Byzantine Art

William V. Ganis, PhD

Byzantine ArtByzantine 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.

Justinian as world conqueror (Barberini Ivory)

mid-6th centuryivory1 ft. 1 1/2 in. x 10 1/2 in.

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 centuryivory 1 ft. 1 1/2 in. x 10 1/2 in.

Saint Michael the Archangel

early-6th centuryivory1 ft. 5 in. x 5 1/2 in.

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.

Anthemius of Tralles & Isidorus of Miletus

Hagia Sophia

Constantinpole, (Istanbul), Turkey

532-537

Anthemius of Tralles & Isidorus of Miletus

Hagia Sophia

Constantinpole, (Istanbul), Turkey

532-537

Anthemius of Tralles & Isidorus of Miletus

Hagia Sophia

Constantinpole, (Istanbul), Turkey

532-537

Anthemius of Tralles & Isidorus of Miletus

Hagia Sophia

Constantinpole, (Istanbul), Turkey

532-537

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

Anthemius of Tralles & Isidorus of Miletus

Hagia Sophia

Constantinpole, (Istanbul), Turkey

532-537

Anthemius of Tralles & Isidorus of Miletus

Hagia Sophia

Constantinpole, (Istanbul), Turkey

532-537

Virgin (Theotokos) and Child enthroned

Apse mosaic, Hagia Sophia

867mosaic

Theotokos is the Greek title of Mary, the mother of Jesus used especially in the Eastern Orthodox,Oriental Orthodox, and Eastern Catholic Churches.

San Vitale

Ravenna, Italy

526-547

San Vitale

Ravenna, Italy

526-547

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

San Vitale

Ravenna, Italy

526-547

Apse MosaicSan Vitale

Ravenna, Italy

526-547mosaic

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:

Justinian, Bishop Maximianus and attendants

north wall apse mosaic, San Vitale

Ravenna, Italy

ca. 547mosaic

Theodora and attendants

south wall apse mosaic, San Vitale

Ravenna, Italy

ca. 547mosaic

Abraham and the Three Angels (Philoxeneos), and the Sacrifice of Isaac

north lunette mosaic, San Vitale

Ravenna, Italy

ca. 547mosaic

Sacrifice of Abel, Sacrifice of Melchisedech

north lunette mosaic, San Vitale

Ravenna, Italy

ca. 547mosaic

Sant’Apollinare in Classe

Ravenna, Italy

533-549

Sant’Apollinare in Classe

Ravenna, Italy

533-549

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".

Saint Apollinaris amid sheepSant’Apollinare in Classe

Ravenna, Italy

533-549mosaic

Transfiguration of Jesusapse mosaic, Church of the VirginMonastery of Saint CatherineMount Sinai, Egypt

ca. 565mosaic

 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 Jesusapse mosaic, Church of the VirginMonastery of Saint CatherineMount Sinai, Egypt

ca. 565mosaic

Virgin (Theotokos) and Child between Saints Theodore and George, icon

6th or early 7th centuryencaustic on wood2 ft. 3 in. x 1 ft. 7 3/8 in.

Anicia Juliana Between Magnanimity and Prudence

folio 6 of the Vienna Dioskorides

from Honoratainear Constantinople (Istanbul)

ca. 512tempera on parchment1 ft. 3 in. x 1 ft. 11 in.

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.

Ascension of Christ Rabbula Gospels

From Zagba, Syria

586tempera on vellum 1 ft. 1 in. x 10 1/2 in.

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.

Katholikon and Church of the Theotokos

Hosios Loukas, Greece

Katholikon early 11th century, Church of the Theotokos, 10th century

Katholikon and Church of the Theotokos

Hosios Loukas, Greece

Katholikon early 11th century, Church of the Theotokos, 10th century

A Katholikon' or Catholicon is the major temple (church building) of a monastery, or diocese in the Eastern Orthodox Church. 

Apse of the Katholikon

Hosios Loukas, Greece

11th centurymosaic

Dome of the Katholikon

Hosios Loukas, Greece

11th centuryfresco

Dome of the Katholikon

Hosios Loukas, Greece

11th centuryfresco

Nativity of Christ

Katholikon

Hosios Loukas, Greece

11th centurymosaic

Baptism of Christ

Katholikon

Hosios Loukas, Greece

11th centurymosaic

Pantocratordome mosaic in the Church of the Dormition

Daphni, Greece

ca. 1090-1100 mosaic

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.

Crucifixion in the Church of the Dormition

Daphni, Greece

ca. 1090-1100 mosaic

Saint Mark’s Cathedral

Venice, Italy

begun 1063

Saint Mark’s Cathedral

Venice, Italy

begun 1063

 is the most famous of the city's churches and one of the best known examples of Byzantine architecture. 

interior of Saint Mark’s Cathedral

Venice, Italy

ca. 1180mosaic

interior of Saint Mark’s Cathedral

Venice, Italy

ca. 1180mosaic

Anastasis

From west vault of Saint Mark’s Cathedral

Venice, Italy

ca. 1180mosaic

The Greek word (anástasis) meaning "resurrection" which gave rise to the names

Pala d’Orofrom Saint Mark’s Cathedral

Venice, Italy

ca. 1105gold cloisonné with precious stones

Archangel

Pala d’Orofrom Saint Mark’s Cathedral

Venice, Italy

ca. 1105gold cloisonné with precious stones

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.

ApseCathedral at Monreale

Monreale, Sicily, Italy

ca. 1180-1190 mosaic

PantocratorCathedral at Monreale

Monreale, Sicily, Italy

ca. 1180-1190 mosaic

Theotokos and Child, angels and saintsCathedral at Monreale

Monreale, Sicily, Italy

ca. 1180-1190 mosaic

Hodegetria, icon (front)

ca. 1150-1200tempera on wood

 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 (back)

ca. 1150-1200tempera on wood

Hodegetria, icon

ca. 1150-1200tempera on wood

Christ enthroned with Saints(Harbaville Triptych)

ca. 950ivory9 1/2 in. x 5 1/2 in. high

David composing the PsalmsParis Psalter

ca. 950-970tempera on vellum14 1/8 in. x 10 1/4 in.

Israelites’ Flight from EgyptParis Psalter

ca. 950-970tempera on vellum14 1/8 in. x 10 1/4 in.

Anastasisapse fresco in parekklision of the Church of Christ in Chora

Constantinpole, (Istanbul), Turkey

ca. 1310-1320 fresco

Christ as Savior of Souls, icon

early 14th centurytempera, linen and silver on wood3 ft. 1/4 in. x 2 ft. 2 1/2 in.

Annunciation, reverse of 2-sided icon

early 14th centurytempera and linen on wood3 ft. 1/4 in. x 2 ft. 2 3/2 in.

Annunciation, obverse of 2-sided icon

early 14th centurytempera, linen and silver on wood 3 ft. 1/4 in. x 2 ft. 2 3/2 in.

Virgin (Theotokos) and Child, icon

Late 11th to early 12th centurytempera on wood2 ft. 6 1/2 in. x 1 ft. 9 in.

Andrei RublyevThree Angels, icon

ca. 1410tempera on wood4 ft. 8 in. x 3 ft. 9 in.

Andrei Rublev (Russian: Андре́Qй 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.

Iconostasis

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".