FRAGMENT OF A FLOOR MOSAIC Essay Example
FRAGMENT OF A FLOOR MOSAIC Essay Example

FRAGMENT OF A FLOOR MOSAIC Essay Example

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  • Pages: 8 (1984 words)
  • Published: August 22, 2018
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The bejeweled lady, who holds the measuring instrument for the Roman foot, can be identified as Ktisis in the reestablished Greek engraving. Ktisis represents the demonstration of liberal gift or establishment. Initially, the man with a cornucopia stood beside her, and his Greek engraving near his head read "great," which was likely part of a phrase that expressed "great wishes." This section, consisting of marble and glass tesserae, is a typical example of the beautiful mosaics created during the Byzantine era in the 500s. The Metropolitan Museum has restored these two figures separately, based on a photograph provided by a merchant showing their original design while they were temporarily separated. (H;gele, 2013).;;

The early Byzantine Empire's specialty exemplifies the earliest Christian Art, although not all of the artwork from this region was sol

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ely based on Christian beliefs. There was a distinct aesthetic of Byzantine Art that went beyond religion and entered the mainstream world. Additionally, traces of pagan ideology, such as the representation of meditation, were still evident in much of the early art. It is also important to consider the socio-political context of the time. All of these ideas come together to provide a comprehensive understanding of "Piece of a Floor Mosaic with a Personification of Ktisis."

The portrayal of the piece is most appropriate, as it was my introduction to it. It consists of marble and glass fragments set in concrete or mortar. The piece measures 53 3/8 by 33 inches, making it large and impressive at first glance (Heilbrunn Timeline of Art History", 2009). The mosaic is mounted on a wall in a separate recess without glass. The color palette includes earth tones like

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cream whites, dark browns, and grays, with hints of black, bright yellow, soft pink, and rusty red. Some regions feature small areas of blue created using blue glass fragments. The tesserae used are small squares measuring less than one centimeter and arranged precisely. Given its placement on the floor, it makes sense that the mosaic is made from durable marble to withstand foot traffic (Britannica, 2009).

The artwork showcases a distinct sculpture of a woman's bust. She possesses short hair below her ears and captivating eyes. Her nose is straight and well-defined, while her small mouth carries a slight smile. Rosy cheeks add a gentle touch to her complexion. Dangling from her ears are large pendant earrings. Adorning her neck is a petite necklace, followed by the elaborate neckline of her attire. Upon closer inspection, I noticed that the intricate patterns on the clothing feature circular blue glass fragments that exhibit more shine than the surrounding marble. Secured by a pin, she wears a shawl on her shoulders with another small blue glass piece embedded within it—this use of glass potentially symbolizing opulence and social standing akin to pearls. From beneath the shawl, we can see her hands holding a measuring instrument for Roman foot—a string fragment serves this purpose precisely. Positioned above and to the left of her head, there exists an incompletely restored Greek inscription identifying this figure as Ktisis ("Heilbrunn Timeline of Art History," 2009).

To the left of her, there is a male figure dressed in blue and red, holding a cornucopia. He is facing halfway to the side, with his feet and knees turned towards Ktisis, while the rest of his body

is facing forward. He is smaller than Ktisis but has a similar face with large eyes and stoic features. He wears a blue tunic that reaches his knees, along with boots with red trim. He has a reddish wrap or cloak on his shoulders and torso, which drapes behind him and to the left. He carries a large cornucopia overflowing with fruits, holding it to his right and gesturing towards Ktisis. Next to his head, there is a Greek word meaning "good." It is believed that there would be a similar figure on the opposite side of Ktisis in the complete mosaic, with the entire inscription reading "good wishes." ("Heilbrunn Timeline of Art History," 2009)

Within the empty space surrounding the two figures, there are triangular outlines resembling small blooming petals. The depiction of the two figures is remarkably impressive, as it showcases a clear portrayal of light and dark separations in their draped clothing. The arrangement of tiles along specific lines creates a sense of form and depth. Notably, there is a faint line on the right side of Ktisis, starting from her neck and extending along her shoulder and arm, which effectively represents a shadow. Interestingly, this line is not present on the opposite side of the figure, possibly indicating an understanding of three-dimensional representation on a flat surface. Overall, this artwork is quite breathtaking when viewed in person, serving as an outstanding example of the exceptional craftsmanship and meticulous detailing found in mosaics from the early Byzantine Empire.

The piece was created between 500 and 550 C.E. during the early years of the Byzantine Empire, particularly under the reign of Justinian. This period is

often considered the empire's golden age. Justinian became emperor in 527 after his uncle Justin I passed away. Initially, he was not very popular as a period of civil unrest occurred in 532, leading to riots and the destruction of a significant portion of Constantinople's church and city buildings (Streams, 2009). However, this destruction provided Justinian with an opportunity to rebuild the Byzantine palace according to his own vision.

Throughout his reign, Justinian was able to unite a vast territory encompassing Israel, North Africa, Italy, and the northern Mediterranean coast. His lasting legacy can be seen in the arts and architecture. Following the riots in 532, extensive building projects were undertaken not only in Constantinople but also in places like Ravenna and various locations throughout the Mediterranean. The pinnacle of this construction period is arguably the Hagia Sophia, a basilica that was reconstructed under Justinian's rule. Many other churches and public buildings were also built in the aftermath of the riots, as well as in newly conquered areas such as the Church of San Vitale in Ravenna.

To complete these grand projects, a significant amount of money was needed. Justinian and his wife Theodora, as well as the wealthy people living near major trade routes, were patrons of the arts. Both land and sea routes provided wealth to the region, as well as treasures from defeated Germanic tribes (Stokstad, 2009). With a steady supply of money necessary to continue construction, it is not surprising that some of the popular art of the time was understood as propaganda or encouragement (Eaton-Krauss, 2015).

Throughout the Early Byzantine Empire, established practices and agnostic thoughts of exemplification of deliberation coexisted with Christian

artistry. The Personification of Ktisis serves as a possible example of this. This concept of embodying a general idea is not novel or unprecedented. Greek agnostic deities such as Apollo were also popular in art, representing inspiration in a non-idealistic manner.

The word Ktisis is commonly understood to mean creation or establishment (Thayer and Smith, 2009). By considering the formal representation of the embodied figure and the dynamic idea she represents, one can make reasonable assumptions about the meaning and purpose of the mosaic. The figure holds a Roman foot, symbolizing measurement, and the word crisis suggests she is empowering building or the establishment of something larger. However, there is more to the representations and imagery. Her luxurious gems indicate her association with the elite of society, which is likely the desired outcome of her representation. The smaller figure next to her adds further context to the entire piece (Bohm-Parr, 2008).

The man appears to be offering a wealth of resources to the woman, as if it were a gift. The overflowing depiction of wealth clearly connects to the idea of a gift given to the community. The inscription near the head of the male figure states "good wishes," which can be seen as words of support and gift. Overall, this artwork serves as a promotion or aesthetic advertisement for urban purposes. According to the Metropolitan Museum of Art's description, the mosaic was placed in a public building, further emphasizing its intention to promote a positive attitude among the wealthy citizens of the realm. Through my research on "Part of Floor Mosaic with a Personification of Ktisis," I have gained a deeper understanding of Byzantine Art beyond

its Christian ideology. I have also realized that these exceptional examples of fine aesthetics can have significant political motivations.

During the Middle Ages, artistry was heavily influenced by traditional vestiges. In Christian art, artists often incorporated old themes and drew inspiration from classical history and legends to promote proper conduct. The Byzantine Empire in the east embraced numerous ancient traditions, which were evident in their art through shape, embellishment, and iconography that conveyed a classical awareness. Even in the far west, the traditions of the Germanic tribes were combined with classical traditions. A resurgence of classical art took place in the ninth century during Charlemagne's reign.

To comprehend the integration of Greco-Roman elements in the visual arts, familiarity with the historical background of this era is essential. Despite the Roman Empire's decline, its traditions persisted. The Byzantine and Carolingian Empires recognized the significance of classical education and safeguarded the classical legacy, enabling contemporary examination.

Emperor Constantine the Great (r. 306-337) founded Constantinople, marking the start of the Early Byzantine period. The new capital was strategically situated in Byzantium, a Greek port city. Its location played a significant role in the empire's prosperity as it served as a central point connecting the western and eastern regions of the Roman Empire. This facilitated control over trade routes between Europe and the East, contributing to its success (Melikian-Chirvani, 1997).

A Byzantine mosaic made in the mid-sixth century showcases a traditional motif that continued into the Christian era. Stoic Philosophers created exemplifications of figures representing unique ideas. One such figure is the Personification of Ktisis, a richly adorned lady. The Greek inscription above her head has been restored to reveal her

identity as "Kiss," representing the embodiment of a gift or establishment. What also distinguishes her is the object she holds in her hand, a Roman measuring device.

Investigation has revealed that originally, the plaque was painted with vibrant colors, which is drastically different from its current appearance. In the tenth century, it featured a blue background made of lapis lazuli, rosettes painted in dark red, and the armor and helmets were highlighted in gold. Visualizing the scene with these vibrant colors allows us to establish a connection with illuminated manuscripts (Melikian-Chirvani, 1997). The Joshua Roll from the tenth century, during the Middle Byzantine Renaissance, is a potential source for the plaques depicting the story of Joshua. The creation of the Joshua Roll aimed to showcase the Emperor's interest in reviving classical art and his fascination with Joshua's life. Joshua was a popular figure, like many tales from the Old Testament, due to his portrayal as a great biblical hero and his alignment with the ideals of the Macedonian Renaissance.

During the Macedonian or Middle Byzantine Renaissance, Emperor Basil I played a significant role in promoting Byzantine craftsmanship and banning symbols. The Middle Byzantine Empire highly valued the Old Testament due to its association with the Jews and their successful military campaigns against the Arabs, similar to their earlier victories centuries ago (Bohm-Parr, 2008).

REFERENCE

The book "Colour in Sculpture: A Survey from Ancient Mesopotamia to the Present" by Hagele, H. was published by Cambridge Scholars Publishing in 2013.

Sims, E., Marshak, B. I., & Grube, E. J. (2002). Peerless images: Persian painting and its sources. Yale University Press.

The book "European Prehistory" by A.F. Harding (2002), specifically the chapter on The

Bronze Age, covers the period from pages 271 to 334.

Bohm-Parr, J. (2008). The iconography of color: exploring glass as a jewelry medium (Doctoral dissertation, James Cook University).

Eaton-Krauss, M. (2015). The Unknown Tutankhamun. Bloomsbury Publishing.

Melikian-Chirvani, A. S. (1997). Precious and Semi-Precious Stones. Early Iranian Jade. Bulletin of the Asia Institute, 11, 123-173.

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