Why is byzantine art flat

The fluid, moving folds in the clothes were meant to show movement and emotion. In decorative architecture, mosaics were used very often, covering large areas in the buildings. These mosaics were colorful and illustrated, once again, religious characters and themes.

The rich colors, expensive materials such as gold and ivory and intricate patterns in this art served to show off the wealth and power of the Byzantine Empire. Even though the movement became unpopular after the fall of the empire, its influence could still be felt in other countries the movement spread to. Skip to content. If you're seeing this message, it means we're having trouble loading external resources on our website.

To log in and use all the features of Khan Academy, please enable JavaScript in your browser. Donate Login Sign up Search for courses, skills, and videos. Medieval art in Europe. Introduction to the middle ages. Christianity, an introduction for the study of art history. Architecture and liturgy. The life of Christ in medieval and Renaissance art. Catacomb of Priscilla, Rome. Unlike traditional wall paintings, however, mosaics could create a glittering, shimmering effect that lent itself to a heightened sense of spirituality.

The imagery befit the Byzantine culture that emphasized the authority of one, true religion. The mosaic technique was more expensive than traditional wall painting, but its effects were so desirable as to make it worth the cost.

Further, technological advances lighter-weight tesserae and a new cement recipe made wall mosaics easier than they had been in the preceding centuries, when floor mosaics were favored.

The mosaic technique involved fitting together small pieces of stone and glass tesserae. When set together, the tesserae create a paint-like effect in which different colors meld into one another to create shadows and a sense of depth. Moreover, Byzantine artists often placed gold backing behind the clear glass tesserae, such that the mosaics would appear to emit a mysterious light of their own.

This play of light added a sense of drama and spiritualism to the images that suited the symbolism and magic inherent in the Byzantine religious ceremony. Most often, however, mosaic decoration in the classical world was reserved for floor surfaces. Byzantine churches continued this tradition in locations such as Mount Nebo in Jordan, a medieval pilgrimage site where Moses is believed to have died.

The Church of Saints Lot and Procopius founded CE has a richly tiled floor that depicts activities like grape harvesting. Seemingly mundane, the grape harvest could be symbolic of the wine component of the Eucharist. The mosaic is located in the baptistery, where infants were initiated into the Christian faith and, according to biblical teachings, be cleansed of Original Sin.

Thus, a symbolic depiction of the next sacrament in the religion would help to underscore the theme of salvation. Another Mount Nebo floor mosaic c. The first two registers are hunting scenes in which the men hunt big cats and wild boars with the help of domesticated dogs.

On the bottom two registers, the animals appear more domesticated, peacefully eating fruit from trees as a shepherd observes them at the left; they wear leashes pulled by their human masters. Among the domesticated animals are a camel and what appear to be a zebra and an emu. As in the Church of Saints Lot and Procopius, this mosaic likely has a religious message beneath its seemingly mundane subject matter. Important Justinian-era mosaics c. In the apse is a depiction of the Transfiguration on a golden background, that denotes the otherworldliness of the event.

Christ, standing in the center as the focal point, is crowned with a halo and surrounded by a mandorla as his awestruck apostles observe the event. The apse is surrounded with bands containing the medallions of Biblical apostles and prophets, and two contemporary figures who are identified as Abbot Longinos and John the Deacon.

Inside the Arian Baptistery in Ravenna are four niches and a dome with mosaics that depict the baptism of Jesus by Saint John the Baptist. Although the mosaics were produced before Justinian I annexed Italy to the Byzantine Empire, their overall design is very similar to those produced under Byzantine rule. Jesus is shown as a beardless, half-submerged youth in the Jordan River. John the Baptist, wearing a leopard skin, stands on the right, while the personification of the Jordan River stands to the left.

Above, the Holy Spirit in the form of a dove sprays holy water from its beak. Below, a procession of the Apostles, led in separate directions by Saint Peter and Saint Paul circle the dome, meeting at a throne with a bejeweled crucifix resting on a purple cushion. Baptism of Jesus : Located in the Arian Baptistery, Ravenna, Italy, and created in the late fifth to the early sixth century. It took the artists several years to complete these mosaics, as can be clearly seen from the different colors of the stones used to depict the grass at the feet of the apostles.

The designs are quite simple, but the use of a gold background should be noted, as it was typically used in this era to infuse these simple scenes with an ethereal glow. While the exterior is plain, the interior is extensively decorated in elaborate mosaics. These mosaics create a truly spiritual space—a world removed from the ordinary. The vaulting is covered with floral motifs possibly symbolic of the Garden of Eden and the stars that stand out against a blue background seem to sparkle with their own mystical light.

Ceiling mosaic at the mausoleum of Galla Placidia : The Byzantines used mosaics more creatively and liberally than other cultures in the classical world. Mosaics cover the walls of the vault , the lunettes , and the bell tower. The iconographic themes developed in the decorations represent the victory of eternal life over death. The inside contains two famous mosaic lunettes, and the rest of the interior is filled with mosaics of Christian symbols.

Symbols of the four evangelists float among the clouds. The other four apostles appear in the barrel vaults of the transepts. An internal view of the mausoleum of Galla Placidia : This early Byzantine structures demonstrates the intricate use of mosaics in Byzantine design.

Ivory carving is the manual or mechanical carving of either animal tooth or tusk, wherein very fine detail can be achieved, and the surviving works often demonstrate intricate and complicated designs. This art form has a special importance to the history of Byzantine art because it has no bullion value and is not easily recycled like precious metals or jewels.

Because of this, many ivory carvings from the Early Byzantine period still survive. Ivory diptychs, often elaborately decorated, were issued as gifts by newly appointed consuls.

In the Early Christian period, Christians avoided monumental sculpture, which was associated with the old pagan Roman religion and sculpted almost exclusively in relief. During the persecution of Christians, such reliefs were typically kept small in scale, no larger than the reliefs on sarcophagi.

Objects that were small-scale and lightweight are more easily carried and hidden, attributes that a persecuted class worshiping in secret would have found necessary. When Christianity was legalized and later became the official religion of the Empire these attitudes remained.

As a result, small-scale sculpture—for which ivory was in many ways the best material—was central to art in a way that it rarely was at other times. Consuls—civil officers who played an important administrative role until —gave Roman consular diptychs as presents. The form was later adopted for Christian use, with images of Christ, the Theotokos the Virgin Mary , and saints. Such ivory panels were used as treasure bindings elaborate book covers from the sixth century, usually as centerpieces, and surrounded by metalwork and gems.

These book covers were sometimes assembled from up to five smaller panels due to the limited width of the tusk. Carved ivory covers were used as treasure bindings on the most precious illuminated manuscripts. The Barberini Diptych c. It is carved in the style known as Late Theodosian, representing the emperor as triumphant victor.

The Barberini Diptych is attributed to an imperial workshop in Constantinople. The emperor depicted in it is usually identified as Justinian, or possibly Anastasius I or Zeno. Although it is not a consular diptych, it shares many features of their decorative schemes. The emperor is accompanied in the main panel by a conquered barbarian in trousers to the left, and a crouching allegorical figure on the right that probably represents territory conquered or reconquered, and who holds his foot in gratitude or submission.

An angel or Victory crowning the emperor with the traditional palm of victory, which is now lost. The spear that partially conceals the barbarian does not wound him. He seems more astonished and overawed than combative. Above, Christ, with a fashionable, curled hairstyle, is flanked by two more angels in the style of pagan victory figures.

He reigns above, while the emperor represents him below on Earth. In the bottom panel barbarians from the West left, in trousers and East right, with ivory tusks, a tiger and a small elephant bring tribute, which includes wild animals. The figure in the left panel, apparently representing not a saint but a soldier, carries a statuette of Victory; his counterpart on the right is lost. Dating to approximately the same period as the Barberini Diptych is the Archangel Ivory c.

The subject matter is an archangel, possibly Michael, who holds a scepter in his left hand and an orb capped with a cross in his right hand, which he extends in a gesture of offering. This is the insignia of imperial power. Above the angel hovers a Greek cross surrounded by a laurel wreath, possibly signifying victory. Its missing half might have depicted Justinian I, to whom the archangel would be offering the insignia. It and the Barberini Diptych are the two most important surviving sixth-century Byzantine ivories attributed to the imperial workshops of Constantinople under Justinian.

Archangel Ivory : This is the largest surviving half of an ivory diptych from the Early Byzantine period. The figure is depicted in a highly classical style, wearing Greek or Roman garb, and with a youthful face and proportions that conform to the ideals of classical sculpture. Although the architectural elements consist of a classical round arch supported by Composite columns , the space is more typically Byzantine in its bending of spatial logic.

His feet are also not firmly planted on the steps. In the Byzantine and Eastern Orthodox world, the disapproval of large religious sculpture was to remain unchanged to the present day.

However, in the West it was overcome, probably beginning with the court of Charlemagne in the ninth century. As large monumental sculpture in other materials became more important, the centrality of ivory carving slowly lessened.