Art of Central Asia
70-607: The Joshua Roll is a Byzantine illuminated manuscript of highly unusual format, probably of the 10th century Macedonian Renaissance , believed to have been created by artists of the imperial workshops in Constantinople , and now in the Vatican Library . The Roll is in the form of a continuous horizontal scroll or rotulus , common in Chinese art but unique in surviving examples of medieval Christian art. It
140-844: A Byzantine territory in this period, also include important surviving decorative programs, especially Santa Maria Antiqua , Sant'Agnese fuori le mura , and the Chapel of San Venanzio in San Giovanni in Laterano . Byzantine mosaicists probably also contributed to the decoration of the early Umayyad monuments, including the Dome of the Rock in Jerusalem and the Great Mosque of Damascus . Important works of luxury art from this period include
210-685: A book, the Buildings , written by Justinian's court historian, Procopius . Justinian renovated, rebuilt, or founded anew countless churches within Constantinople, including Hagia Sophia , which had been destroyed during the Nika riots , the Church of the Holy Apostles , and the Church of Saints Sergius and Bacchus . Justinian also built a number of churches and fortifications outside of
280-643: A crisis in 1204 with the sacking of Constantinople by the Venetian and French knights of the Fourth Crusade , a disaster from which the Empire recovered in 1261 albeit in a severely weakened state. The destruction by sack or subsequent neglect of the city's secular architecture in particular has left us with an imperfect understanding of Byzantine art. Although the Byzantines regained the city in 1261,
350-510: A large group of Mystras churches). The icons, which became a favoured medium for artistic expression, were characterized by a less austere attitude, new appreciation for purely decorative qualities of painting and meticulous attention to details, earning the popular name of the Paleologan Mannerism for the period in general. Venice came to control Byzantine Crete by 1212, and Byzantine artistic traditions continued long after
420-641: A plate in the Cabinet des Médailles, Paris, depicts Hercules wrestling the Nemean lion . The Age of Justinian was followed by a political decline, since most of Justinian's conquests were lost and the Empire faced acute crisis with the invasions of the Avars , Slavs , Persians and Arabs in the 7th century. Constantinople was also wracked by religious and political conflict. The most significant surviving monumental projects of this period were undertaken outside of
490-408: A position, normally above eye-level. Frieze decorations may depict scenes in a sequence of discrete panels. The material of which the frieze is made of may be plasterwork , carved wood or other decorative medium. More loosely, "frieze" is sometimes used for any continuous horizontal strip of decoration on a wall, containing figurative or ornamental motifs. In an example of an architectural frieze on
560-651: A real column, possibly to scale, like the Ottonian bronze Easter column ( Latin : colonna ) made for the bishop Bernward of Hildesheim , the Bernward Column in St Michael's Church . Byzantine art Art of East Asia Art of South Asia Art of Southeast Asia Art of Europe Art of Africa Art of the Americas Art of Oceania Byzantine art comprises
630-429: A result of the pious and autocratic nature of Byzantine society, and partly a result of its economic structure: the wealth of the empire was concentrated in the hands of the church and the imperial office, which had the greatest opportunity to undertake monumental artistic commissions. Religious art was not, however, limited to the monumental decoration of church interiors. One of the most important genres of Byzantine art
700-549: A revival of the late antique technique of ivory carving. Many ornate ivory triptychs and diptychs survive, such as the Harbaville Triptych and a triptych at Luton Hoo , dating from the reign of Nicephorus Phocas . The Macedonian emperors were followed by the Komnenian dynasty , beginning with the reign of Alexios I Komnenos in 1081. Byzantium had recently suffered a period of severe dislocation following
770-461: A revival or copying from a much earlier model is the subject of much debate. Its origins have been much debated by art historians, and the roll is considered to be "one of the most important and difficult problems of Byzantine art." The roll itself is usually acknowledged to be of the 10th century AD, but the images are felt by most art historians to derive from one or more earlier works, perhaps going back as far as Late Antiquity . The subject produced
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#1732772567847840-600: A sharp disagreement between Kurt Weitzmann , who thought the form of the roll was a classicising invention of the Macedonian Renaissance , and Meyer Schapiro , who, whilst agreeing with Weitzmann on a 10th-century date, held to the more traditional view that painted rotuli existed in Late Antiquity, and that the roll was essentially copied from such a work, perhaps through intermediaries. The images are clearly closely related to later manuscripts of
910-557: A subject of scholarly debate for centuries. Giorgio Vasari attributed it to a decline in artistic skills and standards, which had in turn been revived by his contemporaries in the Italian Renaissance . Although this point of view has been occasionally revived, most notably by Bernard Berenson , modern scholars tend to take a more positive view of the Byzantine aesthetic. Alois Riegl and Josef Strzygowski , writing in
980-399: A viewer "could look at something which was in twentieth-century terms purely abstract and find it representational." In any case, the debate is purely modern: it is clear that most Byzantine viewers did not consider their art to be abstract or unnaturalistic. As Cyril Mango has observed, "our own appreciation of Byzantine art stems largely from the fact that this art is not naturalistic; yet
1050-540: Is a fundamental artistic attitude held by the Byzantine Greeks who, like their ancient Greek predecessors, "were never satisfied with a play of forms alone, but stimulated by an innate rationalism, endowed forms with life by associating them with a meaningful content." Although the art produced in the Byzantine Empire was marked by periodic revivals of a classical aesthetic, it was above all marked by
1120-472: Is also attested in texts from the late seventh century. These developments mark the beginnings of a theology of icons . At the same time, the debate over the proper role of art in the decoration of churches intensified. Three canons of the Quinisext Council of 692 addressed controversies in this area: prohibition of the representation of the cross on church pavements (Canon 73), prohibition of
1190-538: Is made of several joined pieces of sheep vellum , is 31 cm high and about 10 metres long, and may be incomplete, as it starts with Chapter II and ends with Chapter X. The Roll covers the early part of the Old Testament Book of Joshua using a reduced version of the Septuagint text; it includes Joshua's main military successes, ending with conquered kings paying him homage. At roughly this time,
1260-551: Is the inclusion of personifications . In Sheet 12, for example, the city of Jericho is personified by the seated woman to the right of Joshua. Female personifications of cities are found throughout the Joshua Roll, often wearing headpieces that look like small cities or buildings. Like the Paris Psalter , with which it is usually discussed, it is heavily classicising in style, though the extent to which this represents
1330-595: The Octateuch or first eight books of the Old Testament, but where and when the compositions for the cycle originated is controversial. Steven Wander, professor at the University of Connecticut , claims the images are slanted at ten degrees, in a continuous frieze along the ten meters of the roll. He suggests this may be because the roll was a copy of the actual preparatory sketches or working drawings for
1400-468: The 740 earthquake . The interior of Hagia Eirene, which is dominated by a large mosaic cross in the apse, is one of the best-preserved examples of iconoclastic church decoration. The church of Hagia Sophia in Thessaloniki was also rebuilt in the late 8th century. Certain churches built outside of the empire during this period, but decorated in a figural, "Byzantine," style, may also bear witness to
1470-708: The Acheiropoietos Basilica ). A number of important illuminated manuscripts, both sacred and secular, survive from this early period. Classical authors, including Virgil (represented by the Vergilius Vaticanus and the Vergilius Romanus ) and Homer (represented by the Ambrosian Iliad ), were illustrated with narrative paintings. Illuminated biblical manuscripts of this period survive only in fragments: for example,
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#17327725678471540-595: The Battle of Manzikert in 1071 and the subsequent loss of Asia Minor to the Turks. However, the Komnenoi brought stability to the empire (1081–1185) and during the course of the twelfth century their energetic campaigning did much to restore the fortunes of the empire. The Komnenoi were great patrons of the arts, and with their support Byzantine artists continued to move in the direction of greater humanism and emotion, of which
1610-594: The Daphni Monastery near Athens and Nea Moni on Chios . There was a revival of interest in the depiction of subjects from classical Greek mythology (as on the Veroli Casket) and in the use of a "classical" Hellenistic styles to depict religious, and particularly Old Testament, subjects (of which the Paris Psalter and the Joshua Roll are important examples). The Macedonian period also saw
1680-599: The Islamic states of the eastern Mediterranean , preserved many aspects of the empire's culture and art for centuries afterward. A number of contemporary states with the Eastern Roman (Byzantine) Empire were culturally influenced by it without actually being part of it (the " Byzantine commonwealth "). These included Kievan Rus' , as well as some non-Orthodox states like the Republic of Venice , which separated from
1750-661: The Quedlinburg Itala fragment is a small portion of what must have been a lavishly illustrated copy of 1 Kings . Early Byzantine art was also marked by the cultivation of ivory carving . Ivory diptychs , often elaborately decorated, were issued as gifts by newly appointed consuls . Silver plates were another important form of luxury art: among the most lavish from this period is the Missorium of Theodosius I . Sarcophagi continued to be produced in great numbers. Significant changes in Byzantine art coincided with
1820-766: The Rossano Gospels , and the Sinope Gospels . The Vienna Dioscurides is a lavishly illustrated botanical treatise, presented as a gift to the Byzantine aristocrat Julia Anicia . Important ivory sculptures of this period include the Barberini ivory , which probably depicts Justinian himself, and the Archangel ivory in the British Museum . Byzantine silver plate continued to be decorated with scenes drawn from classical mythology; for example,
1890-503: The Theotokos of Vladimir , the cycle of mosaics at Daphni , and the murals at Nerezi yield important examples. Ivory sculpture and other expensive mediums of art gradually gave way to frescoes and icons, which for the first time gained widespread popularity across the Empire. Apart from painted icons, there were other varieties - notably the mosaic and ceramic ones. Some of the finest Byzantine work of this period may be found outside
1960-520: The architrave ("main beam") and is capped by the moldings of the cornice . A frieze can be found on many Greek and Roman buildings, the Parthenon Frieze being the most famous, and perhaps the most elaborate. In interiors, the frieze of a room is the section of wall above the picture rail and under the crown moldings or cornice. By extension, a frieze is a long stretch of painted , sculpted or even calligraphic decoration in such
2030-541: The fall of the Byzantine capital of Constantinople in 1453, art produced by Eastern Orthodox Christians living in the Ottoman Empire was often called "post-Byzantine." Certain artistic traditions that originated in the Byzantine Empire, particularly in regard to icon painting and church architecture, are maintained in Greece , Cyprus , Serbia , Bulgaria , Romania , Russia and other Eastern Orthodox countries to
2100-740: The "Triumph of Orthodoxy." In 867, the installation of a new apse mosaic in Hagia Sophia depicting the Virgin and Child was celebrated by the Patriarch Photios in a famous homily as a victory over the evils of iconoclasm. Later in the same year, the Emperor Basil I , called "the Macedonian," acceded to the throne; as a result the following period of Byzantine art has sometimes been called the " Macedonian Renaissance ", although
2170-548: The 19th century onwards, when the dissolution of the Ottoman Empire prompted a renewed appreciation of Byzantium by artists and historians alike. Two events were of fundamental importance to the development of a unique, Byzantine art. First, the Edict of Milan , issued by the emperors Constantine I and Licinius in 313, allowed for public Christian worship, and led to the development of a monumental, Christian art. Second,
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2240-577: The Byzantine Empire in the 10th century, and the Kingdom of Sicily , which had close ties to the Byzantine Empire and had also been a Byzantine territory until the 10th century with a large Greek-speaking population persisting into the 12th century. Other states having a Byzantine artistic tradition, had oscillated throughout the Middle Ages between being part of the Byzantine Empire and having periods of independence, such as Serbia and Bulgaria . After
2310-457: The Byzantine empire was enjoying military success in its campaigns in the Holy Land . It was originally painted in grisaille , by several artists, with partial coloring added later in a separate stage. The lettering is in majuscule and minuscule forms. Sheet 12 of the Joshua Roll provides an example of many of the artistic trends and choices made by its creator that can be found throughout
2380-449: The Byzantine era, many continuing and adapting late Roman artistic practice though Byzantine silk production only began after they imported silkworms from China in the late sixth century. Many of these were religious in nature, although a large number of objects with secular or non-representational decoration were produced: for example, ivories representing themes from classical mythology. Byzantine ceramics were relatively crude, as pottery
2450-478: The Byzantines themselves, judging by their extant statements, regarded it as being highly naturalistic and as being directly in the tradition of Phidias , Apelles , and Zeuxis ." The subject matter of monumental Byzantine art was primarily religious and imperial: the two themes are often combined, as in the portraits of later Byzantine emperors that decorated the interior of the sixth-century church of Hagia Sophia in Constantinople. These preoccupations are partly
2520-578: The Empire was thereafter a small and weak state confined to the Greek peninsula and the islands of the Aegean . During their half-century of exile, however, the last great flowing of Anatolian Hellenism began. As Nicaea emerged as the center of opposition under the Laskaris emperors, it spawned a renaissance, attracting scholars, poets, and artists from across the Byzantine world. A glittering court emerged as
2590-642: The Empire: in the mosaics of Gelati , Kiev , Torcello , Venice , Monreale , Cefalù and Palermo . For instance, Venice's Basilica of St Mark , begun in 1063, was based on the great Church of the Holy Apostles in Constantinople, now destroyed, and is thus an echo of the age of Justinian. The acquisitive habits of the Venetians mean that the basilica is also a great museum of Byzantine artworks of all kinds (e.g., Pala d'Oro ). Centuries of continuous Roman political tradition and Hellenistic civilization underwent
2660-769: The Middle Ages and the Renaissance. Byzantine art was an essential part of this culture and had certain defining characteristics, such as intricate patterns, rich colors, and religious themes depicting important figures in Christianity . Frieze In classical architecture , the frieze / f r iː z / is the wide central section of an entablature and may be plain in the Ionic or Doric order , or decorated with bas-reliefs . Paterae are also usually used to decorate friezes. Even when neither columns nor pilasters are expressed, on an astylar wall it lies upon
2730-556: The Ottoman conquest of the last Byzantine successor state in 1461. The Cretan school , as it is today known, gradually introduced Italian Renaissance elements into its style, and exported large numbers of icons to Italy. The tradition's most famous artist was El Greco . The Byzantine Empire emerged from the Eastern Roman Empire in the 4th century AD, and its unique culture heavily influenced Western Europe during
2800-720: The Psalms) and devotional or theological texts (such as the Ladder of Divine Ascent of John Climacus or the homilies of Gregory of Nazianzus ). Secular texts were also illuminated: important examples include the Alexander Romance and the history of John Skylitzes . The Byzantines inherited the Early Christian distrust of monumental sculpture in religious art, and produced only reliefs , of which very few survivals are anything like life-size, in sharp contrast to
2870-642: The body of artistic products of the Eastern Roman Empire , as well as the nations and states that inherited culturally from the empire. Though the empire itself emerged from the decline of western Rome and lasted until the Fall of Constantinople in 1453, the start date of the Byzantine period is rather clearer in art history than in political history, if still imprecise. Many Eastern Orthodox states in Eastern Europe, as well as to some degree
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2940-607: The church. Also of note is the Euphrasian Basilica in Poreč . Recent archeological discoveries in the 19th and 20th centuries unearthed a large group of Early Byzantine mosaics in the Middle East . The eastern provinces of the Eastern Roman Empire inherited a strong artistic tradition from Late Antiquity . Christian mosaic art flourished in this area from the 4th century onwards. The tradition of making mosaics
3010-767: The continuing activities of Byzantine artists. Particularly important in this regard are the original mosaics of the Palatine Chapel in Aachen (since either destroyed or heavily restored) and the frescoes in the Church of Maria foris portas in Castelseprio . The rulings of the Council of Hieria were reversed by a new church council in 843, celebrated to this day in the Eastern Orthodox Church as
3080-440: The curving and squeezing of the script between and around scenes, the miniatures took clear precedent. Rather than being consistently placed throughout the roll, the writing curves around the paintings instead of the images conforming to the space allotted to them by pre-existing script. This is evident in Sheet 12 of the roll and many others. The passages provide excerpts and additions to the Book of Joshua , as opposed to copying
3150-407: The decoration of Constantinople, adorning its public spaces with ancient statuary, and building a forum dominated by a porphyry column that carried a statue of himself. Major Constantinopolitan churches built under Constantine and his son, Constantius II , included the original foundations of Hagia Sophia and the Church of the Holy Apostles . The next major building campaign in Constantinople
3220-439: The dedication of Constantinople in 330 created a great new artistic centre for the eastern half of the Empire, and a specifically Christian one. Other artistic traditions flourished in rival cities such as Alexandria , Antioch , and Rome , but it was not until all of these cities had fallen - the first two to the Arabs and Rome to the Goths - that Constantinople established its supremacy. Constantine devoted great effort to
3290-413: The development of a new aesthetic defined by its salient "abstract", or anti-naturalistic character. If classical art was marked by the attempt to create representations that mimicked reality as closely as possible, Byzantine art seems to have abandoned this attempt in favor of a more symbolic approach. The nature and causes of this transformation, which largely took place during late antiquity , have been
3360-492: The dispossessed intelligentsia found in the Hellenic side of their traditions a pride and identity unsullied by association with the hated "latin" enemy. With the recapture of the capital under the new Palaeologan Dynasty , Byzantine artists developed a new interest in landscapes and pastoral scenes, and the traditional mosaic-work (of which the Chora Church in Constantinople is the finest extant example) gradually gave way to detailed cycles of narrative frescoes (as evidenced in
3430-506: The early 20th century, were above all responsible for the revaluation of late antique art. Riegl saw it as a natural development of pre-existing tendencies in Roman art, whereas Strzygowski viewed it as a product of "oriental" influences. Notable recent contributions to the debate include those of Ernst Kitzinger , who traced a "dialectic" between "abstract" and "Hellenistic" tendencies in late antiquity, and John Onians , who saw an "increase in visual response" in late antiquity, through which
3500-426: The façade of a building, the octagonal Tower of the Winds in the Roman agora at Athens bears relief sculptures of the eight winds on its frieze. A pulvinated frieze (or pulvino ) is convex in section. Such friezes were features of 17th-century Northern Mannerism , especially in subsidiary friezes, and much employed in interior architecture and in furniture. The concept of a frieze has been generalized in
3570-419: The fifth century. Due to subsequent rebuilding and destruction, relatively few Constantinopolitan monuments of this early period survive. However, the development of monumental early Byzantine art can still be traced through surviving structures in other cities. For example, important early churches are found in Rome (including Santa Sabina and Santa Maria Maggiore ), and in Thessaloniki (the Rotunda and
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#17327725678473640-410: The full text, in order to better suit the illuminations. The style of the illuminations are relatively realistic in the anatomy and proportions of the figures, and there are loose attempts to add elements such as trees and cityscapes to create a sense of time and space. These elements, as well as the poses and garb of the figures, take clear inspiration from classical Roman art . Another classical element
3710-423: The games in the hippodrome) continued to be produced, and the few monuments that can be securely dated to the period (most notably the manuscript of Ptolemy's "Handy Tables" today held by the Vatican ) demonstrate that metropolitan artists maintained a high quality of production. Major churches dating to this period include Hagia Eirene in Constantinople, which was rebuilt in the 760s following its destruction by
3780-518: The imperial capital, including Saint Catherine's Monastery on Mount Sinai in Egypt , Basilica of Saint Sofia in Sofia and the Basilica of St. John in Ephesus . Several major churches of this period were built in the provinces by local bishops in imitation of the new Constantinopolitan foundations. The Basilica of San Vitale in Ravenna , was built by Bishop Maximianus . The decoration of San Vitale includes important mosaics of Justinian and his empress, Theodora , although neither ever visited
3850-446: The imperial capital. The church of Hagios Demetrios in Thessaloniki was rebuilt after a fire in the mid-seventh century. The new sections include mosaics executed in a remarkably abstract style. The church of the Koimesis in Nicaea (present-day Iznik ), destroyed in the early 20th century but documented through photographs, demonstrates the simultaneous survival of a more classical style of church decoration. The churches of Rome, still
3920-456: The manufacture of icons of Christ. This inaugurated the Iconoclastic period , which lasted, with interruptions, until 843. While iconoclasm severely restricted the role of religious art, and led to the removal of some earlier apse mosaics and (possibly) the sporadic destruction of portable icons, it never constituted a total ban on the production of figural art. Ample literary sources indicate that secular art (i.e. hunting scenes and depictions of
3990-467: The medieval art of the West, where monumental sculpture revived from Carolingian art onwards. Small ivories were also mostly in relief. The so-called "minor arts" were very important in Byzantine art and luxury items, including ivories carved in relief as formal presentation Consular diptychs or caskets such as the Veroli casket , hardstone carvings , enamels , glass , jewelry, metalwork, and figured silks were produced in large quantities throughout
4060-493: The part of local bishops are attested in Asia Minor during the 720s. In 726, an underwater earthquake between the islands of Thera and Therasia was interpreted by Emperor Leo III as a sign of God's anger, and may have led Leo to remove a famous icon of Christ from the Chalke Gate outside the imperial palace. However, iconoclasm probably did not become imperial policy until the reign of Leo's son, Constantine V . The Council of Hieria , convened under Constantine in 754, proscribed
4130-661: The present day. Byzantine art originated and evolved from the Christianized Greek culture of the Eastern Roman Empire; content from both Christianity and classical Greek mythology were artistically expressed through Hellenistic modes of style and iconography. The art of Byzantium never lost sight of its classical heritage; the Byzantine capital, Constantinople , was adorned with a large number of classical sculptures, although they eventually became an object of some puzzlement for its inhabitants (however, Byzantine beholders showed no signs of puzzlement towards other forms of classical media such as wall paintings ). The basis of Byzantine art
4200-408: The reign of Justinian I (527–565). Justinian devoted much of his reign to reconquering Italy, North Africa and Spain. He also laid the foundations of the imperial absolutism of the Byzantine state, codifying its laws and imposing his religious views on all his subjects by law. A significant component of Justinian's project of imperial renovation was a massive building program, which was described in
4270-400: The representation of Christ as a lamb (Canon 82), and a general injunction against "pictures, whether they are in paintings or in what way so ever, which attract the eye and corrupt the mind, and incite it to the enkindling of base pleasures" (Canon 100). Intense debate over the role of art in worship led eventually to the period of " Byzantine iconoclasm ." Sporadic outbreaks of iconoclasm on
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#17327725678474340-424: The restoration of the icons in 843 and culminates in the Fall of Constantinople to the Crusaders in 1204; the Late period includes the eclectic osmosis between Western European and traditional Byzantine elements in art and architecture, and ends with the Fall of Constantinople to the Ottoman Turks in 1453. The term post-Byzantine is then used for later years, whereas "Neo-Byzantine" is used for art and architecture from
4410-407: The roll. This sheet depicts the scene of Joshua and the Angel, where an angel appears before Joshua in a commander's uniform. Most notable is Joshua’s appearance in this sheet not once but twice: standing and prostrate. The roll aims to tell a continuous narrative, and as such, figures like Joshua appear multiple times throughout the roll to accurately depict the script they accompany. However, based on
4480-432: The silver David Plates , produced during the reign of Emperor Heraclius , and depicting scenes from the life of the Hebrew king David . The most notable surviving manuscripts are Syriac gospel books, such as the so-called Syriac Bible of Paris . However, the London Canon Tables bear witness to the continuing production of lavish gospel books in Greek. The period between Justinian and iconoclasm saw major changes in
4550-444: The social and religious roles of images within Byzantium. The veneration of acheiropoieta , or holy images "not made by human hands," became a significant phenomenon, and in some instances these images were credited with saving cities from military assault. By the end of the seventh century, certain images of saints had come to be viewed as "windows" through which one could communicate with the figure depicted. Proskynesis before images
4620-459: The term is doubly problematic (it was neither " Macedonian ", nor, strictly speaking, a " Renaissance "). In the 9th and 10th centuries, the Empire's military situation improved, and patronage of art and architecture increased. New churches were commissioned, and the standard architectural form (the " cross-in-square ") and decorative scheme of the Middle Byzantine church were standardised. Major surviving examples include Hosios Loukas in Boeotia ,
4690-403: Was carried on in the Umayyad era until the end of the 8th century. The most important surviving examples are the Madaba Map , the mosaics of Mount Nebo , Saint Catherine's Monastery and the Church of St Stephen in ancient Kastron Mefaa (now Umm ar-Rasas ). The first fully preserved illuminated biblical manuscripts date to the first half of the sixth century, most notably the Vienna Genesis ,
4760-399: Was never used at the tables of the rich, who ate off Byzantine silver . Byzantine art and architecture is divided into four periods by convention: the Early period, commencing with the Edict of Milan (when Christian worship was legitimized) and the transfer of the imperial seat to Constantinople, extends to AD 842, with the conclusion of Iconoclasm ; the Middle, or high period, begins with
4830-430: Was sponsored by Theodosius I . The most important surviving monument of this period is the obelisk and base erected by Theodosius in the Hippodrome which, with the large silver dish called the Missorium of Theodosius I , represents the classic examples of what is sometimes called the "Theodosian Renaissance". The earliest surviving church in Constantinople is the Basilica of St. John at the Stoudios Monastery, built in
4900-583: Was the icon , an image of Christ, the Virgin, or a saint, used as an object of veneration in Orthodox churches and private homes alike. Icons were more religious than aesthetic in nature: especially after the end of iconoclasm, they were understood to manifest the unique "presence" of the figure depicted by means of a "likeness" to that figure maintained through carefully maintained canons of representation. Byzantine illuminated manuscripts were another major genre of Byzantine art. The most commonly illustrated texts were religious, both scripture itself (particularly
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