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Early Christian Artwork compared to a Byzantine Artwork
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In the St. Nicholas Greek Orthodox Church the icon of The Nativity of Christ is located in the center of the North wall on the first story of icons.
It is clear that modern day iconography appears to look nothing like Byzantine Iconography. These differences are more than just the colors used and the different facial structures. The icon of The Nativity of Christ differs significantly from how it is depicted in Byzantine Iconography and St. Nicholas Greek Orthodox Church. This change in depiction, although drastic, does not make the icon in the church fail at its purpose of being an icon.
The most noticeable discrepancy between the icon in the church and the Byzantine rendition is how Mary is clothed. In the church, she is written wearing
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Although in the church his himation and chiton are brightly colored unlike the dark colors he wears in the Byzantine icon, is expression remains the same, conflicted. In both icons, he is written speaking to a man who is dressed in fur and looks seemingly like a shepherd. The telltale sign that the shepherd is more than meets the eye is the color in which he is clothed, black. In icons, the color black is used to represent evil or Satan. Joseph was tempted by the devil to believe a virgin birth was not possible. His facial expressions represent his internal conflict to understand something that is beyond …show more content…
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
I had the great privilege of visiting the Annunciation Greek Orthodox Church. I visited this Church to witness the Salutation to the Theotokos, an annual service held to honor the annunciation of the Virgin Mary, the mother of Jesus. In this paper I will discuss the history of the Annunciation Greek Orthodox Church along with a detailed description of the architecture and interior of the church. I will also explain the service I attended, Salutations to the Theotokos and my perspective of the service. But In order to fully understand all that I must first explain, leadership within the Church,and iconography.
...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 Ottoman Empire were Muslims and included Hungary, Syria, Egypt, Bulgaria, and Albania, and they marched on land. The Ottoman Empire is said to have first appeared somewhere around the 1300’s, and can be related to the decline of the Byzantine Empire. They began conquering Christian lands and by the late 1600’s all Christians were afraid of the “terrible Turk”. It is no wonder that many other people were afraid of the Ottoman Empire since they seem to be really rather powerful and they conquered a lot of land. It was in the 1330’s when the Morroccan Abu Abdallah Ibn Battuta passed through Constantinople and became impressed with the Ottomans who seemed to be gaining power rather quickly, he noticed that they had close to 100 forts and
Both pieces to me seem to represent godlike features. For example, in the palette the king is shown as larger than his enemies and in the stele the king is standing over the people and is much higher than them. As rulers, they are both depicted as strong and heroic and as humans, they are depicted as
What do Plato, Aristotle, mosaics, and icons have in common? They are all important parts of Byzantine culture, which spans the course of over 1,000 years, from the fall of Rome to the decline of the Byzantine Empire. The Byzantines were important facilitators of the Renaissance. The Byzantines preserved Greek and Roman traditions and created many of their own, which would have a great impact during the Renaissance.
Early Christian art during the period of Roman persecution was highly circumspect, and innocuous objects—the fish and the dove—were used to symbolize Christ and the Holy Spirit. Later Christian art, however, became replete with iconographic symbols. In particular, many of the saints became associated with specific objects—Saint Peter with two keys, for instance, or Saint Catherine with a broken wheel.
The differences that are found between these four pieces of art can be traced back to the differences that existed between the two cultures. Even though there are similarities, the differences outweigh them by far. The purpose of the Roman Mummy Portrait of a Man and the Mummy Portrait of a Young Woman differ completely from that of the Greek Black-Figured Psykter and the Red-Figured Kylix Depicting a Young Athelete. The styles of the paintings are also very different as well. The amazing thing that is to noticed is that regardless of the differences that exist, both the Greek and the Roman pieces are considered to be masterpieces of art. The differences that are found add to the uniqueness that each one entails.
To conclude, both sculptures do not have much in common, but it is obvious that the artists had knowledge in human anatomy and was able to sculpt them spectacularly. It is also obvious the break from somewhat idealistic to realistic human nature. The change is so drastic that one might not believe that both sculptures come from the same Greece because it is so well-known for its astonishing artworks found in temples, building, etc.
Behind the elaborate fresco paintings and splendid architecture, Eastern Orthodox Church has played a significant role in the preservation of Christian tradition throughout history. Since the transfer of the imperial capitol of the Roman Empire from Rome to Constantinople, the Eastern Orthodox Christianity has evolved into a distinct branch of Christianity (Steeves). As Timothy Ware, the author of The Orthodox Church, suggests, major intellectual, cultural, and social developments that were taking place in a different region of the Roman Empire were not entirely consistent with the evolution of Western Christianity (Ware 8). These traditions and practices of the church of Constantinople were adopted by many and still provide the basic patterns and ethos of contemporary Orthodoxy. The Eastern Orthodox Church has adopted unique organizational features, beliefs, and traditions constituting itself as a unique branch of Christianity.
During the 15th century, Europe started to have different cultural traditions that impacted the type artwork of artwork that was produced. There are several elements that have evolved during this time. Two artworks will be compared so that we will be able to evaluate how various techniques that are used can be used to portray the meaning of the painting as well as how the audience views the scene as well. One of the paintings that we will compare is a Annunciation panel (from the Merode Triptych), which was painted by Robert Campin in 1426. This painting will be compared to Holy Trinity, which was created by Masaccio in 1425. By comparing these two paintings, we will get a sense of what themes and ideals were valued during this time period.
The artists who crafted these works of art shared a common theme, which was Christ, but they tell a different part of the story; the mosaic shows how the sheep view Christ, while the statue tells how Christ searches for the lost sheep.
The representation of divinity was clearly defined in Christ in Majesty with Symbols of the Four Evangelists through its subject matter, technique, and style. Christ acts as the focal point, but the artist also used different subjects from the Old and New Testament to decorate the apse. Unlike the mosaics in the apse of Byzantine churches, the artist employed the technique of classical fresco painting. The artist also applied decoration to the figures with the hierarchy of scale, and through the geometric style in the drapery instead of maintaining a sense of realism.
One similarity between the Parthenon and the cathedral in France is the size, which are both large and metaphorically symbolize the people’s devotion and dedication to their God. One similarity, is today both the Cathedral of Chartres and the Parthenon of Acropolis Greece both serve as temples and popular tourist sites today. The two styles also differ quite dramatically which can be seen in the cathedral which is a Gothic style and the Parthenon which is a Doric and Ionic style. The cathedral differs from the Parthenon because the Cathedral has maintained most of their authentic parts, mostly involving the stained glass windows. While, the Parthenon has been burnt down and reconstructed, both still partake a significant marker in art history.
Byzantine mosaics developed depicted subjects with shimmering skin and shinning halos which brought up an effect of an accomplished gold leaf and smalti. The Roman mosaics featured domestic scenes, animal sacrifices and geometric patterns which led to the creation or display of Christian imagery in terms of depicting Christ.
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 ...