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Double Propaganda of Politics and Religion -An Iconographic Study on the Angel in Byzantine imperial costume-
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정치와 종교의 이중 프로퍼갠더 -비잔티움 황제 복장의 천사 도상 연구-

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Type
Academic journal
Author
Cho, Soo-Jeong (대구가톨릭대학교)
Journal
The Research Foundation of Korean Church History The Research Foundation of Korean Church History Vol.56 KCI Accredited Journals
Published
2020.6
Pages
321 - 359 (39page)
DOI
10.35162/rfkch.2020.06.56.321

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Double Propaganda of Politics and Religion -An Iconographic Study on the Angel in Byzantine imperial costume-
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Abstract· Keywords

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The ‘Angel in the Byzantine imperial costume’ is one of the very unique drawings developed by Byzantium art, which is very alien and unfamiliar from the perspective of Western European Art history. This study included Koimesis church in Nicaea, Hagia Sophia Cathedral in Constantinople, Haçlı kilise in Cappadocia, and the Homily of St. Gregory of Nazianzus(BNF MS Gr. 510). This study reveals the background and purpose of the production of the image at the political and religious level, as well as the pictorial meaning of the new angel painting of Byzantium.
The appearance of an angel in Byzantine imperial costume is complicated by the political and religious situation in the Byzantium world surrounding the Iconoclastic Controversy.
After the Iconoclastic Controversy, the Byzantium Church hoped the emperor would become an ideal monarch, and it was reflected in its image as an angel in the Emperor’s robes. Through this image, the message is conveyed that the emperor is an exemplary monarch, a special being blessed and protected by God, and a hero of orthodox Christian protection and a prophet who delivers God’s word. Behind these messages of eulogy, however, is the premise of the emperor’s responsibilities. In other words, it contains a just message that the emperor of Byzantium is the angel of God and should act accordingly. The new angel painting is the ideal image of an emperor, which, after all, coincides with the image of an emperor the church wants. The symbolic meaning of Nicaea is that the center of history is Jesus Christ, and that the emperor should serve the people. The splendid robes of the emperor do not glorify the angels, but rather emphasize that the emperor serves as an angel. The mosaic of Hagia Sophia visualizes the emperor as an angel of Christ and a servant of Christ. It means that the emperor is not the ruler, the persecutor of the church, or the one who goes against the orthodoxy of the church. It is the emperor’s duty to defend the Christian truth, protect the Church, and eradicate heresy. Byzantium’s new angel statue also conveys a message of reconciliation and unity. The Iconoclastic Controversy left scars of deep division in Church and Empire. After the end of the Iconoclastic Controversy, the Byzantine Empire needed to reestablish relations between politics and religion, and the image of an angel in the emperor’s robes was reintroduced to the church as an image of harmony overcoming division.
#비잔티움 미술 #황제 #천사 #마케도니아 왕조 #프로퍼갠더 #Byzantine painting #emperor #angel #Macedonian dynasty #propaganda

Contents

국문초록
1. 들어가는 글
2. 황제의 예복을 입은 천사
3. 도상학적 의미
4. 나오는 글
참고문헌
ABSTRACT

References (33)

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Brubaker, L. / 1985 / Politics, Patronage, and Art in Ninth Century Byzantium : The Homilies of Gregory of Nazianzus in Paris google schola Deshman, R. / 1980 / The exalted servant : The ruler theology of the prayerbook of charles the bald / Viator 11 google schola Christos Hatzopoulos / 2016 / A Diachronic Discussion of the Development of the Relationship Between Basileus and Patriarch in Byzantium / Diss google schola Grabar, A. / 1936 / L’Empreur dans l’art byzantin google schola Held, H.-G. / 1995 / Engel / Dumont google schola

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