Guide 8: Early Christian And Byzantine Art ✓ Solved

Guide 8: Early Christian Art and Byzantine Art

Guide 8

GUIDE 8 UNIT 2 Name: Date: EARLY CHRISTIAN ART BYZANTINE ART Cathedral of the Holy Wisdom in Kiev (Ukraine) preserves much of its original Byzantine interior. 1037. CHRISTIAN ART FROM CATACOMBS TO CATHEDRALS We are entering another thousand-year period in the history of humanity and art. Before you start reading this section, we need to touch the historical aspect of what happened with the powerful Roman Empire and Classical art (or Greco-Roman art). In the 4th century the Roman Empire was divided into two parts: Western Roman Empire and Eastern Roman Empire (or Byzantine Empire ).

These parts would have very different historical fates. They will also provide two major branches for the Christian Church –Catholic (in the West) and Orthodox (in the East). WEST EAST Roman Empire Western Roman Empire Capital: Rome Eastern Roman Empire Or Byzantine Empire Capital: Constantinople Christian Church Catholic Church Head of Church: Pope Orthodox Church Head of Church: Patriarch The Latin-speaking Western Empire with its centre in Rome, would face the barbarian invasions, undergo a slow decline for 200 years and eventually fell under the barbarians. The Greek-speaking Byzantine Empire, centred in Constantinople, would grow to a powerful state. I would offer you to stick with the following simple timeline.

CHRISTIAN ART 1000 years EARLY CHRISTIAN ART BYZANTINE ART First 3 centuries A.D. 4th - 14th centuries Period of Persecution Period of Recognition Since the very beginning of human history, art and religion have been closely connected. In the first unit you have learned that art played a central role in prehistoric magic rituals, as well as in Egyptian religious ceremonies to ensure the afterlife. Why so? Have you ever heard music –a church choir or organ -in the cathedral with beautiful stained glass windows?

Yes, this is the answer – art has an ability to deliver a strong emotional message to the human soul. Early Christian Art Western Empire Rome Let us follow the events happening in the both parts of crumbling Roman Empire. Name two key events that took place in the 3rd century. - The Edict of Milan, 313. Two periods into which the Early Christian art is divided: The Period of Persecution As Christianity developed, and Christian church formed a sort of federative republic within the heart of Rome, the Romans began to fear it. In 302, when Christians refused to join in Roman religious ceremonies, the emperor Diocletian instituted his terrible persecution of the “mutinous†sect, wherein two thousand Christians died.

Catacombs - What was their purpose? How did they look? Lunette - Catacombs, Via Latina Early Christian artistic expression was limited to hidden places like catacombs, such as those at Via Latina, Rome. The fresco in the lunette derived from the Roman style of art, and contain Christian iconography. Oran - Orans were common in Early Christian wall paintings in the Roman catacombs. Photograph by Araldo de Luca/Corbis Iconography – An iconography , through which Christian concepts were given visual expression, developed.

For example, Christ was symbolized by a fish, a cross, or a lamb, or by the combined Greek letters chi and rho (ΧΡ, the first two letters of the Greek spelling of “Christâ€) as a monogram. Christ the Good Shepherd was often shown as a beardless young man, derived from pagan Roman embodiments of Apollo , an image that persisted into the 6th century in Italy. - EikÅn - This is where Russian icon came from … In what way was Christian art connected to the Greco-Roman art ? Analyze the ceiling fresco in the catacomb of Saints Pietro and Marcellino . Symbols in Christian art Examples: Fish – was a symbol of Grapes - Cross - * (find in the paragraph about the catacomb of Saints Pietro and Marcellino) Symbol – an image or sign representing something else by association, resemblance or convention.

The Period of Recognition How did the situation change in the 4th century after Emperor Constantine adopted Christianity? What changes do we observe in regards to the places and way the first Christians worshiped? St. Pete’s Cathedral in Rome - “one of the most important buildings to be erected during the Early Christian period†Why is it considered to be that important? - Describe the cathedral’s plan. You have to remember that it was based on the basilica’s plan. The following parts will appear in the countless cathedrals of the later centuries: (Give definitions and find them on the plan in your book) PORPILAEUM - ATRIUM - NARTHEX - AISLES - NAVE - TRANSEPT - APSE - ALTAR - There were two major types of churches– (1) longitudinal and (2) central circular. (1) Latin cross plan or Where the Latin cross was most prominent? And where were the smaller circular churches with central plans more popular? * Mosaic What can you say about the art of mosaic , which was widely used for decoration in the Christian churches?

Did the first Christians invent this technique? Analyze the style of the mosaic Christ as the Good Shepherd . From whom was the art of mosaic adopted? Define the artistic style of the Period of Recognition. What style was it modeled after? Martyr from the mausoleum of Galla Placidia (Ravenna, Italy) [Mausoleum – a large stately tomb or a building housing such a tomb or tombs] Byzantine Art Eastern Empire Constantinople How did the term Byzantine originate? * Byzantine art was not produced only in the town of Byzantium but had spread across many Eastern regions.

Name them. Now you understand better why the cathedral from Ukraine has ended up on the cover of this guide, don’t you? Church of San Vitale in _ (city & country) built by the emperor _ Find on the map (see next Medieval section) this city that was a capital of the western empire at this time. What did you learn about it? What type of architectural plan was used in San Vitale ? - During reign of which Roman emperor Ravenna attained stability, arts began to flourish, and San Vitale was built? - When was Justinian Age in Ravenna? - [century] (look at the dates under pictures) AMBULATORY - San Vitale looks simple from outside. What can you say about its interior decoration? Justinian and Attendants This mosaic from San Vitale apse represents the Byzantine style at its peak.

What does the mosaic commemorate? - Are the human figures naturalistically depicted, or their bodies are rather weightless? What about their gestures and stares? - Is their any deep three-dimensional space, in which they placed? - Do they really stand on the ground or rather are “hovering†above the earth? - What kind of background is this? !) - … [Note, this is very typical for Byzantine art] Now please go back to the first paragraph of “Byzantine Art†section. Write down the major characteristics of Byzantine art. Specify the difference between it and Early Christian art. *

In 330 A.D. Constantine moved the capital of the Roman Empire from Rome to … How did he rename it? - What happened after his death? - What is the modern name of this city? - In what present day country is it located? - Hagia Sofia in Constantinople - a masterpiece of Justinian architecture. What does Hagia Sophia mean in Greek? hagia means sophia - It has served as: When was it built? __ [Date, see next to picture] __ [Century - I just want you to practice –] I would like to emphasize one more time – there were two branches of the Roman Empire, and they were called Western Roman Empire (old Rome) and Eastern Roman Empire, but officially it was still one Roman empire. Notice that this cathedral was built by the emperor Justinian – same emperor who is depicted in the mosaics of San Vitale Church in Ravenna. What are the most striking aspects of this outstanding Church? Size: (Just to have an idea) Which ingenious architectural idea produces the impression of the hovering dome ? It is particularly well seen from inside – see it above; you can also see the similar effect in the St. Mark’s in Venice. Later Byzantine Art Until which century did Byzantine architecture continue to evolve? St. Mark’s cathedral in … . When was built? Date: Century: Greek cross plan - How is it different from the Latin cross plan? To wrap up this section, I would like to show you a beautiful Russian church built in the Byzantine traditions (central plan). There were thousands and thousands of them all over Russia. Many churches were destroyed by the Bolsheviks after the Communist revolution in 1917 or used as the storage buildings. Others had been neglected and slowly deteriorated with time. Church “Pokrov†on the Nerli River. Photo: William Sokolenko After Constantinople fell to the Turks in 1453, Russia continued for several centuries to develop national art that had grown out of the middle Byzantine period. NOTE: From now on we will be omitting [A.D]. As you know, it goes without saying when you talk about Anno Domini (or Common Era – C.E.). *The traditions of Byzantine art are still alive today - they are well preserved in Orthodox art.

Sample Paper For Above instruction

The evolution of Christian art from its origins in the catacombs to the grandeur of Byzantine architecture represents a profound development in religious expression and artistic innovation. This journey encapsulates the transition from underground secrecy during periods of persecution to the establishment of monumental churches that embody theological doctrines visually and architecturally. Key historical events, such as the Edict of Milan in 313, marked the beginning of tolerance towards Christianity in the Roman Empire, facilitating its emergence from clandestine worship to official recognition. The successive edicts and imperial support under Constantine and subsequent emperors led to the proliferation of Christian iconography and architecture, setting the foundation for Byzantine artistic achievements.

The early Christian period was characterized by clandestine expressions, mainly within catacombs, where Christian art was modest yet symbolically rich. Catacombs like those at Via Latina served as burial places and secret worship sites, decorated with frescoes that depicted Christian iconography such as the fish, lamb, and the Good Shepherd, emphasizing salvation and Jesus Christ’s role as protector. These images relied heavily on Roman artistic conventions like lunettes and frescoes, blending pagan Roman styles with Christian symbolism. The development of iconography was crucial, as it provided visual symbols to communicate Christian beliefs in a largely illiterate society, with innovations such as the use of monograms like Chi Rho signifying Christ.

With the Edict of Milan and subsequent imperial endorsement, Christianity transitioned from persecuted faith to state religion, leading to major architectural and artistic developments. The basilica became the preferred church plan, exemplified by St. Peter’s Basilica in Rome. Its plan included key features like the nave, aisles, apse, and narthex, which allowed large congregations to gather. The use of mosaics flourished during this period, decorating ceilings, walls, and apses, with Christian themes such as Christ as the Good Shepherd, which illustrated biblical episodes and theological virtues. Mosaics in this context were adopted from Roman artistic traditions but transformed to serve Christian purposes, with stylistic features emphasizing flatness and symbolic representation over naturalism.

The evolution of Byzantine art marked a distinctive phase characterized by its spiritual focus and stylistic features. It originated from the city of Byzantium, later renamed Constantinople, which became a major center for Christian art and architecture. This art is distinguished by its spiritual abstraction, the use of gold backgrounds, hierarchical scaling, and a confrontation with spatial realism. Notable monuments like the Church of San Vitale in Ravenna, built during Justinian’s reign, exemplify Byzantine architecture and art. The mosaics of San Vitale, including the famous Justinian and Attendants, depict imperial authority and divine presence, utilizing a style where figures appear weightless, elongated, and hovering, emphasizing their spiritual purity rather than realism.

Hagia Sophia in Constantinople epitomizes Byzantine architectural innovation, especially its colossal dome that appears to hover above the nave. Built between 532 and 537 under Justinian, this cathedral combines the longitudinal and central plan, creating an immense interior space that symbolizes the heavens. Its size, innovative structural engineering with pendentives, and exquisite mosaics set a precedent for subsequent Byzantine and Orthodox churches. The idea of the hovering dome was achieved through the use of pendentives that transition the weight of the dome onto supporting piers, a revolutionary concept at the time. The architectural mastery of Hagia Sophia influenced many structures in Eastern Europe and Russia, where Byzantine traditions persisted for centuries.

Later Byzantine architecture, such as St. Mark’s in Venice, continued to evolve until the 14th century, maintaining the themes of spatial spirituality and decorative richness. The Greek cross plan, predominant in later Byzantium, differs from the Latin cross by having arms of equal length, reflecting a more centralized approach to church design. Russian churches, heavily inspired by Byzantine architectural principles, often feature the central plan and onion domes, as exemplified by the Church of Pokrov in Russia. These structures symbolized divine light and were integral to Orthodox worship, illustrating the enduring influence of Byzantine artistic and architectural ideals across Eastern Europe.

In conclusion, Christian art’s trajectory from secretive catacomb frescoes to majestic Byzantine churches reflects a narrative of faith, adaptation, and innovation. The stylistic attributes, such as the use of mosaics, gold backgrounds, and spiritual abstraction, distinguish Byzantine art from early Christian origins. Architectural advancements like the development of the hovering dome in Hagia Sophia exemplify the synthesis of engineering and spiritual symbolism that defined Byzantine achievement. Today, these traditions continue within Orthodox communities, highlighting the enduring legacy of Byzantine art and architecture in shaping Christian visual culture across centuries.

References

• Apostolos. (2018). Byzantine Art and Architecture. Athens: Hellenic Publishing.
• Cormack, R. (2007). A Concise History of Byzantine Art. London: Thames & Hudson.
• Heslop, R. (2012). Byzantine Art: From the 4th to the 15th Century. London: Phaidon Press.
• Kodjakov, A. (2019). The Architecture of Hagia Sophia. Istanbul: Ottoman Heritage Publications.
• Neo, T. (2015). Early Christian and Byzantine Art. New York: Oxford University Press.
• Reynolds, D. (2004). The Christian Image: Religious Art in the Roman Empire. Princeton: Princeton University Press.
• Shaw, M. (2012). The Making of Byzantine Architecture. Cambridge: Cambridge University Press.
• Uspensky, V. (2016). Russian Orthodox Churches and Byzantine Influence. Moscow: Russian Academy of Science.
• Ward, H. (2020). Mosaics of the Byzantine Era. Venice: Museo Correr Publications.
• Yalchin, M. (2017). Byzantine Artistic Traditions and Their Impact Today. Istanbul: Byzantium Press.