by Christine Zibas

Created on: January 22, 2009

FIRST BYZANTINE ARTWORK

For centuries, Greco-Roman style was the standard that ruled the known art world. All power, including artistic interpretation, emanated from these two empires. In 313 AD, however, after hundreds of years of religious persecution, the Emperor Constantine finally recognized the Church as the official religion of the Roman Empire, rejecting paganistic gods. The earliest Christian art differed from the Greco-Roman style in subject matter more than style. In the East, however, a new style was evolving, which would become the basis for Byzantine art that would carry on to this day (albeit mostly in Russia and countries in which the Eastern Orthodox tradition is strongest).

One of the earliest examples of Byzantine art can be seen in the early straight-faced "Faiyum" paintings of the 2nd century. Egyptian artistic style is reflected in the Early Christian mosaics in the Chursh of San Vitale in Ravenna, Italy. This is a coastal area of land that was an area liberated by Byzantium from the Goths. Within this church is one of the finest Byzantine artworks, "Justinian and His Attendants" from the "Great Cycle" of mosaics (526-547 AD). In this religious mosaic, the ruler Justinian is shown along with bishops, clergy, and a section of his army (showing the united forces of Church and State). This mosaic piece is classic Byzantine art: restrained elegance, emotionally austere, with an almost "frozen" solemnity.

While mosaic artworks tended to be larger and more public works, most Byzantine art (especially the style that carries on to the present day) is seen in the form of icons. These small, more portable panels were used for devotional purposes and are associated with individual worship within the Eastern Orthodox Church. Icons are religious images (usually of Christ, the Madonna, or saints), with each detail charged with special religious significance.

A classic Byzantine icon from the 6th century is "Virgin and Child Enthroned between St. Theodore and St. George" located in the Monastery of St. Catherine, Mount Sinai. This beautiful icon is infused with a sacred beauty that gives it unique power as an artistic work. In the icon, each element is ripe with symbolism: Mary has large eyes, a symbol of purity indicating a woman of vision; the angels of the icon look upward, only toward God; the four halos of Mary, Christ, and the two saints combine to form a cross, the greatest of Christian symbols.

SECOND GOLDEN AGE OF BYZANTINE ART

By the 8th-9th century

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