247-274

Byzantine «Renaissances» and the Architecture of 11th and 12th Centuries

Articles

• Μπούρας, Χαράλαμπος Θ.
• ΜΠΟΥΡΑΣ, Χαράλαμπος

The term «Renaissance» has been used in the history of Byzantineart to describe the recurrence of various elements of ancient art, whichwere employed in a desire to renovate it. This return to the models of Greco -Roman tradition was closely related to imperial ambitions to resuscitatethe glorious past and nearly always stemmed from the capital city. Butrecent studies prove that the term «Renaissance» is deceptive, because inactual fact these byzantine movements have little in common with the ItalianRenaissance, inspite of external similarities such as the humanistic cultureor the study of the ancient texts.The return to antiquity is more apparent in minor sculpture on ivory,in manuscript illuminations and in painting generally. This article studieswhere and in what elements of the middle byzantine period we can identifya return to antiquity in the field of architecture, and whether the greek heritage played any part in its development.The imitation of ancient structures was hampered by functional andstructural requirements and the demands of symbolism. Moreover, the capital city, where all such revivals originated, had nothing to offer in termsof ancient greek monuments that could have served as models —only Romanor Early Christian ones. On the other hand, the provinces that possessedthese models had not the possibilities for original and expensive realisationsin architecture. As in the case of sculpture, the tendency in architecture wasto approach the ancient structures from the literary point of view, and thestudy of the actual remains was ignored.Were ancient texts on architecture, such as those of Vitruvius, knownto the Byzantines of the 11th and 12th centuries and, if they were, what influence did they exert? Although we may discern harmonious relationshipsthat suggest a survival of ancient canons, a direct dépendance on ancienttexts seems improbable.Likewise, the study of architectural forms in the churches of the middlebyzantine period reveals no positive evidence. Although a number of ancientdecorative motifs were reproduced in decorative carving, we do not knowwhether these constitute a revival or simply a survival of ancient models. This article also examines the use of original greek architectural fragmentsin byzantine churches, and the classicist spirit governing the new compositions (the Gorgoepikoös in Athens). Buildings directly influenced by thecapital city employ forms borrowed from Rome or late antiquity.The harmonious proportions characteristic of byzantine architectureshow that the architects of that period had inherited the aesthetic principles of Greco-Roman tradition. The qualities of simplicity, clarity, scaleand harmony inherent in their works are, perhaps, the most substantialproof of continuity. Research on byzantine texts reveals that the Byzantinesthemselves were fully aware of these values, which they conciously putinto practice. Related to the above are the simple harmonious relationships,the tripartite vertical classicist composition, the emphasis on the horizontal of the façades aud the «anti-byzantine» plasticity and architecturalfeeling that are to be found in the churches on the greek mainland.The study of interior space of middle byzantine churches yields negative results. No comparison can be made with the rationalised axial organisation of space belonging to the Italian Renaissance. The only tendencytowards renewal that may be observed here is related to the revival of centrally planned types of late antiquity.Finally, we may draw some positive conclusions concerning structuraltechniques, especially in the sector of the Greek School of the 12th century.This is the period during which stone carving developed and, as in antiquity, stone masonry with invisible joints or composite architectural features of stone were perfected. The existing ancient monuments must havefurnished the models for these.From the above, it is evident that no positive conclusions can bedrawn. Inspite of the wealth of examples, there are no complete byzantinemonuments that could compare with the equivalent in the Italian Renaissance. The term «Renaissance» cannot be used to describe byzantine architecture except in a very wide sense.In the capital city, the examples are limited to the handling of interiorspace and to forms or techniques whose models must be sought in lateantiquity or preceding «Renovatio». On the greek mainland, they are to befound in building techniques and general principles of composition, reminiscent of classical antiquity. Social, political and economic conditions forcedByzantium to remain within the framework of mediaeval formalism, despiteits humanistic culture. Architecture, reflecting more than any other art theabove conditions, was unable to follow the general classicist developmentof Byzantine art.

• Arts
• History and Archaeology

• Architecture and religion

• http://ejournals.epublishing.ekt.gr/index.php/deltion/article/view/4496
• http://dx.doi.org/10.12681/dchae.795