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Byzantine Art: An Introduction
ContentThe focus is on human figures, whose identities reveal three main elements in the formation of the Byzantine empire. Most prominent are the holy figures of the Christian faith--Christ, the Virgin Mary, the saints, and the apostles. Bishops and angels often are portrayed in their company. Central to the political structure was the emperor, who was believed to be divinely sanctioned by God. Art played a vital role in visualizing his powers. Images of cherubs, mythological heroes, gods and goddesses, and personifications of virtues are reflections of the continuing influence of Byzantium's classical heritage. For a more detailed discussion on the religious and secular aspects of Byzantine art, please refer to the themes section. The Elements of FormByzantine artists created impressive and innovative forms in architecture which proves their ability to think three-dimensionally. But otherwise their art was one of surfaces. By the fifth century three-dimensional sculpture, which had been a prominent form in Hellenistic and Roman art , was no longer produced. To create figures that were physically beautiful but no longer actually solid must have been a conscious decision stemming from a desire to express the spirituality of the Christian religion. Human figures, the main subject matter, are portrayed in two different styles. In one style which expresses power, authority, and grandeur, frontal figures of Christ, the Virgin, saints, bishops, and the imperial family and court face the viewer. These images are full length. However, the upper part of the body is depicted when the focus is on the eyes, facial expression, and hands, which may gesture meaningfully and hold significant objects. Such portrayals may have originally derived from ancient Roman portrait paintings and carved busts. In the second figural style the subjects in religious narratives turn and gesture to express adoration, sympathy, prayer, distress, and so on. Figures in action, often casual and playful, also appear in classical mythological scenes. The poses of the hands and arms make visual ideas such as blessing, teaching, pointing the way, prayer, and authority, which is indicated by the figure's holding a scepter, a book, or a scroll. Folds of drapery are manipulated to further express meaning. Simplified vertical folds or no folds at all reinforce the stasis of frontal full-length figures. In contrast, fluttering drapery reveals movement and emotion. Subtle emotions, never extreme ones, are expressed in the eyes and facial expressions. There is always a sense of classical control. The classical tradition of modeling using light and shadow to give volume to figures was not abandoned completely. Such modeling was used to suggest facial features and drapery folds. Figures depicted on flat surfaces, however, seem to be almost weightless--a sense created in part by their feet, which do not rest firmly on the ground but point downward as if the figure is floating. In depicting groups of figures, depth is shown by overlapping and placing figures higher up on the same plane. The use of gold backgrounds in mosaics, manuscript illustrations, enamels, and panel painting sets the figures apart from real time and real space. There is little interest in natural setting. Architectural details are decorative and usually smaller in scale than the human figures. The art is linear, not what in art historical terms is called "painterly." Figures and indications of setting are defined by outlines, not by atmosphere or soft shadows. Clarity is the rule, not only in describing shapes but also in arranging figures in balanced compositions so that the actions of the narrative are clear. The scale and placement of figures show either their ranking in the Byzantine court or their relative importance in the hierarchy developed for the mosaics and frescoes of Byzantine churches. In religious art figures higher up and closer to the sanctuary are more important. The image of Christ in the central dome is the largest and most important of all. To express the glory of heaven and the power and wealth or the empire, artists selected deluxe materials and often combined them in intricate designs that took extraordinary skill to fashion. The preference was for strong, brilliant colors and contrasts to add to the impression of richness. Color was also important to make figures in mosaics and frescoes readable, even at a distance. In the imperial court, color distinguished the emperor and empress, who wore red shoes and purple robes. In addition, each rank of officials had a particular color for their robes. A variety of geometric patterns appear in the stone inlays of floors. In court costumes the rank of officials was identified not only by the color of the robe but also by a distinctively patterned silk rectangle worn on the front of the robe. What Byzantine Art Reveals about Byzantine Civilization
ArtistsBeing an artist was an honorable profession in Byzantium, although named individuals are extremely rare before the thirteenth century. Artists were not narrowly specialized; a mosaicist, for instance, could also paint on fresh plaster, creating frescoes. An artist's training usually consisted of a father passing down his skills and equipment, possibly including drawings, to his offspring, including daughters. Parents also placed their children as apprentices with masters. Sometimes painters who created small-scale objects worked either at home or in small clusters. When Byzantine artists worked abroad, they usually traveled in groups. Works of Art | Themes | History | Timeline | Glossary | Teacher Resources | Byzantium Home Page
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