A mosaic is a work of art or drawing made from a collection of small pieces of glass, stone, or other colored material. These are often used in decorative art or as interior decoration. Most mosaics are made of small, flat, rough, square, stone or glass pieces of different colors, known as tesserae . Some, especially floor mosaics, are made of small pieces of cobblestone, and are called "gravel mosaics".
The mosaic has a long history, beginning in Mesopotamia in the 3rd millennium BC. Mosaic mosaics made at Tiryns in Mycenean Greece; mosaics with patterns and images became widespread in classical times, both in Ancient Greece and Ancient Rome. The early Christian Basilica of the 4th century onwards is adorned with mosaic walls and ceilings. Mosaic art evolved in the Byzantine Empire from the 6th century to the 15th century; The tradition was adopted by the Norman Kingdom of Sicily in the 12th century, by the Eastern-influenced Venetian Republic, and among Rus in Ukraine. Mosaic falls out of fashion in the Renaissance, though artists like Raphael keep practicing old techniques. The Roman and Byzantine Influence led Jewish artists to decorate the 5th and 6th century synagogues in the Middle East with floor mosaics.
Mosaic is widely used in religious buildings and palaces in early Islamic art, including the first Islamic religious buildings, the Dome of Stone in Jerusalem, and the Umayyad Mosque in Damascus. Mosaic came out of fashion in the Islamic world after the 8th century.
Modern mosaics are made by professional artists, street artists, and as popular crafts. Many materials other than traditional stone and ceramic tesserae can be used, including shells, glass and beads.
Video Mosaic
History
The earliest known mosaic samples made of different materials were found in a temple building in Abra, Mesopotamia, and dated in the second half of the 3rd millennium BC. They consist of pieces of colored stones, shells and ivory. Excavations in Susa and Chogha Zanbil show the first tiled tiled evidence, dating from around 1500 BC. However, the mosaic pattern was not used until the time of the Sassanid Empire and Roman influence.
Greek and Roman
The bronze age gravel mosaic has been found in Tiryns; mosaics from the 4th century BC found in the Aegae-Macedonian towns, and the 4th-century mosaic of BC The beauty of the Durras found in Durres, Albania in 1916, is an early figural example; Greek figural styles were largely formed in the 3rd century BC. Mythological subjects, or other hunting or pursuit scenes of the rich, are popular as the center of a larger geometric design, with highly emphasized boundaries. Pliny the Elder calls the artist Sosus from Pergamon by name, describing his mosaic about the food left on the floor after the party and a group of pigeons drinking from the bowl. Both themes are widely copied.
Greek figural mosaics could have been copied or adapted paintings, a much more prestigious artform, and the style was enthusiastically adopted by the Romans so that large floor mosaics enriched the floor of the Hellenistic villa and Roman residence from England to Dura-Europos. Most of the recorded names of Roman working women were Greek, indicating that they dominated high-quality work throughout the empire; no doubt, most ordinary craftsmen are slaves. Beautiful mosaic floors are found in Roman villas in North Africa, in places like Carthage, and can still be seen in the extensive collection at the Bardo Museum in Tunis, Tunisia.
There are two main techniques in the Greco-Roman mosaic: opus vermiculatum used small tesserae, usually 4 millimeters or less cubes, and produced in workshops in relatively small panels transported to the site which glued for temporary support. Small tesserae allows very fine detail, and an approach to the illusion of painting. Often a small panel called emblemata is inserted into the wall or as the highlights of a larger floor mosaic in rough work. The normal technique is opus tessellatum , using a larger tesserae, which is placed on the site. There are different genuine Italian styles using black on a white background, which is no doubt cheaper than a colorful job.
In Rome, Nero and its architects used mosaics to cover several surfaces of walls and ceilings at Domus Aurea , built 64 AD, and wall mosaics were also found in Pompeii and neighboring sites. Yet it seems not until the Christian era that the mosaic of figural walls became the main form of artistic expression. The Roman Church of Santa Costanza, which functions as a mausoleum for one or more Imperial families, has a religious mosaic and a decorative secular ceiling mosaic on a circular vault, which may represent contemporary palace decorating styles.
Villa Romana del Casale's mosaic near Piazza Armerina in Sicily is the largest collection of the world's final Roman mosaics, and is protected as a UNESCO World Heritage Site. The great villa rustica, probably owned by Emperor Maximian, was built mostly in the early 4th century. The mosaic was covered and protected for 700 years with a landslide that occurred in the 12th century. The most important pieces are Circus Scene, 64m long Great Hunting Scene, Little Hunt, Labors of Hercules and < i> the famous Bikini Girl , shows women performing various sports activities in clothing that resembles a 20th century bikini. The peristyle, imperial apartment and thermae are also decorated with ornamental mosaics and mythology. Another important example of Roman mosaic art in Sicily was excavated at Piazza Vittoria in Palermo where two houses were discovered. The most important scenes depicted are Orpheus mosaics, Alexander the Great's Hunt and Four Seasons .
In 1913, the Zliten mosaic, a Roman mosaic famous for its many scenes of gladiatorial contests, hunting and daily life, was found in the Libyan city of Zliten. In 2000, archaeologists working at Leptis Magna, Libya, discovered a length of 30Ã, ft of five colorful mosaics made during the 1st or 2nd century. Mosaic shows a fighter in battle with deer, four young men wrestling wild bulls to the ground, and a gladiator rests in exhaustion, staring at his murdered opponent. The mosaics adorned the cool pool walls of a bathhouse inside a Roman villa. Gladiator mosaics are noted by experts as one of the best examples of mosaic art ever seen - a "masterpiece comparable to the quality of Alexander Mosaic in Pompeii."
Genre mosaik Romawi yang spesifik disebut asaroton (bahasa Yunani untuk "lantai yang tidak dicabut"). Ini digambarkan dalam gaya trompe l'oeil, sisa-sisa makanan di lantai rumah-rumah mewah.
Mosaik Kristen
Seni Kristen awal
With the construction of a Christian basilica at the end of the 4th century, wall and ceiling mosaics were adopted for Christian usage. The earliest examples of Christian basilicas do not survive, but the mosaics of Santa Constanza and Santa Pudenziana, both of the 4th century, still exist. Putti winemaking in outpatient Santa Constanza still follows the classical tradition in that they represent the feast of Bacchus, which symbolizes transformation or change, and thus corresponds to the mausoleum, the original function of this building. In another major Constantine basilica, the Church of Birth in Bethlehem, the original mosaic floor with a typical Roman geometric motif, is partially preserved. The so-called Tomb of the Julii, near the underground under St. Peter's Basilica, is a 4th-century vaulted tomb with walls and mosaic ceilings given Christian interpretations. The Galerius Rotunda in Thessaloniki, converted into a Christian church during the 4th century, is adorned with a very high artistic quality mosaic. Only fragments survive from the original decoration, especially the band that portrays the saints with hands raised in prayer, in front of an elaborate architectural fantasy.
In the next century, Ravenna, the capital of the Western Roman Empire, became the center of Roman mosaic art (see details in the Ravenna section). Milan also served as the capital of the western kingdom in the 4th century. At St. Aquilinus Chapel of the Basilica of San Lorenzo, mosaics that were executed in the late fourth and early 5th centuries depicted Christ with the Apostles and Elder Kidnappers; these mosaics are remarkable for their bright colors, naturalism and adherence to the rules and classical proportions. The mosaic of the surviving Basilica of Sant'Ambrogio, which shows Christ sits between Saint Gervasius and Saint Protasius and the angels before the date of the background of gold back to the 5th and 8th century, although it has been restored several times later. The basilic basilica, which was destroyed in the 15th century, had a vault covered with tesserae gold leaf, a large number of which were found when the site was excavated. In the little temple of San Vittore in ciel d'oro, now the Sant'Ambrogio chapel, every surface is covered with mosaics from the second half of the 5th century. Saint Victor is depicted in the middle of a golden dome, while a saint figure is displayed on the wall before a blue background. Low spandrels make room for the symbols of the four evangelists.
Albingaunum is the main Roman port of Liguria. The city's octagonal baptism was decorated in the 5th century with a high-quality blue and white mosaic representing the Apostles. The remaining remnants are somewhat fragmented. Massilia remains a growing port and Christian spiritual center in Southern Gaul where favorable social and economic conditions ensure the survival of mosaic art in the 5th and 6th centuries. The great baptism, once the grandest building in Western Europe, has a geometric floor mosaic known only from 19th century descriptions. Another part of the episcopal complex is also adorned with mosaics as a new discovery, which was discovered in 2000, proves. The basilica of Saint Victor's cemetery, built in a quarry outside the walls, is decorated with mosaics but only a small fragment with blue and green rolls that survive in the intrados of an arch (the basilica was later buried under a medieval monastery).
A mosaic sidewalk depicting humans, animals, and plants from the original 4th century Aquileia cathedral survives in the medieval church. This mosaic adopts pagan motifs such as the Nilotic scene, but behind traditional naturalistic content is Christian symbolism such as ichthys. Basilica di Sant'Eufemia (Grado) and Santa Maria delle Grazie in Grado also have mosaic floors.
Ravenna
In the 5th century, Ravenna, the capital of the Western Roman Empire, became the center of late Roman mosaic art. Galla Placidia's mausoleum is decorated with a high quality artistic mosaic at 425-430. The domes of a small cross-shaped structure are coated with a mosaic on a blue background. The main motif above the crossing is the golden cross in the middle of the starry sky. Another large building founded by Galla Placidia is the church of San Giovanni Evangelista. He established it in fulfillment of the oath that he escaped from a deadly storm on 425 on a sea voyage from Constantinople to Ravenna. Mosaics depict storms, portraits of members of the western and eastern imperial families and the bishop of Ravenna, Peter Chrysologus. They are only known from the Renaissance sources because almost everything was destroyed in 1747.
Ostrogoths still revived traditions in the 6th century, as mosaics of the Arian Baptistry, Baptistry Neon, Chapel of the Archbishop, and earlier phase mosaics in the Basilica of San Vitale and the Basilica of Sant'Apollinare Nuovo testify.
After 539 Ravenna was recaptured by the Romans in the form of the Eastern Roman Empire (Byzantine Empire) and became the seat of the Exarchate of Ravenna. The greatest development of Christian mosaics occurred in the second half of the 6th century. An extraordinary example of Byzantine mosaic art is the next phase mosaic in the Basilica of San Vitale and the Basilica of Sant'Apollinare Nuovo. The mosaics depicting Emperor Saint Justinian I and Empress Theodora in the Basilica of San Vitale were executed shortly after the Byzantine conquest. The Mosaic of the Sant'Apollinare Basilica in the Classe is made around 549. The anti-Arian theme is clearly seen in the mosaics of the apse San Michele at Affricisco, executed in 545-547 (mostly destroyed; remnants in Berlin).
The last example of the Byzantine mosaic in Ravenna was commissioned by the Reparatus bishop between 673-79 at the Basilica of Sant'Apollinare in Classe. The mosaic panel in the apsis that shows the bishop with Emperor Constantine IV is clearly an imitation of the Justinian panel at San Vitale.
Butrint
The mosaic sidewalk from Basilica Vrina of Butrint, Albania seems to have preached that Baptism by almost a generation, dating to the last quarter of the 5th or early 6th century. Mosaics display a variety of motifs including sea creatures, birds, land animals, fruits, flowers, trees and abstracts - designed to depict God's earth-made heaven. Superimposed on this scheme are two large tablets, tabulae ansatae, carrying an inscription. Various fish, crabs, lobsters, shrimp, mushrooms, flowers, deer and two cross designs surround the smaller of two inscriptions, which read: In the fulfillment of the oath (prayer) of those whose name God knows. This anonymous dedication inscription is a public demonstration of the humility of the benefactors and the recognition of the omniscience of God.
The variety of natural life described in the Butrint mosaic celebrates the riches of God's creation; some elements also have specific connotations. Vas and wine kantharos refers to the eucharist, the symbol of Christ's sacrifice that leads to salvation. Peacock is a symbol of heaven and resurrection; shown eating or drinking from their vases shows the route to eternal life. Deer or deer are usually used as images of believers who aspire to Christ: "As the heart longs for the river of water, my soul longs for you, O Lord." Waterfowl and fish and other sea creatures can show baptism and members of the baptized Church.
Antique Romans and the Beginning of the Middle Ages
Christian mosaic art also developed in Rome, gradually declining as conditions became more difficult in the early Middle Ages. The 5th century mosaic can be found above the triumphal arch and in the central part of the basilica of Santa Maria Maggiore. The 27 surviving panels of the nave are the most important mosaic cycles in Rome in this period. Two other important 5th century mosaics are missing but we know them from the 17th century drawings. In the apse mosaic of Sant'Agata dei Goti (462-472, destroyed in 1589) Christ sits on earth with the twelve Apostles flanking him, six on either side. At Sant'Andrea di Catabarbara (468-483, annihilated in 1686) Christ appeared in the center, flanked by three Apostles on either side. Four streams flow from a small mountain that supports Christ. The native mosaic of the 5th century from Santa Sabina was replaced by a fresco very similar to Taddeo Zuccari in 1559. This composition may remain unchanged: Christ is flanked by saints men and women, sitting on a hill while lambs drink from the river on foot. The three mosaics have similar iconography.
A 6th century piece is rare in Rome but a mosaic inside the triumphal arch of the San Lorenzo fuori le mura basilica belongs to this era. The Chapel of Ss. Primo e Feliciano in Santo Stefano Rotondo has a very interesting and rare mosaic from the 7th century. The chapel was built by Pope Theodore I as a family funeral.
In the 7th - 9th centuries Rome falls under the influence of Byzantine art, seen in the mosaics of Santa Prassede, Santa Maria di Domnica, Sant'Agnese fuori le Mura, Santa Cecilia in Trastevere, Santi Nereo e Achilleo and the San Venanzio Chapel of San Giovanni di Laterano. The large dining hall of Pope Leo III at Lateran Palace is also decorated with mosaics. They were all destroyed later except for one example, called Triclinio Leoniano whose copy was made in the 18th century. Another great work by Pope Leo, the mosaic of the monkey Santa Susanna, portrays Christ with the Pope and Charlemagne on the one hand, and the SS. Susanna and Felicity on the other side. It was emblazoned during the renovation in 1585. Pope Paskalis I (817-824) adorned the church of St. Stefano del Cacco with an apsidal mosaic depicting the pope with a model church (destroyed in 1607).
The fragment of the mosaics of the 8th century, Epiphany is one of the rare pieces of the remnant of the medieval decor of the Old St. Basilica. Peter, was destroyed in the late 16th century. Valuable fragments are stored in the sacristy of Santa Maria at Cosmedin. This proves the high artistic quality of St. Mosaic. Peter is ruined.
Byzantine mosaic
Mosaic is more important for Byzantine culture than in Western Europe. The interior of the Byzantine church is generally covered with a golden mosaic. Mosaic art flourished in the Byzantine Empire from the 6th to the 15th century. The majority of Byzantine mosaics were destroyed without a trace during war and conquest, but the surviving remains still form a fine collection.
The great Emperor Justinian buildings like the Hagia Sophia in Constantinople, the Nea Church in Jerusalem and the Rebuilding Church in Bethlehem are certainly decorated with mosaics but no survivors.
Important fragments survived the mosaic floor of the Great Palace of Constantinople that was stationed during the reign of Justinian. The numbers, the animals, the plants are all completely classical but they are scattered before the plain background. The portrait of a man with a mustache, perhaps a Gothic chief, is considered the most important living mosaic of the Justinian times. The so-called
In the sixth century, Ravenna, the Byzantine capital of Italy, became the center of mosaic manufacture. Istria also offers several important examples of this era. The Euphrasian basilica at Parentium was built in the mid-sixth century and decorated with mosaics depicting Theotokos flanked by angels and saints.
Fixed fragments of the mosaic of the Church of Santa Maria Formosa in Pola. These pieces were made during the 6th century by artists from Constantinople. Their pure Byzantine style is different from the contemporary Ravennate mosaics.
Very few early Byzantine mosaics survived the destruction of Iconoclastic in the 8th century. Among the rare examples is the 6th century Christ in the majesty (or Yeouzkiel's vision ) of mosaics at the apostos of the Hosios Church of David in Thessaloniki hidden behind mortars during their dangerous times. Nine mosaic panels in Hagios Demetrios Church, made between 634 and 730, also escaped destruction. Unusually almost all of them represent Saint Demetrius of Thessaloniki, often with the petitioners before him.
In the Iconoclastic era, the figural mosaic was also condemned as idolatry. The Iconoclastic churches are adorned with plain gold mosaics with only one large cross in apse like Hagia Irene in Constantinople (after 740). There is a similar cross in the apses of the Church of Hagia Sophia in Thessaloniki and in the Church Sleeping in Nicea. The crosses were substituted with the image of Theotokos in both churches after the victory of Iconodules (787-797 and in the 8th to 9th centuries, the Dormition church was totally destroyed in 1922).
The image of a similar Theotokos flanked by two angels was made for Hagia Sophia in Constantinople in 867. The dedication inscription says: "The images conquered by the swindlers here of the righteous emperor have been reshaped." In the 870s the so-called Great Secret of the Great Palace of Constantinople was decorated with images of four great iconic patriarchs.
The post-Ikonoklastik era is the heyday of Byzantine art with the most beautiful mosaics being executed. Renaissance mosaics (867-1056) combine traditionalism with innovation. Today's Constantinopolitan mosaics follow the decorative scheme first used on Emperor Basil I Nea Ekklesia. Not only these prototypes were then completely destroyed, but any surviving compositions were beaten so it was necessary to move from church to church to reconstruct the system.
An interesting set of Macedonian mosaics makes the decorations of the Hosios Loukas Monastery. In the narthex there is Crucifixion, Pantokrator and Anastasis above the door, while in the church of Theotokos (apse), Pentecost, a scene from the life of Christ and the ermit of St Loukas (all executed before 1048). The scene is treated with minimum detail and the panel is dominated by gold settings.
Nea Moni Monastery in Chios was founded by Constantine Monomachos in 1043-1056. The marvelous mosaic decor of the dome showing perhaps nine orders of angels was destroyed in 1822 but other panels survived (Theotokos with uplifted hands, four evangelists with seraphim, scenes from an exciting Christ and Anastasis life in which King Salomon had a resemblance to Monomaki Constantine). Compared with Osios Loukas Nea Moni, the mosaics contain more images, detail, landscape and settings.
Another great effort by Constantine Monomachos was the restoration of the Church of the Holy Sepulcher in Jerusalem between 1042 and 1048. Nothing survived the mosaic covering the walls and dome of the building but the Russian monk Daniel, who visited Jerusalem in 1106 - 1107 left a description: "The mosaic lively of the holy prophets under the ceiling above the tribune, this altar is overcome by the image of the mosaic of Christ, and on the main altar one can see the mosaic of the exaltation of Adam In the Apse of Ascension Christ The Annunciation occupies the two pillars beside the altar.
The Daphni Monastery has the best preserved mosaic complex from the early Comnenan period (circa 1100) when the harsh and hierarchical way typical for the Macedonian age and represented by the stunning Christ Pantocrator image in the dome, metamorphosed into a more intimate and refined style, whereby Angels before St Joachim - with their herding background, harmonious gestures and compelling lyrics - are regarded as extraordinary examples.
The 9th and 10th century mosaics of Hagia Sophia in Constantinople are truly classic Byzantine art. Tympana north and south under the dome is decorated with figures of prophets, saints, and patriarchs. Above the main door of the narthex we can see an Emperor kneeling before Christ (the late ninth or early nineteenth century). Above the door from the southwestern front room to the other mosaic narthex shows Theotokos with Justinian and Konstantin . Justinian I offered the church model to Mary while Constantine held the city model in her hands. Both emperors are beardless - this is an example for conscious archiving because of the bearded contemporary Byzantine ruler. The mosaic panel in the gallery shows Christ with Constantine's Monomachos and Empress Zoe (1042-1055). The emperor gave a swollen pocket of money to Christ as a contribution to the church.
The dome of the Church of Hagia Sophia in Thessaloniki is decorated with Ascension mosaics (c 885). His composition resembles a great baptism in Ravenna, with the apostles standing between the palms of the hands and Christ in the middle. This scheme is somewhat unusual because the standard post-Iconoclastic formula for the dome contains only images of Pantokrator.
There are very few mosaics that exist from the Komnenian period but this deficiency must be due to an accident of life and gives a misleading impression. The only 12th century mosaic work still in Constantinople is a panel in Hagia Sophia depicting Emperor John II and Empress Eirene with Theotokos (1122-34). The empress with her long braided hair and her rosy cheeks is very charming. It must be a living depiction because Eirene is really a redhead as Hungary's real name, Piroska shows. The portrait of Emperor Alexios I Komnenos next to the dock (from 1122) is also very private. The imperial tomb of the Komnenos dynasty, Pantokrator Monastery is certainly decorated with a great mosaic but then destroyed. The lack of a mosaic of Komnenia outside the capital is even more pronounced. There is only "The Apostles" inside the Serres cathedral.
A striking technical innovation of the Komnenian period is the production of a very valuable miniature mosaic icon. In this icon a small tesserae (with a side of 1 mm or less) is set on a wax or resin on a wood panel. These exceptional craft products are meant for personal devotion. The Louvre Transfiguration is an excellent example of the end of the 12th century. The miniature mosaic of Christ at the Museo Nazionale in Florence illustrates the softer and humane conception of Christ that emerged in the twelfth century.
The sack of Constantinople in 1204 caused the decline of mosaic art over the next five decades. After the re-conquest of the city by Michael VIII Palaiologos in 1261, the Hagia Sophia was restored and a beautiful new Deesis was made in the southern gallery. Large mosaic panels with two and a half times this figure is remarkable because of the large scale and superlative workmanship. The Hagia Sophia Deesis is probably the most famous Byzantine mosaic in Constantinople.
The Pammakaristos Monastery was restored by Michael Glabas, an imperial official, at the end of the 13th century. Only the mosaics of a small cemetery chapel (parekklesion) from the surviving Glabas. This vaulted chapel was built by his wife, Martha around 1304-08. In miniature dome, traditional Pantokrator can be seen with twelve prophets below. Incredibly apsis adorned with Deesis , probably because of the function of burial chapels.
The Church of the Holy Apostles in Thessaloniki was built in 1310-14. Although some destroyers systematically remove the gold background tesserae, it can be seen that the Pantokrator and the prophets in the dome follow the traditional Byzantine pattern. Much of the details are similar to the mosaic of Pammakaristos so it is suspected that the same mosaic team works in both buildings. Another building with associated mosaic ornaments is Theotokos Paregoritissa Church at Arta. The Church was founded by Despot of Epirus in 1294-96. In the dome there is a traditional Pantokrator, with the prophets and cherubs below.
The greatest mosaic work of Renaissance Palaenology in art is the decoration of the Church of Chora in Constantinople. Although the mosaics of naos do not survive except for three panels, the exonarthex and esonarthex decorations represent the most important full-scale mosaic cycle in Constantinople after Hagia Sophia. They were executed sometime around 1320 by order of Theodore Metochites. Esonarthex has two fluted dome, which was specially created to provide an ideal setting for the mosaic images of the ancestors of Christ. The south is called the Dome of the Pantokrator while the north is the Dome of the Theotokos. The most important esonarthex panel depicts Theodore Metochites dressed in a large turban, offering the church model to Christ. The second wall of the narthex is decorated with mosaic circles from the life of the Virgin and the life of Christ. These panels show the effect of Italian trecento on Byzantine art especially more natural settings, landscapes, figures.
The last Byzantine mosaic work was created for Hagia Sophia, Constantinople in the mid-14th century. The great eastern arch of the cathedral collapsed in 1346, dropping the three main domes. By 1355 not only was the image of the great Pantokrator restored but the new mosaic set in the eastern arches depicting Theotokos, Baptist and Emperor John V Palaiologos (found only in 1989).
In addition to large-scale monuments, several miniature mosaic icons of exceptional quality are produced for the palaces and nobles of the Palaiologos. The most beautiful example of the 14th century is the Annunciation at the Victoria and Albert Museum and the diptych mosaics at the Treasury Cathedral of Florence representing the Twelve Church Feasts .
In the troubled years of the 15th century, a very weak kingdom was unable to afford luxury mosaics. The churches are decorated with frescoes in this era and after the Turkish conquest.
Rome in the Middle Ages
The last major period of Roman mosaic art was the 12th-13th century when Rome developed its own artistic style, free from the strict rules of the eastern tradition and with the more realistic portrayal of figures in space. Famous works from this period are the flower mosaics of Basilica di San Clemente, façade Santa Maria di Trastevere and San Paolo fuori le Mura. The beautiful apse mosaic of Santa Maria di Trastevere (1140) describes Christ and Mary sitting side by side on the heavenly throne, the first example of this iconography scheme. A similar mosaic, the coronation of the Virgin, adorns the apron of Santa Maria Maggiore. This is the work of Jacopo Torriti of 1295. The mosaics of Torriti and Jacopo da Camerino at the San Giovanni apto in Laterano from 1288-94 were completely restored in 1884. The apse mosaic of San Crisogono is associated with Pietro Cavallini, the greatest Roman painter of the 13th century. Six scenes from the life of Mary at Santa Maria in Trastevere were also executed by Cavallini in 1290. The mosaics are praised for their realistic depictions and perspectives efforts. There is an interesting mosaic medaillon from the year 1210 above the gate of the San Tommaso church in Formis that shows Christ enthroned between a white and black slave. The Church belongs to the Order of the Trinity devoted to redeeming Christian slaves.
The great mosaic Navicella (1305-1313) in the Old St. atrium Peter's is associated with Giotto in Bondone. The gigantic mosaic, commissioned by Cardinal Jacopo Stefaneschi, was originally located in the eastern porch of the old basilica and occupied the entire wall above the arcade facing the courtyard. It describes St. Peter walks on the water. This remarkable work was primarily destroyed during the construction of St. Peter was new in the 17th century. Navicella means "little boat" which refers to a large boat that dominates the scene, and that sailing, full of storms, looms on the horizon. The natural representation of such seascape is known only from ancient artwork.
Sicily
The heyday of making mosaics in Sicily was the age of the independent Norman empire in the 12th century. Norman kings adopted the Byzantine mosaic decoration tradition to improve the legality of their dubious rules. Greek masters working in Sicily developed their own style, which showed the influence of the artistic tendencies of Western Europe and Islam. The best examples of Sicilian mosaic art are the Cappella Palatina from Roger II, the Martorana church in Palermo and the cathedral of CefalÃÆ'¹ and Monreale.
The Cappella Palatina clearly shows evidence to blend the eastern and western styles. The dome (1142-42) and the eastern end of the church (1143-1154) adorned by the Byzantine mosaic, the Pantokrator, the angel, the scene of the life of Christ. Even the inscriptions were written in Greek. The narrative scenes of the nave (the Old Testament, the life of St. Peter and Paul) are similar to the mosaics of St. Peter and St. Paul's Basilica in Rome (Latin inscription, 1154-66).
The Martorana church (dotted around 1143) initially looked more Byzantine although the important parts were later destroyed. The mosaic of the dome is similar to Cappella Palatina, with Christ reigning in the middle and four angels bent and elongated. The Greek inscriptions, decorative patterns, and evangelists in these groups were clearly executed by the same Greek teachers who worked at the Cappella Palatina. The mosaic depicting Roger II of Sicily, wearing the Byzantine imperial cloak and receiving the crown by Christ, was originally at the narthex destroyed along with another panel, Theotokos with Georgios of Antiochia, the founder of the church.
In CefalÃÆ'¹ (1148) only a high French Gothic presbyter is covered with a mosaic: Pantokrator in the semidome of apsis and cherub on the dome. On the walls are Latin and Greek saints, with Greek inscriptions.
The Monreale mosaic is the largest decor of this type in Italy, covering an area of ​​0.75 hectares with at least 100 million glass and tesserae stones. This great work was carried out between 1176 and 1186 on the orders of King William II of Sicily. The mosaic iconography in the presbyeri is similar to Cefalu while the images in the nave are almost identical to the narrative scenes in the Cappella Palatina. The Martorana mosaic of Roger II blessed by Christ is repeated with the figure of King William II as a substitute for his predecessor. Another panel shows the king offering cathedral models to Theotokos.
Cathedral of Palermo, rebuilt by Archbishop Walter at the same time (1172-85), also decorated with mosaics but no survivors except the 12th century image of Madonna del Tocco above the western portal.
Cathedral Messina, ordained in 1197, is also adorned with a large mosaic cycle, which is basically equivalent to CefalÃÆ'¹ and Monreale, but heavily damaged and restored several times later. On the left apse of the 14th century mosaic of the same cathedral survives, representing Madonna and Child between Saints Agata and Lucy, Gabriel Gabriel and Michael and Queen Eleonora and Elisabetta.
Southern Italy is also part of the Norman empire but the great mosaics do not survive in this area except the beautiful mosaic pavement at Otranto Cathedral from 1166, with mosaics bound to the tree of life, most still preserved. Scenes depict the biblical character, king of warriors, medieval animals, allegory of the moon and work activity. Only fragments survive from the original mosaic decorations of the Norman Amalfi Cathedral. The ambiguous mosaics in the Ravello churches prove that mosaic art was widespread in Southern Italy during the 11th-11th centuries.
The Norman Kings Palace is decorated with mosaics depicting animals and scenery. The mundane mundane seems to be more Eastern than the great religious cycle and shows strong Persian influence. The most prominent examples are the Sala di Ruggero at Palazzo dei Normanni, Palermo and Sala della Fontana in the summer palace of Zisa, both from the 12th century.
Venice
In parts of Italy, which are under eastern artistic influences, such as Sicily and Venice, mosaics are never out of date in the Middle Ages. The entire interior of St. Mark's Basilica in Venice is lined with elaborate gold mosaics. The oldest scene was executed by the Greek experts at the end of the 11th century but most of the mosaics were the work of local artists from 12-13 centuries. The decoration of the new church was completed in the 16th century. One hundred and ten mosaic scenes in the atrium of St. Mark's are based directly on the miniature Genesis of Cotton, a Byzantine manuscript brought to Venice after the sack of Constantinople (1204). Mosaics were executed in the 1220s.
Another important Venetian mosaic can be found at the Cathedral of Santa Maria Assunta di Torcello from the 12th century, and at the Basilica of Santi Maria e Donato in Murano with a restored 12th century apical mosaic and a beautiful mosaic sidewalk (1140). The apse of the San Cipriano Church in Murano is decorated with an impressive gold mosaic from the early 13th century that shows Christ reigns with Mary, St. John and two patron saints, Cipriano and Cipriana. When the church was destroyed in the 19th century, the mosaics were bought by Frederick William IV of Prussia. It was reassembled at the Friedenskirche of Potsdam in the 1840s.
Trieste is also an important mosaic art center. The mosaics in the cathedral of San Giusto Cathedral were laid by the skilled artisans of Veneto in the 12-13 centuries.
Medieval Italy
The Grottaferrata Monastery founded by the Greek Basilian monks and ordained by the Pope in 1024 is decorated with Italo-Byzantine mosaics, some of which survive in narthex and interiors. The mosaic on the triumphal arches depicts the Twelve Apostles sitting next to an empty throne, raising Christ's ascension into Heaven. This is a 12th century Byzantine work. There is a beautiful 11th century Deesis above the main portal.
Monastery of Monte Cassino, Desiderius sent messengers to Constantinople sometime after 1066 to hire the Byzantine mosaic for the rebuilt monastic church. According to the historical writer Leo of Ostia, Greek artists adorn the apsis, arches, and basilica's front spaces. Their work was admired by contemporaries but totally destroyed in later centuries except for two fragments depicting the bulldog (now at the Monte Cassino Museum). "Abbas in his wisdom decides that a large number of young monks in the monastery must be completely initiated in this art" - says the author of the history of the role of the Greeks in the revival of mosaic art in medieval Italy.
In Florence, the majestic mosaic of the Last Judgment adorned the dome of Baptism. The earliest mosaics, works of art from many unknown Venetian artisans (including probably Cimabue), date from 1225. The ceiling coverings may not have been completed until the 14th century.
Christ's impressive mosaic in Majesty, flanked by the Blessed Virgin and St. John Evangelist in Pisa cathedral apsis designed by Cimabue in 1302. It evokes the Monreale mosaic with style. It survived the great fire of 1595 that destroyed most of the mediveval interior decorations.
Sometimes not only the interior of the church but faÃÆ'§ades is also decorated with mosaics in Italy as in the case of St. Mark's Basilica in Venice (especially from the 17th-19th centuries, but the oldest of 1270-75, "St. Mark's cemetery in the first basilica" ), The Orvieto Cathedral (the golden gothic mosaic of the 14th century, repeatedly rebuilt) and the Basilica di San Frediano di Lucca (an enormous and striking golden mosaic representing the Ascension of Christ with the apostles below, was designed by Berlinghiero Berlinghieri on 13th century). Spoleto Cathedral is also decorated in upper façade with a large mosaic depicting Blessing Christ (signed by one Solsternus of 1207).
Western and Central Europe
Outside the Alps, the first important example of mosaic art is the decor of the Palatine Chapel in Aachen, commissioned by Charlemagne. It was completely destroyed in a fire in 1650. A rare example of the living mosaic of the Carolingian mosaics is the fictitious dome decoration of the Germigny-des-PrÃÆ' Â © s was built in 805-806 by Theodulf, bishop of OrlÃÆ'Â ans, a the main character of the Carolingian renaissance. This unique work of art, rediscovered in the 19th century, has no followers.
Only a few remnants prove that the mosaic was still in use in the early Middle Ages. The Abbey of Saint-Martial in Limoges, originally an important place of pilgrimage, was totally destroyed during the French Revolution except its basement was rediscovered in the 1960s. A mosaic panel dug originating from the 9th century. It's a bit odd to use a glass-covered glass cube and dark green marble, probably taken from an antique sidewalk. This can also occur in the early 9th century mosaics found beneath the Basilica of Saint-Quentin in Picardy, where antique motifs are copied but use only simple colors. The mosaics at the Saint-Jean Cathedral in Lyon have been dated to the 11th century because they use unusual simple colors. More fragments are found on the site of Saint-Croix in Poitiers that may date from the 6th or 9th centuries.
Then the fresco replaces the more labor-intensive mosaic techniques in Western Europe, although the mosaic is sometimes used as an ornament in medieval cathedrals. The Royal Basilica of the Hungarian kings in SzÃÆ'Ã… © kesfehÃÆ' Â © rvÃÆ'¡r (Alba Regia) has a mosaic decoration in apse. It was probably the work of Venetian or Ravennese artisans, executed in the first decade of the 11th century. The mosaic was almost completely destroyed by a basilica in the 17th century. St. George's Golden Gate Vitus in Prague gets its name from the golden 14th century mosaic of the Last Judgment on top of the portal. It was executed by Venetian craftsmen.
Crusaders in the Holy Land also adopted mosaic decorations under local Byzantine influence. During the 12th century reconstruction of the Church of the Holy Sepulcher in Jerusalem they supplement the existing Byzantine mosaic with the new. Almost no survivors except the "Ascension of Christ" in the Latin Chapel (now surrounded by many 20th century mosaics). More substantial fragments are preserved from the 12th-century mosaic decor of the Nativity Church in Bethlehem. The mosaics within the nave are arranged in five horizontal bands with ancestral figures of Christ, Church Council and angels. In Apses, Annunciation, the Nativity, Adoration of the Magi and Dormition of the Blessed Virgin can be seen. The church redecoration program was completed in 1169 as a unique collaboration of the Byzantine emperors, the king of Jerusalem and the Latin Church.
In 2003, the remains of mosaic sidewalks were found beneath the ruins of the Bizere Monastery near the Mure River? in Romania right now. The panel represents a real or fantastic representation of animals, flowers, sun and geometric. Some archaeologists think that it is the floor of an Orthodox church, built some time between the 10th and 11th centuries. Other experts claimed that it was part of the Catholic monastery later on the site as it showed signs of strong Italian influence. The monastery is located in the territory of the Kingdom of Hungary.
Renaissance and Baroque
Although the mosaics went out of fashion and were replaced by frescoes, some great Renaissance artists also worked with old techniques. Creation of the World Raphael at the dome of the Chigi Chapel in Santa Maria del Popolo is an important example executed by the Venetian craftsman, Luigi di Pace.
During the pontificate of Clement VIII (1592-1605), "Congregazione della Reverenda Fabbrica di San Pietro" was established, providing an independent organization assigned to finish decorating in the newly built St. Peter's Basilica. Instead of the extensive Basilica wall paintings especially decorated with mosaics. Among the explanations are:
- The old Basilica of St. Peter has been decorated with mosaics, as is common in churches built during the early Christian era; the 17th century followed the tradition of improving sustainability.
- In a church like this with high walls and few windows, the mosaic is brighter and reflects more light.
- Mosaics have greater intrinsic longevity than frescoes or canvas.
- The mosaic has a relationship with the decoration of the diamond, showing off the wealth.
St. Peter's mosaic often shows the Baroque compositions that live by design or canvas from such as Ciro Ferri, Guido Reni, Domenichino, Carlo Maratta, and many others. Raphael is represented by a mosaic replica of this last painting, Transfiguration. Many different artists contribute to the mosaics of the 17th and 18th centuries at St. Peter, including Giovanni Battista Calandra, Fabio Cristofari (died 1689), and Pietro Paolo Cristofari (died 1743). Fabbrica's works are often used as gifts of whales.
The Christian East
The eastern province of East Rome and later the Byzantine Empire inherited a strong artistic tradition of the Final Antiquity. Similarly for Italy and the church of Constantinople and important secular buildings in the Syrian and Egyptian regions are decorated with elaborate mosaic panels between the 5th and 8th centuries. Most of these artworks were later destroyed but archaeological excavations found many surviving examples.
One of the most important parts of Byzantine Christian mosaic art in the East is the Madaba Map, made between 542 and 570 as Saint George's church floor in Madaba, Jordan. It was rediscovered in 1894. The map of Madaba is the oldest depiction of cartography still in the Holy Land. It depicts an area from Lebanon in the north to the Nile Delta in the south, and from the Mediterranean Sea in the west to the Eastern Desert. The greatest and most detailed element of topographic depictions is Jerusalem, at the center of the map. The map is enriched with many naturalistic features, such as animals, fishing boats, bridges and palm trees
One of the earliest examples of Byzantine mosaic art in the region can be found on Mount Nebo, an important pilgrimage site in the Byzantine era where Moses died. Among the many 6th-century mosaics in the most exciting (discovered after 1933) church complex lies at the site of baptism. The intact mosaic floor covers an area of ​​9 x 3 m and is placed at 530. It describes hunting and pastoral scenery with rich flora and fauna of the Middle East.
Church of Sts. Lot and Procopius was founded in 567 in the village of Nebo under Mount Nebo (now Khirbet Mukhayyat). The mosaic floors depict daily activities such as grape harvest. Two other spectacular mosaics are found in the Church of the Shattered Preacher of John. One of the mosaics is placed on top of another completely closed and unknown until modern restoration. The numbers on the older mosaic have escaped the iconoclast.
The city of Madaba remained an important center of mosaic manufacture during the 5th century until the 8th century. In the Church of the Apostles the central part of Thalassa's main panel, the sea goddess, can be seen surrounded by fish and other sea creatures. Middle Eastern birds, mammals, native plants and fruits were also added.
An important Justinian mosaic decorates the Monastery of Saint Catherine on Mount Sinai in Egypt. Generally mosaic walls do not survive in this area due to the destruction of buildings but the Convent of St. Catherine is amazing. On the top wall, Moses is displayed in two panes on the landscape background. In apse we can see Jesus Transfiguration on a gold background. Aps is surrounded by bands containing medals of apostles and prophets, and two contemporary figures, "Abbot Longinos" and "John the Deacon". Mosaics may be made in 565/6.
Jerusalem with its many holy sites may have the highest concentration of mosaic churches but very few of them survived the next wave of destruction. Currently it still does not do justice to the original wealth of the city. The most important is the so-called "Armenian Mosaic" found in 1894 on the Prophet's Road near the Damascus Gate. It depicts wines with many branches and groups of grapes, which appear from the vase. Filling the branches of the vine are peacocks, ducks, storks, pigeons, eagles, foxes, and parrots in the cage. The inscription reads: "For the memory and salvation of all Armenians whose name God knows." Below the corner of the mosaic is a small natural cave containing human bones dating from the 5th or 6th century. The symbolism of the mosaics and the presence of burial caves indicate that the room was used as a chapel of the morgue.
A very well-preserved mosaic floor like a carpet was discovered in 1949 in Bethany, the early Byzantine church of Lazarium built between 333 and 390. Due to its pure geometric pattern, the church floor should be grouped with other mosaics. time in Palestine and the surrounding areas, especially the mosaic of Constantine in the center of the church in Bethlehem. The second church was built on the older ones during the 6th century with simpler geometric floor mosaics.
The monastic communities of the Judean Desert also adorn their monasteries with mosaic floors. Martyrius Monastery was founded at the end of the 5th century and rediscovered in 1982-85. The most important artwork here is the whole geometric mosaic floor in the dining room even though the church floor is badly damaged as well. The mosaics in the church of the nearby Euthymius Monastery were dated (discovered in 1930). They were put in the Umayyad era, after a devastating earthquake in 659. Two six pointed stars and a red bowl are the most important features that are alive.
Mosaic art also developed in Christian Petra where three Byzantine churches were found. The most important thing was found in 1990. It is known that the walls are also coated with golden glass mosaic but only the floor panels that survive as usual. The mosaic of seasons in the south aisle is from this first building period from the mid-5th century. In the first half of the 6th century mosaics in the northern alley and the eastern end of the southern alley were installed. They depict both native animals as well as exotic or mythological animals, and personification of Seasons, Ocean, Earth and Wisdom.
The Arab conquest in the Middle East in the 7th century did not stop the art of making mosaics. Arabs learned and accepted the craft as their own and continued the classical tradition. During the Umayyad era, Christianity maintained its importance, the church was built and improved and some of the most important mosaics of the Christian East were made in the 8th century when the region was under Islamic rule.
The mosaic of St. Stephen's Church in the ancient Mefaa Kastron (now Umm ar-Rasas) was made in 785 (discovered after 1986). The perfectly preserved mosaic floor is the largest in Jordan. In hunting scenes and central panel fishing is illustrated while other panels illustrate the most important cities in the region. The mosaic frame is very decorative. Six mosaic masters signed the works: Staurachios of Esbus, Euremios, Elias, Constantine, Germanus, and Abdela. It overlays another previously destroyed mosaic floor (587) "Bishop Sergius's Church." Four other churches were dug nearby with mosaic ornaments.
The last major mosaic in Madaba was made in 767 in the Church of the Virgin Mary (discovered in 1887). This is a work of geometric style with Greek writing on the medal.
With the fall of the Umayyads in 750, the Middle East experienced profound cultural changes. No large mosaics were created after the end of the 8th century and most churches gradually fell into disrepair and were eventually destroyed. The tradition of making mosaics dies among Christians and also in the Islamic community.
orthodox country
The craft has also been popular in the early Middle Ages of Rus, inherited as part of the Byzantine tradition. Yaroslav, the Supreme Prince of Kievan Rus' built a large cathedral in his capital, Kiev. The church model is the Hagia Sophia in Constantinople, and it is also called the Saint Sophia Cathedral. Built mainly by Byzantine master craftsmen, sent by Constantine Monomachos, between 1037 and 1046. Naturally, the more important surfaces in the interior are adorned with golden mosaics. In the dome we can see traditional Pantokrator supported by angels. Among the 12 windows drum is the apostle and four evangelists in pendentives. The apse is dominated by Orand Theotokos with Deesis in the three medals above. Below is the Fellowship of the Apostles.
Prince Sviatopolk II builds the Golden Dome Monastery Michael in Kiev in 1108. The mosaic of the church is undoubtedly the work of the Byzantine artists. Although the church was destroyed by Soviet authorities, the majority of panels were preserved. The small parts of the decorative mosaic decorations of the 12th century survive in the Saint Sophia Cathedral in Novgorod but the church is mostly decorated with frescoes.
Using mosaics and frescos in the same building is a unique practice in Ukraine. Harmony is achieved by using the same dominant color in mosaics and frescoes. Both the Saint Sophia Cathedral and the Saint Michael's Golden Dome Monastery in Kiev use this technique. Mosaics cease to be used for church decoration as early as the 12th century in Eastern Slavic countries. Later the Russian churches are adorned with frescoes, as well as orthodox churches in the Balkans.
The mosaics of the Gelati Monastery are a rare example of mosaic use in Georgia. Initiated by King David IV and completed by his son Demetrius I of Georgia, the fragmentary panel describes Theotokos flanked by two archangels. The use of mosaics in Gelati proves the existence of Byzantine influence in the country and is a demonstration of imperial ambitions of Bagrationids. Mosaic-covered churches can compete in splendor with the churches of Constantinople. Gelati is one of several mosaic creations that survive in Georgia but the fragment proves that the early churches of Pitsunda and Tsromi were also decorated with mosaics as well as other lesser known sites. The 6th-century mosaic floor destroyed at Pitsunda Cathedral has been inspired by the Roman prototype. In Tsromi, tesserae is still visible on the walls of the 7th century church but only a faint line indicating the original scheme. The main character is Christ standing and displaying scrolls with Georgian texts.
Jewish Mosaic
Under the influence of Roman and Byzantine Jews also decorate their synagogues with classic floor mosaics. Many interesting examples are found in Galilee and the Judean Desert.
Remnants of the 6th century synagogue have been found in Sepphoris, which is an important center of Jewish culture between the 3rd and 7th centuries and a multicultural city inhabited by Jews, Christians, and unbelievers. The mosaic reflects an interesting mixture of Jewish and pagan beliefs. In the center of the zodiac wheel floor is depicted. Helios sat in the middle, in the sun train, and each zodiac was matched with the Jewish Moon. Along the sides of the mosaic are strips depicting Biblical sights, such as Isaac's binding, as well as traditional rituals, including burnt offerings and fruit and grain casualties.
Another zodiac mosaic adorned the floor of the Beit Alfa synagogue built during the reign of Justin I (518-27). It is considered one of the most important mosaics found in Israel. Each of the three panels describes a scene - the Sacred Ark, the zodiac, and the story of Isaac's sacrifice. In the center of the zodiac is Helios, the sun god, on his chariot. The four women in the corners of the mosaics represent the four seasons.
A very enduring third-zodiac mosaic is found in the Severus synagogue in the ancient resort town of Hammat Tiberias. In the midst of the mosaic of the 4th century sun god, Helios sits in his chariot holding a celestial ball and a whip. Nine of the 12 zodiac signs survived intact. Another panel shows the Ark of Covenant and Jewish cult objects used in the Temple in Jerusalem.
In 1936, a synagogue was dug in Jericho which was named the Shalom Al Yisrael Synagogue after a writing on its mosaic floor ("Peace in Israel"). It seems to have been used from the 5th to 8th centuries and contains a large mosaic on the floor with pictures of the Ark of the Covenant, Menorah, Shofar and Lulav. Nearby in Naaran, there is another synagogue (discovered in 1918) from the 6th century that also has a mosaic floor.
The synagogue in Eshtemoa (As-Samu) was built around the 4th century. The mosaic floor is decorated only with floral and geometric patterns. The synagogue at Khirbet Susiya (dug in 1971-72, established at the end of the 4th century) has three mosaic panels, the eastern portion depicts a Torah temple, two menorahs, lulav and etrog with columns, deer and rams. The central panel is geometric while the western one is badly damaged but it has been suggested that it depicts Daniel in a lion's den. The Roman Synagogue at Ein Gedi was renovated in the Byzantine era and more elaborate mosaic floors were laid out on older white panels. Geometric design is commonly enriched with birds in the middle. These include the names of the signs of the zodiac and important figures from the Jewish past but not their pictures show that it serves a rather conservative community.
The prohibition of figurative depictions was not taken seriously by Jews living in the Byzantine Gaza. In 1966 the remains of a synagogue were found in ancient port areas. The mosaic floor depicts King David as Orpheus, identified by his name in Hebrew. Nearby there was a lion boy, a giraffe, and a snake listening to him playing the lira. One further part of the floor is divided by the medals formed by the leaves of the vine, each containing an animal: a lioness nursing a child, a giraffe, a peacock, a panther, a bear, a zebra, and so on. The floor was paved in 508/509. This is very similar to the synagogues in Maon (Menois) and the Christian church at Shellal, suggesting that the same artist is most likely working in all three places.
The house of Leontius in Bet She'an (unearthed in 1964-72) is a rare example of a synagogue that is part of an inn. Built in the Byzantine period. The colorful mosaic floors in the synagogue room have outlines decorated with flowers and birds, around a medal with animals, made by the vine rampage emerging from the amphora. The central medal encompasses a menorah (candelabrum) under the word shalom (peace).
The 5th century building in Hulda is probably the Samaritan synagogue. The floor of the mosaic contains typical Jewish symbols (menorah, lulav, etrog) but the inscriptions are Greek. Another Samaritan synagogue with mosaic floor is located in Bet She'an (excavated in 1960). The floor only has a decorative motif and aedicule (temple) with a cult symbol. Prohibitions on images of people or animals are more closely observed by the Samaritans than their Jewish neighbors in the same city (see above). The mosaic was laid by the same master who made the floor of the Beit Alfa synagogue. One of the inscriptions is written in the writings of Samaria.
In 2003, a synagogue in the 5th or 6th century was found in the coastal town of Saranda, Albania. It has an incredible mosaic depicting items associated with Jewish holidays, including menorah, sheep's horns, and lemon trees. The mosaics in the synagogue basilica show what facades resemble Torahs, animals, trees, and other biblical symbols. This structure measures 20 to 24 m. and probably last used in the 6th century as a church.
Middle Eastern and Western Asian Art
pre-Islamic Arab
In South Arabia two mosaic works were excavated in a Qatabanian from the end of the 3rd century, the two plates forming geometric and grapevin formations that reflect the cultural tradition. In Ghassanid era mosaic art developed in their territory, so far five churches with mosaics recorded from that era, two built by Ghassanid rulers and three others by the Christian Arab community who write their name and dedication.
Persian pre-Islamic
Tilework has been known there for about two thousand years when cultural exchanges between the Sassanid and Roman Empires affected the Persian artists to create mosaic patterns. Shapur I decorates his palace with a tile composition depicting dancers, musicians, prostitutes, etc. This is the only significant example of the Persian figurative mosaic, which became banned after the Arab conquests and the coming of Islam.
Islamic Art
Arabic
Islamic architecture used mosaic techniques to decorate buildings and religious palaces after the Muslim conquest in the eastern province of the Byzantine Empire. In Syria and Egypt, the Arabs were influenced by the great tradition of early and early Roman mosaic art. During the making of the mosaics Umayyad Dynasty remained a form of art that developed in Islamic culture and continued in the art of zellige and azulejo in various parts of the Arab world, although the tiles became the main form of Islamic wall decoration.
The first Islamic religious building, the Dome of the Rock in Jerusalem, built between 688-692, is decorated with glass mosaics both inside and outside, by the Byzantine tradition artisans. Only parts of the original interior decorations survive. Rich floral motifs follow the Byzantine tradition, and "Islami only in the sense that the vocabulary is syncretic and does not include human or animal representations."
The most important early Islamic mosaic work was the decoration of the Umayyad Mosque in Damascus, then the capital of the Arab Chalced. The mosque was built between 706 and 715. The Caliph obtained 200 skilled workers from the Byzantine Emperor to decorate the building. This is evidenced by Byzantine partial decoration style. The mosaic from the inner courtyard depicts heaven with its beautiful trees, flowers and small hill towns and villages in the background. Mosaics include no human figures, which makes them different from similar contemporary Byzantine works. The biggest is continuous
Source of the article : Wikipedia
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