Hagia Sophia, Constantinople: Religious images and their functional context after iconoclasm

This article examines the mosaic images in the apse and tympana of Hagia Sophia that have been attributed to the reigns of the emperors Basil I (867-886) and Leo VI (886-912). In the past, scholars have discussed these images through the lens of theological and political developments of the period....

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Main Author: Teteriatnikov Natalia
Format: Article
Language:deu
Published: Faculty of Philosophy, Belgrade 2004-01-01
Series:Zograf
Online Access:http://www.doiserbia.nb.rs/img/doi/0350-1361/2004-2005/0350-13610530009T.pdf
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author Teteriatnikov Natalia
author_facet Teteriatnikov Natalia
author_sort Teteriatnikov Natalia
collection DOAJ
description This article examines the mosaic images in the apse and tympana of Hagia Sophia that have been attributed to the reigns of the emperors Basil I (867-886) and Leo VI (886-912). In the past, scholars have discussed these images through the lens of theological and political developments of the period. Several unusual aspects of the program, the choice of images, the body language of the figures, and the specific orientation of the images vis-à-vis liturgical and imperial ceremonies and rites have not been given sufficient attention. An examination of the apse and tympana programs shows that probably both were planned together to reflect the functional needs of the congregation that worshipped in Hagia Sophia.
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spelling doaj.art-7721924c850e4771828a98640ebf38922022-12-21T19:01:44ZdeuFaculty of Philosophy, BelgradeZograf0350-13612004-01-012004-20053091910.2298/ZOG0530009THagia Sophia, Constantinople: Religious images and their functional context after iconoclasmTeteriatnikov NataliaThis article examines the mosaic images in the apse and tympana of Hagia Sophia that have been attributed to the reigns of the emperors Basil I (867-886) and Leo VI (886-912). In the past, scholars have discussed these images through the lens of theological and political developments of the period. Several unusual aspects of the program, the choice of images, the body language of the figures, and the specific orientation of the images vis-à-vis liturgical and imperial ceremonies and rites have not been given sufficient attention. An examination of the apse and tympana programs shows that probably both were planned together to reflect the functional needs of the congregation that worshipped in Hagia Sophia.http://www.doiserbia.nb.rs/img/doi/0350-1361/2004-2005/0350-13610530009T.pdf
spellingShingle Teteriatnikov Natalia
Hagia Sophia, Constantinople: Religious images and their functional context after iconoclasm
Zograf
title Hagia Sophia, Constantinople: Religious images and their functional context after iconoclasm
title_full Hagia Sophia, Constantinople: Religious images and their functional context after iconoclasm
title_fullStr Hagia Sophia, Constantinople: Religious images and their functional context after iconoclasm
title_full_unstemmed Hagia Sophia, Constantinople: Religious images and their functional context after iconoclasm
title_short Hagia Sophia, Constantinople: Religious images and their functional context after iconoclasm
title_sort hagia sophia constantinople religious images and their functional context after iconoclasm
url http://www.doiserbia.nb.rs/img/doi/0350-1361/2004-2005/0350-13610530009T.pdf
work_keys_str_mv AT teteriatnikovnatalia hagiasophiaconstantinoplereligiousimagesandtheirfunctionalcontextaftericonoclasm