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Murali a m
he Art of Byzantium
Architecture
Figure 12-3
he Art of Byzantium
Virgin (Theotokos) and Child,
icon (Vladimir Virgin), tempera on wood,
Late 11th to Early 12th Century
Mosaics
It was exported to Russia in
the early twelfth century and
then taken to Moscow to
protect the city.
The Russians believed that
the Vladimir icon saved the
city of Kazan from later
Tartar invasions and all of
Russia from the Poles in the
seventeenth century.
It is a historical symbol of
Byzantium's religious and
cultural mission to the Slavic
world.
These types of images were
not universally accepted by
Christians.
he Art of Byzantium
Mosaics
12-11
In depicting groups of
figures, depth is shown by
overlapping and placing
figures higher up on the
same plane. The use of gold
backgrounds in mosaics,
manuscript illustrations,
enamels, and panel painting
sets the figures apart from
real time and real space.
A variety of geometric
patterns appear in the
stone inlays of floors. In
court costumes the rank of
officials was identified not
only by the color of the
robe but also by a
distinctively patterned silk
rectangle worn on the
front of the robe
Artists
Being an artist was an
honorable profession in
Byzantium, although named
individuals are extremely rare
before the thirteenth century.
Artists were not narrowly
specialized; a mosaicist, for
instance, could also paint on
fresh plaster, creating frescoes.
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