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A comparison of orthodox and Arian depicting of christ in the late antigue iconography
Šprta, Marian ; Lášek, Jan Blahoslav (advisor) ; Hrdlička, Jaroslav (referee)
This work has a difficult task to try to summarise the difference between the orthodox and Arian iconographic concept of depicting Christ, mainly in late antiquity. The issue is taken from the point of systematic theology, ecclesial history and the history of art. The memory of Arianism, as the most widespread form of heresy, was a real threat for the church in the 3 rd century and therefore was almost fully eradicated. Arianism was met with the usual punishment of bad roman emperors - damnatio memoriae. It was be forgotten forever. So, all we know is taken from Arianism's opponents, orthodox Catholic historians and scholars. This concerns theological works as well as visual art works. When we study the theological background of this form of heresy, we see Jesus Christ as the first, the highest and the noblest creation of all, but as nothing more. God the Father, the only one, according to Arius, a presbyter from Alexandria, the founder of Arianism, is completely independent. He can not to have any Son. He cannot even be the Father. On principle God the Father is different from Jesus Christ the Son. The next progression in Arianism stated that the Son and the Father are alike. Arius's main opponent Athanasius, later orthodox bishop of Alexandria, insisted on the full godliness of Jesus Christ as the Son of...
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A comparison of orthodox and Arian depicting of christ in the late antigue iconography
Šprta, Marian ; Lášek, Jan Blahoslav (advisor) ; Hrdlička, Jaroslav (referee)
This work has a difficult task to try to summarise the difference between the orthodox and Arian iconographic concept of depicting Christ, mainly in late antiquity. The issue is taken from the point of systematic theology, ecclesial history and the history of art. The memory of Arianism, as the most widespread form of heresy, was a real threat for the church in the 3 rd century and therefore was almost fully eradicated. Arianism was met with the usual punishment of bad roman emperors - damnatio memoriae. It was be forgotten forever. So, all we know is taken from Arianism's opponents, orthodox Catholic historians and scholars. This concerns theological works as well as visual art works. When we study the theological background of this form of heresy, we see Jesus Christ as the first, the highest and the noblest creation of all, but as nothing more. God the Father, the only one, according to Arius, a presbyter from Alexandria, the founder of Arianism, is completely independent. He can not to have any Son. He cannot even be the Father. On principle God the Father is different from Jesus Christ the Son. The next progression in Arianism stated that the Son and the Father are alike. Arius's main opponent Athanasius, later orthodox bishop of Alexandria, insisted on the full godliness of Jesus Christ as the Son of...
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Ravennate Marble Trade in the Late Antiquity: Material from the San Severo Complex
Tůmová, Helena ; Ondřejová, Iva (advisor) ; Bouzek, Jan (referee) ; Cantini, Federico (referee)
This thesis aims to study the commercial mechanism of Ravenna in the Late Antiquity from the point of view of the amount, type and provenance of the imported stone artefacts (fragments of architectural decoration, revetments slabs, opus sectile, sarcophagi), based on the study of archaeological material from the site of the basilica and the monastery of San Severo in Classe (Ravenna). Ravenna represented an important administrative and cultural center in the 5th and 6th century, connecting western and eastern artistic influences and focusing herself on trade and production. Determination of the stone artefacts from the San Severo locality was principally based on the archaeometric methods and on the combination of archaeologic and geologic approach as well. Specific archaeometric methods (macroscopic, geochemical and mineralogical-petrographic analyses) together with a quantitative evaluation were applied. Many scientific works, dedicated till this time to the art history of late antique Ravenna and dealing also the argument of ravennate "marbles" presumed the prevailing provenance from Proconnesos and usual commercial relations between Ravenna and Constantinople as well. Constantinople played a role of a mediator of oriental localities and Ravenna. The hypothesis concerning the provenance of the...
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The Christian plastic arts and painting - the beginning and the development
STIBOROVÁ, Lenka
The paper deals with early Christian painting. I tis divedid into three main parts. The first part includes the emergence of Christianity and life of Jesus Christ. Also deals with the Christian symbolism in the painting. The second part is primarily devoted to art of the catacombs, where there are lots of murals painting by early Christians. Also includes chapters on biblical topics and techniques of mural painting. The third part is devoted to the further development of early Christian painting. It includes the golden age of Byzantine art, describes the art of mosaics in Ravenna monuments. The objective of my paper is understanding of basic and essential information about early Christian painting and outline its development. The emergence of Christian art is one of the most important historical events in the history of art.
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