Art

From the fourth century until the mid-thirteenth century, Constantinople was the epicenter of a new Roman Empire that gave full recognition to the burgeoning Christian religion, which remained at a constant collision with its evidently pagan past. Founded by the great Christianized emperor Constantine, the city was to be a platform of this newly established belief system, as can be seen at the multitude of notable artworks and architectures found all throughout this massive city. Reflecting the a newfound fascination with known figures of Christian mythology, these religious artworks became central to the Byzantine way of life as it became critical to how the people viewed this new religion. According to art scholar Robin Cormack (2000), these works did not just have an aesthetic purpose but also served as a revered icons or props in the face of joy and sorrow, happiness and pain (Cormack 2000, pg. 2), much like how we view modern Christian art works today. For this paper, we shall look at some of the art and architecture of that era and how it has served its purpose during this significant period in our history.

The most notable and epitomizing edifice of the Byzantine Empire, the Hagia Sophia is a marvel of architecture, its beauty and importance permeating until this modern age. Once the largest Church, it was the symbolic center of the city (Cormack 2000, pg. 39). It stood as an imposing structure, with a domed main structure and four towering spindles that called for the peoples devotion and worship. Inside, the walls are covered with gold filigree amidst images of crosses and intricately conceived flowers that seem to go on in the ceiling of the main buildings nave. And, though, it was unlike popularized iconoclasm, the mosaic of figures still denote the undeniable dominion of God and religion over the people.  For the people of Constantinople, this was Gods house and the center of the city and of their lives (pg. 40). It stood above them, evidence of the breadth of Gods power and dominion. It was the peoples source of inspiration and an icon of the triumph of Orthodox Christianity. At the same time, as an object of the religious machinery, it united the people under one Church as they are reeled into the religion by the churchs indiscrete magnificence.

In the tradition of iconoclasm, mosaics found inside the Hagia Sophia depicted the many figures and events in Christian tradition. One particular mosaic found by the doorway to the main section of the church is the depiction Christ Pantrocrator as he is flanked by portraits of the Virgin and Archangel Gabriel. Like many portrayals of Christ in Byzantine art, he is shown with a serene look on his face, a halo around his head, and a book, presumably an early version of the Bible, on his arm. Also part of the picture, an emperor is shown kneeling before Christ, as if receiving his blessing. By associating the emperor with Christ and portraying the immense power and responsibility placed upon him, the emperor is then portrayed as a messenger of God, his actions and decisions sanctioned by the Heavens. Showing this also creates a way for the people to understand how religion is incorporated in their lives.

The artworks and architecture in the Byzantine Era, as we can see, not merely represents a certain aesthetic but also shows how a people saw their culture. The Hagia Sophia and the Christ Pantrocrator, as religious emblems, also showed the power and lasting quality of the culture from which they come from that until now they still serve amongst the Christian people the same purpose as they did in antiquity.