In the MR era, public art had continued its careful manipulation of the Hellenistic “reality” forms, as well as the serious, remote idealism inherited from Classical Greece, producing alternatively naturalistic or idealized images of the ruling class. Subsequently, during the Late Roman fifth and sixth centuries, “official” art underwent a style transformation (Stilwende) (Elsner 1998). Late Roman public representations often take the appearance of modern “comic books.” The elite are portrayed on a larger scale than lesser citizens, striking exaggerated poses of power. Moreover after Constantine the Great’s reign, the dominance of Christianity in the Empire necessarily elevated the emperor to a pivotal position in the Christian model of the universe. As early as Eusebius’ (ca. 264—340)
Ecclesiastical History, world history ends with the ideal Christian ruler Constantine. Although in practice successor emperors were intended to be selected by their predecessor in advance, with the agreement of the influential army and the Senate, by the age of Justinian (emperor 527—565 AD), he was considered to have a “special relationship” with God and be His appointee. This is fundamental to his formal portraits and was reinforced by the custom of formal prostration and silence practiced by those entering his presence. The image ofJustinian in Figure 16.3 combines Christian imagery (the blessing offered above the warrior emperor by Jesus, not shown on this close-up view) with the pagan winged goddess of victory (Nike) on his right side.
The third-century crisis of the Empire and the sustained pressures that did not disappear in the entire LR period are considered to be a potent force in the creation of these new, expressionist tendencies in the art of that era (Gregory 2006). For similar reasons, after Diocletian, emperors became more secluded from the public and cultivated a mystique of remote, awe-inspiring power through elaborate court ceremonial and dress codes.
World History
