Art History:
The Leaf of a Diptych: The Emperor Triumphant
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Introduction.
This research paper will play a significant role in employing a close visual analysis of the ‘leaf of a diptych sculpture: The Emperor Triumphant,’ commonly referred to as the ‘Barberini Ivory,’ by an unknown artist. I viewed the image at the Louvre Museum in Paris, France. The main reason as to why I selected this French Byzantine art is that it is an example of an image of power, a theme that stirs my love for arts. In this particular paper, I will be discussing the historical context of the image and the reason as to why I think this image would make an excellent addition in the class text. Basing on the other images from our primary textbook ‘Exploring art: A global, thematic approach,’ more precisely ‘The Glory of the Ruler,’ chapter, I will provide a vivid comparison of this sculpture with the sculpture of ‘Plaque: with warrior and attendants’[1], Nigeria, 17th and the early 18th centuries. I will also provide additional information about these portraitures during this particular period.
Portrait of Leaf of a Diptych: The Emperor Triumphant
The name of this diptych, Barberini Ivory, depicts an emperor as a triumphant victory. The medium incorporated by this art is ivory that is sculpted and fitted together with plagues and some touches of inlay. It has the following dimensions; height-34.2 cm, thickness-26.8cm, and a width of 26.8cm[2]. It is the only nearly completed leaf of a diptych that comprises of leaves displaying five elements; the central plague and four rectangular and long plagues though one of the right-hand Plaque which like the other leaves was held in position in the center by the use of grove system and a tongue that facilitated the appropriate breadth of the leaf, in general, is missing. At much closer scrutiny of the image, the central panel comprises of the emperor who is mounted on a horse. He is wearing a crown, a tunic, and boots. He is depicted to perhaps be Justinian, who ended the peace treaty of 532 with the Persians[3] To his sides, there are conquered barbarians who, by a justification of their looks, are either the Persians or the Scythian. A crouching figure is holding the foot of the emperor, possibly as a sign of gratitude or submission. A soldier on his left is holding a statute of victory. These figures highlight the power of the emperor. The huge spear held by the emperor is partly hiding a barbarian. Despite the spear not piercing him, he seems to be so much awed and astonished. At the top plague, Christ, who is shown having fashionable curly hair, holds a cross with his left hand and on both of his sides are symbols of the moon and sun. He is flanked by two angels with the ancient palms showing that he reigns above and is more powerful than the emperor below him who reigns the earth. At the lower Plaque of the image, barbarians both carry tribute that majorly consists of wild animals and ivory tusks.
The Louvre Museum
Known to be the world’s largest museum, the louvre museum is also a historical monument of Paris. In addition to this paper, research conducted showed that the museum is ranked as the most visited art museum in the whole world[4]. With about 460000 artworks and 35000 works of art in display at eight different curatorial departments, one ought to have a mediated way of looking at these arts. This can be achieved by recognizing and comprehending various choices made by artists when creating art. Viewers upon visiting the museum are urged to observe and jot down separate parts of the art to be studied, and hence a clear understanding of the art as a whole would be obtained. The reason why I opted for this piece of artwork is that it portrays a perfect blend between paganism and Christianity; hence it was an exciting art to research and study about.
This selection would be an excellent addition to the text since, just like the ancient antique art, this sculpture was done during the period when the Christian Roman Empire rivaled for power with their counterparts in the old Roman Empire. A comparison between this political art in the ancient period and the not so recent art of the ‘Plaque: warrior and attendants’ would be a good study for students. The ‘Portrait of Leaf of a Diptych: The Emperor Triumphant’/Barberini Ivory and ‘Plaque: warrior and attendants’ sculptures make a good comparison as they both display the same theme of power. The Barberini ivory was made in the sixth century while the plague: warrior and descendants were made by the Edo peoples in the period between the 16th and 17th centuries.
Historical Context of the Barberini Ivory
The Barberini ivory owes its name from Cardinal Francesco Barberini who received the image as a gift from Nicolas Claude Fabri de Pairesc, a scholar from the Provence of Aix-en[5]. This exceptional sample of Byzantine ivory flourished in the first half of the sixth century. The image attributes itself to the imperial workshop named Constantinople. The art is an important historical document as it is connected with the Queen Brunhilda of Austrasia who ordered that at the rear of the image a list of approximately three hundred officials to be inscribed and then offered it to the church as a votive image[6]. The making of the artwork follows the byzantine art, which is mainly characterized by less concern in highly realistic art, but rather their influence was based on religious symbolism. In the making of this image, cultural shifts in terms of religion were experienced. As Constantinople was a city in between all the western trade routes, this image in its central location enabled the easier spread of ideas regarding Christianity. This facilitated the Byzantine Empire at large to influence its people and those in the surrounding areas to support Christianity.
Comparison of the Barberini Ivory with the Plague: Warrior and Attendants
The sculpture of ‘Plague: Warrior and Attendants’, Nigeria, was done between 16th and the 17th century to adorn the outside surroundings of the royal palace in Benin City. The sculpture was sculpted using brass medium and made to a height of 47.6cm, width-38.1cm, and a thickness of 10.8 cm[7]. The royal brass created plagues representing rituals and other state ceremonies. On this Plaque, a chief dressed in war regalia raises a sword as a symbolism to glorify the powers of the king. Flanking him are warriors and attendants. Due to the imperial expedition by the British in 1897, most of the people from Britain took these pieces of art to their museums while others sold them. They deduced that no naïve African could come up with the technique of making these sculptures that were considered highly innovative and exceptional pieces. When comparing these two pieces of art, several differences and similarities emerge. They have a resemblance as both of these arts have the theme of power in portraying their respective leadership. They both incorporate their art on plaques, and their art is both a symbolism of a specific aspect. Both pieces are also highly decorative. As both adapted the use of ivory, -although the latter did not use it primarily, their art was semi naturalistic and mostly was used by the royal figures. The two artworks differ only in the context of their creation periods.
Conclusion
In conclusion, the Barberini ivory art shows a perfect blend of the symbolism between Christianity and paganism. The Barberini ivory is also believed to the only remaining diptych example in existence. There is no original person who is believed to have owned it initially since its first initial documentation in 1623 by Cardinal Francesco Barberini. The theme of power in this piece of art has been substantially achieved. Other sub-themes such as pantheism and monotheism that refer to a belief that all things are pervaded by a supreme being and the belief of one god respectively, can also be observed from this image.[8]
Works Cited.
Lazzari, Margaret, and Dona Schlesier. Exploring art: A global, thematic approach. Cengage Learning, 2011.
Nelson, Robert S. “And So, With the Help of God”: The Byzantine Art of War in the Tenth Century.” Dumbarton Oaks Papers 65 (2011): 169-192.
Oliver, Bette Wyn. From Royal to National: The Louvre Museum and the Bibliothèque Nationale. Lexington Books, 2007.
Plankensteiner, Barbara. “Benin—Kings and Rituals: Court Arts from Nigeria.” African Arts 40, no. 4 (2007): 74-87.
[1] Lazzari, Margaret, and Dona Schlesier. Exploring art: A global, thematic approach. Cengage Learning, 2011.
[2] Nelson, Robert S. “And So, With the Help of God”: The Byzantine Art of War in the Tenth Century.” Dumbarton Oaks Papers 65 (2011): 169-192.
[3] Nelson, Robert S. “And So, With the Help of God”: The Byzantine Art of War in the Tenth Century.” Dumbarton Oaks Papers 65 (2011): 169-192.
[4], Oliver, Bette Wyn. From Royal to National: The Louvre Museum and the Bibliothèque Nationale. Lexington Books, 2007.
[5] Nelson, Robert S. “And So, With the Help of God”: The Byzantine Art of War in the Tenth Century.” Dumbarton Oaks Papers 65 (2011): 169-192.
[6] Nelson, Robert S. “And So, With the Help of God”: The Byzantine Art of War in the Tenth Century.” Dumbarton Oaks Papers 65 (2011): 169-192.
[7] Lazzari, Margaret, and Dona Schlesier. Exploring art: A global, thematic approach. Cengage Learning, 2011.
[8] Lazzari, Margaret, and Dona Schlesier. Exploring art: A global, thematic approach. Cengage Learning, 2011.