Greece

Part 9.1 Byzantine Jewelry 4th-15th Century

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Fig 1 Gold hemispherical earrings with dotted outline. Diam 1.4cm.
2nd-3rd centuries. 
Athens, Byzantine Museum, T 2763.  

Fig. 2 Gold earrings of rosette plates with three pendent granulated rods terminating in uncut emeralds.
3rd-4th centuries.
Athens, Byzantine Museum, T 2769.  Dimensions: 4.5 X 2cm. 

Fig. 3 Gold earrings from Tigani in the Mani. Their lower part is decorated with a circle encompassing a filigree cross and framed by three granulated bunches of grapes.
5th-6th centuries.
Athens, Byzantine Museum.  Diameter 4.8cm. 

Fig. 4 Pair of gold bracelets, perhaps from Cyprus.
Byzantine broad bracelets with perforated disc and circular hoop decorated with the theme of the 'horn of Amalthea' (cornucopia). 
6th century AD. 
Athens, Benaki Museum, inv.nos 1835-1836.

Fig. 5 Pair of gold 'basket' earrings. Early Byzantine period. The projecting pyramidal corners of the small cuboid 'baskets' are densely covered with granulation. The five facets are embellished with hemispherical eyed knots in granulation and filigree techniques. The earrings are distinguished for their absolute symmetry and delicate execution
Athens, P. and A. Canellopoulos Museum. inv. no 135a, b.H. 4.2cm. H. of 'basket' 1.9cm.

Fig. 6 Gold chain from Kratigo, Mytilene. Central crescentic pendant with representation of heraldic peacocks. Length: 95cm.
7th century.
Athens, Byzantine Museum.

Greek art in its Byzantine Age (4th-l5th centuries) continues, vital and without break, in all categories, jewellery included, the techniques and modes bequeathed to Byzantium by Greco-Roman tradition. Following the rainbow of a centuries-long course, an achieves greatness in. its new synthesis. Through authentic forms and ideas that laud the glory of God and the grandeur of the emperor, through symmetry, harmony and brilliance of materials and colors, it hymns the spiritual theory, treats might aright and evaluates beauty with rhythms of imperturbable order, its most splendid expressions reaching unsurpassable heights that sanctify the memory of the ecumenical Byzantine Empire

In Byzantine jewellery gold and silver, enamel, pearls, precious and semi- precious stones coexist, invariably attuned with exquisite beauty and finesse to priceless and presumptuous works, reflecting nobility and grace. The extravagant joy of colors, the wealth and variety of costly materials that constitute, with roots from the East, its characteristic qualities, beautify its refined form with inspirational clarity and celebrate it with expressive longevity. Combining different techniques, Byzantine goldsmiths chased noble metals, carved semi-precious stones - jasper, sardonic, lapis lazuli, agates and rock crystal - applied with unique mastery champleve and cloisonné enamel, and set pearls, gems and polychrome glass, to create alluring works of an that capture the divine light and radiate delight. The desire for luxury and splendid colorful effects distinguished their work with good taste, wisdom and prudence.

In the early centuries of the Christian era types and designs of Late Antiquity were used indiscriminately by pagans and Christians alike. Gradually these evolved, being remodeled in new forms and enriched with subjects appropriate to the Christian faith. Representations of Christ, the Virgin Mary, angels and saints, as well as the cross, acquired a prominent position in jewellery too. Symbolic and allegorical. themes - the peacock for immortality, the tree for life, and a host of others - breathed anew in the finely drawn mesh of floral, faunal and geometric decoration, with meanings that allude to the Christian vocabulary. Inscriptions, invocations and blessings, in niello on. gold and silver, recorded the pious expectations of the owners, who inscribed on rings their monogram in the shape of the cross. On the nuptial ornaments Christ appears crowning and protecting the bride and groom, who flank him right and left.

On the successive plaques of the famous gold pericarpia from Thessaloniki, birds, rosettes and palmettes of aniconic intention, precisely drawn and vividly colored in cloisonné enamel, sing in unison, composing a paradise landscape. In the superb necklace from Preslava similar birds and palmettes on enameled plaques enliven the subtle chromatic symphony of gold and rock crystal, glass and pearls, while the suppliant Virgin on the central enamels declares the godliness of the lady who enjoyed the timeless beauty of this piece.

 


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