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https://doi.org/10.11588/diglit.55207#0018
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- Frühchristliche und byzantinische Kunst
10 THE IMPERIAL PORTRAITS OF THE SOUTH GALLERY
sprinkled have an ever so slightly rounded face. Cubes are set close to one
another especially in the vertical interstices, only just showing the original
fresco-tinting of the setting bed. The general surface of the mosaic is not
limited to a plane but is slightly wavy, thus creating subtle and varied reflec-
tions of light which give rise to colour vibration and atmosphere. Gold is
used not as in modern mosaics, to astonish by the conscious sense of splendour,
but to move us unawares [6]. The colours chosen for painting the figures are
pitched high to harmonize with the glowing gold of the background, and
seem, for this reason, to attain an added glory [7].
Byzantine mosaic is the most organic—perhaps the only organic medium
used in wall decoration—always an integral part of the building and equally
durable. Everything is placed in accordance with its functional activity and
varies in the use of light with the nature of the instantaneous disinterested
action it is to evoke. Like calligraphy these representations are on a flat surface,
the integrity of which would be lost if the artist attempted to create the illusion
of space—the illusion of holes in the wall. Instead, by means of simple con-
ventions of modelling in scale, incredibly subtle in their execution and with
no use of linear perspective, the artist suggests the plastic form of the object
he wishes to represent, not for information but to change the perception of
the onlooker and lead him to reality [8].
The seated figure of Christ, considerably larger than that of the Emperor
and Empress, dominates the standing figures beside it by its size, its dignity,
and the depth of the blue of His vestments. These contributory figures lend
emphasis to this domination by the slight inclination of the body, the turning
of the head, the direction of the eyes, and the gesture of the offering of the
gifts. Even the jewels of the imperial robes reappear on the book of the
Gospels and on the throne in this progressive ordering of matter, which reaches
through the right hand of Christ a focal point in the beholder.
CHRIST
The face of Christ is an ascetic face; palest flesh-tinted marble, perhaps from
Algeria [9], gives a vivid pallor as if of interior light. Deep violet eyes, like
refulgent obsidian, are turned in searching gaze. Light brown hair, parted in
the middle, falls wavy to the back of the neck, three small locks lie on the
centre of the brow. Both sides of the forehead are partly covered by the hair,
leaving the lobe of the ear visible. A thin drooping moustache and short brown
beard, slightly curled at the tip and darker in tone than the hair, accentuate
sprinkled have an ever so slightly rounded face. Cubes are set close to one
another especially in the vertical interstices, only just showing the original
fresco-tinting of the setting bed. The general surface of the mosaic is not
limited to a plane but is slightly wavy, thus creating subtle and varied reflec-
tions of light which give rise to colour vibration and atmosphere. Gold is
used not as in modern mosaics, to astonish by the conscious sense of splendour,
but to move us unawares [6]. The colours chosen for painting the figures are
pitched high to harmonize with the glowing gold of the background, and
seem, for this reason, to attain an added glory [7].
Byzantine mosaic is the most organic—perhaps the only organic medium
used in wall decoration—always an integral part of the building and equally
durable. Everything is placed in accordance with its functional activity and
varies in the use of light with the nature of the instantaneous disinterested
action it is to evoke. Like calligraphy these representations are on a flat surface,
the integrity of which would be lost if the artist attempted to create the illusion
of space—the illusion of holes in the wall. Instead, by means of simple con-
ventions of modelling in scale, incredibly subtle in their execution and with
no use of linear perspective, the artist suggests the plastic form of the object
he wishes to represent, not for information but to change the perception of
the onlooker and lead him to reality [8].
The seated figure of Christ, considerably larger than that of the Emperor
and Empress, dominates the standing figures beside it by its size, its dignity,
and the depth of the blue of His vestments. These contributory figures lend
emphasis to this domination by the slight inclination of the body, the turning
of the head, the direction of the eyes, and the gesture of the offering of the
gifts. Even the jewels of the imperial robes reappear on the book of the
Gospels and on the throne in this progressive ordering of matter, which reaches
through the right hand of Christ a focal point in the beholder.
CHRIST
The face of Christ is an ascetic face; palest flesh-tinted marble, perhaps from
Algeria [9], gives a vivid pallor as if of interior light. Deep violet eyes, like
refulgent obsidian, are turned in searching gaze. Light brown hair, parted in
the middle, falls wavy to the back of the neck, three small locks lie on the
centre of the brow. Both sides of the forehead are partly covered by the hair,
leaving the lobe of the ear visible. A thin drooping moustache and short brown
beard, slightly curled at the tip and darker in tone than the hair, accentuate