![\"Map](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.119-.jpg\")
8.119<\/strong> The Byzantine Empire under Justinian.Rome fell several times\u2014to the Visigoths (in 410), the Vandals (in 455) and the Heruli (in 476)\u2014but Ravenna went from strength to strength, first under the Ostrogoths and then under the Byzantines. Great churches were built and beautiful mosaics were made to decorate them. From 540-751 Ravenna remained the administrative center for \u201cRoman\u201d Italy, which meant in effect that it was a Byzantine outpost in the West. But the Byzantine dream of reuniting East and West into a single empire was destined to fail, and slowly Ravenna as well as the port of Classe gradually silted up and lost their status.<\/p>\r\n
Constantinople <\/b>had its challenges, as well. Constantine\u2019s vision that the new capital would be free from scenes of plot and counterplot, treason and conspiracy, was just that\u2014an illusion.2<\/sup><\/a> We resume the story of Constantinople in 527. The new Byzantine emperor (and thus Roman emperor), Justinian I<\/b>, regarded his rule as universal, so he sought to re-establish the authority of the Empire in Western Europe. He had other reasons as well for seeking to re-establish imperial power in the West. Both Vandal Carthage and Ostrogoth Italy were ruled by peoples who were Arians, regarded as heretics by a Catholic emperor like Justinian.<\/p>\r\n Among other qualities, Justinian is remembered for being both an incredibly fervent Christian and a major military leader. One aspect of Justinian\u2019s focus on Christian purification was to complete the work initiated by his Christian predecessors: the destruction of the ancient traditions of paganism in Greece and the surrounding areas. The Olympics had already been shut down by the emperor Theodosius I in 393 CE (he objected to the pagan religious festival, not to the athletic competition). Justinian intensified the push by insisting that all teachers and tutors convert to Christianity and renounce their teaching of the Greek classics; when they refused in 529, he shut down Plato\u2019s Academy which had been functioning for almost 1,000 years.<\/p>\r\n With the intent of emphasizing his own greatness as well as that of his empire, Justinian undertook many art and architecture projects. Much of Constantinople had burned down early in Justinian\u2019s reign in 532 after a series of revolts called the Nika riots. As the \u201clast straw\u201d in a confrontation over rising taxes, angry racing fans had became enraged at Justinian over the arrest of two popular charioteers. Included in the destruction by the \u201cchariot hooligans\u201d was the Church of the Holy Apostles which had originally been built by Emperor Constantine I in 325 over the foundations of a pagan temple. Once the tumult was under control, Justinian set about rebuilding the city on a grander scale. His greatest accomplishment was the total reconstruction of Constantine\u2019s church [image 8.120]. The architects, Anthemius of Tralles and Isidorus of Miletus, were most likely influenced by the mathematical theories of Archimedes (c. 287-212 BCE). Justinian\u2019s new church, constructed adjacent to the imperial palace between 532 and 537, was a staggering work intended\u00a0to awe all who set foot in the structure. It was not only the most enduring piece of Byzantine architecture; it was the largest church in the world for nearly a thousand years.<\/p>\r\n\r\n\r\n[caption id=\"attachment_1275\" align=\"aligncenter\" width=\"600\"] Like Rome, Constantinople had been built on seven hills. Hagia Sophia is located on the highest of these, upon which the ancient city of Byzantium had been founded. The church reflects the blending of two continents (Europe and Asia), two seas (the Black Sea and the Mediterranean), two languages (Greek and Latin), and two plans (basilica and central). The church represents the junction of East and West.<\/p>\r\n The church was built in the remarkably short period of five years and ten months. To speed the process along Justinian divided the workers into two groups with bonuses offered to the faster team. (Microsoft would apply a similar incentive 1500 years later to research and development teams!) The story is told that at the dedication on Christmas Day, 537, Justinian charged his chariot into the church proclaiming, \u201cGlory to God, who has judged me worthy of accomplishing such a work as this! O Solomon, I have outdone you!\u201d<\/p>\r\n This diptych at the Louvre is thought to represent an emperor [image 8.121]. It could be Anastasius (r. 491-518) but Louvre curators state the style is more likely that of Justinian (r. 527-565). W<\/span>hen this author visualizes Justinian boisterously galloping into the church she can\u2019t help but connect this diptych to his boastful declaration.<\/p>\r\n\r\n\r\n[caption id=\"attachment_1277\" align=\"aligncenter\" width=\"319\"] Look around the exterior of the structure as well as at the plans [images 8.122 and 8.123]. The axis <\/b>is horizontal as well as soaringly vertical, while the orientation <\/b>is towards the east. Remembering that circles suggest continuity and infinity, where do you see circles? <\/i>Recalling that squares imply the active life and humankind\u2019s physical aspirations, where do you see squares or rectangles? Where do you observe the intentional use of the mystical numbers 3 and 4? <\/i>Here, the mysticism of the east is united with Roman authoritarian architecture.<\/p>\r\n The height of the dome is 184\u2019 and its diameter is 107\u2019. The interior measures 220\u2019 by 250\u2019 which is the size of three modern football fields. This will be the largest enclosed space in the world for over 1000 years.<\/p>\r\n The viewer\u2019s gaze sweeps around the space, drawing one\u2019s eyes up and forward, not stopping to focus on any one section or image [image 8.124]. What makes Hagia Sophia so mystical? <\/i><\/p>\r\n Hagia Sophia is a supreme example of the creation of a spacious and light-filled interior. Since the installation of clerestory windows into basilica churches in the fourth century, light <\/b>had been a principal requirement of church architecture. Light represents wisdom (Sophia!), the word of God, the light of the world, and is symbolic of the Resurrection. Light denotes the presence of God and leads the believer to progress anagogically<\/b>7<\/sup><\/a> \u00a0<\/b><\/span>from this material world to the immaterial world. Justinian\u2019s historian, Procopius, related the psychological and religious effect of mystical light and the graceful interior: \u201cThe worshippers mind rises sublime to commune with God, feeling He cannot be far off, but must especially love to swell in the place which He has chosen; and this takes place not only when a man sees it for the first time, but it always makes the same impression upon him, as though he had never beheld it before.\u201d8<\/sup><\/a><\/p>\r\n Around the corona <\/b>of the dome an arcade of 40 arched windows illuminate the colorful interior. Additionally, this ring lightens the weight of the dome and allows some movement during severe earthquakes, preventing meridional cracking.9<\/sup><\/a><\/p>\r\n\r\n\r\n[caption id=\"attachment_1279\" align=\"aligncenter\" width=\"526\"] Within the church the light reigns free. Thousands of lamps glitter on the mosaics. The dome alone is covered with 30 million cut glass tesserae <\/i>infused with gold leaf. Interior light reflects off cornices, doors and doorframes. The sanctuary barriers are of polished bronze and 40,000 pounds of silver and light shines forth from polished green, white and purple marble. Additionally, the dignitaries are wearing rich, light-reflective, textiles.<\/p>\r\n Procopius, again writing in De Aedificiis, <\/i>compares the suspension of the dome to the Greek poet Homer\u2019s vision of Zeus suspending the whole world from Mount Olympus, as recounted in The Iliad<\/i>. \u201cThe dome is so light that it does not appear to rest upon a solid foundation, but to cover the place beneath as though it were suspended from heaven by the fabled golden chain.\u201d This crown in image 8.126, which is similar to Justinian\u2019s, may look familiar to you!11<\/sup><\/a><\/p>\r\n\r\n\r\n[caption id=\"attachment_1280\" align=\"alignleft\" width=\"373\"] The windows at the bottom of the dome [image 8.127] are closely spaced, visually asserting that the base of the dome is insubstantial and hardly touches the building itself. The building planners did more than squeeze the windows together; they also lined the jambs or sides of the windows with gold mosaic. As light hits the gold it bounces around the openings and eats away at the structure, making room for the imagination to see a floating dome.<\/p>\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n[caption id=\"attachment_1282\" align=\"aligncenter\" width=\"736\"] The growing importance of relics stimulated churches to be built in the Central plan<\/b>. At Hagia Sophia the dome <\/b>sits over the central bay. Concave triangular pendentive <\/b>arches, each springing from a single pier, carry the circle of the dome [image 8.128]. Despite the enormous forces created by domes and the exceptional technical problems of their construction, the domes enabled a far wider and more open basilica layout than would have been possible had even the longest roof timbers been employed. As if to demonstrate their muscular strength, each of the pendentives around the corona hosts a depiction of an angel.15<\/sup><\/a><\/p>\r\n Around the dome, exedrae <\/b>(recessed semidomes) on either side of the dome were both useful and served to buttress the dome. These, in turn, were supported by their own smaller semidomes.<\/p>\r\n\r\n\r\n[caption id=\"attachment_1283\" align=\"aligncenter\" width=\"300\"] At the top of the south wall a 10th <\/span>century construction worker doing repair work left his prayer, \u201cLord, help your servant\u2026\u201d We can imagine a grunt laborer, without benefit of safety-net or OSHA regulations, looking down 184 feet and hoping his prayer will be heard.<\/p>\r\n\r\n\r\n[caption id=\"attachment_1287\" align=\"aligncenter\" width=\"671\"] Most of the original mosaics were not figurative images. Geometric and floral patterns were on the ceiling and upper walls. The mosaic shown in image 8.133 was uncovered after the 1934 restoration of the facility.<\/p>\r\n One of the crises faced by the Byzantine court is known as the Iconoclast Controversy<\/b>. The word icon <\/i>refers to many different things today. For example, we use this word to refer to the small graphic symbols in our software as well as to powerful cultural figures. The changed meaning of \u201cicon\u201d derives from the word\u2019s original meaning which was from the Greek word for \u201cimage\u201d or \u201cpainting.\u201d During the medieval era, this meant a religious image on a wooden panel to be used for prayer and devotion. Christians living in the eastern Mediterranean used icons (paintings of Christ, the Virgin Mary or the saints) as worship aids. Other Christians, citing the Ten Commandments\u2019 prohibition on \u201cgraven images\u201d opposed the images as \u201cidols.\u201d<\/p>\r\n Pope Leo III (r. 717-747) was right at the heart of the controversy. It was widely held that Muslims were Christian heretics, worshipping the same God but in an incorrect way. Since Muslims had chosen to eschew images in their mosques, and they were extraordinarily successful in battle, the pope and his advisors reasoned that God might be punishing the Byzantines for misusing religious images and for falling into idolatry. The solution appeared simple: ban the use of religious images and hope for divine approval, which would become apparent through political and military success. So, in 726 he banned all icons. As they say, the proof is in the results: Pope Leo III reigned 25 years, longer than his five predecessors combined. The conclusion: God must have liked Leo and his stand on iconoclasm<\/b>!<\/p>\r\n The period from 717-867 became known as the Period of Iconoclasm. Early Christian art was not the only thing destroyed; it has been estimated that 50,000 monks, with their \u201cmodern\u201d interpretation of the significance of the Virgin, were exiled to Italy during this time.<\/p>\r\n In 843 a new pope, Pope Gregory IV, repealed the ban and iconophiles <\/b>(aka iconodules<\/b>) resumed their activities. From this date forward Greek-speaking churches would support the use of icons. These will be the followers of the Eastern Orthodox <\/b>tradition. In 867 the pope\u2019s action was supported by the Emperor Basil I<\/p>\r\n\r\n\r\n[caption id=\"attachment_1289\" align=\"alignleft\" width=\"169\"] The Theotokos <\/i><\/b>(\u201cGod-bearer\u201d) in the conch of the apse is one of those images installed after the Iconoclast Controversy [images 8.134-136]. It is similar to the stylistic elements of early Christian art and was probably approved by the Emperor Basil II (r. 986-994). The enormous size of Hagia Sophia makes the Theotokos look remote and removed from humankind but she is actually 16\u2019 4\u201d high, which is three-times life size!<\/p>\r\n P<\/span>laced against a golden background, gold tesserae <\/i>isolate the figure and eliminate every indication of time and place. In mosaics and painting this golden background was properly termed \u201cgold ground<\/b>.\u201d The reflecting light surrounding the icon shines back to the beholder, projecting the figure forward into the space between the observer and the image. This was especially true when candles were set before the icon.<\/p>\r\n In Byzantine art the projection of the heavenly figure into the earthly realm was also accomplished mathematically. In the geometric technique of Byzantine perspective<\/b>, lines converged forward to enhance the viewer\u2019s sensation of being included in the composition. The practice is also referred to as reverse perspective <\/b>or inverted illusionism<\/b>.xxvii <\/span>Figures were elongated and objects appeared to be heightened and tip upward. The foreshortened view does not distort the image when seen from below and at a distance. Examples of Byzantine perspective are to be seen at the top of the fountain beside the Empress Theodora [image 8.137] and the bema (raised platform) upon which the Theotokos sits [repeated image 8.138].<\/p>\r\n \r\n\r\n[caption id=\"attachment_1292\" align=\"alignleft\" width=\"153\"] Byzantine, Romanesque and Gothic artists continued to extend space forward, bringing the icon to the viewer. Byzantine perspective, with the introduction of the divine into our world, was further mastered by the stained glass artists of the Gothic cathedral. Using the mystery of light, the saints bridged the divide between the heavenly world and this terrestrial plane. The convention of Byzantine Perspective is still to be seen in the painted and gilded panel known as the Kahn Madonna <\/i>[image 8.139]. The artist, possibly from Constantinople, may have brought the traditional Byzantine perspective with him when he immigrated to Italy. It will be the privilege of later Proto-Renaissance artists, such as Cimabue (c.1280+), to introduce the angle of \u201clinear perspective\u201d with which we are familiar.<\/p>\r\n The panel in the south gallery known as the De\u00ebsis <\/i><\/b>is a bit smaller, with the figures at two-and-one-half times life size [images 8.140-147]. This image of the Virgin, Christ in Majesty and John the Baptist is thought to have been installed in 1261 after the Crusaders had been expelled from the city. The gold ground upon which the figures are mounted presents them as eternal: they are always present to receive prayers and supplications. This mosaic was much more accessible to those converting the church to a mosque in 1254. It was easily covered with layers of whitewash, not because the Muslims don't recognize Christ as at least a prophet but because of the prohibition of figural imagery, especially within a religious space. It was uncovered in 1934 when the mosque was converted into a museum.<\/p>\r\n \r\n\r\n[caption id=\"attachment_1295\" align=\"aligncenter\" width=\"585\"] The Latin letters IC <\/b><\/span>symbolize \u201cJesus Christ.\u201d35\u00a0<\/span><\/sup><\/a>The position of his fingers reinforce this abbreviation. The Greek XC <\/b><\/span>stands for \u201cChrist.\u201d \u039c\u03a1 <\/b><\/span>is Byzantine for \u201cMother of the King\u201d or \u201cTheotokos.\u201d<\/p>\r\n\r\n\r\n[caption id=\"attachment_1298\" align=\"alignleft\" width=\"308\"] Reducing the image to a value contrast of black and white encourages us to look at the icon in a new way. Do you find the image to be open, receptive and welcoming or harsh and judgmental?<\/i><\/p>\r\n \r\n\r\n[caption id=\"attachment_1300\" align=\"aligncenter\" width=\"802\"] Most students find this icon to be unkind, confrontational and critical of humankind. But the Byzantine churchman Nicholas Masarities, writing in about the year 1200, declared, \u201cHis eyes are joyful and welcoming to those who are not reproached by their conscience\u2026But to those who are condemned by their own judgment, they are wrathful and hostile.\u201d How did the very skilled artist accomplish both attitudes in one work? <\/i><\/p>\r\n Our eyes are drawn to the dark side, to Christ\u2019s left side (our right). \u201cLeft\u201d (as in the French gauche<\/i>) is considered the awkward, sinister or unkind side of a person. He clutches a book which is illustrated in Byzantine perspective. This is the Book of Life in which are written the names of those who are saved (according to Philippians 4:3). How do the elements of art emphasize the judgmental left side? <\/i><\/p>\r\n \u2022 Lines: his eyebrow is more arched. His mouth is drawn into a sneer. The implied presentation is downward.<\/p>\r\n \u2022 Light and shadow: his cheekbone is accentuated with shadow. The colors of blues and blacks are also heavier and darker.<\/p>\r\n\r\n\r\n[caption id=\"attachment_1302\" align=\"alignleft\" width=\"246\"] His right side brings the relief we need! His fingers spell out the Latin letters I <\/b><\/span>and C <\/b><\/span>(i.e. JC <\/b><\/span>for Jesus Christ) which are also printed over his head. Or, the two raised fingers could represent his two natures of divine and human. On this side the dominant \u201ckinder\u201d element is color. There is more gold (representing heaven, light, eternity, brightness and hope!). The blue is brighter, representing the sky, divine truth and steadfast faith.<\/p>\r\n \r\n\r\n[caption id=\"attachment_1304\" align=\"alignleft\" width=\"262\"] At Hagia Sophia the church, itself, was an icon. It was not just brick and mortar. It was believed to be heaven\u2019s door to earth. As a symbol of God\u2019s universe the church was a vehicle of communication between God and man. Hagia Sophia was never copied but it did set a standard of architectural excellence which influenced ecclesiastical architecture throughout the Balkans and the Near East and in due course into areas that had never been Romanized such as the Christian principalities of Russia.<\/p>\r\n You might appreciate this video about the De\u00ebsis at Hagia Sophia<\/a> (5:08):<\/p>\r\n[embed]https:\/\/www.youtube.com\/watch?v=2JxIjfqKTLs[\/embed]\r\n\r\nIf you have difficulty viewing the video above, use this link:\u00a0https:\/\/www.youtube.com\/watch?v=2JxIjfqKTLs<\/a>.\r\n\r\n \r\n\r\n[caption id=\"attachment_1305\" align=\"aligncenter\" width=\"1918\"] 1<\/a>. Map uploaded from Wikimedia Commons by brewminate.com\/wp-content\/uploads\/2017\/01\/ByzantineEmpire04.gif<\/p>\r\n 2<\/a>. <\/span>See Hartman, Kathleen J. \u201cChapter 7, Constantine\u2019s Great Decisions.\u201d Humanities: New Meaning from the Ancient World. <\/i>Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\r\n 3<\/a>. <\/span>Public domain at https:\/\/pxhere.com\/en\/photo\/1075731<\/p>\r\n 4<\/a>. <\/span>Photo by the author, Kathleen J. Hartman, 2014. CC BY-NC 4.0 License.<\/p>\r\n 5<\/a>. <\/span>Public domain at upload.wikimedia.org\/wikipedia\/commons\/3\/38\/S03_06_01_003_image_1753.jpg<\/p>\r\n 6<\/a>. <\/span>Public domain at commons.wikimedia.org\/wiki\/File:Hagia_Sophia_Segment.svg<\/p>\r\n 7<\/a>. <\/span>French Abbot Suger gave a superb definition of \u201canagogical\u201d in his writings about the first Gothic cathedral of St. Denis in Paris, 1149. \u201cThus when\u2014out of my delight in the beauty of the house of God\u2014the loveliness of the many-colored gems has called me away from external cares, and worthy meditation has induced me to reflect, transferring that which is material to that which is immaterial, on the diversity of the sacred virtues: then it seems to me that I see myself dwelling, as it were, in some strange region of the universe which neither exists entirely in the slime of the earth nor entirely in the purity of Heaven; and that, by the grace of God, I can be transported from this inferior to that higher world in an anagogical manner\u201d (De Administratione, XXXIII). <\/i><\/p>\r\n 8<\/a>. <\/span>Procopius, De Aedificiis. <\/i><\/p>\r\n 9<\/a>. <\/span>Related video Engineering Secrets of Hagia Sophia, <\/i>August, 1999 on https:\/\/vimeo.com\/12478063<\/p>\r\n 10<\/a>. C<\/span>opied from Wikimedia Commons by brewminate.com\/wp-content\/uploads\/2017\/03\/Berger04.jpg<\/p>\r\n 11<\/a>. <\/span>See Hartman, Kathleen J. \u201cChapter 8, Justinian, Master of Three Powers: San Vitale.\u201d Humanities: New Meaning from the Ancient World. <\/i>Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\r\n 12<\/a>. <\/span>Public domain at upload.wikimedia.org\/wikipedia\/commons\/f\/f2\/Corona_de_%2829049230050%29.jpg<\/p>\r\n 13<\/a>. <\/span>Public domain at commons.wikimedia.org\/wiki\/File:Istanbul_036_(6498284165).jpg<\/p>\r\n 14<\/a>. <\/span>Public domain at human.libretexts.org\/Courses\/Achieving_the_ Dream\/Book%3A_ Art_History_I\/ 2%3A_ Byzantine_ Art\/12.5%3A_Hagia_Sophia<\/p>\r\n 15<\/a>. <\/span>The root of our word \u201cangel\u201d is \u201cevangelos,\u201d not \u201cangle!\u201d<\/p>\r\n 16<\/a>. <\/span>Public domain at human.libretexts.org\/Courses\/Achieving_the_Dream\/ Book%3A_Art_History_I \/12%3A_ Byzantine_ Art\/12.5%3A_Hagia_Sophia<\/p>\r\n 17<\/a>. <\/span>Public domain at Team, Hagia S. R. \"The Seraphim Mosaic.\" Ancient History Encyclopedia<\/i>. Ancient History Encyclopedia, 22 Jan 2018. Web. 05 Nov 2019.<\/p>\r\n 18<\/a>. <\/span>Public domain at upload.wikimedia.org\/wikipedia\/commons\/6\/63\/Penditifkuppel-mit-Tambour.png<\/p>\r\n 19<\/a>. <\/span>Public domain at commons.wikimedia.org\/wiki\/File:Istanbul_036_(6498284165).jpg<\/p>\r\n 20<\/a>. <\/span>See Hartman, Kathleen J. \u201cChapter 7, Relics of Faith.\u201d Humanities: New Meaning from the Ancient World. <\/i>Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\r\n 21<\/a>. <\/span>John the Baptist\u2019s head is also claimed to be at San Jean of Angely in southwestern France. His other head?<\/p>\r\n 22<\/a>. <\/span>Public domain at commons.wikimedia.org\/wiki\/Category: Interior_of_Hagia_Sophia#\/media\/ File:20131203_ Istanbul_022.j<\/p>\r\n 23<\/a>. <\/span>Public domain at hagiasophiaturkey.com\/mosaics-hagia-sophia\/<\/p>\r\n 24<\/a>. P<\/span>ublic domain at commons.wikimedia.org\/wiki\/File:Istanbul_036_(6498284165).jpg<\/p>\r\n 25<\/a>. <\/span>Public domain at commons.wikimedia.org\/wiki\/File:Virgin_and_Child_Mosaic_in_the_apse_of_Hagia_Sophia.jpg<\/p>\r\n 26<\/a>. <\/span>Public domain at commons.wikimedia.org\/wiki\/File:Virgin_and_Child_Mosaic_in_the_apse_of_Hagia_Sophia.jpg<\/p>\r\n 27<\/a>. <\/span>This author prefers the term Byzantine perspective. \u201cReverse perspective\u201d has a negative, judgmental ring to it, as though the artist hasn\u2019t studied his math or is being contrary and doing things \u201cperversely\u201d just to be a heretic. \u201cInverted illusionism\u201d is another term that is sometimes used, but to this author this term is just too verbose.<\/p>\r\n![\"Huge](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.120.jpg\")
8.120<\/strong> Hagia Sophia. 532-537, Istanbul.3<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1276\" align=\"alignleft\" width=\"246\"]![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.121-246x300.jpg\")
8.121<\/strong> Feuillet de diptyque en cinz parties: L\u2019empereur triumphant (Justinien?). Constantinople, premiere moiti\u00e9 du VIst si\u00e8cle. Ivoire, restes d\u2019incrustations. Louvre Museum.4<\/sup><\/a>[\/caption]\r\n![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.122-848x1024.jpg\")
8.122<\/strong> Hagia Sophia. Ground plan.5<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1278\" align=\"aligncenter\" width=\"566\"]![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.123.jpg\")
8.123<\/strong> Hagia Sophia section and ground-plan.6<\/sup><\/a> 1. Entrance 2. Imperial Gate 3. Perspiring column 4. Mihrab 5. Minbar 6. Sultan's prayers place 7. Omphalos \u2013 \"Navel of World\" 8. Lustration urns a.) Tomb of Mustafa I. b.) Minars of Selim II.[\/caption]\r\n![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.124.jpg\")
8.124<\/strong> Hagia Sophia. Mystical light within the church.10<\/sup><\/a>[\/caption]\r\n![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.125.jpg\")
8.125<\/strong> The domes at Hagia Sophia.13<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1281\" align=\"alignleft\" width=\"270\"]![\"The](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.126-144x300.jpg\")
8.126<\/strong> Votive Crown of Visigoth King Recesswinth. 653-672, National Archaeological Museum, Madrid.12<\/sup><\/a>[\/caption]\r\n![\"The](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.127.jpg\")
8.127<\/strong> Windows at the base of the Dome, Hagia Sophia.14<\/sup><\/a>[\/caption]\r\n![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.128-300x225.jpg\")
8.128<\/strong> Hagia Sophia dome, semi-dome and cherubim.16<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1284\" align=\"alignleft\" width=\"246\"]![\"An](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.129.jpg\")
8.129<\/strong> The Seraphim Mosaic. Hagia Sophia, Istanbul. Angels were placed around the Pantocrator mosaic under Emperor Basil II (r. 986-994). The \"seraphims\u2019\u2019 are depicted in red.17<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1285\" align=\"alignleft\" width=\"203\"]![\"The](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.130-200x300.jpg\")
8.130<\/strong> The domes at Hagia Sophia, outlined by the author to demonstrate the dome and pendentive arches.19<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1286\" align=\"alignleft\" width=\"214\"]![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.131.jpg\")
8.131<\/strong> Pendentive diagram.18<\/sup><\/a>[\/caption]\r\n\r\nSimultaneously, the time-honored basilica plan was still utilized. Hagia Sophia clearly has a narthex, nave, aisles, a crossing (under the dome), and an apse. Processions and prostration, in honor of the emperor, were expected.\r\nConstantine\u2019s fascination with relics20<\/sup><\/a> was not forgotten here, with mementos chosen to meet every theological persuasion. From Jewish tradition, the faithful could see the adz with which Noah\u2019s ark had been build, the olive branch carried by the dove to signal that the flooding waters had receded, the rock in the desert which Moses struck to bring forth water and the ram\u2019s horns which Joshua blew to bring down the walls of Jericho. Christians could view a casket containing crumbs leftover from the feeding of the 5000, an alabaster box containing ointment with which Mary Magdalene anointed Jesus, the lance that pierced Christ\u2019s side, Christ\u2019s tunic, the Crown of Thorns, a vial of Christ\u2019s own blood, fragments from the True Cross and the crosses of the two thieves with whom he had been executed. For citizens who honored both Jewish and Christian traditions, Hagia Sophia had the arm and head of John the Baptist21<\/sup> <\/a>and the well-head from where Christ had met the Samaritan woman. For good Roman citizens, the basilica held the standard carried to Rome by the mystical founder, Trojan prince Aeneas. The relics and the church were consecrated with a grand banquet at which 6000 sheep, 1000 oxen, 1000 pigs, 1000 poultry and 500 deer were served.\r\n![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.132.jpg\")
8.132<\/strong> Hagia Sophia. Looking up 184\u2019.22<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1288\" align=\"alignright\" width=\"300\"]![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.133-300x199.jpg\")
8.133<\/strong> Hagia Sophia. Original non-figurative decoration on the upper wall, inner narthex.23<\/sup><\/a>[\/caption]\r\n![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.134-200x300.jpg\")
8.134<\/strong> Hagia Sophia domes.24<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1290\" align=\"alignleft\" width=\"262\"]![\"The](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.135-300x249.jpg\")
8.135<\/strong> Theotokos (God-bearer) and Christ mosaic in the conch of the apse of Hagia Sophia.25<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1291\" align=\"alignleft\" width=\"195\"]![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.136-236x300.jpg\")
8.136<\/strong> Hagia Sophia. Theotokos (God-bearer) and Christ. 9th century mosaic.26<\/sup><\/a>[\/caption]\r\n![\"The](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.137-129x300.jpg\")
8.137<\/strong> San Vitale, Theodora and Her Retinue (cropped) 527-547.29<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1293\" align=\"alignleft\" width=\"275\"]![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.138-236x300.jpg\")
8.138<\/strong> Hagia sophia. Theotokos (God-bearer) and Christ. 9th century mosaic.28<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1294\" align=\"alignleft\" width=\"198\"]![\"An](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.139-169x300.jpg\")
8.139<\/strong> Virgin and Child (aka Kahn Madonna)(1250-1275). 4'3 5\/8\" x 2' 6\". Gallery of Art, Washington, D.C.30<\/sup><\/a>[\/caption]\r\n\r\nByzantine perspective was an additional response to the Platonic influence on Byzantine art. The argument given in the Timaeus was that human eyesight is imperfect and untrustworthy. Objects don\u2019t really decrease in size as they recede in the distance. As Plato advised, earthly illusions are not to be trusted!\r\n![\"What](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.140.jpg\")
8.140<\/strong> Hagia Sophia. De\u00ebsis mosaic in south gallery, central bay.31<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1296\" align=\"aligncenter\" width=\"596\"]![\"Christ](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.141.jpg\")
8.141<\/strong> Hagia Sophia. De\u00ebsis mosaic.32<\/sup><\/a>[\/caption]\r\n\r\nCertainly we are caught by the riveting stares of these figures. The eyes of the Virgin, Christ and John the Baptist remind us of the Faiyum portraits.33<\/sup><\/a> Clearly their eyes are intended to be windows to their souls. The skill of the unknown artist is amazing. Notice how the light source, raking across from our left, is matched by the shading of the faces. Gold tesserae of the cross within Christ\u2019s halo is laid with swirling patterns and set at 30o to the vertical, thus ensuring they will catch the light in a different way.\r\n\r\n[caption id=\"attachment_1297\" align=\"aligncenter\" width=\"599\"]![\"This](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.142.jpg\")
8.142 Hagia Sophia. Observe how the natural shadows light the faces of the Virgin, Christ and John the Baptist.34<\/a><\/sup>[\/caption]\r\n![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.143.jpg\")
8.143<\/strong> Hagia Sophia. The Virgin in the De\u00ebsis mosaic.36<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1299\" align=\"alignleft\" width=\"333\"]![\"This](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.144.jpg\")
8.144<\/strong> Hagia Sophia. De\u00ebsis (aka World Ruler or Pantocrator).37<\/sup><\/a>[\/caption]\r\n![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.145.jpg\")
8.145<\/strong> Hagia Sophia. De\u00ebsis (aka World Ruler or Pantocrator), reproduced with contrasting values of black and white.38<\/sup><\/a>[\/caption]\r\n![\"This](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.146.jpg\")
8.146<\/strong> Hagia Sophia. De\u00ebsis (aka World Ruler or Pantocrator), detail of Christ\u2019s left side.39<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1301\" align=\"alignleft\" width=\"242\"]![\"This](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.146-detail.jpg\")
Hagia Sophia. De\u00ebsis (aka World Ruler or Pantocrator), detail of Christ\u2019s left side.[\/caption]\r\n![\"This](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.147.jpg\")
8.147<\/strong> Hagia Sophia. De\u00ebsis (aka World Ruler or Pantocrator), Christ\u2019s right side.40<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"attachment_1303\" align=\"alignleft\" width=\"261\"]![\"This](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.147-Color.jpg\")
Hagia Sophia. De\u00ebsis (aka World Ruler or Pantocrator), Christ\u2019s right side.[\/caption]\r\n\r\nThis is not an idol; it\u2019s an icon. Because of the devotional attitude attached to the image, the icon becomes a window or a door through which the worshipper gazes into heaven and gains access to the holiness of the saints. Naturalism and true to life details have no place here. The intent is to portray the mystical, the divine aspect of the dual nature of Christ who was understood to be both God and man. In the same way that the Eucharist (Holy Communion) embodies Christ\u2019s flesh and blood, an icon embodies the presence of the holy figure.\r\nIcons demand concentration upon that which is essential about the holy person. For inspired reverence and meditation, the viewer is called upon to focus on the sanctity or worthiness of the holy figure instead of our customary focus on this mundane world of extraneous human qualities, body mass and human emotion. Not everybody gets it! A symbol is a real thing, invested with unreality.\r\n![\"A](\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/08\/8.148.jpg\")
8.148<\/strong> Major branches within Christianity.41<\/sup><\/a>[\/caption]\r\n\r\nReferences:<\/strong>\r\n