Christian Iconography Essay

1. Compargon and Contrast Hosios Loukas, Greece (before 1048) v. San Marco, Venice, Italy (building consecrated 1073 mosaics twelfth c.) and the Cappella Palatina, Palermo, Sicily (1142/3) Typical gnarly churches, like all architectural levels, employ comparatively standard lay emerges and similar mosaic programs. Hosios Loukas, preceding both San Marco and Cappella Palatina, is an example of fond regard to elusive conventions of visual programs and spatial planning. except, the churches of San Marco and Cappella Palatina are dep finesseures from much(prenominal) convention. Experiencing greater square off from the West, the churches of San Marco and Cappella Palatina, in their architectural forms and decoration, at once show their Byzantine grow and strides toward occidentalization. Hosios Loukas, though soak upming irregular in its floor plan, is actually both adjoining churches. Built on the space that marks the site of angel Lucas death, the church is an superior e xample of Byzantine planning and decoration.With a jumbo primeval dome, the church can be divided into three main(prenominal) separate the sanctuary, which is east of the dome the naos, which is the central portion and the narthex, or entre porch. Possessing a cross-like plan, the church is for the nigh part centrally planned. In the narthex, the regular mosaics of the Pantokrator, the Crucifixion and the Anastasis are employed. The apsis mosaic, which is at the far end of the sanctuary, fork overs the take in of Theotokos sitting on a thr iodin with the rescuer shaver supra the alter and the apse mosaic rests the mosaic of the Pentecost in the domical vault. In the central dome, which ho works the Pantokrator, the circle converts to the square through an octagonal form, a feature shared out by Cappella Palatina. The squinches created by the octagon depict motion pictures from the Nazarenes life. Further more(prenominal), the likenesses of saints decorate the church. close importantly however, the decoration of the church contains little extraneous enlarge.San Marco, however, exists as a transition from the traditional Byzantine format to more westernized looks. Still displaying a cruciform floor plan, the basilical form is integrated into the church. The four lateral domes and one central dome imply this focus on symmetry and centrality, plot still allowing for the western influence. The naos is elongated, to create greater linearity and the cross fort of the cross-square is actually a transept. Though exhibiting lots of the similar scenes, those of San Marco have a particularly greater focus on narrative. One can espouse such effects in the Anastasis scenes of both churches. In the Anastasis of Hosios Loukas, only fin figures appear deliverer, David, Solomon and Adam and Eve the five figures possess enough particular to identify them and the scene.In the San Marco example, eleven figures are present. The crowded quality enhances the nar rative, allowing them to be find out as more of a story and slight as a symbolic form representing an event. Similarly, the crucifixion scene of Hosios Loukas and San Marco are one by one simplified and elaborate. Cappella Palatina, built by Roger II a Norman, focuses even greater narrative. The church also further employs the basilical form, while displaying forms from all the cultures that influenced it. Baring less architectural resemblance to the Byzantine church, Cappella Palatinas mosaics, though depicting much of the same scenes as Hosios Loukas and San Marco, are composed in a kinda haphazard way. For example, the nativity, which is usually streamlined to the most integral parts, shows multiple scenes in the same mosaic.In fact, some figures, such as the magi, appear more than once. This technique, allows the sweetheart to trace out the story of the birth of messiah. The eastern apse looks like a traditional Byzantine church, with a Pantokrator and seated Virgin. Howev er to the west, the basilical nave shows the western Christian influence. Its use of aged Testament imagery references Western precedentsfrom Genesis to Jacob wrestling the angel. Similarly, while the walls depict the same scenes as Byzantine churches, their format is different. Its use of registers is unseen in Byzantine counterparts. Also, the multiple Pantokrators that appear in the church, while a Byzantine form, are utilize in a uniquely un-Byzantine way. Lastly, the church ceiling, which is decorated with muqarnas, shows the Islamic influence.The basilical influence in San Marco and Cappella Palatina is unmistakable. Much of the imagery and its hierarchical placementwith the holiest at the top and most earthly at the bottomis drawn from Byzantine churches. However, the use of Old Testament scenes and the greater focus on narrative are symptoms of the western influence. San Marco and Cappella Palatina are consequences of the time and place. They are at once church servicees of the West and parts of an majestic history and religious tradition from the East. As a result, their expression reflects the Byzantine influence, in its similarities to Hosios Loukas, and their Ravennic and Roman precedents.2. Compare and Contrast Pilgrim eulogia ampulla, Crucifixion and Women at the Tomb, pewter, 6th-7th c. v. The Limburg Staurotheca, 968-985 Though created centuries apart and strikingly different in size and style, the pilgrim eulogia ampulla and the Limburg Staurotheca are similar in many ways. Both are vessels of blessed materials and depict Christ and various religious figures. However the ampula represents the more egalitarian form of relic collecting. The Limburg Staurotheca, on the other hand, in its materials and relics is one of the most elite group forms of collectorship. Both the Pilgrimage ampulla and the Limburg Staurotheca are composed out of metals. The ampula is made out of pewter, a metal that was run downily available at the time and non c ostly. The Limburg Staurotheca, on the other hand, is made out of sumptuous gilt medal, enamels and gems.The balance in materials is indicative of their in disco biscuitded patrons. The ampulla, which predates the Staurotheca, was created for pilgrims that visited the Church of the Holy Sepulchre in Jerusalem. The latter, however, was commissioned by an imperial official and was intend to be viewed by elites. Additionally, both possess the ability to be hung. While the ampulla often hung approximately the neck of a pilgrim, the Staurotheca, which has a hoop at the top, could have been hung in a devotional space or carried during processions. The functionto hold holy objectsalso differs due to its intended viewers. Ampullae such as this were often used to hold holy liquids or s oil. However, due to the inscription and its iconographic reference to the Church of the Holy Sepulchre and the True Cross, this pilgrimage ampulla was used to hold the oil from the True Cross. Therefore, i n a sense, both of these vessels hold parts of the same relic.However, the portability and reproducibility of the oil, made it better equipped for pilgrim patrons. The Staurotheca, contrastingly, holds seven splinters of the full-strength cross. Arranged in such a way to show the diachronic form of the true cross, the slivers are held in place by jewels and gold framing. Additionally, the Staurotheca also was a reliquary for various other relics, such as Christs purple robe, the hair of John the Baptist, etc. Housed behind the ten different panels with inscriptions describing that which is behind them, the Staurotheca is an interactive reliquary. The viewer is able to open the panels and see the relics. The iconography of the vessels also differs. The ampulla depicts two scenes. The first is the Adoration of Cross. The meaning of the iconography is twofold. It looks like the scene of the Crucifixion, with the other two crucified backstageing Christ and with reverenceers in atten dance.However, the more pertinent adaptation of the imagery, as it relates more directly to the vessel, is the pilgrims visit and worshiping the True Cross. On the stick out of the ampulla, the Women at the Tomb is depicted. It also has two significances it can be read as the Marys visiting the tomb of Christ and pilgrim women visiting the tomb of Christ erected within the Church of the Holy Sepulchre. The iconography, then, draws parallels amid the events of Christs life and the activities of pilgrims. The Staurotheca, on the other hand, is rich in detail yet does not contain any narrative. On the front of the reliquary is Christ enthroned, with Theotokos, John the Baptist and arch angels flanking him. Above and below are three pairs each(prenominal) of the apostles. Surrounding the nine conjoined panels, are portrait busts of saints.Upon opening the lid, the viewer is confronted with the slivers of the True Cross described above. Depictions of angels adorn the interior as wel l, and flank the inscribed panels behind which rest other important relics. Rather than expressly depict the relics that were encased, the reliquary simply depicted the True Cross and the portraits of angel, all of which were considered to be the image of paragon himself. Therefore, the ampulla and the Staurotheca differ in their iconography, their function and their materials. All results of the intended viewers and collectors, both the ampulla and Staurotheca represent the Byzantine desire to obtain ancient and secondary relics. Representing the advocator of Christ and God, these vessels contents gave their owners assurance of success and salvation.3. judge Question Related Directly to Readings The issue of images in Byzantine art The lineage and use of images in Byzantine art is perhaps on of the more interesting and complicated aspects of Christian iconography. The Christian imagery in Byzantine art, as storied in Heaven on Earth, became intertwined with imperial icons and ceremony. The course of Iconoclasm, however, remains the most controversial historical discourse active Christian images and their appropriate role. The Iconoclasts believed that images were inappropriate in worship and were similar to the worship of idols, which breaks one of the commandments. Iconophiles, on the other hand, venerated images and opposed the Iconoclasts in the destruction of images. given(p) up the volatile opposition of the two, understanding the Christian image in Byzantine art allows one to understand their forms of worship and relation to the holy. Firstly, it should be noted imperial and religious tradition often created a relationship surrounded by Christ and the Emperor.Occurring fairly early in the history of Byzantium, the Emperor Justinian was likened to Christ in the apse mosaic in S. Vitale. Adorned with a halo, Justinian stands in the center among twelve soldiers and religious officials. Although, as Treadgold et al. noted in Procopius and the gall ant Panels of S. Vitale, though the artist had not intended on creating the twelve apostles symbolism, as the feet show that some of the heads were added as an after thought, the resulting effect is the same for the present-day(a) viewer. The emperor, the most powerful and godly of men, is likened to Christ. Such an occurrence, while prevalent passim cultures and history, undoubtedly watered down the holy significance of Christ images in the realm of worship. However, as noted above, the Iconoclast controversy, which lasted from 726 to 843 AD, is most illustrative of the Byzantine treatment of images. Affecting artistic production during the controversy and in its invoke, the disputation centered on the appropriateness of images in the Christian context.Iconoclasts, or image breakers, believed that their fellow Christians had become idolaters. Images, perhaps believed to be a source of power by laymen, the Iconoclasts contended, must be restrained. Militaristic failures reaffirm ed Iconoclastic believes that they had sinned and incurred the wrath of God. In the Church of Saint Sophia, for example, depictions of saints were replaced by the cross. Similarly, St. Irene sports a cross instead of a human likeness. (The example of the Church of the Dormition in Nicaea seems to show that the Virgin and Child mosaic replaced the Cross, post-Iconoclasm.) Therefore, the Iconoclasts effectively replaced images with the Cross. Contrastingly, the Iconophiles, or image lovers, argued for the preservation and continuation of images, given their long history.As discussed in the Abgar of Edessa identification, the likeness of Christ was venerated in biblical times. Being an ancient tradition, that Christ himself allowed/encouraged, images should be respected. Furthermore, as mentioned in Mango, the Iconophiles argued that God created man in his likeness, and specifically incarnated himself in the human form of Christ, and therefore allows for representation in the human fo rm. Though they were temporarily victorious between bouts of Iconoclasm, the Iconophiles were ultimately successful in securing the role of images in Christianity. After the ideological defeat of the Iconoclasts, the Iconophiles restored much of the Christian imagery that had been washed away. St. Sophia, having had images removed by the iconoclasts, exists as a testament to the great controversy. The St. Sophia apse mosaic is an excellent example of post-iconoclast image restoration.A mosaic of Theotokos and Child was erected with an inscription condemning the Iconoclasts the inscription is known to refer to them as imposters. Similarly, written and illustrated texts, such as the Khludov Psalter, describe the heresy of the Iconoclasts. It likens them to the Jews. As the Jews killed Christ, the Iconoclasts washed away and killed his image. Furthermore, much of the valuation reserve illustrations depict figures holding a medallion image of Christ, as a testament to the devotion to images. The Iconophiles believed that icons and images of the holy and saintly sanctified churches and practiced such post-iconoclasm.Post-iconoclasm, much of the ravages were rectified and restored. Beautifully decorous images adorned churches and texts in the wake of the controversy. The Psalter of Paris, for example, rather naturalistically depicts David composing the Psalms. Personifying the location and muses, the image gives the layman the opportunity to pictographically read the origin of the Psalms. Ultimately, the images not only teach through visuals, but inspire awe. The illuminating mosaics of churches produced miraculous, luminary effects that created a greater sense of the sacred.Consequently, the use of images in Byzantine art is an issue of great complexity. Once derivation influence from the iconography of pagan religions, the Iconoclasm controversy returned to the Christian-pagan associations. The Iconoclasts believed that the worship of images was like that of idols by the pagans. In an attempt to remain in the right with God, they sought to rid Christianity of its idolatrous icons. Though, in accordance with sanctity, egalitarianism and tradition the debate was won by the image lovers, restoring the place of Christian icons.