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Lecture, Early Christianity and Byzantium
1. Early Christianity
Crucixion, mosaic, Church of the
Dormition, Greece, 1090 CE
Andres Serrano, Piss Christ, 1987
& Byzantium
2. From Pagan to Christian
Three Goddesses
(Hestia, Dione,
Aphrodite?)
From the east
pediment of the
Parthenon, Greece Detail from David composing the
ca. 400 BCE Psalms, ca. 950–970. Fig. 4-24.
3. Syncretism – the combination of different forms of belief or
practice (also known today as “appropriation”)
Virgin
(Theotokos)
and Child
between
Saints
Theodore and
George, icon,
sixth or early
seventh
century. Fig.
4-20.
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
4. 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
5. Early Christian – Margin Made Center
Dates and Places:
• 3rd and 4th centuries CE
• Rome
People:
• Monotheistic
• Co-exist with polytheistic
Roman religion
Interior, Sant’Apollinare Nuovo,
• Christianity legalized by dedicated 504. Fig. 4-5.
Constantine in 313CE
DATES:
Jewish already existing before this period and continuing
to the present
Early Christian c.100 – 300 CE
Imperial Christian c. 300 – 500 CE
Byzantine c. 500 –1450 CE
6. Early Christian – Margin Made Center
Themes:
• Christ as good shepherd,
emperor
• Old Testament
prefigurations
• Appropriated Roman
symbols for new use
Forms:
• Stylized forms, non-
illusionistic Miracle of the loaves and fishes
mosaic, Sant’Apollinare Nuovo, ca.
• Conceptual, not optical 504. Fig. 4-9.
7. Early Christian – Margin Made Center
#1
Sarcophagus of Junius Bassus, ca. 359. Fig. 4-3.
8. Early Christian – Margin Made Center
• Divided into 2 registers with
five compartments each
#1
• 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) Sarcophagus of Junius
Bassus, ca. 359. Fig.
• Conventionalized, stylized 4-3.
forms like Arch of Constantine
• No crucifixion scene (focus on
divinity and teachings vs.
suffering)
Equestrian statue of
• Scene with Pontius Pilate, Marcus Aurelius, ca.
Roman statesman, alludes to 175CE. 11’6”
fate
9. Early Christian – Margin Made Center
transept nave
#2
narthex
atrium
apse
aisles
Plan and cutaway, Old Saint Peter’s, begun ca. 319. Fig. 4.4.
10. Early Christian – Margin Made Center #2
• 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.
Apollodorus of
Damascus, Forum
of Trajan, 112CE.
11. Early Christian – Margin Made Center
#3
Christ as the Good Shepherd mosaic, Mausoleum of Galla Placidia, ca. 425.
Fig. 4-8.
12. #3
Early Christian – Margin Made Center
• Mosaic, tesserae
creates lunette (half Christ as the
Good
moon shape) Shepherd
• Plain exterior of mosaic,
mausoleum, colorful Mausoleum of
Galla Placidia
interior Ravenna, Italy,
• Art advertises faith ca. 425. Fig. 4-
8.
• Christ as Good
Shepherd and emperor
(clothed in gold and
purple and haloed)
• Imperial iconography Philoxenos
• Illusionism (animals of Eretria,
Battle of
grouped in 3, three-
Issus, ca.
dimensional forms, 310BCE,
landscape) indebted to Roman copy
Greco-Roman art
13. Byzantine Art – Centralized Power
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 Map of Byzantine Empire during the 6th century
• Supreme authority
• God’s will on earth
• Iconoclasm begins 8th century
(way of maintaining power)
14. Byzantine Art – Centralized Power
Themes: Christ as
Pantokrator
• Icons of Christ, Virgin (Judge), mosaic,
Mary, and Saints Church of the
• Imperial portraits Dormition, ca.
1090–1100.
Forms: Fig. 4-21.
• Iconography over
naturalism (Greco-
Roman)
• Stylized figures
• Static, timeless
• Flattened, gold
backgrounds
• Otherworldly &
mystical (symbolic of
divine power)
Khafre Enthroned
• Elaborate centrally Gizeh, Egypt
planned churches, 4th Dynasty
domes diorite, 5 ft 6”
ca. 2500 BCE
15. Byzantine Art – Centralized Power
240’ wide
#4
108’ diameter
270’
long
180’
tall
ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, Hagia Sophia, Istanbul (formerly
Constantinople), Turkey, 532–537. Fig. 4-11.
16. Byzantine Art – Centralized Power
#4
Cylindrical
vs.
Square base
Interior of Pantheon, Rome,
ca. 120 CE
ANTHEMIUS OF TRALLES
and ISIDORUS OF
MILETUS, interior, Hagia
Sophia, 532–537. Fig. 4-
13.
17. Byzantine Art – Centralized Power
• 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 #4
• 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 & state Plan
Hagia ANTHEMIUS OF
Sophia TRALLES and
ISIDORUS OF
MILETUS, Hagia
Orang Sophia, 532–537. Fig.
Tangerine 4-11.
Credit:
Onur
Öztürk http://www.youtube.com/watch?v=-QD-sQAOv8E
18. Byzantine Art – Centralized Power
Emperor Justinian Bishop Maximianus
#5
Holds bread
in bowl
for Eucharist
Christogram
chi (X)
rho (P)
iota (I)
First letters of
Christ’s name
In Greek
Justinian, Bishop Maximianus, and attendants mosaic, San Vitale, ca. 547. Fig. 4-15.
19. Byzantine Art – Centralized Power
Empress Theodora under imperial canopy
#5
Holds cup of
wine for
Eucharist
Participates
in ritual/
procession
from courtyard
Toward
sanctuary
(movement
toward left)
Three Magi
Theodora and attendants mosaic, San Vitale, ca. 547.
20. Byzantine Art – Centralized Power
• Seat of empire on Italian
peninsula
#5
• Complex centrally-planned
Justinian,
church (plain exterior)
Bishop
• Mosaics of emperor and Maximianus
empress and
• Christ and Justinian united attendants
through imperial mosaic, San
iconography (purple robe, Vitale, ca.
halo, 12 attendants) 547.
• 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
21. Ancient Rome vs. Byzantium
Procession of the
Imperial family,
detail from south
frieze, Ara Pacis
Augustae
13 BCE, Roman
Justinian, Bishop
Maximianus, and attendants
mosaic, San Vitale
ca. 547. Fig. 4-15.
23. Byzantine Art – Centralized Power
• Following period of
instability &
iconoclasm in 8th
#6
century
• Classical revival
(Macedonian
Renaissance)
• Direct translation of
late Roman work
• Classical-looking
figures Sleeping Satyr
• Illusionistic style (Barberini Faun)
230 BCE, 7’1”
• David (like Orpheus)
plays harp in Classical
landscape
• Classical muses (Echo
behind column,
Melody to his right)
• Male reclining nude David composing the Psalms,
(Classical) Paris Psalter, ca. 950–970.
Fig. 4-24.
24. Syncretism in Contemporary Art
Trenton
Hancock
Family
Portrait
(Mound Half
and Ape Half)
2003
pencil and
acrylic
on paper
Scroll 41 minutes for the Art 21 segment on Trenton Doyle Hancock
http://www.hulu.com/watch/65250#i0,p1,d0
Hinweis der Redaktion
In what ways are we like the early Christians? Many today still profess a shared belief in Christianity, as opposed to the pagan belief systems of the civilizations that preceded it, Greece and Rome. If we don’t profess a belief in these ideas, we are still indebted to its ideology and our laws and general cultural beliefs, in part, extend from it. However, in many cases, we have taken these icons of Christianity and modified them to suit our needs and to comment on and critique their significance. The photographer, Andres Serrano did this in the 1980s when he submerged a crucifix in his own urine and photographed it, a move that was and still is considered widely controversial, even blasphemous to many who still believe in the sanctity of such images and objects. While Serrano claimed there was no overt political message intended in this act, many have situated it in the context of the AIDS crisis in the 80s and the irrational fear of others and of their contaminated bodily fluids. In fact, it is more like early Christian and Byzantine art than you might realize. Like in the Byzantine era when sacred images were destroyed in acts of iconoclasm, an issue we’ll discuss today, Piss Christ has too been the object of vandalism, most recently in Avignon, France in 2011. Either way, it exists as a hauntingly beautiful image and a great example of the enduring power of images and of traditions dating back to the Early Christian eras.
So, while their imagery and ways of life may seem far different from our own, early Christians devised strategies in the creation of their artworks that are not unlike the practices of some of these contemporary artists or even images from popular culture. They too wanted to harness and assume some of the power of then rulers, the Roman Empire, who had persecuted these Christians. And so they borrowed from their pagan mythologies and incorporated their aesthetics into their own. In telling their stories, in their depiction of their saints (and their icons), the Christians borrowed Classical types from ancient Greece and Rome. We can see this most obviously in the Christian image on the right, in the Classical clothing worn and what appears to be a Classical column on the right. This act of merging of two distinctive belief systems or practices into one is a form of syncretism , which will be a central theme that will guide us through today’s discussion of Early Christian and Byzantine art.
So, let’s define some of our terms for today.
Perhaps more so than any other object we will discuss today, Hagia Sophia is a monument to historical transitions of power and to syncretism itself. It was built as a Christian church using Roman architectural principles. It later became a mosque (hence the minarets at each of the corners), and now stands as a museum.
Following the 12 th century, the Byzantine Empire endured a number of upheavals. Ultimately, the Byzantine Orthodox Church broke free from the Church of Rome and the Crusades brought Latin (Western) invaders into Byzantium to fight for the Church against the Saracens (Muslims) in the Holy Land. It was during the Fourth Crusade in 1203/04 that Constantinople was sacked and the Latins set up their kingdoms there. Byzantium never regained its former glory. In 1453, the Ottoman Turks conquered Constantinople and ended the Byzantine Empire.