center
Equestrian statue of Marcus Aurelius, ca.
175CE. 11’6”
Plan and cutaway, Old Saint Peter’s, begun ca. 319. Fig. 4.4.
#2
Early Christian – Margin Made Centernave
aislesapse
narthex
atrium
transept
• Adapt Roman basilica for growing congregations (Trajan’s Basilica Ulpia)
• Nave, aisles, apse, atrium, narthex• Open colonnaded courtyard,
columns along nave, clerestory• Transept new addition (housed
relics & accomodated pilgrims)• Inside filled with frescoes, mosaics• Principle church of Christianity,
pope as Peter’s successor
Plan and cutaway, Old Saint Peter’s, begun ca. 319. Fig. 4.4.
#2Early Christian – Margin Made Center
Apollodorus of Damascus, Forum of Trajan, 112CE.
Christ as the Good Shepherd mosaic, Mausoleum of Galla Placidia, ca. 425. Fig. 4-8.
Early Christian – Margin Made Center
#3
• Mosaic, tesserae creates lunette (half moon shape)
• Plain exterior of mausoleum, colorful interior
• Art advertises faith• Christ as Good
Shepherd and emperor (clothed in gold and purple and haloed)
• Imperial iconography• Illusionism (animals
grouped in 3, three-dimensional forms, landscape) indebted to Greco-Roman art
Christ as the Good Shepherd
mosaic, Mausoleum of Galla Placidia
Ravenna, Italy, ca. 425. Fig. 4-
8.
Early Christian – Margin Made Center #3
Philoxenos of Eretria,
Battle of Issus, ca. 310BCE,
Roman copy
Dates and Places:• 4th century to 1453 CE• Eastern Christian Roman
Empire (division of empire into East and West in 395 CE)
• Eastern Mediterranean, capital Constantinople (“New Rome”)
People:• Emperor head of state &
church (Justinian in 6th century)
• Successors of ancient Roman emperors
• Supreme authority• God’s will on earth• Iconoclasm begins 8th century
(way of maintaining power)
Map of Byzantine Empire during the 6th century
Byzantine Art – Centralized Power
Byzantine Art – Centralized Power
Themes:• Icons of Christ, Virgin
Mary, and Saints • Imperial portraitsForms:• Iconography over
naturalism (Greco-Roman)
• Stylized figures• Static, timeless • Flattened, gold
backgrounds• Otherworldly &
mystical (symbolic of divine power)
• Elaborate centrally planned churches, domes
Khafre EnthronedGizeh, Egypt
4th Dynastydiorite, 5 ft 6”ca. 2500 BCE
Christ as Pantokrator
(Judge), mosaic, Church of the Dormition, ca.
1090–1100. Fig. 4-21.
ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, Hagia Sophia, Istanbul (formerly Constantinople), Turkey, 532–537. Fig. 4-11.
#4
Byzantine Art – Centralized Power
270’ long
240’ wide
108’ diameter
180’tall
ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, interior, Hagia Sophia, 532–537. Fig. 4-13.
#4
Interior of Pantheon, Rome, ca. 120 CE
Byzantine Art – Centralized Power
Cylindrical vs.
Square base
• Built for Emperor Justinian (Golden Age)
• Central plan with nave • Hemispherical dome over square base
(crossing), monumentality of Pantheon (appears more weightless)
• Made of brick, not concrete
• Pendentives, semidomes, exterior buttresses transfer weight
• Decorative columnar arcades in nave)
• Mystical light (40 windows in dome)
• Plain exterior, lavish interior
• Separation by gender, clergy vs. laymen
• Union of church & stateANTHEMIUS OF
TRALLES and ISIDORUS OF MILETUS,
Hagia Sophia, 532–537. Fig. 4-11.
#4
Byzantine Art – Centralized Power
http://www.youtube.com/watch?v=-QD-sQAOv8E
OrangTangerineCredit: Onur Öztürk
PlanHagia Sophia
Justinian, Bishop Maximianus, and attendants mosaic, San Vitale, ca. 547. Fig. 4-15.
#5
Byzantine Art – Centralized PowerEmperor Justinian Bishop Maximianus
Christogram
chi (X)rho (P)iota (I)
First letters ofChrist’s nameIn Greek
Holds breadin bowl for Eucharist
Theodora and attendants mosaic, San Vitale, ca. 547.
#5
Byzantine Art – Centralized PowerEmpress Theodora under imperial canopy
Holds cup ofwine for Eucharist
Participates in ritual/procession from courtyardTowardsanctuary(movement toward left)
Three Magi
• Seat of empire on Italian peninsula
• Complex centrally-planned church (plain exterior)
• Mosaics of emperor and empress
• Christ and Justinian united through imperial iconography (purple robe, halo, 12 attendants)
• Stylized, timeless, weightless, frontal figures
• Overlapping, unusual shifts in space
• Abstracted to suggest invisible divine (spiritual vs natural)
• Mosaics as proxies for Emperor and Empress
• Presence of Theodora suggests her shared power
Justinian, Bishop
Maximianusand
attendants mosaic, San
Vitale, ca. 547.
#5
Byzantine Art – Centralized Power
Ancient Rome vs. Byzantium
Procession of the Imperial family,
detail from south frieze, Ara Pacis
Augustae13 BCE, Roman
Justinian, Bishop Maximianus, and attendants mosaic, San Vitaleca. 547. Fig. 4-15.
David composing the Psalms, Paris Psalter, ca. 950–970.
Fig. 4-24.
#6
Byzantine Art – Centralized Power
• Following period of instability & iconoclasm in 8th century
• Classical revival (Macedonian Renaissance)
• Direct translation of late Roman work
• Classical-looking figures
• Illusionistic style• David (like Orpheus)
plays harp in Classical landscape
• Classical muses (Echo behind column, Melody to his right)
• Male reclining nude (Classical)
David composing the Psalms, Paris Psalter, ca. 950–970.
Fig. 4-24.
Byzantine Art – Centralized Power
#6
Sleeping Satyr(Barberini Faun)230 BCE, 7’1”
http://www.hulu.com/watch/65250#i0,p1,d0
Scroll 41 minutes for the Art 21 segment on Trenton Doyle Hancock
Syncretism in Contemporary Art
TrentonHancockFamily Portrait(Mound Half and Ape Half)2003pencil and acrylicon paper