1 / 0

Architecture of Christianity in Eastern Empire: Byzantine Churches

Architecture of Christianity in Eastern Empire: Byzantine Churches. Architecture in the Middle Ages (400-1400). EARLY MEDIEVAL ARCHITECTURE ON THE MEDITERRANEAN: BYZANTINE DESIGN. c. 1400 Italian Renaissance begins. Middle Ages (medieval) “Dark Ages ” Western Europe.

tanner
Télécharger la présentation

Architecture of Christianity in Eastern Empire: Byzantine Churches

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Architecture of Christianity in Eastern Empire: Byzantine Churches
  2. Architecture in the Middle Ages (400-1400) EARLY MEDIEVAL ARCHITECTURE ON THE MEDITERRANEAN: BYZANTINE DESIGN c. 1400 Italian Renaissance begins Middle Ages (medieval) “Dark Ages” Western Europe Late Antique or Early Christian 4th cen. 6thcen. reign of Emperor Justinian Byzantine Empire (Eastern Roman Empire) 1453 Constantinple conquered by Ottoman Turks
  3. I. Founding a second Roman capital in the East: Constantine and Constantinple Constantine founded Constantinople as capital of the East Roman / Byzantine Empire Roman emperor Constantine founds Constantinople in 330
  4. I. Black Sea Constantinople Marmara Sea
  5. I. Constantine’s Hagia Sophia Roman emperor Constantine
  6. II. Byzantine Christian Space: First congregational architecture symbolic of Christianity (ostensibly a non-materialist faith) Hagia Sophia, Istanbul (Constantinople), Turkey, 532-37
  7. II. A. Context: Why did the first architecture symbolic of Christianity not appear until the sixth century? Emperor Justinian r. 527-565 symbolic Byzantine Hagia Sophia functional Early Christian Hagia Sophia basilica ad 532 ad 360
  8. III. Attributes of the Christian church (Byzantine style) as a symbolic analog of heaven functional early Christian architecture Byzantine: symbolic of heavenly paradise S. Sabina, 5th-cen. Rome HagiaSophia, 6th-cen. Constantinople
  9. III. A. Ritual: How did was the design functional in terms of Byzantine ritual & Romanness? Old St. Peter’s (early Christian, 4th cen.) Hagia Sophia (Byzantine, 6th cen.) congregational basilica congregational basilica + domed central-plan
  10. III. A. Hagia Sophia reconstruction of west façade west façade today
  11. III. A. Hagia Sophia Half domes give axiality to the “central” plan design
  12. III. A. Hagia Sophia 2nd-floor galleries bring more worshipers to center
  13. III. B. Formal analysis: How were the following architectural elements manipulated to make Hagia Sophia an archetype of symbolic Christian architecture: 1. surface decoration and mosaic? Hagia Sophia Outer narthex Inner narthex
  14. III. B. 1. Hagia Sophia Virgin and Child apse mosaic Glimpse of metaphysical order inside visual airiness created by light reflecting mosaics
  15. III. B. 1. HagiaSophia – looking east
  16. III. B. 1. HagiaSophia – details of the curved exedrae ground-floor: porphyry columns – spolia from Egypt
  17. III. B. 1. HagiaSophia – details of the curved exedrae marble fretwork screen panel in the gallery marble revetment in the SE exedrae
  18. III. B. 1. HagiaSophia – the nave looking east nave and gallery columns are all newly quarried verdeantico marble from Turkey
  19. III. B. 2. light Hagia Sophia
  20. III. B. 2. Hagia Sophia walls seem to emanate light
  21. III. B. 1. & 2. Hagia Sophia Dome appears to hover over the interior extensively fenestrated clerestorey semi-circular lunettes
  22. III. B. 3. architectural language (new modulations of classical forms)? Hagia Sophia Roman round arch Byzantine stilted arch
  23. III. B. 3. Classical Corinthian column Byzantine basket capital in the gallery (Hagia Sophia) Byzantine basket capitals (Hagia Sophia)
  24. III. C. What innovations in structure and spatial composition made the symbolic earthly analog of heaven possible? Hagia Sophia recessed exedrae
  25. III. C. 1. Byzantine structural solution to the square plan: Dome on pendentives Pantheon (Roman dome) Hagia Sophia (Byzantine dome on square base)
  26. III. C. 1. pendentive dome or sail vault dome on pendentives
  27. III. C. 2. Byzantine spatial composition: interrelationship of spatial units Hagia Sophia
  28. III. C. 2. Hagia Sophia side aisle
  29. III. C. 2. Hagia Sophia
  30. III. C. 2. physical order metaphysical order Classical Pantheon ByzantineHagiaSophia
  31. III. C. 3. Load and support: Is it celebrated or concealed? Hagia Sophia
More Related