Ivory panel with Archangel (Byzantine)

Summary

In the British Museum, two speakers explore a large ivory diptych panel from Constantinople, discussing its Byzantine origins and classical influences. They analyze the depiction of the Archangel, noting its significant size, ornate details, and the spiritual quality suggested by its weightlessness. The conversation highlights the blend of architectural elements and the artistic tension between pagan and Christian traditions, reflecting a unique synthesis in early Christian art. Their insights reveal the intricate relationship between form, symbolism, and the evolution of religious representation, engaging viewers in the complexities of this historical artifact.

Takeaways

• 😀 The discussed ivory panel is part of a diptych, typically consisting of two panels.
• 😀 This particular artwork originates from Constantinople and is a Byzantine object.
• 😀 The angel depicted in the ivory is likely positioned to interact with a missing figure from the other panel.
• 😀 The panel features three hinge holes, indicating it was once part of a two-part artwork.
• 😀 The term 'diptych' refers to a work made of two panels, contrasting with a 'triptych,' which has three.
• 😀 The carving displays ornate architectural elements, such as Corinthian pilasters and a decorative arch.
• 😀 The size of the archangel emphasizes a hierarchy of scale, reflecting his divine nature.
• 😀 The style blends classical elements, such as drapery and hair, with Byzantine characteristics.
• 😀 The angel's feet appear weightless, suggesting a spiritual rather than physical presence.
• 😀 The artwork embodies a fusion of pagan and Christian artistic traditions, illustrating an evolving style in early Christian art.

Q & A

What is the significance of the ivory panel discussed in the transcript?

The ivory panel is significant as it is part of a diptych from the Byzantine era, originally from Constantinople, and reflects the artistic styles and cultural influences of that period.

What does the term 'diptych' refer to?

'Diptych' refers to a work of art made of two panels, whereas a 'triptych' consists of three panels.

What visual elements indicate that this panel was originally part of a diptych?

The presence of three holes that would have functioned as part of the hinge indicates that this panel was connected to another panel, confirming its diptych nature.

How is the Archangel depicted in relation to the architecture in the artwork?

The Archangel is depicted as very large, occupying a significant portion of the panel, which suggests a hierarchy of scale that emphasizes his divine nature.

What classical features are noted in the representation of the Archangel?

The Archangel displays classical features such as drapery resembling a toga, curls in his hair similar to Roman sculptures, and an overall classicizing style.

What details in the carving of the Archangel stand out to the speakers?

The remarkable detail in the carving of the feathers of the wings, the intricate circular decorations on his cuffs, and the delicacy of his hands are particularly noted.

What does the female speaker suggest about the feet of the Archangel?

The female speaker suggests that the Archangel's feet do not make meaningful contact with the ground, indicating a sense of weightlessness and spirituality characteristic of Byzantine art.

What themes do the speakers identify in the combination of styles within the artwork?

The speakers identify a clash of traditions, particularly the synthesis of pagan and Christian elements, noting the awkwardness in merging these influences during the early Christian and Byzantine periods.

How do the speakers interpret the use of the orb and cross in the Archangel's depiction?

The orb with a cross symbolizes power and authority, connecting the figure to divine rulership and emphasizing the spiritual significance of the artwork.

What does the male speaker mean by 'the handling of the body' in relation to the Archangel?

The male speaker refers to the transparent quality of the body behind the cloth, indicating that while there is a classical influence, the depiction still retains a spiritual essence typical of Byzantine art.