Theotokos Mosaic, Apse, Hagia Sophia, Istanbul (video)

Virgin (Theotokos) and Child between Saints Theodore and George. 604 views604 views. • Apr 10, 2017. 3. 2. Share. Save. 3 / 2. Metal Anime Saint John of the Cross | Stories of Saints | Episode 116 · San Vitale, Ravenna · Art of Late Antiquity · Jesus Prayer Chant| Lord Jesus Christ, Have Virgin (Theotokos) and Child between Saints Theodore and George St. Catherine's Monastery, Mount Sinai (Egypt). Context Content - Virgin and Cild flanked by

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View 54. Virgin (Theotokos) and Child between Saints Theodore and George - AP Art History.pdf from ART 2050 at St. Johns River State College. 12/15/2020 54 Start studying Virgin (Theotokos) and Child between Saints Theodore and George. Learn vocabulary, terms, and more with flashcards, games, and other study Figure \(\PageIndex{3}\): Virgin (Theotokos) and Child between Saints Theodore and George, sixth or early seventh century, encaustic on wood

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Virgin (Theotokos) and Child between Saints Theodore and George, sixth or early seventh century, encaustic on wood, 2′ 3″ x 1′ 7 3/8″ . Virgin (Theotokos) and Child between Saints Theodore and George, sixth or early seventh century, encaustic on wood, 2′ 3″ x 1′ 7 3/8″ (St. Catherine's Monastery, Sinai, Egypt) ByMay 26, 2016 - Virgin (Theotokos) and Child between Saints Theodore and George, sixth or early seventh century, encaustic on wood, 2' 3" x 1' 7 3/8" (St. May 26, 2016 - Virgin (Theotokos) and Child between Saints Theodore and George, sixth or early seventh century, encaustic on wood, 2' 3" x 1' 7 3/8" (St. Catherine's Monastery, Sinai, Egypt) 54. AP* Art History Learn more: www.khanacademy.org/humanities/medieval-world/byzantine1/ *AP Art History is a registered trademark …Apr 29, 2017 - Read and learn for free about the following article: Virgin (Theotokos) and Child between Saints Theodore and George.Theotokos mosaic, 867, apse, Hagia Sophia, Istanbul Speakers: Dr. Steven Zucker and Virgin (Theotokos) and Child between Saints Theodore and George. Theotokos mosaic, 867, apse, Hagia Sophia, Istanbul Speakers: Dr. Steven Zucker and Dr. Beth Harris

Virgin (Theotokos) and Child between Saints Theodore and George, sixth or early seventh century, encaustic on picket, 2′ 3″ x 1′ 7 3/8″ (St. Catherine's Monastery, Sinai, Egypt)

By Dr. William AllenProfessor of Art HistoryArkansas State University

At Mount Sinai Monastery

One of hundreds of vital Byzantine images, books, and documents preserved at St. Catherine's Monastery, Mount Sinai (Egypt) is the exceptional encaustic icon painting of the Virgin (Theotokos) and Child between Saints Theodore and George ("Icon" is Greek for "symbol" or "portray" and encaustic is a portray technique that makes use of wax as a medium to hold the colour).

The icon displays the Virgin and Child flanked through two soldier saints, St. Theodore to the left and St. George at the right. Above these are two angels who gaze upward to the hand of God, from which gentle emanates, falling at the Virgin.

Selectively classicizing

The painter selectively used the classicizing style inherited from Rome. The faces are modeled; we see the similar convincing modeling in the heads of the angels (be aware the muscles of the necks) and the convenience with which the heads turn almost three-quarters.

The house seems compressed, virtually flat, at our first come across. Yet we find spatial recession, first within the throne of the Virgin the place we glimpse part of the right side and a shadow forged through the throne; we additionally see a receding armrest in addition to a projecting footrest. The Virgin, with a slight twist of her frame, sits very easily at the throne, leaning her frame left towards the edge of the throne. The child sits on her ample lap as the mummy helps him with each hands. We see the left knee of the Virgin beneath convincing drapery whose folds fall between her legs.

At the highest of the painting an architectural member turns and recedes at the heads of the angels. The architecture helps to create and close off the space across the holy scene.

Byzantine panel with archangel, Ivory leaf from diptych, ca. 525-50, 16.8 x 5.6 x 0.35 in./42.8 x 14.Three x 0.Nine cm, more than likely from Constantinople (trendy Istanbul, Turkey), (British Museum, London)

The composition presentations a spatial ambiguity that puts the scene in a global that operates another way from our world, paying homage to the spatial ambiguity of the sooner Ivory panel with Archangel. The ambiguity permits the scene to partake of the viewer's world but in addition separates the scene from the traditional global.

New in our icon is what we may name a "hierarchy of our bodies." Theodore and George stand erect, feet at the ground, and gaze without delay on the viewer with large, passive eyes. While having a look at us they display no reputation of the viewer and seem able to obtain something from us. The saints are moderately animated by the lifting of a heel by each as regardless that they slowly step toward us.

Detail, Virgin (Theotokos) and Child between Saints Theodore and George, 6th or early 7th century, encaustic on wooden, 2′ 3″ x 1′ 7 3/8″ (St. Catherine's Monastery, Sinai, Egypt)

The Virgin averts her gaze and does not make eye touch with the viewer. The airy angels be aware of the hand above. The gentle tones of the angels and especially the fairly clear rendering in their halos give the 2 an otherworldly appearance.

Visual motion upward, toward the hand of God

This supremely composed image gives us an unmistakable sense of visible movement inward and upward, from the saints to the Virgin and from the Virgin upward previous the angels to the hand of God.

The passive saints seem to face able to receive the veneration of the viewer and move it inward and upward till it reaches the most sacred realm depicted in the image.

We can describe the differing appearances as saints who appear to inhabit a global just about our personal (they by myself have a ground line), the Virgin and Child who are increased and look past us, and the angels who are living near the hand of God go beyond our space. As the eye moves upward we go through zones: the saints, standing on flooring and due to this fact closest to us, and then upward and more airy till we achieve the holiest zone, that of the hand of God. These zones of holiness recommend a cosmos of the arena, earth and actual other folks, during the Virgin, heavenly angels, and in spite of everything the hand of God. The viewer who stands sooner than the scene make this cosmos complete, from "our earth" to heaven.

Originally printed by way of Smarthistory under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

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