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Paramount in the shaping of early Byzantine identity was the construction of the church of Hagia Sophia in Constantinople (532-537 CE). This book examines the edifice from the perspective of aesthetics to define the concept of beauty and the meaning of art in early Byzantium. Byzantine aesthetic thought is re-evaluated against late antique Neoplatonism and the writings of Pseudo-Dionysius that offer fundamental paradigms for the late antique attitude towards art and beauty. These metaphysical concepts of aesthetics are ultimately grounded in experiences of sensation and perception, and reflect the ways in which the world and reality were perceived and grasped, signifying the cultural identity of early Byzantium. There are different types of aesthetic data, those present in the aesthetic object and those found in aesthetic responses to the object. This study looks at the aesthetic data embodied in the sixth-century architectural structure and interior decoration of Hagia Sophia as well as in literary responses (ekphrasis) to the building. The purpose of the Byzantine ekphrasis was to convey by verbal means the same effects that the artefact itself would have caused. A literary analysis of these rhetorical descriptions recaptures the Byzantine perception and expectations, and at the same time reveals the cognitive processes triggered by the Great Church. The central aesthetic feature that emerges from sixth-century ekphraseis of Hagia Sophia is that of light. Light is described as the decisive element in the experience of the sacred space and light is simultaneously associated with the notion of wisdom. It is argued that the concepts of light and wisdom are interwoven programmatic elements that underlie the unique architecture and non-figurative decoration of Hagia Sophia. A similar concern for the phenomenon of light and its epistemological dimension is reflected in other contemporary monuments, testifying to the pervasiveness of these aesthetic values in early Byzantium. Rome and Romania Roman Emperors Byzantine Emperors etc ROME AND ROMANIA 27 BC-1453 AD Emperors of the Roman and the so-called Byzantine Empires; Princes Kings and Tsars of Numidia Judaea Bulgaria Serbia Wallachia The 20 Most Awe-Inspiring Places in the World LIVESTRONGCOM 4 HAGIA SOPHIA ISTANBUL TURKEY When you walk into the Hagia Sophia in Istanbul youre walking into history Few structures in the world evoke raw emotion but Neyzen Travel & Yachting Bodrum Tours Turkey GUMUSLUK Gumusluk the ancient port of Myndos is one of the oldest settlements on the Bodrum peninsula and in recent years has undergone some fascinating excavations Ottoman architecture - Wikipedia Ottoman architecture is the architecture of the Ottoman Empire which emerged in Bursa and Edirne in 14th and 15th centuries The architecture of the empire developed ART 100 Exam 2 Flashcards - Flashcard Machine - Create Classic/"Ideal" (aesthetic expressions of beauty balance harmony) CERAMICS Beginning of western ideas and cultural characteristics 4 periods Crete - Wikipedia Crete is the largest island in Greece and the fifth largest island in the Mediterranean Sea It is located in the southern part of the Aegean Sea separating the Hagia Sophia Wikipedia Die Hagia Sophia (vom griechischen heilige Weisheit; trkisch Ayasofya) oder Sophienkirche ist eine ehemalige byzantinische Kirche die Sainte-Sophie (Constantinople) Wikipdia En 1453 immdiatement aprs la chute de Constantinople par les Ottomans la basilique fut convertie en mosque conservant le mme nom Ayasofya [12] comme Architecture History: Evolution of Building Design Byzantine Architecture (330-554 CE) Byzantine architects - including numerous Italians who had moved to the new capital from Italy - continued the free mosaic art Britannicacom Technical insight is the key to both the creation and the appreciation of mosaic and the technical aspects of the art require special emphasis
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