Chapter 9: Byzantium - Early Byzantine, Part 1 Notes

Byzantine Emperors and Art

Topics and Themes

• Byzantine emperors as vicars of Jesus.
• Byzantine architecture.
• Creation of New Rome.
• Changing depictions of Jesus.
• Icons and iconoclasm.
• Art as propaganda.
• Art as a means of worship.
• Remnants of the classical world.

Timeline

• The timeline demonstrates the progression from the Roman Empire to the Western and Eastern Empires.
• The Byzantine Empire saw itself as a continuation of the Roman Empire, now Christian.
• Key events include:
  • Octavian becoming Augustus.
  • Diocletian dividing the Roman Empire.
  • Constantine changing the capital.
  • Theodosius dying and the empire splitting between his sons.

Byzantium: Background

• Byzantium was the original name of the city, renamed Constantinople under Constantine, and is now Istanbul.
• Byzantium refers to the Eastern Christian Roman Empire, a term used by historians.
• Emperors considered themselves Romans and legitimate successors to the ancient Roman emperors.
• They spoke Greek, not Latin.

Byzantine Art Periods

• Byzantine art is divided into Early, Middle, and Late Byzantine periods.
• Early Byzantine period traditionally started with Justinian's reign (527 AD), but is now considered to begin with the creation of Constantinople in 324 AD.

Liturgy and Eucharist

• Liturgy: Rites of public worship, ceremonial acts in a religious ritual.
• Liturgy (capital L): Refers to the Eucharist, the spiritual communion with God.
• Eucharist: Bread and wine symbolize the body and blood of Jesus Christ.

Role of Byzantine Emperors

• Considered vicars (earthly agents or substitutes) of Jesus Christ.
• Their will was seen as God's will.
• Exercised spiritual and temporal authority, like a CEO of church and state.
• Their power was religious and political, making them quasi-divine.
• The imperial court mirrored the kingdom of heaven.

Justinian: The Emperor

• Ruled for 38 years.
• Expected absolute submission from all subjects.
• Restored the Roman Empire's power, creating a new Rome.
• His power extended over 1,500 cities.
• Key generals: Belisarius and Narcis.
• A builder who constructed or restored 30 churches of the Orthodox faith, palaces, hospices, harbors, monasteries, and fortifications.
• His building program was extensive, funded by heavy taxation.
• Building served to win public favor, create a legacy, and enforce power.
• Policy: "One God, one empire, one religion."
• Centralized government by codifying the law.
• Created a code of civil law (Corpus Juris Civilis), which became the foundation of law systems in many modern European nations.

Iconographic Analysis: Justinian Plaque

• Emperor on a powerful horse, appearing to jump out of the frame.
• Victory crowns him in the upper right corner.
• Bountiful earth personified under the horse's hooves.
• A figure behind him, possibly a barbarian in fear or a servant.
• Justinian shown in hierarchic scale.
• Panel to the left: Roman soldier bearing victory.
• Below: Barbarians bringing gifts, paying tribute, and asking for clemency.
• Exotic animals (lion, elephant, tiger) represent conquered areas in Africa and Asia.
• Topmost panel: Jesus blessing Justinian, flanked by angels.
• Jesus is positioned above Justinian's head, symbolizing divine approval.
• Organization: Justinian in the middle dominating conquered areas, but below Jesus, illustrating his source of power.

Inspiration from Old Rome

• Justinian on a horse similar to the statue of Marcus Aurelius.
• Reference to Ara Pacis: Augustus proclaiming peace and prosperity.
• The bountiful earth personification similar to that in the Ara Pacis.
• Personification of victory reminiscent of the Arch of Titus and Athena Parthenos.

Thesis Statement for the Plaque

• Shows the emperor's power through details in the artwork.
• Reappropriates Roman motifs and symbols with a Christian context.
• Illustrates the theocratic state of the Byzantine Empire, blessed by God.

Hagia Sophia

• The most magnificent monument of early Byzantine art, created by Emperor Justinian.
• Originally a church, later converted into a mosque by the Ottoman Turks, with minarets added.
• Plain, humble exterior, reminiscent of early Christian architecture.
• Ornate, lavish interior.

Contrasts

• Plain exterior vs. ornate interior, symbolizing the Christian soul.
• Earthly space outside vs. heavenly space inside.

Dimensions

• 270 feet long by 240 feet wide.
• Dome diameter: 108 feet across, rising 180 feet above the ground floor.
• Rivals Roman monuments like the Pantheon and Baths of Caracalla in scale.

Plan

• Combination of central plan (due to the dome) and longitudinal basilica plan.
• Domed basilica.

Functions

• Church of the patriarch (head of the Byzantine church).
• Church of the emperor (palace was next door).
• Site of marriages, coronations, and major feasts.
• Contained world-renowned relics.

Interior Space

• Wide nave with side aisles.
• Apse with the altar at the focal point.

Builders

• Anthemius (mathematician) and Isidoris (physicist), not technically architects.

Light

• Powerful impact on worshippers.
• Historians described the dome as suspended by a golden chain from heaven (due to 40 windows at the base).
• Light as a mystical, heavenly element.
• Historians: "The space is not illuminated by the sun from the outside, but the radiance is generated within."
• Mystic philosopher: "Light comes from the good and light is a visual image of God."

Contemporary Connections

• Getty Center in Los Angeles by Richard Meijer uses light strategically to create a museum experience.
• Meijer: "Apart from its functional aspect, light is a symbol of the museum's role as a place of aesthetic illumination and enlightened cultural values."
• Meijer: "I build and paint with light. For me light is the best and most versatile building material."

Pendentives

• Transitional triangular shaped sections that bridge the circular base of the dome and the square walls.
• Support the dome and transfer its weight to the piers.
• Allow for a square lower section with a dome on top.