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Byzantine Iconoclasm, Chludov Psalter, 9th century. [10]Christian worship by the sixth century had developed a clear belief in the intercession of saints. This belief was also influenced by a concept of hierarchy of sanctity, with the Trinity at its pinnacle, followed by the Virgin Mary, referred to in Greek as the Theotokos ("birth-giver of God") or Meter Theou ("Mother of God"), the saints ...
Byzantine mosaics are mosaics produced from the 4th to 15th [1] centuries in and under the influence of the Byzantine Empire. Mosaics were some of the most popular [ 2 ] and historically significant art forms produced in the empire, and they are still studied extensively by art historians. [ 3 ]
Religious images or icons were made in Byzantine art in many different media: mosaics, paintings, small statues and illuminated manuscripts. [1] Monasteries produced many of the illuminated manuscripts devoted to religious works using the illustrations to highlight specific parts of text, a saints' martyrdom for example, while others were used ...
The usage of gold leaf in Byzantine artwork is indicative that the work is meant to be divine and spiritual. [14] The icon was created by incorporating egg tempera on gold leaf over a wooden panel. [4] The wood panel then is covered with gesso and linen. [4] [5] The icon has a height of 37.8 cm, a width of 31.4 cm and a depth of 5.3 cm. [4]
Brubaker began as an expert in Byzantine illuminated manuscripts, writing a pathbreaking book on one manuscript, Paris Grec. 510, in her Vision and Meaning. [11] Her interests have extended since to the cultural history of Iconoclasm and the development of the cult of icons, on which she wrote two now-basic books on the subject with John Haldon. [12]
While iconoclasm may be carried out by adherents of a different religion, it is more commonly the result of sectarian disputes between factions of the same religion. The term originates from the Byzantine Iconoclasm, the struggles between proponents and opponents of religious icons in the Byzantine Empire from 726 to 842 AD.
Late 14th to early 15th century icon (National Icon Collection 18, British Museum). The Feast of Orthodoxy (or Sunday of Orthodoxy or Triumph of Orthodoxy ) is celebrated on the first Sunday of Great Lent in the Eastern Orthodox Church and other churches using the Byzantine Rite to commemorate, originally, only the final defeat of iconoclasm ...
It is an example of Byzantine enameling. The box is dated to 843 (some scholars speculate an earlier date of 815). [1] Both dates hover around the second wave of Byzantine Iconoclasm from 814 to 842, allowing this piece to become a lens into the post iconoclastic art. These reliquaries doubled as an icon in style and purpose. The physical ...