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Five-domed churches have been extensively studied by Byzantine scholars. Varied in their aesthetic and structural features, the churches have been the subject of numerous discussions regarding their origins and symbolic meaning, as well as their complex spatial and architectural articulation. While distinguished for their sophisticated architectural techniques, the churches also provided fertile soil for the appearance of new iconographic elements that significantly impacted programmatic solutions and spatial articulation of the interior decoration.
This chapter aims to further our understanding of the five-domed churches in Byzantium by examining possible models or prototypes for these monuments and the ways in which they were perceived by medieval beholders. Were five-domed churches a separate group of Byzantine buildings marked by their distinctive exterior and, as such, an architectural type, or were they based on a common prototype, carrying a deeper symbolic message that would distinguish them as the manifestation of an archetypal icon? In answering these questions, the author examines structural and architectural features of the buildings, the programmatic specificities of their decorative ensembles, and literary sources relevant to understanding Byzantine perception and reception of these monuments. The chapter demonstrates that very few, if any, compositional elements in Byzantium, architectural or decorative, express purely formal and aesthetic concerns. Rather, the placement of subsidiary domes at the outermost corners of the building, along with a clearly expressed programmatic unity of the images in the domes, suggests that the five domes are not to be viewed as five isolated segments of heaven, but as a single unit, for there is only one celestial sphere and it is not fragmented. Thus, rather than copying one or any specific edifice as a model, the five-domed churches reflect the archetype of a dome, domical vault, or heavenly canopy.
This book addresses typology of Late Antique and Byzantine art and architecture in eight wide-ranging contributions from an international group of scholars. A dialogue between type and its ultimate source, archetype, surpasses issues of formalism and conventional chronological narratives to suggest a more nuanced approach to typology as a systematic and systemic classification of types in the visual landscape of the pagans, Jews, and Christians.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
This book addresses typology of Late Antique and Byzantine art and architecture in eight wide-ranging contributions from an international group of scholars. A dialogue between type and its ultimate source, archetype, surpasses issues of formalism and conventional chronological narratives to suggest a more nuanced approach to typology as a systematic and systemic classification of types in the visual landscape of the pagans, Jews, and Christians.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.