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A guige to the early christian and byzantine antiquities (Путеводитель по ранним христианским и византийским древностям)

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Was not qualified to satisfy the needs of the By it which called for more sincerity and force than new it ; itself it religion, was able to 18 give. made INTRODUCTION But the Greek powers of composition and arrangement indispensable when the time came for the introduction it of a historical art after the Peace of the Church. The first historical themes and cycles were the work of Hellenistic Greeks, and, in Italy, of Romans who had assimilated their style. The contribution of Syria to the formation of Christian art would appear to have been determined by the Semitic genius, though Syrian feeling was shared by the Copts of Upper Egypt and by non-Semitic inhabitants of inner Asia Minor whose outlook on the visible world was in many ways the same.

D. 709 the of bulwark of Christianity Northern Africa was overthrown by Islam. For the British Isles last in KICK 21. Terracotta lamp from Syria. during (No. ) this period see pp. 56-61. may review the principal characteristics of these centuries as a period in the development of Christian art. They witnessed a complete change from the symbolism of the earlier age to a system of historical and dogmatic representa- We The change came about because the freed Church wished employ art to celebrate its triumph and set forth its creed the close relations between a centralized Church and the imperial court led also to the glorification by artistic means of the imperial power.

750-1258) the capital was removed to Baghdad, and Mohammedan art passed more definitely under Persian control, though the development attained by the Copts of Egypt was naturally influential in the South. A period of increased orthodoxy was accompanied by a magnificence of decorative design, such as might naturally be expected when the capital of Islam was moved within the Persian sphere. Under the Abbasids, a non-representational decorative style, chiefly of Persian derivation, was henceforward typical of Mohammedan expression, as Syro-Hellenistic representation was typical of Byzantine sacred art.

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