San Vitale, Ravenna발음듣기
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San Vitale, Ravenna
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출처 : 칸아카데미
San Vitale, Ravenna
We're in the Italian city of Ravenna standing outside the Church of San Vitale.
This is a really important 6th century church, it's just really old.
And it's unusual in that it's essentially a planned church.
That means its focus is on its center instead of a basilica which has a long or longitudinal axis.
Right. When we think about a church we generally think about a building shaped like a cross and it has that long hallway, the nave.
This doesn't have that.
Instead it has an ambulatory or aisle that surrounds its central space.
In this particular case on the east side of the church there is also an extension with an apse at the end.
Looking at the outside of San Vitale we see that it has eight sides, so it's an octagon and within that octagon there's a smaller octagon that rises higher.
The exterior of the church is brick.
Those bricks were taken from ancient Roman buildings and were reused here in the 6th century.
The walls are pierced with lots of windows and that's especially important because the interior is covered with some of the most magnificent mosaics that survive from the early Medieval period.
And of course you'd want that light glistening on the gold and beautifully colored mosaics let's go inside and have a look.
We've walked into the church and the center towers over us.
And yet these apse-like shapes that are supported by columns undulates and moves around us.
There are massive pillars that support the building, but there's also a real delicacy.
Look for instance at the way the columns are doubled, that is the stacking of one set of columns above the next.
And they move in and out back into the space of the ambulatory on the ground and up into the gallery above.
But the real gem in this church can be seen on the east end.
Let's walk over there.
The eastern end of San Vitale is completely covered in dense mosaic.
These tiny pieces of glass and glass sandwiched in gold that reflect the light.
We're walking up towards the apse now: this semi-circular space.
There are three large windows and just above that, a large apse mosaic.
And in the center we see Christ dressed royally in purple sitting on orb the orb of the Earth, of the Universe.
Below flow the four rivers of Paradise, and on either side of him an angel.
Christ is holding the Book of the Apocalypse with the Seven Seals visible, and in his right hand he's handing a crown to San Vitalus, who was adopted as the primary martyr of this city.
And on the other side we see Ecclesius who founded and sponsored the building of this church and we see him handing the church to the angel beside Christ.
Every surface here in the apse is covered with imagery with figures with decorative patterning.
The only surfaces that really are stone are of a very decorative marble, cut to pair and create wonderful abstract designs.
It is this lush, glorious space, here in this city that's distant perhaps from the capital of the Empire, but that speaks to its importance.
Right above the altar we see an image of the Lamb of God, and the Lamb of God refers to Christ.
He's wearing a halo.
This ideas of Christ as the sacrificial lamb sacrificed for the redemption of mankind.
The lamb is surrounded by a wreath of victory, in this case the idea of the triumph of Christianity itself, and that wreath is held in place by four angels who stand on globes that refer to the globe on which Christ in the apse sits.
And then we see Christ again, but this time older, in the archway at the beginning of the chancel.
Right the triumphal arch has Christ in the center.
It's really a kind of bust-length portrait, and his body is surrounded by a mendorla kind of rainbow-colored halo, and then moving down the arch on either side are fourteen figures, including the Apostles.
We see scenes from the Old Testament specifically the ones that prefigure the life of Christ and Christ's sacrifice, and we see scenes from the New Testament.
There are also fabulously decorative columns, made out of a high-quality marble that was brought from the east.
What's most remarkable about these columns for me is that we've really left behind the Classical Orders.
These are not Doric, they're not Ionic, they're nor Corinthian.
They are the early Christians trying to invent a new iconography for their architecture.
And on top of the capitals we see something called impost blocks, that help make the transition up to the arches.
The two most important mosaics in San Vitale flank the apse.
And those show the Emperor Justinian and his Empress Theodora.
Now Justinian and Theodora never actually came to Ravenna.
And they're in the mosaics we think, to reassert their control over the city.
For much of the 400s, Ravenna was under the control of a Goth, Theodoric.
And Theodoric was an Arian, that is he didn't follow the Orthodoxy, the Orthodox doctrines of the Church.
And basically the Arians believed that Christ was the creation of God the Father, and therefore was subordinate in the hierarchy of the Trinity.
Christ wasn't co-equal with God the Father the way he is in Orthodox Christian belief, and so, Justinian, the Emperor in Constantinople in the early 500s, sends his general Bellesarius to conquer Italy to reconquer Ravenna, and re-establish Orthodox Christian belief here in Ravenna.
And the Arian belief was suppressed, and so what we're seeing here is the reassertion of eastern Imperial control, that is Justinian is in Constantinople, in the East, and he is saying I'm in charge, even here, in Ravenna, in Italy.
Spiritual power goes hand-in-hand with political power, with the power of the Emperor.
We see Justinian in the center, wearing purple, the color that is associated with the Throne.
He's surrounded by his court, but there are also religious figures, representing the Church, and there are soldiers; three centers of power: the Church, the Emperor, and the military.
And we can see that some of the figures are treated more individually than others.
Justinian, Maximian, are more individualized, and it's possible that people of the time would have looked up and recognized the other figures who are lost to us today, but the figures from the army are a lot more anonymous.
Justinian the Emperor's authority is divine, you can see a halo around his head, and he holds a bowl associated with Eucharist, which is handing in the direction of Chris, in the apse.
Right this is a bowl that would have contained the bread for the Sacrament of the Eucharist.
He's in the center of the composition he's frontal, but really all of the figures in this mosaic are frontal.
There are schematic, abstracted, medieval.
We've left the Classical tradition of Naturalism behind.
And so if we look closely at the figures we can see that there's no real concern for accurate proportions.
Their feet don't really seem to carry the weight of their bodies, they seem to float in an eternal space and not in an earthly space.
Next to Justinian we see the bishop, Maximian, with his name above him although that was added later, and beside him are the clergymen.
Maximian holds a beautiful jeweled cross, and he wears the same purple the Emperor wears associating him with the power of the Emperor in Constantinople.
The figures next to him hold a jeweled Book of the Gospels, and the figure at the far right holds an incense burner.
What we're seeing here is the Emperor leading a procession for the enactment for the Sacrament of the Eucharist.
And in fact, the Eucharist would have been performed the Sanctuary.
The figures stand in front of a field of gold, which is very much a Byzantine tradition.
And when we say Byzantine we are referring to the capital of the Empire which is Constantinople.
Which we now call Istanbul.
You'll notice that the tesserae, that is these small pieces of colored glass, many of them with gold leaf that is actually fused, almost like a sandwich,
in between two pieces of clear glass, are set into the wall at angles so that the light reflects off them in a way that is complicated and beautiful and creates a sense of the liveliness of the surface,
and that would have been especially true when it was illuminated by candles and by lanterns.
Let's walk around to the other side and take a look at the panel devoted to Theodora, Justinian's wife.
To the right of the apse windows, we see the panel of the Theodora the Empress, and it mirrors the panel with Justinian.
So we have an idea that Theodora, Justinian's Empress, ruled as co-equal to Justinian, that she was a very powerful woman, even though she was reputedly of lower class, that she was an "entertainer", apparently.
There are some colorful descriptions of her past.
She's wearing incredibly elaborate clothing and jewellery, with rubies, with emeralds, with sapphires, and very large pearls and in back of her head just like Justinian, is a halo, which speaks not to her own divinity, but to the divine origin of her authority.
Like Justinian, whose carrying a bowl that held the bread for the Eucharist, Theodora is carrying the chalice for the wine for the Eucharist, and like Justinian too, she is surrounded by attendants that symbolize the Imperial court.
A curtain is raised as though she is about to take part in a ceremony related to the Eucharist.
I'm really taken by the elaborate Byzantine costume.
There's a sense of trying to bring the richness of the Imperial court in Constantinople here to Ravenna.
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That means its focus is on its center instead of a basilica which has a long or longitudinal axis.발음듣기
대기중
Right. When we think about a church we generally think about a building shaped like a cross and it has that long hallway, the nave.발음듣기
대기중
In this particular case on the east side of the church there is also an extension with an apse at the end.발음듣기
대기중
Looking at the outside of San Vitale we see that it has eight sides, so it's an octagon and within that octagon there's a smaller octagon that rises higher.발음듣기
대기중
Those bricks were taken from ancient Roman buildings and were reused here in the 6th century.발음듣기
대기중
The walls are pierced with lots of windows and that's especially important because the interior is covered with some of the most magnificent mosaics that survive from the early Medieval period.발음듣기
대기중
And of course you'd want that light glistening on the gold and beautifully colored mosaics let's go inside and have a look.발음듣기
대기중
Look for instance at the way the columns are doubled, that is the stacking of one set of columns above the next.발음듣기
대기중
And they move in and out back into the space of the ambulatory on the ground and up into the gallery above.발음듣기
대기중
And in the center we see Christ dressed royally in purple sitting on orb the orb of the Earth, of the Universe.발음듣기
대기중
Christ is holding the Book of the Apocalypse with the Seven Seals visible, and in his right hand he's handing a crown to San Vitalus, who was adopted as the primary martyr of this city.발음듣기
대기중
And on the other side we see Ecclesius who founded and sponsored the building of this church and we see him handing the church to the angel beside Christ.발음듣기
대기중
Every surface here in the apse is covered with imagery with figures with decorative patterning.발음듣기
대기중
The only surfaces that really are stone are of a very decorative marble, cut to pair and create wonderful abstract designs.발음듣기
대기중
It is this lush, glorious space, here in this city that's distant perhaps from the capital of the Empire, but that speaks to its importance.발음듣기
대기중
Right above the altar we see an image of the Lamb of God, and the Lamb of God refers to Christ.발음듣기
대기중
The lamb is surrounded by a wreath of victory, in this case the idea of the triumph of Christianity itself, and that wreath is held in place by four angels who stand on globes that refer to the globe on which Christ in the apse sits.발음듣기
대기중
And then we see Christ again, but this time older, in the archway at the beginning of the chancel.발음듣기
대기중
It's really a kind of bust-length portrait, and his body is surrounded by a mendorla kind of rainbow-colored halo, and then moving down the arch on either side are fourteen figures, including the Apostles.발음듣기
대기중
We see scenes from the Old Testament specifically the ones that prefigure the life of Christ and Christ's sacrifice, and we see scenes from the New Testament.발음듣기
대기중
There are also fabulously decorative columns, made out of a high-quality marble that was brought from the east.발음듣기
대기중
What's most remarkable about these columns for me is that we've really left behind the Classical Orders.발음듣기
대기중
And on top of the capitals we see something called impost blocks, that help make the transition up to the arches.발음듣기
대기중
And Theodoric was an Arian, that is he didn't follow the Orthodoxy, the Orthodox doctrines of the Church.발음듣기
대기중
And basically the Arians believed that Christ was the creation of God the Father, and therefore was subordinate in the hierarchy of the Trinity.발음듣기
대기중
Christ wasn't co-equal with God the Father the way he is in Orthodox Christian belief, and so, Justinian, the Emperor in Constantinople in the early 500s, sends his general Bellesarius to conquer Italy to reconquer Ravenna, and re-establish Orthodox Christian belief here in Ravenna.발음듣기
대기중
And the Arian belief was suppressed, and so what we're seeing here is the reassertion of eastern Imperial control, that is Justinian is in Constantinople, in the East, and he is saying I'm in charge, even here, in Ravenna, in Italy.발음듣기
대기중
We see Justinian in the center, wearing purple, the color that is associated with the Throne.발음듣기
대기중
He's surrounded by his court, but there are also religious figures, representing the Church, and there are soldiers; three centers of power: the Church, the Emperor, and the military.발음듣기
대기중
Justinian, Maximian, are more individualized, and it's possible that people of the time would have looked up and recognized the other figures who are lost to us today, but the figures from the army are a lot more anonymous.발음듣기
대기중
Justinian the Emperor's authority is divine, you can see a halo around his head, and he holds a bowl associated with Eucharist, which is handing in the direction of Chris, in the apse.발음듣기
대기중
Right this is a bowl that would have contained the bread for the Sacrament of the Eucharist.발음듣기
대기중
He's in the center of the composition he's frontal, but really all of the figures in this mosaic are frontal.발음듣기
대기중
And so if we look closely at the figures we can see that there's no real concern for accurate proportions.발음듣기
대기중
Their feet don't really seem to carry the weight of their bodies, they seem to float in an eternal space and not in an earthly space.발음듣기
대기중
Next to Justinian we see the bishop, Maximian, with his name above him although that was added later, and beside him are the clergymen.발음듣기
대기중
Maximian holds a beautiful jeweled cross, and he wears the same purple the Emperor wears associating him with the power of the Emperor in Constantinople.발음듣기
대기중
The figures next to him hold a jeweled Book of the Gospels, and the figure at the far right holds an incense burner.발음듣기
대기중
What we're seeing here is the Emperor leading a procession for the enactment for the Sacrament of the Eucharist.발음듣기
대기중
And when we say Byzantine we are referring to the capital of the Empire which is Constantinople.발음듣기
대기중
You'll notice that the tesserae, that is these small pieces of colored glass, many of them with gold leaf that is actually fused, almost like a sandwich,발음듣기
대기중
in between two pieces of clear glass, are set into the wall at angles so that the light reflects off them in a way that is complicated and beautiful and creates a sense of the liveliness of the surface,발음듣기
대기중
and that would have been especially true when it was illuminated by candles and by lanterns.발음듣기
대기중
Let's walk around to the other side and take a look at the panel devoted to Theodora, Justinian's wife.발음듣기
대기중
To the right of the apse windows, we see the panel of the Theodora the Empress, and it mirrors the panel with Justinian.발음듣기
대기중
So we have an idea that Theodora, Justinian's Empress, ruled as co-equal to Justinian, that she was a very powerful woman, even though she was reputedly of lower class, that she was an "entertainer", apparently.발음듣기
대기중
She's wearing incredibly elaborate clothing and jewellery, with rubies, with emeralds, with sapphires, and very large pearls and in back of her head just like Justinian, is a halo, which speaks not to her own divinity, but to the divine origin of her authority.발음듣기
대기중
Like Justinian, whose carrying a bowl that held the bread for the Eucharist, Theodora is carrying the chalice for the wine for the Eucharist, and like Justinian too, she is surrounded by attendants that symbolize the Imperial court.발음듣기
대기중
A curtain is raised as though she is about to take part in a ceremony related to the Eucharist.발음듣기
대기중
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