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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 ...
The Oxford Dictionary of Byzantium. Oxford University Press. ISBN 0195046528. Humphreys, Mike (2021). A Companion to Byzantine Iconoclasm. Brill's Companions to the Christian Tradition. Vol. 99. Brill Publishers. ISBN 9789004462007. Mango, Cyril (1975). Liquidation of Iconoclasm and Patriarch Photios. Routledge. Talbot, Alice-Mary (1998).
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 ]
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.
It is a unique monument of Byzantine art at the time of the Iconoclasm, one of only three illuminated Byzantine Psalters to survive from the 9th century. According to one tradition, the miniatures are supposed to have been created clandestinely, and many of them are directed against Iconoclasts.
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 ...
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 ...
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]