Some Examples of Byzantine Art after Iconoclasm

By the 9th century, however, there was a backlash against iconoclasm that began with a new line of Macedonian emperors. The first of these was Basil I — whose reign approximately coincides with Charlemagne and the Carolingian period.  

Virgin and Child enthroned, apse mosaic, Hagia Sophia, Constantinople, dedicated 867

 

In the aftermath of iconoclasm, Basil and his successors worked to refurbish Hagia Sophia, which had been actively defaced and then neglected.  They commissioned this new apse mosaic — the Virgin Mary enthroned with the Christ child.  It is display a blend of Greco-Roman naturalism with Byzantine stylization and abstraction.

St. Mark’s, Venice, Italy, Aerial View, 1093

Venice is about 80 miles north of Ravenna.  In the Early Byzantine Period, Venice was a dependency of Ravenna.  In 751, when Ravenna fell and the Lombards took over most of northern Italy, Venice declared itself to be independent.  It’s political leader was the doge.  This city became very wealthy because of commerce AND because it was a critical link between Byzantium and the Western empire.

Venice owned the relics of St. Mark.  Relics could be part of the body, clothing, or pieces of the cross — we will discuss them more a little later on.  The first church dedicated to St. Mark was built in the 9th century.  This burned in 976 and was replaced with a second church.  Then, in 1063, the second church was replaced by a third — which you see today.  This church was extemely important to Venice and was remodeled many times.  The facade that you see today was modified with Romanesque and Gothic elements.  It is both a church and a martyrium.  This was modeled after the churches built by Justinian in Constantinople.   Is a cruciform plan with a central dome and four other domes over the arms of the Greek Cross.

St. Mark’s, Venice, Italy, Interior View

 

This church is certainly within the tradition of the grand Byzantine church.  And the interior is also very Byzantine.  There is elaborate marble sheathing on the piers and the upper zone is covered with gold mosaics.  Each of the domes is ringed by small lights. 

The Vladimir Madonna, 11th-early 12th century

One of the art forms that returned to prominence after the period of iconoclasm is the icon.

This is, in a sense, a portrait.  It was made in Constantinople, but is now in a Russian collection.  It emphasizes the relationship between the Madonna and Child and is a scene that emulates a very strong human relationship.

In the 12th century, biblical authors talk about the embrace of the Virgin and Child.  They now say that she knows the future — that she can see the martyrdom of her son.  Likewise, they now say that at Christ’s death, she remembers her relationship to her young child.

We can certainly see the sadness in her face.  This is a more literal, emotional expression.  At the same time, it is still within the Byzantine tradition. 

We should also consider the function of icons.  These works of art have a very different purpose from the images made for the Church of Rome.  Icons were placed above altars within a church or were used within private chapels and exposed to incense and smoke.  Through the tactile handling of icons, the believer made direct contact with God.  And, as noted in your textbook, because icons were heavily handled and exposed to smoke, over time they had to be repaired and repainted. 

But the handling is important to emphasize.  One was not worshipping a work of art, but rather was using the work of art as a conduit to the spiritual world. 

Late Byzantine

You will not be responsible for any of the art from the Late Byzantine period, but you should be aware that it is a period is characterized by upheaval:

All of this culminated with the capture of Constantinople by the Ottoman Turks in 1453.