What Is the Point of Byzantine Visual Art Within Sacred Space
In Byzantine art one can detect the wealthiest and most circuitous fusion of functions, elements and reasons. The synthesis of theology, faith and aesthetics provides a window to a multifaceted globe view that has endured remaining relevant for centuries, nonetheless being promoted today inside the Orthodox Church. Borne of the Early Christian art of the 3rd and fourth centuries (Rodley, p.2) prior to its credence and promotion as the official state religion of the Roman empire, this art course originally drew on the visual imagery of the pagan past. Amongst the vastness of the Roman empire, multiform influences prevailed of which the well-nigh meaning was Hellenistic (Stuart, p.54) The majesty and concrete detachment one encounters in an icon contrast sharply with the delight in the beauty of the homo form that Hellenism elaborated. The infidel deities were given visual course in images and idols that evoked their presence and assured their cooperation. Although it is difficult to reconstruct the emotive and psychological values that the idols and temples of artifact elicited from the viewer, nevertheless, the power of those images to inform and instruct has been handsomely discussed from Plato onward. The Greek ideal of dazzler in conjunction with truth and the good dominated ancient fine art and demanded thoughtfulness and contemplation from the viewer. Rome added the element of propaganda to the majestic images from the reign of Augustus on, along with the influence of the Greek aesthetic. It is important to remember that the Graeco-Roman religion was concrete, in the sense that the gods were portrayed with distinct characteristics and personalities. Their exploits were duly sung by the epic poets and dramatists who, in the process, humanized the idea of the remote and immortal deities. Thus people of the pagan past could conspicuously visualize their gods who appear almost human not only in their physique but likewise in their behavior.
By manner of dissimilarity, the Judeo-Christian religion was more esoteric and abstract, especially since Judaism forbade imagery of the Almighty. God could only exist represented symbolically through the burning bush or such imagery. In Rome, nonetheless, many temples and statues of the various gods were on continuous brandish forth with images of the deified emperor, especially Julius Caesar (Zanker, p.210). The power of those imperial portraits to evoke supplication and alliance to the emperor, equally well equally to educate the masses to the world view of the purple ambition, is well known. Role of the reason for the cruel persecutions of the Christians was their refusal to light the incense and bow earlier the prototype of the ruler. This was seen as an act of disobedience and rebelliousness, rather than the idolatrous comprisal of the emperor equally God. In a globe heavily dependent on the visual image every bit a means of giving class to abstract ideas, the Christian religion could not compete without providing imagery for its more complex and hard conception of God. The secrecy in which the early Christians were forced to worship, for fear of persecution, gave way to symbolism—images with double meanings intended to be appreciated merely by the initiated. Antiquity already had adult a number of mystery religions that were shrouded in secrecy and only allowed the initiated to participate. The rise and proliferation of such mystery religions—Eleusinian, Dionysiac, Orphic—shows ancient man in search of meaning and promise and, peculiarly, for a blissful afterlife. Though information nigh their rituals is deficient, due to the sworn secrecy of the participants, all the same, one tin surmise from later Christian condemnations, like Tertullian, Clement and Origen, (Hinson, p. 137-129) that an epiphany was sought past the adherents. This experience provided participants with an ecstatic transformation through which they could identify with the deity. Some similarities are to be found with the Christians in their emulation of Christ, specially through the rituals of the sacred supper and baptism. Early Christian imagery grows out of the available visual vocabulary, and thus in the frescoes of the catacombs one finds a mixture of symbolism and some poses from Graeco-Roman art. For case, images similar the Good Shepherd or the philosopher became transformed into symbols for Christ (Rodley, p.31). Later on Constantine's edict of toleration and fifty-fifty positive endorsement of Christianity, ane begins to notice the gradual creation of a specific Christian and later Byzantine iconography. The ecumenical council of Nicaea in Advert 325 (Rodley, p.10) which set the creed and successfully averted some heresies, in particular Arianism, also provided the fundamental kernel that later blossomed into the canons of Byzantine art. The abstract concept of the Trinity and the Holy Spirit became symbolized through the Holy Dove, Christ and the hand of God, or three angels. In St. Apollinaris in Classe, Ravenna, the Trinity is shown but past the manus, pigeon and cross (Von Simson, p.41-42). In the Byzantine empire, the Church was closely associated with the emperor who also became the head of the Church, thus strengthening his position and empire. In contrast to the W, where the Pope became the sole spiritual leader, the Byzantine empire chose to weave the secular and spiritual earth and infuse the ceremonials of the Church building with the majesty and splendor of the court.
A multifaceted exploration of Byzantine art reveals the didactic element closely linked with the contemplative: The idea that the imagery viewed should elevate and reveal the truth. The dazzling brandish of gold and potent colors provide the viewer with an elevation of the spirit, the ecstatic experience of a spiritual and intuitive understanding of divinity. Though the images are textile, made from mosaic or paint on panels, they bespeak of a transcendent world, the world of the spirit, to be understood through the workings of the spirit which is split from the physical reality of life. The pious and at-home images of saints, Mary or Christ descend their empathetic gaze onto the viewer with an air of reassurance of the mysterious noesis they have of God. The glittering colors shimmering with the unreal gold of heaven envelop the viewer in such eternal churches equally those in Ravenna, and silently provide witness to the strength of religion that created them centuries ago. The icons and mosaics bespeak to the other globe in virtually surreal quietude. Strong delineation and outlines, rhythmical folds, abstractions and symbolism fuse to inform and educate the viewer to the everlasting truths of the Christian faith. The anonymity of the artists themselves bespeaks of the works every bit pious offerings to God. Since literacy was not widespread and access to books was quite rare, reserved for the wealthy prior to the appearance of the Gutenberg press, the images were intended to educate people to the ideas and stories of the Gospels. The Fathers of the Greek Church wrote many sermons comparing the spoken discussion with the power of paintings to move the viewer (Maguire, p.ix). John of Damascus explained in his commentary on eloquence: "the work of prototype and give-and-take are one...what more conspicuous proof that images are the books of the illiterate?(Maguire, p.10)" The viewer was likewise gently reminded, through the cycles of the Passion or Miracles, of the moral and behavioral demands of religion. The images were role models which the individual was encouraged to contemplate and to some extent even to emulate. Abstract concepts were rendered intelligible through symbolic gestures, narratives and colors. Placing these images on the walls of the church allowed the congregation to view them all at in one case with immediacy. As icons developed and were employed in processions, anybody had instant access to the vision of the spiritual world. Imagery created religious sentiment, encouraged piety and the ecstatic experience of the sacred. It was the divine essence that produced and informed the visual counterpart thus taking the viewer outside the realm of the intellect or the sensible, material world and allowing direct access to the transcendental. Divine truth and the Gospels were thus accessible to anybody.
The aesthetic that developed in Byzantine fine art cannot exist separated from the religious, theological and didactic elements, for all these fused to create the almost rigid canons that informed this art form. the beauty 1 saw, especially the elongated forms, rigid countenance and abstract landscape provided a window to the transcendent, heavenly world one aspired to join. To combat heresy and idolatry the emphasis of the icon became the anticipation of transcendence similar to the Transfiguration of Christ when He appeared in his celebrity to the frightened disciples. The stern yet empathetic images of Christ and the Apostles encouraged the viewer to penetrate deeper into the mystery of the spiritual globe.
The propagandistic aspect of the image is perhaps all-time exemplified by the account of the conversion of Prince Vladimir of Kiev. Co-ordinate to the 'Russian Primary Chronicle," probably compiled by the monks of the Crypt monastery in Kiev, tardily 11th century, Vladimir sent envoys to the Bulgars, the Germans and the Greeks to inquire as to their religious worship. It was the Greek that impressed them the nearly.
And and so nosotros went to Greece, and the Greeks led us to the edifices where they worship their God, and we knew not whether we were in heaven or on earth. For on earth at that place is no such splendor or such beauty, and we are at a loss how to describe it. We only know that God dwells there amongst men, and their service is fairer that the ceremonies of other nations. For we cannot forget that dazzler.(Carroll,Embree, Mellon, Schrier, Taylor, pp.216-217)
Fifty-fifty from the in a higher place passage one tin imagine the feeling and experience of beauty as a heavenly and divine presence. The ambivalence of experience which loosens the distinction between sky and earth is a characteristic of the Byzantine aesthetic. Art was intended to bridge these distinct modalities of existence and thus allow even ordinary humans a glimpse o the Glory of God. Information technology was the splendor of Hagia Sophia, the largest and most lavish church building dating from the fourth dimension of emperor Justinian, that then strongly influenced them. Even descriptions from the chronicles, which describe the building of this church, marvel at its scenic beauty. In the words of Procopius the dome of this groovy church appeared "to be suspended from the heavens past a gilded chain."(Diehl, p.102) Hagia Sophia was an imperial commission that also bespeaks of the power and glory of the empire. Forth with the grand architecture and majesty of the Church itself, the Russian emissaries were also impressed with the whole ceremony of the liturgy. The procession of priests dressed in lavishly decorated attire, the incense, the hymns, the gestures, all choreographed to unveil an elaborate drama of the liturgy. The Eastern Orthodox worship adheres to such an elaborate plan even today. It was the synthesis of all these elements that impressed the Russians and, needless to say, Vladimir became converted and baptized. Therefore, to this day Russia belongs to the Orthodox tradition. Every bit a result of this conversion, one can still detect the Greek influence in the art and architecture of religious Russia. Possibly even more importantly, the Cyrillic alphabet was developed by St. Cyril and St. Methodius, based on the Greek but adapted to the Slavic language.
Byzantine art is thoroughly in the service of theology. Through the abstractions and symbols of shapes and colors a sacred reality becomes visible. As Professor Mircea Eliade explains: "The great mystery consists in the very fact that the sacred is made manifest... for in making itself manifest the sacred limits and 'historicises' itself...the sacred accepted cocky-limitation."(Altizer, p.59) The importance here lies in the Incarnation of Christ in a particular place and at a specific historical fourth dimension. As Thomas Altizer elaborates: "This revolutionary transformation of the primitive religion was grounded in a new theophany, a new manifestation of the sacred as a personal God who ceaselessly intervenes in history, who reveals his will through events." (Altizer, p.60) The God of Christianity is a personal God who tin can be directly accessible and His presence can be directly experienced in the Church. (Meyendorff, p. xiii). Although one may know that God exists, not much about His nature can be known by human comprehension, rather 1 may contemplate theological truths such as the central concept, the Trinity. The Eucharistic liturgy provided the answer to the mystery of the Trinity, by a re-enactment of the sacred drama and communion with God (Meyendorff, p.206). The centrality of the Eucharist was amplified past rich hymnody, elaborate ceremonials and extensive decoration which continuously emphasized the fact that God had revealed Himself to humanity in the Incarnation of Jesus Christ.
The aesthetic programme that adult in the Orthodox Church strictly adhered to the idea of rendering the invisible visible and thus provided the viewer with opportunities for the contemplation of divine presence within the edifice. The Church every bit the 'house of God' displayed a glorious vision of the heavens. It also reminded the worshipper of the power of God through images such as the Pantocrator, thus gently convincing the viewer to emulate the expert deeds of the saints and Christ and thus be assured of entry to Heaven. The reminder of the future was the terminal image the viewer saw equally he exited the Church, for the wall on the due west usually contained a vision of the Last Judgment. The organization of the images inside the Church as well followed a strict programme that was designed to accentuate the workings of the spirit. The complementary exhibited betwixt work of art and sermons exemplifies the didactic and even propagandistic effect sanctioned by the church. The statement of the Incarnation through which God chose to get visible allowed the artists to represent images of Christ since He had assumed human form. His Deeds and His Passion were thus rendered in brilliant colors to accompany the liturgy. The strictness of the iconography ensured the proper interpretation of the Gospel and thus combated heresy. Yet the most important upshot of Byzantine fine art is its stress on the spiritual realities that lie beyond the material dimension of life. The majestic begetting of the Saints, Mary or Christ remind of the transience of the physical and signal to the transcendent and eternal spiritual globe. The richness of decoration links Byzantine fine art to the ability of the emperor who was considered 'God vicar on earth', showing the close relationship betwixt the imperial house and its connection and even sanction from above. This fusion of worldly ability with the spirit besides incorporated much of the imperial ceremonial into the liturgy itself. This close relation is most eloquently depicted in Ravenna in St. Appolinaris Nuovo, where the timeless procession of Saints, richly clad and bejeweled, formally and eternally approaches Christ enthroned and the Virgin with the rhythm of a courtroom ceremony.
By studying the spiritual intensity of Byzantine art, 1 may be able to regain in one case more the awe of mystery of life and nature that surrounds humanity fifty-fifty in an overwhelming technological and material earth of today. The central questions of truth and meaning remain in spite of the peachy scientific and technological strides of history. Byzantine art and theology still present today within the Eastern Orthodox Church provides a model of synthesis of spiritual and visual realities, thus adding to the repertoire of the ability of images to inspire and educate.
References
Thomas J.J. Altizer, Mircea Eliade and the Dialectic of the Sacred, Westminster Printing, 1958.
Harry Carroll Jr., Ainslie T. Embree, Knox Mellon Jr., Arnold Schrier, Alistair Taylor, The Development of Civilization: A Documentary History of Politics, Society and Idea , Scott Foresman & Co., 1961.
Charles Diehl, Byzantium: Greatness and Decline, Rutgers Academy Printing,1957.
E.Glenn Hinson, The Early on Church: origins to the dawn of the Middle Ages, Abingdon Press, 1996.
Henry Maguire, Art and Eloquence in Byzantium, Princeton University Printing, 1981.
John Meyendorff, Byzantine Theology, Fordham UP, 1974.
Lyn Rodley, Byzantine Art and Compages, Cambridge University Press, 1994.
Otto von Simson, Sacred Fortress: Byzantine Art and Statecraft in Ravenna, Princeton University Press, 1987.
John Stuart, Ikons,Faber&Faber, London, 1975.
Gary Vikan,"Byzantine Art," in Angeliki Laiou & Henry Maguire (eds.), Byzantium, a World Civilization, Dumbarton Oaks, Washington D.C., 1992.
Paul Zanker, The Power of Images in the Age of Augustus, University of Michigan Press, Ann Arbor, 1988.
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Source: https://www.bu.edu/wcp/Papers/Aest/AestSaba.htm
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