The technique of mosaic is believed to originate from the Far East. In Europe, they were popular in ancient Rome, where they were made from pieces of marble, ceramics, and glass, and were mostly used for decorating the floors of patrician villas. However, this technique reached its peak in the Byzantine Empire (330-1453), where it was mostly used for decorating Christian churches.
During the Middle Ages, Constantinople was by far the largest city in the Christian world, even after the rise of the great Italian trading ports – Venice and Genoa. It is not surprising, therefore, that the majority of artistic works were created in that area, although other cities of the Empire also made their contributions. Of course, the artists and craftsmen in the capital city had the privilege of using expensive, durable, and above all, beautiful materials in their work, thanks to the wealth of the city itself. By using abundant gold tiles, silver, semi-precious stones (porphyry, malachite, onyx…), enamel, and other valuable materials, these mosaics gained a distinctive elegance.
In terms of solidity and durability, they often appeared, and still appear, magnificent and luxurious.
Christ’s Transfiguration
Creation date: around 1200 AD
Although small in size (52 x 36 cm), the craftsmanship and use of tiny (0.5 mm – 1.0 mm) gilded tiles, lapis lazuli, marble, and glass of various colors inserted into wax-coated substrate is extraordinary.
This icon captivates with its pure beauty and luxurious craftsmanship, which in no way diminishes its undeniable religious message.
The Byzantines clearly possessed tremendous patience required to work with tiny cubes, and the skill to create an image that simultaneously relies on the color, size, and shape of each mosaic piece. Indeed, the intensity and direction of the reflected light depend on the way the stones are grouped, the space between them, and the angle of individual pieces in relation to the substrate. By using certain shades of warm and vibrant tones (red, brown, cobalt, and dark blue), they achieved a visual body and draped dresses, successfully utilizing its Greek heritage.
Miniature mosaics
Miniature mosaics belonged to the luxurious, extremely expensive works of Byzantine art.
They were divided into portable mosaics ranging from 30 to 120 cm in height, and true miniatures, micro-mosaics, which did not exceed 20 cm in height and were exclusively used for prayer at home.
Portable mosaics appeared in the 12th century, while true miniatures became popular two centuries later.
Micro-mosaics seem to have been very popular among Byzantine aristocrats who used these expensive, luxurious miniatures during prayer in the intimacy of their homes or private chapels. In addition to the Byzantine Empire itself, they were highly valued in many wealthy households in the western part of Christian Europe due to their beauty and ability to evoke religious feelings. It is known that Pope Paul II commissioned as many as twenty-five of them.
To this day, these miniature Only about forty artworks have been preserved. The majority of them are located in monasteries on Mount Athos and in several world museums.
The most beautiful ones are considered to be the Annunciation in the Victoria and Albert Museum in London, the diptych in the treasury of the Cathedral of Florence which depicts twelve major Christian holidays, from the Annunciation to the Ascension, and the so-called Virgin of Tenderness in the Metropolitan Museum in New York.
Annunciation
Date of creation: 1300 – 1325
The iconography of this micro-mosaic is standard: a ray of light penetrates from the sky, but unlike in Byzantine art, there is no dove of the Holy Spirit descending from above. The archangel holds a scepter, and Mary a spindle.
However, the play of light and shadow, and the folds of clothing of both figures, leave an exceptional sense of vitality. The most surprising aspect is the way the artist managed to depict body language and expressions on faces filled with the significance of the event. Mary seems both scared and honored at the same time. The archangel is… Although seemingly uncomfortable, the announcement gives Mary a beautiful, but enormous responsibility that awaits her.
The use of semi-precious stones and precious metals gave them a radiance that was meant to convey the magnificence of God’s message and Christian faith. However, due to the technique itself, mosaic artists were limited in creating details, especially facial expressions, from pebbles and tiles of various shapes and sizes. It is precisely because of this that these few mentioned micro-mosaics are considered special.
The Virgin of Tenderness (Eleousa)
Creation time: early 14th century
Miniature mosaic on a wooden base with fragments of gold, colorful semi-precious stones, and gilded copper.
This way of depicting the Virgin Mary and Jesus only appeared in the 14th century. The intimate, tender bond between mother and child was not present in earlier medieval depictions. In the Renaissance and later, painters often use this motif.
Dimensions 11.2 x 8.6 x 1.3 cm – ideal for holding in the palm of your hand.
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