Good Shepherd : A Formal Analysis : Iconography Of The Good Shepherd

On the lower half is an organization of geometric forms. However, the most important mosaic is the representation of Emperor Justinian and Emprise Theodora. Justinian is presented holding a bowl of Eucharistic bread as Theodora carries a chalice or vessel of Eucharistic wine. Due to the orientation of these figures and the ones that surrounds them, it could be suggested that they represent bringing Eucharistic elements into the church. Perhaps even as an offering to christ which is reinforced by the three magi bearing gifts on Theodora's rob.

Gorgeously. Striking. Grace. The golden painting is taking up by the two most iconic symbols of Christianity: Jesus Christ and Virgin Mary. Christ gently placing a golden grown on the inclined head of the Virgin Mary, who is sitting on the right side of Jesus; her hands crossed over her chest symbolist of humble, reverent and loyalty. This position was purposely set by Fabriano. In Christianity art, position is significant in dividing between good manners and malefactors. For instance, in The Last Judgment by Giotto di Bondone in 1305, heaven was placed on right of Christ, and hell was on the left. This ideology was clearly stated in the bible “...before him shall be gathered all nations:

Early Christian and Byzantine art started after Jesusí death in the first century ranging and ending to the fourth century AD. The art produced during this period was secretive because Christianity was not a formal religion but as a cult; the Romans and rest of Europe persecuted Christians so the artist disguised their work with symbols and hints of Christian aspects. Christianity was the first cult to not involve rituals of sacrifice of animals and refused to worship an Emperor causing the Roman Empire to make Christianity illegal. Byzantine art excelled in the Justinian period in the east during 520-540 AD. The art was produced in Ravenna, Byzantine, Venice, Sicily, Greece, and Russia. The

1. The Christ as the Good Shepherd mosaic located on the entrance wall of the Mausoleum of Galla Placidia in Ravenna, Italy was made circa 425 AD. A mausoleum is a monumental tomb, usually meant for entombing the dead above ground. The mosaic is displayed in a lunette-a semi-circular wall of a vaulted room. Even though the image of Christ as the Good Shepherd was a common one in catacombs in previous centuries, the way that Christ was shown in art had changed since Christianity had been adopted as Rome's official religion and the image of Christ in the Mausoleum of Galla Placidia was no different. Previously Christ had been shown as a simple carpenter, but in the Christ as the Good Shepherd mosaic he is shown in a fine Roman wear. At the time, Greeks thought that they could create order within their environments and thus create statues that were "perfect." This is what they believed they were doing with the way Christ was shown in the mosaic at the Mausoleum of Galla Placidia; creating a more worldly, powerful image of Christ. Christ is shown with a large golden nimbus (halo), a royal purple mangle over a golden tunic and holding a tall cross. Also depicted in the mosaic at the Mausoleum of Galla Placidia is a set of three sheep on each side of Christ, with him touching one on the nose.

This essay attempts to describe analyze and evaluate the famous painting "The Adoration of the Shepherd" by Giorgione (originally Giorgio Barbarelli). In the following essay there will be three main sections:

What is truly great about certain artworks from this time period is they convey different messages to different groups of people. It comes down to how each individual interprets the art work and the meaning within. The author says something in this essay that more or less summarizes Emperor Justinian’s mosaic, “…it is possible to see all the necessary elements of Grandeur; Solemnity tempered by brilliance and abundance.” Emperor Justinian was certainly one that took great pride in himself and what he accomplished and it is accurately depicted in this mosaic. Across from Emperor Justinian’s mosaic, there is the image of his spouse Theodora who gives us a glimpse of her ruthless ambition. The first thing that caught my eye was the amount of pearls she was wearing and how she stands out from the people surrounding. She is seen a bit closer to the viewer, as if she is standing in front of the rest. This was perhaps done to emphasize her superiority. Theodora seems to be carrying a chalice of holy wine, which could potentially represent Christ's sacrificial

1. Beckwith, John, Early Christian and Byzantine Art, Penguin History of Art (now Yale), 2nd

Christ has been a subject for artists for many years. However, how he is interpreted greatly changes depending on the message the artist wants Christ to portray. The Good Shepherd and the Last Judgement are both good examples of christ imagery that both express very different messages through Christ.

The first sight of this painting extremely moved me. In this work, no other figures are represented and the setting is not recognizable. In the depth of his eyes one can see the suffering and pain for our human sacrifice. As well as this one can also see the holy look on the facial expression as he gently carries the cross. On the cross, above the left hand in Greek letters, “domenikos theotokopoulos epoiei” is written. “Christ Carrying the Cross” is one of the most intriguing work of art. It belongs to Robert Lehman collection since 1953. Its size is 41 3/8 * 31 in. (105 * 79 cm) and the material used to make it is oil on canvas.

This essay starts with the use of Roman architecture to practice Christianity. Then I will write about how the image of the Roman emperors became the inspiration for the image of the Jesus. Finally I will discuss the way Romans used the same iconography and narrative they already had as a formula to image the bible.

how were images used in byzantine worship?
-Christians in Byzantine prayed to Christ, Virgin Mary, and saints

Emperor Justinian's most important surviving work in the East territories of Byzantium is in the church of St Catherine's Monastery on Mount Sinai. In the great Transfiguration mosaic in the apse, the figures represent again the traditional Byzantine art. They represent solid, large and holey presences which look ethereal in front of a golden background. Nevertheless compared with the church of St. Vitale in Italy the characters in Transfiguration appear less inflexible and deficite, while the looking freer. Yet we can notice the same representation of Byzantine body with limbs being abnormally articulated while the body misses the exact shape. This make the characters on the mosaics, or even paintings and icons appear almost like an assemblage

This article provided new information about Marian reliefs that I had never considered, before. In Johnson’s writing, she describes the role of Marian relief sculptures in fifteenth century Italy. The most interesting aspects of these sculptures was the role they played in worship and marital rituals. In this essay, I will discuss Johnson’s writings about the necessity of naturalistic sculptures and Marian reliefs’ part in these rituals.

When images were created of spiritual beings people began questioning whether or not images should even be allowed in any place of worship. The question was asked, “Is it appropriate to pray to an image created by an artist”? The image of the Virgin and Child was created after the iconoclasm period which made this piece especially important because many art pieces created before were destroyed. Iconoclasm was a very important and destructive period during the Byzantine Empire. Many religious pieces were destroyed. Due to this fact it caused an imperial ban on images. . When the mosaic was unveiled there was a sermon read. “Christ came to us in a flash and was born in the arms of his mother”. The unveiling of this mosaic was after the iconoclasm period which made this time so special and important. This occasion was a staple in the rebuilding and recreating of what was lost and

The Priests were the people of the highest power because of how religious the Indus valley civilization was. There was really no evidence of any weaponry of such and not that much indication of warfare of any kind. Symbols made of very rich material were worn by rulers to show that they were indeed rulers. Each person had their symbol to show whether they were just traders or peasants or if they were rich, or in high power.