Early Christian, Byzantine, and Early Medieval 2D Art - AP Art History
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In Medieval Art, a figure depicted wearing a robe of camel hair represents .
In Medieval Art, a figure depicted wearing a robe of camel hair represents .
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John the Baptist is one of the most significant figures in Christian history, and was a frequent figure in Medieval art. He is easily identified with his cloak of camel hair, a description taken from the Gospel of Mark. John the Baptist is also usually depicted with a dove, as both were seen as signals of the coming Messiah in Jesus Christ.
John the Baptist is one of the most significant figures in Christian history, and was a frequent figure in Medieval art. He is easily identified with his cloak of camel hair, a description taken from the Gospel of Mark. John the Baptist is also usually depicted with a dove, as both were seen as signals of the coming Messiah in Jesus Christ.
All of the following characterize Byzantine art except .
All of the following characterize Byzantine art except .
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Key words identifying Byzantine art are flat, floating, frontal, and gold. Rather than the realism and naturalism of Greco-Roman art, Byzantine art is focused on the spiritual or other-worldly. Therefore, it is less realistic, and shows its figures as more floating and unconnected with this world.
Key words identifying Byzantine art are flat, floating, frontal, and gold. Rather than the realism and naturalism of Greco-Roman art, Byzantine art is focused on the spiritual or other-worldly. Therefore, it is less realistic, and shows its figures as more floating and unconnected with this world.
The intent behind the creation of this work of art is best stated to be .
The intent behind the creation of this work of art is best stated to be .
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The Bayeux Tapestry was notable as one of the first large scale pieces of art to celebrate and record a massive military victory in Europe since the Romans. As painting and sculpture had significantly faded in scale since the fall of the Roman Empire, tapestry was one of the few artistic mediums that was available to the Norman leaders who created it. With William the Conqueror being a foreign King in England, it also was created to glorify William and show the failings of the defeated English armies.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Odo\_bayeux\_tapestry.png
The Bayeux Tapestry was notable as one of the first large scale pieces of art to celebrate and record a massive military victory in Europe since the Romans. As painting and sculpture had significantly faded in scale since the fall of the Roman Empire, tapestry was one of the few artistic mediums that was available to the Norman leaders who created it. With William the Conqueror being a foreign King in England, it also was created to glorify William and show the failings of the defeated English armies.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Odo\_bayeux\_tapestry.png
The figure depicted in the center of this work is .
The figure depicted in the center of this work is .
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This work of art is known as "The Justinian Panel," precisely because it depicts the Emperor Justinian I of the Byzantine Empire, also known as the Eastern Roman Empire. Justinian reconquered the fallen Western portion of the Roman Empire, which included the Italian Peninsula, where this mosaic is located in Ravenna's Basilica of San Vitale, and he is appropriately represented in honor and glory. While surrounded by bishops and officials, Justinian is the only figure in the traditional "Tyrian purple" of Royalty in the Roman Empire and Medieval Europe, as well as being shown with a posthumous halo, showing his status as a Christian saint.
Image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Emperor\_Justinian\_%26\_entourage\_in\_St\_Vitale,\_Ravenna.JPG
This work of art is known as "The Justinian Panel," precisely because it depicts the Emperor Justinian I of the Byzantine Empire, also known as the Eastern Roman Empire. Justinian reconquered the fallen Western portion of the Roman Empire, which included the Italian Peninsula, where this mosaic is located in Ravenna's Basilica of San Vitale, and he is appropriately represented in honor and glory. While surrounded by bishops and officials, Justinian is the only figure in the traditional "Tyrian purple" of Royalty in the Roman Empire and Medieval Europe, as well as being shown with a posthumous halo, showing his status as a Christian saint.
Image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Emperor\_Justinian\_%26\_entourage\_in\_St\_Vitale,\_Ravenna.JPG
Examples of Christian art before the conversion of the Emperor Constantine in 312 CE are rare because .
Examples of Christian art before the conversion of the Emperor Constantine in 312 CE are rare because .
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The conversion of the Emperor Constantine in 312 CE at the Battle of the Milvian Bridge was a turning point for Christianity, as it began to move it from a persecuted religion to an official, state-sponsored one. The art of Christians before Constantine is little known today because of the widespread persecution, while most images of Jesus and the disciples only developed in the fourth and fifth centuries as Christianity became the Roman state religion.
The conversion of the Emperor Constantine in 312 CE at the Battle of the Milvian Bridge was a turning point for Christianity, as it began to move it from a persecuted religion to an official, state-sponsored one. The art of Christians before Constantine is little known today because of the widespread persecution, while most images of Jesus and the disciples only developed in the fourth and fifth centuries as Christianity became the Roman state religion.
"Byzantine Iconoclasm" refers to a time period in the history of the Byzantine Empire when .
"Byzantine Iconoclasm" refers to a time period in the history of the Byzantine Empire when .
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The term "iconoclasm" in art generally refers to any attempts to ban religious imagery or iconography. In the Byzantine Empire, such a movement occurred in two separate waves, once in the eighth century and again in the early ninth century. This was particularly notable, as the Greek Orthodox Church had traditionally utilized icons in a variety of religious capacities.
The term "iconoclasm" in art generally refers to any attempts to ban religious imagery or iconography. In the Byzantine Empire, such a movement occurred in two separate waves, once in the eighth century and again in the early ninth century. This was particularly notable, as the Greek Orthodox Church had traditionally utilized icons in a variety of religious capacities.
In medieval art, the holy spirit is often depicted as a(n) .
In medieval art, the holy spirit is often depicted as a(n) .
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During the baptism of Jesus, all four gospels of the New Testament describe the holy spirit coming down from the heavens as "a bodily shape, like a dove on him." Because of the uniform description, this symbol became inextricably linked to the holy spirit and was used frequently in medieval art.
During the baptism of Jesus, all four gospels of the New Testament describe the holy spirit coming down from the heavens as "a bodily shape, like a dove on him." Because of the uniform description, this symbol became inextricably linked to the holy spirit and was used frequently in medieval art.
In medieval iconography, the four evangelists (the authors attributed with writing the Gospels) are depicted as .
In medieval iconography, the four evangelists (the authors attributed with writing the Gospels) are depicted as .
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The four evangelist symbols are the man (symbol for Matthew), the lion (symbol for Mark), the ox (symbol for Luke), and the eagle (symbol for John). These symbols have classical origins, though their use within Christian theology stems from the "four living creatures" that drew the throne-chariot of God in the Book of Ezekiel and later in the Book of Revelations. These four animals can be seen as a hierarchy of animal types (with man on top and bird on the bottom), but are also meant to represent the nature of Christ as well as the virtues needed for salvation.
The four evangelist symbols are the man (symbol for Matthew), the lion (symbol for Mark), the ox (symbol for Luke), and the eagle (symbol for John). These symbols have classical origins, though their use within Christian theology stems from the "four living creatures" that drew the throne-chariot of God in the Book of Ezekiel and later in the Book of Revelations. These four animals can be seen as a hierarchy of animal types (with man on top and bird on the bottom), but are also meant to represent the nature of Christ as well as the virtues needed for salvation.
Of the following, which is NOT a biblical typology (or biblical foreshadowing/comparison) commonly depicted in medieval art?
Of the following, which is NOT a biblical typology (or biblical foreshadowing/comparison) commonly depicted in medieval art?
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Biblical typologies refer to the practice of comparing Old Testament texts with New Testament text and speaking of the Old Testament as a foreshadowing of Christ's life and death in the New Testament. Often, as in medieval art, this comparison was done visually. Sometimes this typology could be taken one step further, and kings or other powerful contemporary figures might also be compared to biblical figures to assert their holiness.
Jonah is a biblical typology for Christ in that his three-day "entombment" in the belly of the whale and ultimate release from the belly was a foreshadowing of the death of Christ and his resurrection three days later. King David is a typology for Jesus because they are of the same lineage, but also because Jesus is the King of kings and Lord of lords and is thus seen as the "new David." Finally, the story of Abraham's near-sacrifice of his son, Isaac, is a typology for God's ultimate earthly sacrifice of his son, Jesus. Thus, there is no typology of Adam and Joseph.
Biblical typologies refer to the practice of comparing Old Testament texts with New Testament text and speaking of the Old Testament as a foreshadowing of Christ's life and death in the New Testament. Often, as in medieval art, this comparison was done visually. Sometimes this typology could be taken one step further, and kings or other powerful contemporary figures might also be compared to biblical figures to assert their holiness.
Jonah is a biblical typology for Christ in that his three-day "entombment" in the belly of the whale and ultimate release from the belly was a foreshadowing of the death of Christ and his resurrection three days later. King David is a typology for Jesus because they are of the same lineage, but also because Jesus is the King of kings and Lord of lords and is thus seen as the "new David." Finally, the story of Abraham's near-sacrifice of his son, Isaac, is a typology for God's ultimate earthly sacrifice of his son, Jesus. Thus, there is no typology of Adam and Joseph.
Two events led to the flourishing of Byzantine art. The establishment of Constantinople in 330 created a Christian artistic center in the east. Before that, finally allowed public Christian worship and expressions of faith. This development led to a new and thriving Christian artistic scene.
Two events led to the flourishing of Byzantine art. The establishment of Constantinople in 330 created a Christian artistic center in the east. Before that, finally allowed public Christian worship and expressions of faith. This development led to a new and thriving Christian artistic scene.
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The Edict of Milan was an agreement by Constantine I and Licinius that allowed for the fair and benevolent treatment of Christians residing within the Roman Empire. Although Christianity did not become the official religion of the Roman Empire, it did attain legal status and protection that it did not have before.
The Edict of Milan was an agreement by Constantine I and Licinius that allowed for the fair and benevolent treatment of Christians residing within the Roman Empire. Although Christianity did not become the official religion of the Roman Empire, it did attain legal status and protection that it did not have before.
Following the birth of the Russian Orthodox Church in the late tenth century, which eventually led Russia to be the new center of European Orthodox church, Russian icon painting principally developed as a direct imitation of .
Following the birth of the Russian Orthodox Church in the late tenth century, which eventually led Russia to be the new center of European Orthodox church, Russian icon painting principally developed as a direct imitation of .
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The Byzantine era ended with the Fall of Constantinople in 1453; however, by this time, Byzantine culture had spread into Russia and the surrounding areas, including the Balkans, taking with it Orthodox Christianity. After the Ottoman conquest of the Balkans, Russia became the new center of the Orthodox church, and Russian icon painting took directly after the art and culture of the Byzantine Empire. It can be said that along with Orthodox Christianity, Russia inherited Byzantine culture and sensibilities as well.
The Byzantine era ended with the Fall of Constantinople in 1453; however, by this time, Byzantine culture had spread into Russia and the surrounding areas, including the Balkans, taking with it Orthodox Christianity. After the Ottoman conquest of the Balkans, Russia became the new center of the Orthodox church, and Russian icon painting took directly after the art and culture of the Byzantine Empire. It can be said that along with Orthodox Christianity, Russia inherited Byzantine culture and sensibilities as well.
The upper and lower bands in this work of art generally show .
The upper and lower bands in this work of art generally show .
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The upper and lower bands of the Bayeux Tapestry depict a wide variety of images, with the only running theme being that they are everyday scenes which bear little relation to the main story of William's Conquest of England. Usually, these depict agricultural or rural scenes, but also include new pieces of technology such as the harrow, a fashionable agricultural implement.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Odo\_bayeux\_tapestry.png
The upper and lower bands of the Bayeux Tapestry depict a wide variety of images, with the only running theme being that they are everyday scenes which bear little relation to the main story of William's Conquest of England. Usually, these depict agricultural or rural scenes, but also include new pieces of technology such as the harrow, a fashionable agricultural implement.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Odo\_bayeux\_tapestry.png
A work such as the Vienna Genesis was illuminated in order to .
A work such as the Vienna Genesis was illuminated in order to .
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The Vienna Genesis, one of the earliest illustrated manuscripts still in existence, presents the first book of the Bible in the top half of the page with brightly colored illustrations covering the lower half. Created among the Christian communities of the Ancient Near East in about the Sixth Century C.E., the Vienna Genesis was more than just the scripture. An illustrated manuscript was extremely expensive to make and would have been a prized possession of the church where it resided, and the illustrations allowed the large amount of illiterate members to understand the stories presented on each page.
The Vienna Genesis, one of the earliest illustrated manuscripts still in existence, presents the first book of the Bible in the top half of the page with brightly colored illustrations covering the lower half. Created among the Christian communities of the Ancient Near East in about the Sixth Century C.E., the Vienna Genesis was more than just the scripture. An illustrated manuscript was extremely expensive to make and would have been a prized possession of the church where it resided, and the illustrations allowed the large amount of illiterate members to understand the stories presented on each page.
The men placed to the right of the central figure in this work of art are .
The men placed to the right of the central figure in this work of art are .
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The Justinian Panel, shown here and placed in the Basilica of San Vitale in Ravena, Italy, portrays the Byzantine Emperor Justinian I surrounded by important officials. To the left of the work (on the Emperor's right hand side) are military and political officials, while to the right of the work (on the left of the Emperor) are religious and church leaders. In addition to their positioning, the figures on the right of the work are clad in white robes with incense, shawls, and sacred texts, all traditional trappings of the clergy.
Image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Emperor\_Justinian\_%26\_entourage\_in\_St\_Vitale,\_Ravenna.JPG
The Justinian Panel, shown here and placed in the Basilica of San Vitale in Ravena, Italy, portrays the Byzantine Emperor Justinian I surrounded by important officials. To the left of the work (on the Emperor's right hand side) are military and political officials, while to the right of the work (on the left of the Emperor) are religious and church leaders. In addition to their positioning, the figures on the right of the work are clad in white robes with incense, shawls, and sacred texts, all traditional trappings of the clergy.
Image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Emperor\_Justinian\_%26\_entourage\_in\_St\_Vitale,\_Ravenna.JPG
"Byzantine Iconoclasm" refers to a time period in the history of the Byzantine Empire when .
"Byzantine Iconoclasm" refers to a time period in the history of the Byzantine Empire when .
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The term "iconoclasm" in art generally refers to any attempts to ban religious imagery or iconography. In the Byzantine Empire, such a movement occurred in two separate waves, once in the eighth century and again in the early ninth century. This was particularly notable, as the Greek Orthodox Church had traditionally utilized icons in a variety of religious capacities.
The term "iconoclasm" in art generally refers to any attempts to ban religious imagery or iconography. In the Byzantine Empire, such a movement occurred in two separate waves, once in the eighth century and again in the early ninth century. This was particularly notable, as the Greek Orthodox Church had traditionally utilized icons in a variety of religious capacities.
The Book of Kells (c. 800) is best known for its .
The Book of Kells (c. 800) is best known for its .
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Likely produced in either Britain or Ireland, this Gospel book is best known for its illuminations and was named after the Abbey of Kells, where it was housed for many centuries. Because of its illuminations, it is often considered the pinnacle example of insular art — an artistic style from the post-Roman British Isles ("island" is insula in Latin)-which is characterized by intricate inter-weaving designs, vibrant colors, and large Celtic crosses.
Likely produced in either Britain or Ireland, this Gospel book is best known for its illuminations and was named after the Abbey of Kells, where it was housed for many centuries. Because of its illuminations, it is often considered the pinnacle example of insular art — an artistic style from the post-Roman British Isles ("island" is insula in Latin)-which is characterized by intricate inter-weaving designs, vibrant colors, and large Celtic crosses.
The Bayeux Tapestry depicts scenes from which great medieval battle?
The Bayeux Tapestry depicts scenes from which great medieval battle?
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The Bayeux Tapestry was made in England in the decade following the Battle of Hastings, which was part of the larger Norman Conquest of England spearheaded by William the Conqueror. Depictions of the battle were embroidered onto a cloth over 200 feet in length, which means that it is technically not a tapestry (since it is not woven), though the name stuck. While it was also made in England and not in Bayeux, France, the piece "rediscovered" at Bayeux Cathedral by art historians in the eighteenth century.
The Bayeux Tapestry was made in England in the decade following the Battle of Hastings, which was part of the larger Norman Conquest of England spearheaded by William the Conqueror. Depictions of the battle were embroidered onto a cloth over 200 feet in length, which means that it is technically not a tapestry (since it is not woven), though the name stuck. While it was also made in England and not in Bayeux, France, the piece "rediscovered" at Bayeux Cathedral by art historians in the eighteenth century.
The work shown above is in the medium of .
The work shown above is in the medium of .
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This work is one of the most significant tapestries created in Medieval Europe, the Bayeux Tapestry. The Bayeux Tapestry commemorates the invasion of England by William the Conqueror, Duke of Normandy and his eventual defeat of the English King Harold. Housed at Bayeux Cathedral in Normandy, a tapestry was able to show the full story of William's invasion and display it in a prominent place, due to its large scale and durability from being made of cloth.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Odo\_bayeux\_tapestry.png
This work is one of the most significant tapestries created in Medieval Europe, the Bayeux Tapestry. The Bayeux Tapestry commemorates the invasion of England by William the Conqueror, Duke of Normandy and his eventual defeat of the English King Harold. Housed at Bayeux Cathedral in Normandy, a tapestry was able to show the full story of William's invasion and display it in a prominent place, due to its large scale and durability from being made of cloth.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Odo\_bayeux\_tapestry.png
The panel of the work shown is an illustration of .
The panel of the work shown is an illustration of .
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The Bayeux Tapestry depicts the invasion of England by William, Duke of Normandy, and his succession to becoming King of England. The panel shown here is one of the most significant elements, as it depicts the death of Harold II, then King of England. The Latin legend "Hic Haroldus Rex Interfectus Est," meaning "Here King Harold is killed," is placed above an image of a soldier being impaled in the eye with an arrow.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Odo\_bayeux\_tapestry.png
The Bayeux Tapestry depicts the invasion of England by William, Duke of Normandy, and his succession to becoming King of England. The panel shown here is one of the most significant elements, as it depicts the death of Harold II, then King of England. The Latin legend "Hic Haroldus Rex Interfectus Est," meaning "Here King Harold is killed," is placed above an image of a soldier being impaled in the eye with an arrow.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Odo\_bayeux\_tapestry.png
The Lindisfarne Gospels are an important medieval work of art from which region?
The Lindisfarne Gospels are an important medieval work of art from which region?
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The Lindisfarne Gospels are highly detailed, illuminated manuscripts that are highly representative of Hiberno-Saxon Art. Also known as Insular Art, from the Latin for "island," the style of Art flourished in the British Isles between the decline of Roman Britain in 410 to the Norman Conquest in 1066. The Lindisfarne Gospels were created at the monastery of Lindisfarne in the Northern England Kingdom of Northumbria around the year 700.
The Lindisfarne Gospels are highly detailed, illuminated manuscripts that are highly representative of Hiberno-Saxon Art. Also known as Insular Art, from the Latin for "island," the style of Art flourished in the British Isles between the decline of Roman Britain in 410 to the Norman Conquest in 1066. The Lindisfarne Gospels were created at the monastery of Lindisfarne in the Northern England Kingdom of Northumbria around the year 700.