The Representation of Emperor as God in Byzantine Mosaics and Frescos

Dalila Özbay

doi:10.5901/mjss.2015.v6n4s2p58

Abstract

The present paper focuses on the representation of Byzantine emperor as deity in the mosaics and frescos. Though there were many hesitations concerning the representation of divinity in visual images, it was considered that the figural art was able to express the sacred. Much interest was given to human body, which after the initial consideration as the locus of corruption, becomes gradually considered as the instrument reaching the divine dimension. The tangible piety gradually is regarded as a vehicle for the disclosure of the divine. As Byzantine emperor was considered to be a correspondent of divinity on earth, the artists who aim at representing a sacred dimension develop some techniques and elaborate some motifs that will reveal the emperor as holding and transmitting the transcendental. DOI: 10.5901/mjss.2015.v6n4s2p58

Highlights

In most cultures, a work of art is appreciated by people primarily for its visual value, whereas its spiritual dimension is often disregarded
The Byzantine artists did not limit themselves to the representation of the visual aesthetics of their era, but they tried to include into their works the philosophy and the essence of the imagination concerning their beliefs
The Byzantine art is especially noteworthy for the mosaics and frescos which decorate the interiors of the churches

Summary

Introduction

A work of art is appreciated by people primarily for its visual value, whereas its spiritual dimension is often disregarded. The solemn figure and the awe-inspiring character of the emperor represented in his official patronage is impressive, but mostly remarkable is the depiction of the light of divinity which encircles the emperor’s head. This representation of the ruler as God does not originate in the Byzantine culture. The Roman emperors became Christian, they did not hesitate to impose on their subjects the idea that their emperor was a god They have changed the ritual and the visual techniques of the preceding cultures to fit their new religion. This historical, political and religious peculiarity gave rise to a new, unique art which was no longer Roman

The Debates Around the Representation of the Divinity in the Byzantine Art

Defining Divine Presence in the Byzantine Art

The Representation of Human as Divine in the Byzantine Art

The Development of the Byzantine Art of Paining in Its Theological Context

Conclusion