Evoluția iconografiei creștine în secolele VI‑VII

The II-III centuries represented the period of the birth of Christian sacred art through Christians imitating the custom of pagans, from whose ranks most of them came, to decorate their graves, sarcophagi or mausoleums with images and even by borrowing some pagan symbols and themes, to which they obviously gave a new, Christian meaning, to which, of course, exclusively Christian themes were added, most often of biblical origin, most of them having a narrative-historical character. In the 4th-5th centuries, under the careful supervision of the Church, a synthesis was made regarding the themes addressed, by abandoning some, by taking over others from the imperial imaginary, prevalence acquiring a dogmatic character, from the desire to express and through the mediation of figurative art, not only through the poetic, transposed into songs, the truths of faith formulated at the first four ecumenical synods, but also in terms of styles. In this second stage of the history of Christian sacred art, especially in the 5th century, as a result of the synthesis achieved in the capital of the empire between the two great artistic currents that manifested themselves in painting, the Hellenistic Alexandrian and the Syro-Palestinian, was formed the Constantinopolitan painting school and the stylistic features specific to this school crystallized1. The present study aims to point out the main characteristics and developments of Christian sacred art in the Byzantine Empire starting from the time of Emperor Justinian I until the outbreak of Byzantine iconoclasm