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Byzantine art history
Byzantine art history quiz
Byzantine art history quiz
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Recommended: Byzantine art history
One of the most striking features of a Byzantine style church is the extensive use of iconography, with images often covering most if not all of the walls inside the sanctuary. Upon entering this sacred space, we see the scriptures come to life through the imagery, colors, and events that are depicted. The icons speak to us in a theologically correct way and convey deep meaning about spiritual realities that are often beyond our comprehension. And while the cumulative effect of so many images is quite powerful, each individual icon offers us the same experience. A good example can be seen in the icon of the Annunciation.
Imagine being one of the earliest iconographers. With scripture as a guide and inspired by the Holy Spirit, they had to figure out how to portray such a great mystery in a manner that would render the meaning accessible to all. As we read in the gospel of Luke, it’s the moment when the Archangel Gabriel appeared to the Virgin Mary to announce that, with her consent, she would conceive a child without seed. And not just any child, but rather the uncreated and eternal God.
The action occurs indoors, as indicated by the red fabric swag draped across the structures in the background. In the foreground, the Archangel Gabriel appears before Mary:
“Rejoice, highly favored one, the Lord is with you; blessed are you among women!”
The archangel is depicted with one wing upraised and his feet apart as if he were running. The posture of his body gives a sense of motion and captures the urgency and and great joy of his message. With his right arm he imparts a blessing while with his left he holds a staff that is the symbol of his authority as a messenger of God.
“Do not be afraid, Mary, for you have found favor ...
... middle of paper ...
... flesh and the blue underneath symbolizing the divinity she bore within herself.
Through bright colors, we see the joyful message of the angel delivered to the virgin. We also learn of this great event through the hymns that are chanted throughout the year. In them, Mary is known as the living ark, the burning bush yet not consumed, the golden jar of manna who held in her womb the pre-eternal God, Who by a word created the entire universe. She is proclaimed to be the one who contained He that was uncontainable, thus proving that she was more spacious than the heavens. During the Orthros service on the Feast of the Annunciation, we hear chanted that which is depicted through the icon and, with our senses engaged through the sights, sounds, and the smell of incense, our minds are lifted higher so that we too may be able to better understand such a great mystery.
Another example of Christian iconography is The Transfiguration. It is located in the Church of Saint Catherine’s monaster...
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
and the Dove of the Holy Spirit rests on Christ's halo. In front of the
...ic meanings that still are puzzling art historians today. Some of the key symbols that Stokstad points out in the text is the dove, representing the Holy Spirit; the white lilies as a symbol of the Virgin Mary. She also points out, two rather unknown symbols to the sacrilegious, the date of the Annunciation in signs of the zodiac on the floor, as well as the lone stained glass window that is symbolizing God rising above the three windows that are placed in the background behind Mary. These three windows represent the Father, Son, and Holy Spirit.
The depiction of Madonna and Christ is among the most ancient and common in Christian iconography and has an extensive number of variations because apart from its symbolic religious functions, it allows one to interpret the link between mother and child in many aspects. (8)
The Book Cover for the Lindau Gospels is rectangular in shape, it features a cross in the center with a depiction of Christ being crucified on it. This is the area of the work that your eyes are immediately drawn to. This work uses hierarchy of scale, the act of making important figures much larger than other figures, when depicting Christ to show that he is important. Implementing this technique also draws all of your attention to the largest figure, Christ. The body of Christ is depicted realistically and youthfully. His body fills the majority of empty space in the lower part of the cross but, the cross is slightly bigger than Christ. However, Christ’s face lacks a great amount of detail and he is shown with a solemn facial expression with his eyes shut. Around his head is a halo made of metalwork and jewels. In the upper part of the cross, the portion that the body of Christ does not fill, there is a short inscription and two small figures that are conformed into a circular shape. The small figures are depictions of the sun and the moon.
The presentation of these three elements is different between the two icons. The three kings in the church are written riding horses and are quite small in comparison to Mary. The kings in the Byzantine icon are written next to Mary and while smaller, not nearly as much as in the church icon. The animals also differ in size between the two icons. They are written much larger in the Byzantine icon. The presentation of the angles is relatively the same, two are pictured with clothes seeming to welcome Jesus in both icons, but in the church icon one angel is more focused on telling a shepherd something, and is also written with a merilo in his left hand. Although the presentation of all these figures is not identical, the hypostatic meaning derived from this icon remains intact. Except one major element missing in the icon of the
When Catherine was six she saw a bridal chamber up in the heavens with Jesus Christ who bestowed upon her the sign of the cross and his eternal bene...
overcomes evil. To the left of the Virgin Mary is an image of a crane
The positions of the stories in the apse show the importance of the figures represented in the images. Christ's placement the center of the apse holding a book with his left hand provides a direct relationship to the Bible. His right hand held up in blessing illustrates his divine power towards the people, who receive the sacrament on the altar below him. Christ is also surrounded by stars, wh...
Within the third chapter, Conversion, Nees offers the idea that the use of multiple religion 's iconography was not a method to induce conversion, rather it was a result of environment. Nees explains “Greek and Roman temples were recognizable by such features as pediments and colonnades, but Christians used any convenient structure” (p. 47). With this assumption in mind, we look to the Baptistry of the Christian meeting-house of Dura (p. 40) where we are presented traces of Greek and Roman architecture. The section of the room that is dedicated to the actual act of baptism is marked by columns and a curved ceiling that resembles a triumphal arch. Future depictions of the ancient architecture can be seen in the Gospel of St Augustine where St Luke is flanked by corinthian columns, while an arch like design sits above him (p. 154). Nees acknowledges this alternative approach to his thesis, but unfortunately does not go into as extensive detail as he did with his main
And there are two olive trees by it, one on the right of the bowl and the other on its left. “The angel who talked with me came again and woke me. (4:1)” He sybolize the people of Judah who sleep in the faith, so the angel came to wake them up. The two olive trees must mean Joshua and Zerubbabel, and the gold lampstand with seven lamps must mean Judah. that the two olive trees provide the oli to the each lamps symbolizes that Jesus Christ pours out the Holy Spirit to his people. Sixth, A vision of flying scroll. That the scroll with curse goes out over the face of the whole earth means that Jesus Christ will destroy the people who are not obeying God and keeping his commendments. Seventh, a vision of a woman in a basket. The woman in a basket symbolizes the iniquity of all lands. The iniquity is personified by the woman in a basket and then she are carried out to land of Shinar where the people worship the Baal. It means that God washes our sins away and restores Jerusalem glorified. “Therefore say to them, Thus declares the LORD of hosts: Return to me, says the LORD of hosts, and I will return to you, says the LORD of hosts. (1:3)” Eighth, A vision of four chariots. “The
The ability to create a picture of The Annunciation in one’s mind is a key factor in understanding the analysis of the work. Francisco de Zurbaran approaches the painting with a naturalistic style. The painting features a room in which a woman – like angel is seen at the left kneeling on the ground before the Virgin Mary. The figure of Mary is placed between a chair and a small wooden table draped with a green cloth. Mary disregards an open Bible on the table, as she appears solemn while staring at the floor. Floating above the two main figures in the upper left side of the painting are cherubs resting on a bed of clouds. They happily gaze down at Mary with eyes from Heaven.
Byzantine art had many basic characteristics. The first was expressionistic using color and emotion. Many of the are lacked depth in a two dimensional fashion. The art was symbolic in nature, decorative, detailed. The figures are stiff and ...
Inside the Hagia Sophia basilica in Istanbul, Turkey, there is a mosaic dating back to 1261. A Byzantine artist created a traditional representation of the Virgin Mary and Saint John the Baptist by using gold, gemstones, and colored glass. This mosaic was a theme of recent Byzantine art, depicting the “Deësis” the Greek word for “entreaty”. As Davies et al. , book “Janson’s History of Art” outlines the importance, he states that, “the representation of Christ enthroned between the Virgin Mary and St. John the Baptist is frequent in Byzantine mosaic depictions, as it represents the Last Judgement”.