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ICONOLASTS VS. ICONPHILES

ICONOLASTS VS. ICONPHILES. Eastern Christians considered icon a personal, Intimate and indispensible medium for spiritual Transaction with holy figures Opposition to icons became especially strong in The 8 th century when it became confused with idol Worship

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ICONOLASTS VS. ICONPHILES

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  1. ICONOLASTS VS. ICONPHILES Eastern Christians considered icon a personal, Intimate and indispensible medium for spiritual Transaction with holy figures Opposition to icons became especially strong in The 8th century when it became confused with idol Worship Emperor Leo III saw the loss of Byzantine territories to Islamic Arabs, and the disease and poverty that followed as God’s punishment for their idolatrous worship. An Imperial ban occurred in 726 – iconoclasm. The papacy defied this ban and became iconophiles and were cast out of the empire For over a century no icons were produced in the Byzantine Empire and many were destroyed John of Damascus argued for icons because God made his son and humankind in his image Basil I restored the use of icons in the late 9th century as he aimed to restore Byzantium toGlory of the Ancient Roman Empire. With this restoration the pendulum begins to swing back towards NATURALISM

  2. What Stylistic developments do you see Christ Pantokrator = Christ the “All-powerful” or “Ruler of All” and judge of humanity

  3. What are the facts? (F) Artist: NA Patron: NA Title: rucifixion Period/Style: Mid Byzantine, 1100 Size: Large Scale Location: Church of the Dormition Material/technique: Mosaic Subject Matter Christ Crucified with Mary and Saint John Context/Function Location: WallBelow the dome – signifies Christ’s ressurection into heaven Historical Events Made after ban on icons has been lifted. Macedonian dynasty or emperors seek to restore Byzantine to the golden days of Rome through artistic patronage

  4. Formal Analysis: Style: Blend of naturalism from late antiquity style and the flat Byzaninte style. Classical organic structure of form mixed piety and feeling of early Byzantine art Composition: • Symmetry and closed space creates a sense of motionlessness • Not a historical narrative, nor is Christ a beardless and triumphant youth • He has a tilted head and sagging body. His wounds bleed. John and Mary point to him as if to say he is a devotional object • They act as intercessors between viewer and Christ, who in the dome performs the last judgement • Skull = Golgotha “Place of Skulls” where crucifixion took place outside Jerusalem

  5. Explain how the Crucifixion mosaic from the Church of Dormition accommodates both religious beliefs and practices within it cultures

  6. Middle Byzantine Painting What are the facts? (F) Artist: NA Patron: NA Title: Lamentation Period/Style: Mid Byzantine, 1100 Size: Large Scale Location: Saint Pantaleimon, Macedonia Material/technique: Fresco painting Subject Matter Passionate Grief over dead Christ

  7. Middle Byzantine Painting Context / Purpose Historical Event: Post Iconoclasm Big Ideas: Renewed interest in the classical world and naturalism impact subject matter and portrayal of religious iconography. Art inspires spiritual and emotional reactions Function: To inspire in the viewer the emotional impact of Christ’s death

  8. Middle Byzantine Painting Forma Analysis Passionate Grief over dead Christ is shown in the gestures of the characters: - Mary, old and tiered looking, Presses her cheek against Christ’s lifeless body - Saint John bends over an clings to Christ’s hand - A grouping of disciples kneel at his feat showing their reverence The scene take place in our world under a blue sky atop a hill = a natural setting which heightens the human emotions of this episode in Christ’s story

  9. What are the facts? (F) Artist: NA Patron: NA Title: Virgin of Compassion (Vladimir Virgin) - icon Period/Style: Mid Byzantine, 1100 Size: 2’ 65.” x 1’ 9” Location: Saint Pantaleimon, Macedonia Material/technique: Tempora paint on wood Subject Matter Compassionate Mary (Theotokos) with Christ child

  10. Context Historical Events: End of Iconoclasm – icon paintings were now displayed in hierarchial scale on the columnar screen that divided the sanctuary from the rest of the church Location: This icon passed between various Russian location. Russian believe it saved the city of Kazan from Tartar invasion, and later all of Russia from the poles in the 17th century Big Idea: With the revival of naturalism icons become more emotionally expressive

  11. Formal Analysis Characteristic traits of Byzantine icon of the Virgin Mary and Christ Baby: Long straight nose, Small mouth, Flesh is more naturally modeled than early Byzantine art Golden rays in the infants drapery (signifying light of god and divinity) Contour of Mary’s robe encloses her and the infant Christ in a flat silhouette against a golden ground (indicator of their position in heaven) Again Mary presses her cheek against Christ’s in an intimate portrayal of mother and son She gazes down lost in thought as she contemplates the future sacrifice of her son Function: Invites the audience to join Mary in her contemplation of Christ’s death / Pathos = object of religious meditation not idol worship

  12. DISCUSS THE IMPACT HISTORICAL AND POLITICAL EVENTS (INCLUDING RELIGIOUSDEVELOPMENTS) HAD ON DETERMINING • THE PRESENTATION OF THE SUBJECT MATTER?

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