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Macedonian art is the art of theMacedonian Renaissance inByzantine art style. The period in which the art was produced, the Macedonian Renaissance, followed the end of theByzantine iconoclasm era lasting from 867 to 1056, concluding with the fall of theMacedonian dynasty. The advent of the Macedonian Empire allowed for a new era of Byzantium revival where many aspects of the empire flourished including quality of life, art, architecture, technology, and military prowess, ultimately leading to the empires Medieval peak.^[1] This Macedonian era of the Byzantine empire was so prosperous it is considered the empire'sGolden Age.^[2] Additionally the empire coincided with theOttonian Renaissance inWestern Europe.

"Macedonian" refers to the ruling dynasty of the period, rather than where the art was created. The court-quality pieces have, as with other periods, traditionally thought to have mostly been created in the capital,Constantinople, or made by artists based or trained there, although art historians have begun to question whether this easy assumption is entirely correct.

The Macedoniandynasty was the second longest-reigning inByzantine history. However, its rule was frequently interrupted by individuals who secured their positions through marriage. This situation, often referred to as "dynastic grafting," allowed these foreigners to leverage the Macedonian dynasty's legitimacy and power to further their own family's ambitions. Despite its unpromising beginnings, the dynasty endured for centuries, with even usurpers of the throne compelled to maintain the appearance of Macedonian rule.^[3]

The founder of the dynasty,Basil I, born a peasant inThrace orMacedonia around 830–836, Basil relocated toConstantinople, where he initially worked as a groom. His fortunes changed whenEmperor Michael III took notice of him and brought him into the imperial household. Michael compelled Basil to divorce his wife and marry the emperor’s mistress, effectively initiating him into power, a union that later sparked disputes over the paternity of Basil's sons. In 866, Basil solidified his authority by assassinating Michael’s uncle,Bardas, elevating him to co-emperor. The following year, Basil continued the trail of Bloodshed, as he murdered Michael III, securing his position as sole emperor and successfully establishing himself as the first ruler of the dynasty.^[4]

Three significant monastic churches inGreece are frequently cited as "classic" examples of theMiddle Byzantine mosaic program, those being the Katholikon ofHosios Loukas, situated in the foothills ofMount Helicon west ofThebes,Nea Moni, located on the island ofChios, and the Church of the Koimesis at Daphni, nearEleusis inAttica. Each of these structures provides insights into monastic and church practices, of the Macedonian period through mosaics, paintings, frescos and architecture.^[5]

The monastery of Hosios Loukas, despite little to no surviving records, is dated around 950 for the Church of the Theotokos and circa 1000 for theKatholikon, The vita of the monastery's founder, SaintLuke of Steiris, a miracle worker and healer, provides valuable insights into monastic practices, the monastery's establishment, and its expansions following his death in 953 and the Byzantine reconquest ofCrete in 961. Additionally the Katholikon's mosaics and frescoes likely date to the late tenth or early eleventh century, following the monastery's second expansion. It remains one of the largest, best-preserved, and most extensively adorned Middle Byzantine monastic church.^[5]

Nea Moni is dated to the reign ofConstantine VII (1045–1054), with the emperor’s patronage linked tomonks who successfully gained his support. This imperial connection also suggests that the church and its mosaics may have been modeled after one of several churches in or near the Imperial Palace of Constantinople, Both Hosios Loukas and Nea Moni were constructed during the Macedonian dynasty (867–1056), a period continuously marked by cultural flourishing, advancements in learning, and significant church construction and restoration.^[5]

The Church of the Koimesis at Daphni, located along the ancient Sacred Way betweenAthens and Eleusis, is dated tentatively. It is attributed to around 1100, during theComnenian dynasty, likely in the reign ofAlexius I Komnenus (1081–1118). This makes it approximately half a century later than the other two churches. Despite this date, Daphni’s architectural and decorative similarities to Hosios Loukas and Nea Moni underscore the enduring tradition of church building and mosaic decoration established after the end of Iconoclasm, continuing under the Macedonian and Comnenian dynasties.^[5]

New churches were again commissioned, and the Byzantine church mosaic style became standardized. The best preserved examples are at theHosios Loukas Monastery in mainlandGreece and theNea MoniKatholikon in the island ofChios. The very freely paintedfrescos atCastelseprio in Italy are linked by many art historians to the art of Constantinople of the period also.

There was a revival of interest in classicalHellenistic styles and subjects, of which theParis Psalter is an important testimony, and more sophisticated techniques were used to depict human figures. There was also a naturalistic style and more complex techniques from ancient Greek and Roman art mixed with Christian themes used in art.

The aftermath of the iconoclastic period freed Byzantine art from restrictive ecclesiastical influences and opened the door to innovative approaches. These included a revival of earlyAlexandrian traditions, the incorporation of ornateArab-inspired motifs, and a shift toward historical and secular subjects. This era introduced originality marking a departure from the more rigid styles of prior centuries.^[6]

The artistic achievements of the Macedonian dynasty reflected grace, drawn from theHellenistic fourth century, with the strength and beauty of earlier traditions. This blend of qualities infusedMiddle Byzantine art with a distinctive dignity, refinement, and balance. These characteristics became hallmarks of Byzantine design, aligning harmoniously with religious themes.Armenian elements, including architects and artistic techniques, were undoubtedly present—such as the restoration ofSt. Sophia by an Armenian architect—this influence did not overshadow Byzantine originality and themes.^[7]

Constantinople served as the epicenter of this artistic renaissance, but remarkable contributions emerged from the provinces. Key examples include theChurch of Skripu inBoeotia (874), the monastic churches ofMount Athos, St. Luke of Stiris in Phocis, and theNea Moni on Chios. The rock-cut churches ofCappadocia, adorned with vibrantfrescoes from the 9th to 11th centuries, further exemplify the diversity and reach of Macedonian artistry.^[8]

The impact of Macedonian art extended well beyond Byzantine borders. Frescoes in Rome’sSanta Maria Antiqua and the construction ofSt. Sophia ofKiev in 1037 reveal the dynasty’s influence across regions. The Macedonian period, peaking between 867 and 1025, represents a pinnacle of Byzantine artistic vitality and creativity. However, the subsequentComnenian period brought challenges, as political and social turmoil ushered in a more rigid and less dynamic artistic expression.^[9]

Although monumental sculpture is extremely rare in Byzantine art, the Macedonian period saw the unprecedented flourishing of the art ofivory sculpture. Many ornate ivorytriptychs anddiptychs survive, with the central panel often representing eitherdeesis (as in theHarbaville Triptych) or theTheotokos (as in a triptych atLuton Hoo, dating from the reign ofNicephorus Phocas). On the other hand, ivorycaskets (notably theVeroli Casket fromVictoria and Albert Museum) often feature secular motifs true to the Hellenistic tradition, thus testifying to an undercurrent of classical taste in Byzantine art.

There are few important surviving buildings from the period. It is presumed thatBasil I's votive church of theTheotokos of the Pharos (no longer extant) served as a model for mostcross-in-square sanctuaries of the period, including the monastery church ofHosios Loukas in Greece (ca. 1000), theNea Moni of Chios (a pet project ofConstantine IX), and theDaphni Monastery nearAthens (ca. 1050).

• 
  The 11th-century monastery ofHosios Loukas, representative of theMacedonian Renaissance
• 
  Frescoes of Hosios Loukas
• 
  Mosaics ofNea Moni of Chios
• 
  "David playing the harp", from theParis Psalter
• 
  "David and Goliath", from the Paris Psalter
• 
  Borradaile Triptych
• 
  View of theHarbaville Triptych
• 
  Exterior Image of the Hosios Loukas, ca. 950, located in the foothills ofMount Helicon
• 
  Exterior Image of theNea Moni, (1045-1054)

• Joshua Roll
• Gunthertuch

• J. Durand, L'art byzantin, Terrail, Paris, 2001
• J-M. Spieser, "L'art de Byzance", in C. Heck (dir.) Moyen âge, chrétienté et Islam, flammarion, Paris, 1996
• "Gods Regents on Earth: A Thousand Years of Byzantine Imperial Seals The Macedonian Dynasty (862-1056)".Dumbarton Oaks. Archived fromthe original on 2013-09-21. Retrieved2014-10-28.
• "Imperial Recovery Under the Macedonian Dynasty". Boundless. Archived fromthe original on 2021-04-30. Retrieved2014-10-28.
• Vasiliev, Alexander A. “The Macedonian Epoch (867–1081).”History of the Byzantine Empire, 324-1453, Volume I, University of Wisconsin Press, 1958.^[1]

• Evans, Helen C. & Wixom, William D. (1997).The glory of Byzantium: art and culture of the Middle Byzantine era, A.D. 843-1261. New York: The Metropolitan Museum of Art.ISBN 9780810965072.

• Media related toParis psalter at Wikimedia Commons

• Byzantine art
• Byzantine architecture
• Macedonian dynasty

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