Byzantine art

[Лина Хеккель]

The dome deserves a separate discussion, because He was the main source of magical effects come to the temple.
In Silentsiariya read:
«A truly marvelous to see how smoothly increases the volume down, reduced upwards, because the dome podemletsya upwards, not tapered, and likened to the arch of the sky."
Likening the sky dome - a common likeness, often occurring in the later Byzantine literature. And not only in Byzantium. Messengers Vladimir returned to him from Constantinople, spoke about St. Sofia:
«And we came to the Greek lands, and led us to where they are serving their God, and did not know - in heaven or on earth we» (PVL).
But reading the description of Sophia of Justinian's contemporaries, we must bear in mind that if the temple had a different look. This is primarily due to the dome. According to sources the VI century the dome was 20-30 Byzantine feet lower than now. This corresponds to 9.7 meters. It was like this.
The first dome was built Anfimov of Thrall and Isidore of Miletus, stood a little over 20 years. He fell in May, the 557, as seen from the source, due to the fact that the poles could not stand the dome. Isidore was rebuilt nephew, also Isidore to 562, the
The second dome fell again in the 989 (due to earthquakes) together with the western arch of the roof and was restored Armenian architect Trdat. The dome fell again in 1346 with the eastern arch. Its restoration was completed emperor John V and John Kontakuzinom Paleologue to 1356 Restorers Fossati brothers, have strengthened its chains in the XIX century. Thus, the shape and structure of the dome were significantly altered in comparison with the original.
It is known that his profile was flatter, not as curved as the existing dome. And, therefore, spatial and visual characteristics of the nave were different. The light from the window sills was fed into the dome and reflected from the surface of the mosaic, created a kind of luminous clouds, which enhances the effect of soaring cupola, impresses with its isolation from the rest of the building.
Known fact that light was important, deliberately used a factor to enhance the expressiveness of the liturgical action. One of the objectives of the builder Anfimov was to make a ray of light falling on the Sacraments in their coverage, at the climax of the Orthodox liturgy.

[Лина Хеккель]

«divine miracle," which chronicled by Procopius, largely due to optical experiments, one of the founders of St. Sofia, the architect-scholar Anfimov. Anfimov puts special geometric and optical problems. Namely, the problem of calculating the reflector (reflector), which can permanently direct sunlight in a certain point, regardless of the position of the sun.
Thanks to the sparkling mosaic covers and a small width, the piers between the windows of the dome disappeared in the streams of light, and thus achieves an optical illusion as to the dissolution of the dome at the windows. This, again, increased his visual separation from the rest of the vaults. It becomes clear why Procopius resorted to a famous poetic image of the dome, as if "suspended" in the sky, to convey the impression of lightness and dematerialization: «It seems that he is not on solid ground, and rushes down from the sky» .
  
We should also take into account the fact that the mosaic surface is not perfectly smooth. Tesery always have a slight deflection. This should be added to the described light cloud of flickering light that perfectly corresponds to the translation of the passage of Procopius, which offers IM Potamianos.
Thus, the described effect is not only the impression of isolation (inomirnosti) of the dome from the rest of the church, but also creates the illusion of a light field, simply light that has no source of outside space of the temple but "born in him."

[Лина Хеккель]

With the fall of Constantinople in 1453 and the conversion of St. . Sofia into a mosque mosaics were plastered on 400 years until the middle of the XIX century they have not disclosed the Italian scientists Gaspard and Giuseppe Fossati . Today, people entering the church of St. Sophia , can only in the mind to recreate a significant portion of the decorative magnificence of the temple , which for centuries is being lost due to various reasons and circumstances. For example , we know that at the end of the XIX century « caretaker of the temple trades selling European travelers pieces of mosaic , fought by them against the holy images ».
In the space of the church of St. Sophia two fine system - figurative and abstract . Pictorial decoration had its local functions , a local scale and a strictly defined area of concentration , primarily due to the liturgical ( eg , zone presbytery ) .

[Лина Хеккель]

By virtue of the fact that for centuries the mosaic updated to create new, Sophia Cathedral represents the various stages in the development of metropolitan art mosaics.
The earliest date from the early years after the iconoclasm, ca. 867g.

- In the apse of the enthroned Virgin and Child
- Archangel Gabriel on the vault ble

Conch was on the edge, as already noted, almost entirely lost the Greek inscription: «Images that liars are overthrown, and pious rulers restored».

Virgin solemnly enthroned. Its broad, massive figure, with all the monumental closed loop freely deployed in space. That the spatial impression of a lot of assists the foot of the throne, given in bold perspective. Instead of subordinate figure plane mosaicists has her as if she was speaking of a gold background.

Not earlier than 878, the finished figure of St. John Chrysostom, Ignatius bearing nation and four other bishops, opened in the north tympanum of Sophia of Constantinople
Although the shapes and colors deliberately simplified, based on the view the viewer perceives these mosaics to very large distances, VN Lazarev notes that there is not labored Classy Wizard: «In this regard, the mosaic apse and vault ble occupy a separate place: they are so superior to all other monuments of the capital of monumental painting of the IX century, including the mosaic lunettes above the main door leading from the inner narfika St. Sophia in the Temple ».

[Лина Хеккель]

In the era of Justinian central lunette, like the rest of the backrest of the eastern wall narfika, was adorned with a cross. In an era of Leo VI (886-912), this abstract symbol, a favorite iconoclasts, gave way to figurative compositions. Christ sits on the throne. Right hand he blesses the left holds the Gospel with the words:
«Peace be with you. I light of the world ».
Before Christ knelt Emperor Leo VI. On both sides of the throne of Christ has two half-figure of the medallion with the Virgin Mary and an angel. This mosaic is a lot of controversy associated with its iconography.
Questions arise as to why, instead of the medallion with the Baptist placed an angel.
?
Some here perceive the Egyptian version of Deesis, which took place Baptist angel, speaking patron of the customer's mosaic of Leo VI. According to another view, an angel, interpreted as standing on guard, is the same angel, who is known to spread in the Middle Ages the legend: he helped Justinian in the construction of the temple, and his name is called the emperor that he built with such great difficulty church. Grabar scientist put a mosaic in connection with an episode from the writings of Constantine VII Porphyrogenitus "On the ceremonies of the Byzantine court."
It describes how basileuses, greeted the patriarch and clergy narfike St. Sofia, three times falling prostrate before the Holy Doors, and only then goes to the temple. Since the mosaic is located just above the Holy Doors, it is logical to look at her reflection of the solemn religious ceremony.

But it is also appropriate to remember love conflict Leo VI , according to which the emperor against church rules, was married four times, for which the patriarch excommunicated him. Leo VI had repeatedly asked the emperor for the remission of sins. But desperate request to remove the patriarch Nicholas penance, Leo sent him to the island and appointed a new patriarch. Conscious of their guilt before God, the Church, the patriarch, it is quite possible that Leo VI commissioned this mosaic iconography.

[Лина Хеккель]

At the very soil of Constantinople from the XII century to maintain two mosaic in the south gallery of St.. Sofia. This portraits Komnenos and Deesis .

John is holding a bag of gold, and Irina - a roll of parchment.

The compositional scheme of this mosaic, executed in 1118, repeats the position of the pieces at an earlier mosaic of the Empress Zoe and Constantine Monomakh. Dominated by the Byzantine court ceremonial was so tough that the artist could not retreat from it. Hence, frontal, strictly symmetric formulation of figures, it is an exact reproduction of the imperial vestments. In 1122, when John announced his son Alexei soimperatorom, on the side of the adjoining pilaster was added to the portrait of Alexei, made by other, less skilled craftsman. Strengthening the line-plane began, most notably in the treatment of persons of the imperial couple. Color of the mosaic portraits of Comnenus characterized by accentuated sharpness. It felt passion for art with paint as a means to create the illusion jewelry.

In the same scale of the temple predominated neizobrazitelnaya decoration - gold mosaic backgrounds, polished marble floor and wall cladding. They are complemented by carved stone cornices, sectilia, polished porphyry and jasper columns, as well as precious metals used in the decorations of the temple and the most important areas of liturgical objects.
In general, gold mosaic backgrounds played an important role visual relief, dematerialization vaults of the church.

[Лина Хеккель]

unpreserved plots allow us to see the mosaic technique mosaicists. Before you put the pieces of smalt, first made the first layer of plaster, which was applied general outlines of the figure (the figure is sometimes applied directly on the brick), the second layer of plaster in a fresco technique did a more detailed drawing for building a color scheme and then reupload already directly teser.

Glass, from which mostly made mosaics of St. Sophia, the Byzantine times it was material with high reflectivity. It is known that the squares of smalt themselves tend to amplify light, but if they included gold, they create a vague shimmering halo. This use of metal teser in St. Sophia confirmed restoration researchers.

A set of mosaics VI-th century in the church is limited and based on and in color, and consists mainly of geometric constructions.
In terms of perception of special effects flickering glow of interesting mosaics ekfrasis XII century Michael of Thessalonica. So, he wrote:

«The vaults are covered with mosaics, and the luminosity of gold almost makes believe that gold is dripping."

He speaks of "the humidity of the gold, it seems the liquid flowing. Similar optical effects are associated with a special technique of laying teser, pieces of smalt. The angle of teser, smalt pieces depends on the zone of their location. Established that in the gallery angle mosaic cube 15 degrees, whereas in the narthex - 30 oz. The difference is explained by the fact that the space narthex more shade than the picture, and a greater inclination tesery increases the glow effect. Such specifications are often optical, trick allows the master to create a special sacred aura filled with the divine presence.

Undoubtedly, the Byzantine, who oversaw described Silentsiariem picture Sophia Church, was more than a modern audience willing to experience and "behold" the spiritual meaning, which contains in itself a complex space.
Sense of divine presence and contribute to built a hierarchy of light. Space nave is fundamentally different compared to the galleries and side aisles, and in many ways this is happening due to the difference of their coverage.
Light, piercing gallery, gives a person on the border between the two spaces a sense of belonging to a coherent light of the spatial structure of the building.
Movement of the shaded area in the light nave is perceived as a movement to a better space.

[Самвел]

Сообщение от Lin Heckel

"God's miracle", which described Procopius, largely due to optical experiments, one of the founders of St. Sophia architect-scholar Anfimov. Anfimov puts special geometric and optical problems. Namely, the problem of calculating the reflector (reflector), which can permanently direct sunlight in a certain point, regardless of the position of the sun.
Thanks to the sparkling mosaic covers and a small width, the piers between the windows of the dome disappeared in the streams of light, and thus achieves an optical illusion as to the dissolution of the dome at the windows. This, again, increased his visual separation from the rest of the vaults. It becomes clear why Procopius resorted to a famous poetic image of the dome, as if "suspended" in the sky, to convey the impression of lightness and dematerialization: "It seems that he is not on solid ground, and rushes down from the sky."

Сообщение от Lin Heckel

Where lies the mystery of the magical effects of St. Sophia at all coming?
See below.

Of course, all that matters, but it seems magical effect comes from the place it was a place where svyaschenooe crowned emperors of Byzantium, and sometimes there occurred the lush arrangements, and sometimes blood was flowing river, and I think that it outweighs the proportion vozdestviya architectural techniques. What that last sentence I do not understand nravitsya.no are swill. thanks for the topic, I am personally very interested in learning more about Vizatnii general.

[Лина Хеккель]

On the one hand , yes , every field has its energy , its metaphysics , which in some way affects the perception of man . But on the other hand , the construction of the building there is always determine a task to achieve that use these or other techniques . Therefore the question of "how " it is very important .

Thank you for your interest in the topic )

[zarajara]

Christ Almighty

Gospel of Trebizond 11th century.

"Vizantiniziruyuschaya" Armenian manuscript


The most interesting thing here blessing gesture of Christ, like a hippie raspaltsovku