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Utility, Liturgy, and Luxury
Olivia Brock
The material legacy of medieval Byzantium is one of intricate luxury objects made of precious materials. As was evident in many cultures and periods, including the Byzantine, high-quality luxury materials were used to promote the status of individuals and institutions. The Attarouthi Treasure out of the Church of St. Stephen in Syria presents an excellent case study of luxury liturgical objects used to promote the social status of the church, as well as imbed the church in a series of complex social networks that both enhanced and retracted from the church’s social role. These objects were also physically dynamic as they moved through the space of the church, and symbolically dynamic as they took on different meanings and functions as their owners changed – a concept of agency applicable to virtually all material objects historically and today.
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Diversity of Luxury in Medieval Byzantium
Olivia Brock and Samantha Castro
In the medieval Byzantine world, owning and displaying luxury objects was a common way to communicate status. As one of the most affluent, diverse, and economical societies in the late classical and early medieval periods, Byzantium saw swift introduction of precious luxury objects into its mainstream material culture.
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The Vienna Genesis and the Evolution of Christian Book Illumination
Samantha Castro
In this essay, I argue that the Vienna Genesis influenced future Christian manuscripts by pushing the idea that higher status and holiness were linked. The Vienna Genesis' expensive creation and classically-influenced illustrations, which were seen by some as conspicuous, would be imitated by the Paris Psalter, only differentiating in the subject matter. The Melisende Psalter would take a turn in its style, mimicking Byzantine icons rather than classical works, but it continued the high-cost production and ruler-appealing narrative of King David. And unlike the other two, the Melisende Psalter cements the initial bias, with signs hinting at possible royal/imperial ownership.
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Byzantine Textiles: Embroidery
Delphine Dah
The textile that I will be discussing is the Embroidered Medallion found in the fifteenth to the sixteenth century Byzantine Empire. This rare example of Byzantine embroidery consists of two medallions, one depicting the eagle of Saint John, the other the angel of Saint Matthew, two of the four evangelists. The original piece is paired with the other medallion, which shows the symbol for Mark and Luke. Since their scale is so small it suggests that they are meant to be attached to an epitrachelion, a stole worn by priests and bishops as a symbol of their priest hood.
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Recreating a 15th Century Embroidered Medallion
Delphine Dah and Sallie Hull
Surviving hand embroidered objects existing before the 15th century are rare.
This Hand Embroidered Medallion is part of a pair that would have been sewn to a Liturgical Stole.
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The Face of Power: A Chronological Comparison of Byzantine Coinage
Emma Duffin
Coinage was an effective tool for representing imperial power in the Byzantine Empire. This short essay focuses on the evolution of power representation in coinage and argues that Byzantine emperors displayed power by employing classical Roman elements in their coinage. This argument is communicated through a chronological comparison of five coins ranging in date from 288 to 1425 C.E. These coins are a small example of the transition from imperial iconography to Christian iconography in which we see how classical forms are preserved even among a drastic change in style and narrative.
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The Power in Byzantine Art
Emma Duffin and Aly Hutchinson
In the Byzantine empire from the 4th century to the 15th century, emperors ruled as absolute monarchs. Emperors were considered by the people to be god-chosen rulers, and that made them extremely unavailable to the public. One would be considered lucky to catch only a glimpse of the imperial family in their lifetime. However, the emperor's image was widely spread through its use on official coinage.
The concept of power has been represented repeatedly throughout different aspects in Byzantine history. Another efficient way in which the Byzantine Empire portrayed its power and wealth was through illustrating the emperor's divinity within the church as a source of their imperial authority.
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"The Christ Chosen Emperor": Representation of Emperors as Divine Figures in Byzantine Art
Aly Hutchinson
The concept of power has been evident throughout Byzantine culture, whether in its aristocratic and bureaucratic politics, textiles, architecture, or minted coinage. Consequently, the arts were frequently utilized to represent imperial and religious power with various renderings of symbols, colors, and icons. In addition, images portrayed significant visual and spiritual value as the viewers looked to them for knowledge, guidance, and prayer. The ruling emperors were held in high regard, and imperial families were dominant over Byzantine society. The emperor was created in God's image, given the responsibility to rule on earth and carry out the ten commandments. This essay explores the power of Byzantine emperors, their representation as divine rulers, their connection to Christ, and the power within the church, illustrated through Christ.
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Case Study of Byzantium
Shelby Johnson
The Byzantine Empire (395-1453 CE) was a large cultural center that included a meshing of different societies in terms of trade. Located along the Mediterranean Sea, the empire had a monopoly of sea trade, leading to their multiple years of success under many different ruling emperors. Many different countries brought with them pieces of their culture and textile materials to the Byzantine Empire.
Around 500 A.D. China was known for their silk making textiles, holding the secret of their creation for many years until a group of traveling monks in Europe were able to smuggle out silkworm eggs from China, the main component of creating silk. These eggs would be transferred to the Byzantine empire, who began their own version of silks that would even rival those from China in terms of quality. These silks would soon transform the Empire, adding to their sophistication and elegance in art styles, influencing the Mediterranean World.
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The Constantine and Zoe Mosaic
Lilly Jones
In this case study I will go over the history behind the Constantine and Zoe mosaic in the Hagia Sophia, why it was hidden for so long, and the multiple theories behind its alterations. I will also cover the history of Zoe and her many husbands and why altering the mosaic would have been necessary to show history and they wanted it to be remembered. There is not the same record of events in Byzantium like we have today, history was written by the powerful and important to write to narrative they wanted. Because of the clues left behind we can decipher what might have happened.
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Art Making and Materials
Utah State University
Mosaics were popular during the Byzantine period, where artisans would lay pieces of glass, rock, or ceramic together to form a picture.
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The Byzantine Empire: The Liturgy and the Rituals Within
Mallory Wootton and Shaylee Briones
Today we are going to discuss liturgy and rituals within the Byzantine Empire.
To start, we need to turn time back towards the Roman Empire to see how these traditions were created.
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Icon of St. John Chrysostom
Unknown
This Icon shows the changing style of icons and the new technique in the early Palaiologan period (1261-1350) of miniature mosaic at its peak.
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Deesis Mosaic
Unknown
The Deesis mosaic of Christ flanked by the Virgin Mary and John the Baptist was part of the renovations that took place after Constantinople was recaptured when it was taken back from the Latin crusaders. Byzantine artists had access to Western art and were greatly influenced. The figures are much closer to the viewer and all close to the same size, they lose the cartoon-like and inhuman style, and the shell and spiral pattern of the background makes it come to life and all that more relatable to the viewer. These stylistic changes all came with an increased connection with Western empires.
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The Harrowing of Hell (left) and the three Marys at the tomb (right), the Melisende Psalter
Basilius
Two illustrations from the Melisende Psalter: The Harrowing of Hell (left) and the three Marys at the tomb (right).
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The Zoe Panel
Unknown
Zoe Panel depicting Christ, Emperor Constantine IX Monomachos, and Zoe. Zoe is known for her strategical ways of ruling the Byzantine Empire and gaining great power, having married three different emperors in her time. However, she and her husbands are also known for providing donations to St. Sophia and supplying annual incomes to the church. Depicted in the mosaic, Constantine presents Christ with a sack of coins (left), and Zoe offers him the donation contract (right), both imperial figures decorated in jewels and haloed.
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Zoe and Constantine Mosaic
Unknown and Chris Bertram
All three heads have been altered, seen by the raised tesserae and the ring of mortar around the figures. It is surmised that another artist came in to update the husband's face and changed the other two so all three fit the same style.
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Enkolpion Triptych
Unknown
This triptych reliquary contains intricate details of Christ, the apostles, and other holy fiures. Opening to present Christ in majesty on His throne, this reliquary connects the worshiper to these holy figures and teaches about the holinenss of Christ without needing words.
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Byzantine Silk with Paired Griffins in Roundels
Unknown
A murex-dyed silk fragment of a Byzantine robe embroidered with griffins.
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David Glorified by the Women of Israel, from the Paris Psalter
Unknown
An illustration in the Paris Psalter showing King David, after his return to Jerusalem, with a dancing woman.
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Plaque with Jesus's Entry into Jerusalem
Unknown
The ivory plaque on the left is of Christ’s triumphant entrance into Jerusalem before the crucifixion.
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