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Byzantine Art: Byzantine Art And Architecture
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Byzantine Art and Architecture originated in Constantinople, the ancient Greek town of Byzantium. The period of its development lasted from the sixth to fifteenth century. The contribution of Byzantine to other countries’ art was essential. It spread to Italy, throughout the Balkans, and to Russia, where it survived for many centuries. The term Byzantine refers now to a specific style rather than a geographic place. It is not an overstatement to say that from the sixth to the thirteenth century Italy was an artistic province of Byzantium.
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Byzantine art and architecture arose in part as a response to the needs of the Eastern, or Orthodox, church. Unlike the Western church, in which the popular veneration of the relics of the saints continued unabated from early Christian times throughout the later Middle Ages, the Eastern church preferred a more contemplative form of popular worship focused on the veneration of icons (see Icon). These were portraits of sacred personages, often rendered in a strictly frontal view and in a highly conceptual and stylized manner. Although any type of pictorial representation—a wall painting or a mosaic, for instance—could serve as an icon, it generally took the form of a small painted panel.
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[T]his research guide is intended only as a starting point for the undergraduate student, the librarian, and the interested amateur who would like to compile bibliographies and pursue topics focusing on Byzantine art and architecture. Therefore, it highlights resources that are most useful for the study of Byzantine art and culture within the traditional chronological and geographical parameters. It ... represents a traditional approach that treats objects as art, not artifacts, and buildings as monuments, not archaeological sites. A truly comprehensive guide to resources for the study of Byzantine art and architecture would include resources for the study of Greco-Roman antiquity, medieval Islamic art and architecture, and western medieval cultures as well as titles and resources for textual sources, liturgical studies, and related disciplines. For obvious reasons, this guide does not include a comprehensive list of resources for these areas of study. Instead, the researcher, especially one who is interested in intercultural exchanges, is encouraged to consult the general resources for Byzantine studies included in section II of this guide, the selection of titles in section IV at the end of this guide, and items in the other bibliographies that were prepared by my colleagues.
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The Byzantine empire began with the transformation of the Roman empire initiated by the official acceptance of Christianity and the establishment of Constantinople as the capital city. It ended with the fall of that city to the Ottoman Turks in 1453. The art and architecture of the empire reflects its changing fortunes, the development of Christianity, and the cultural influences that affected it. This book offers a systematic introduction to the material culture of the Byzantine empire, from the fourth to the fourteenth centuries. It provides for the student or any other interested reader a compendium of material which is generally difficult to access: much of the writing on Byzantine art and architecture is not in English, and is published as articles in scholarly journals. The book sets out the subject in an accessible manner, describing and discussing by period the surviving material - and that which can be reconstructed from documentary sources - and exploring its social/historical context. The text is copiously illustrated by well over 400 halftones, plans and maps.
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This book provides a standard introduction to Byzantine art and architecture for the university student and for anyone seriously interested in the subject. It covers the whole Byzantine period from the fourth to the fourteenth century in a systematic manner, by period, dealing with material culture under main section headings (such as architecture, sculpture, monumental art, minor arts and manuscripts) for ease of reference. The text is illustrated by well over 300 maps, plans and halftones.
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