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Unit 2 Paper – HARBAVILLE TRIPTYCH
[Name of the Writer]
[Name of the Institution]
Unit 2 Paper – HARBAVILLE TRIPTYCH
Introduction
This masterpiece of Byzantine art that is identified as Harbaville Triptych holds much significance and importance in the Christian worldview. This piece of art shows interesting elements of sculpture, precision, nobility, and humanitarianism (Cutler, 1998). This art was made in the middle of the 10th century and is regarded as the finest and best-preserved piece of art for all centuries to come in the French empire. This art that was made by the “Romanos group” is closely connected with the characteristics of the Imperial Court. This essay would discuss the significance of this art and the sculptures inside of it. It would recognize the people that are drawn in the art, and the meaning behind what is being displayed by the statues. The essay would summarize the art through presenting the Christ, Emperor, and the Deesis, the Virgin, and the Baptist (Kalavrezou, 843 AD). Moreover, showing the two side panels and the people standing on those panels, such as the holy martyrs, the apostles, bishops, and the sacred soldiers.
Discussion
Identification
The legacy of this art presents itself on the central panel which consists of so many significant characters such as the Deesis, the Saint, the Virgon, and the holy martyrs and bishops. Each character holds a cultural and religious aspect which unfolds an elegant prospect. This art that is referred to as the masterpiece of Byzantine criticizes the characteristics of the Macedonian emperors. The art encompasses and represents a revival of Macedonian dynasty that was made and identified in the middle of the 10th century (867 – 1057). It shows some useful characteristics such as classical antiquity, oriental influences, and the similar Christian tradition which centralizes the characters (Levin, 2018). This whole scenario of a prayer going on in the art identifies the Deesis and the Baptist, and the number of martyrs placed inside the panels. Various animals are also a part of this art through the flat work.
This art presents itself as an imperial workshop that provokes a decades work of culture and tradition, all wrapped into this particular work of art. The work of Christ is showing that the crown prince is giving the crown to the emperor (Pentcheva, 2010). There is a striking resemblance of the Christ in the Romanus with another aspect or character. This imperial court of Constantinople in which the whole setting is displayed through capturing it in the form of art illustrates the cultural and vigorous religious structure. The second half of the 10th century came with more surprises that included similar artwork, based on sculptures and Greek mythology. Moreover, another famous example of artwork can be taken as the Palace of Venice, that was located in France in a cathedral. The history of this Romanus group, the Harbaville family, and the Byzantine art, all connect in a single artistic mindset.
Conclusion
The aforementioned art presents an understanding of the culture by presenting different forms of representation. Each story and specification of the character holds significant meaning. Moreover, this particular form of art is highly culturized and expensive when it comes to selling it in the market. This art was introduced in the 10th century, which makes it one of the oldest works in art for all times. The older the art means, the more golden, unique, and meaning that becomes. For this specific piece, the art tries to capture the attention through its presentation of culture and the laws that were apart of the system at that time. The characters that are drawn are the Virgin, the Baptist, role in crowning the new prince and the structure of the system.
References
Cutler, A. (1998). A Byzantine Triptych in Medieval Germany and Its Modern Recovery. Gesta, 37(1), 3-12.
Kalavrezou, I. The Harbaville Triptych. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, AD 843, 1261, 133-134.
Levin, W. R. (2018). The Bigallo Triptych: A Document of Confraternal Charity in Fourteenth-Century Florence. Confraternitas, 29(1).
Pentcheva, B. V. (2010). Icons and power: the Mother of God in Byzantium. Penn State Press.
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