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The Byzantine Empire produced much of the finest art of the Middle Ages in terms of quality of material and workmanship, with court production centred on [[Constantinople]], although some art historians have questioned the assumption, still commonly made, that all work of the best quality with no indication as to origin was produced in the capital. Byzantine art's crowning achievement were the monumental [[fresco]]s and [[mosaic]]s inside domed churches, most of which have not survived due to natural disasters and the appropriation of churches to [[mosques]]. |
The Byzantine Empire produced much of the finest art of the Middle Ages in terms of quality of material and workmanship, with court production centred on [[Constantinople]], although some art historians have questioned the assumption, still commonly made, that all work of the best quality with no indication as to origin was produced in the capital. Byzantine art's crowning achievement were the monumental [[fresco]]s and [[mosaic]]s inside domed churches, most of which have not survived due to natural disasters and the appropriation of churches to [[mosques]]. |
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[[File:L'abbé Ména et le Christ 01.JPG|thumb|6th or 7th century [[Coptic art|Coptic]] [[Icon of Christ and Abbot Mena|icon of Jesus and an abbot]] shares in more homely form the anti-realist style of Byzantine iconic art.]] |
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Byzantine art exercised a continuous trickle of influence on Western European art, and the splendours of the Byzantine court and monasteries, even at the end of the Empire, provided a model for Western rulers and secular and clerical patrons. For example, [[Byzantine silk]] textiles, often woven or embroidered with designs of both animal and human figures, the former often reflecting traditions originating much further east, were unexcelled in the Christian world until almost the end of the Empire. These were produced, but probably not entirely so, in Imperial workshops in Constantinople, about whose operations we know next to nothing—similar workshops are often conjectured for other arts, with even less evidence. The [[gold ground]] style in mosaics, icons and manuscript miniatures was common across Europe by the Gothic period. Some other decorative arts were less developed; Byzantine [[ceramic art|ceramics]] rarely rise above the level of attractive [[folk art]], despite the [[Pottery of Ancient Greece|Ancient Greek heritage]] and the impressive future in the [[Ottoman Empire|Ottoman]] period of [[İznik pottery|İznik wares]] and other types of pottery. |
Byzantine art exercised a continuous trickle of influence on Western European art, and the splendours of the Byzantine court and monasteries, even at the end of the Empire, provided a model for Western rulers and secular and clerical patrons. For example, [[Byzantine silk]] textiles, often woven or embroidered with designs of both animal and human figures, the former often reflecting traditions originating much further east, were unexcelled in the Christian world until almost the end of the Empire. These were produced, but probably not entirely so, in Imperial workshops in Constantinople, about whose operations we know next to nothing—similar workshops are often conjectured for other arts, with even less evidence. The [[gold ground]] style in mosaics, icons and manuscript miniatures was common across Europe by the Gothic period. Some other decorative arts were less developed; Byzantine [[ceramic art|ceramics]] rarely rise above the level of attractive [[folk art]], despite the [[Pottery of Ancient Greece|Ancient Greek heritage]] and the impressive future in the [[Ottoman Empire|Ottoman]] period of [[İznik pottery|İznik wares]] and other types of pottery. |
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Greek: Ά ά Έ έ Ή ή Ί ί Ό ό Ύ ύ Ώ ώ Α α Β β Γ γ Δ δ Ε ε Ζ ζ Η η Θ θ Ι ι Κ κ Λ λ Μ μ Ν ν Ξ ξ Ο ο Π π Ρ ρ Σ σ ς Τ τ Υ υ Φ φ Χ χ Ψ ψ Ω ω {{Polytonic|}}
Cyrillic: А а Б б В в Г г Ґ ґ Ѓ ѓ Д д Ђ ђ Е е Ё ё Є є Ж ж З з Ѕ ѕ И и І і Ї ї Й й Ј ј К к Ќ ќ Л л Љ љ М м Н н Њ њ О о П п Р р С с Т т Ћ ћ У у Ў ў Ф ф Х х Ц ц Ч ч Џ џ Ш ш Щ щ Ъ ъ Ы ы Ь ь Э э Ю ю Я я ́
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