The author argues that the mosaic of Justinian and Constantine offering gifts to the enthroned Virgin and Child in the southwest vestibule of Hagia Sophia, Istanbul, presents the viewer with an image of salvation. Previous interpretations of the mosaic focused on the offerings of the models of Hagia Sophia and Constantinople as images of church and state, victory in battle, or symbolic of imperial power. While the display of imperial power is undeniably present in the mosaic, the emperors are represented in a humbled position, in mimesis of the Magi, offering their gifts in hope for eternal life. In Chapter One, I analyze the physical setting of the mosaic in the southwest vestibule and the techniques employed by the artists in the construction of the work. The figures of the Virgin and Child, the Emperors Justinian and Constantine, and the Hagia Sophia and Constantinople models are described and analyzed. In Chapter Two, I argue that the exact date of the mosaic is unknown, but find that the Patriarchs of Constantinople likely had the final word on the set-up of images in Hagia Sophia after the period of Iconoclasm, and that the mosaic was probably a commission from Emperor Basil II. In Chapter Three, I analyze the mosaic's iconography of salvation, which is derived both from the Gospel of Matthew's account of the Adoration of the Magi and Greco-Roman images depicting supplication. The emperors are depicted as supplicants offering gifts in mimesis of the Magi in the hope for eternal life. In Chapter Four, I examine how Justinian and Constantine were considered the Byzantine paradigms par excellence of kingly wisdom who worked on behalf of the salvation of the soul and the empire, and how the mosaic is a visual statement on religious and political orthodoxy. In Chapter Five, I propose that the arch overhanging the mosaic is symbolic of the caves of Jesus' birth and tomb. In Chapter Six, I examine how the Virgin Mary is depicted in the mosaic both as the Temple of Wisdom through whom Jesus received his incarnation and humanity's greatest intercessor in the court of heaven. In Chapter Seven, I analyze how Jesus is visualized as the Christ Child, the Ancient of Days, holy wisdom, and salvation. Chapter Eight examines the mosaic, imperial ceremonies, and the liturgy of Hagia Sophia. The mosaic's image of imperial donation is a representation of the adventus, the ceremonial arrival of the emperor into the church with gifts. Two important arrivals into the church occurred on Christmas and Pentecost, when the emperor was hailed respectively in terms of Magian mimesis and as the successor to the apostles. / A Thesis submitted to the Department of History and Criticism of Art in partial fulfillment of the requirements
for the degree of Master of Arts. / Spring Semester, 2013. / April 1, 2013. / Byzantine, Ceremony, Liturgy, Mosaic, Salvation / Includes bibliographical references. / Paula Gerson, Professor Directing Thesis; Karen A. Bearor, Committee Member; Lynn Jones, Committee Member.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_253330 |
| Contributors | Demos, Louis (authoraut), Gerson, Paula (professor directing thesis), Bearor, Karen A. (committee member), Jones, Lynn (committee member), Department of Art History (degree granting department), Florida State University (degree granting institution) |
| Publisher | Florida State University, Florida State University |
| Source Sets | Florida State University |
| Language | English, English |
| Detected Language | English |
| Type | Text, text |
| Format | 1 online resource, computer, application/pdf |
| Rights | This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). The copyright in theses and dissertations completed at Florida State University is held by the students who author them. |
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