Mosaic Emperor Justinian and Courtiers and Augustan Sculpture are objects of Roman cultural heritage which present mighty rulers from different epochs. At the same time, both pieces of art are created according to artistic canons and reflect cultural, historical and religious situation of their days.
The first and maybe the main point in this opposition of times and customs is the role of a ruler. In the Ara Paris Augustus is represented “as the first among equals rather than supreme ruler; although he leads the procession he is marked by no special richness of dress” (Cunningham and Reich 98). In fact, the Ara Pacis contains Augustus notions about his reign and his main guidelines. The altar is devoted to the idea of piece and consent between people; it is an altar with opened palm.
As many other Roman works of art, the Ara Pacis combines Greek and Roman standards of art, with vivid and natural way of presenting a composition. Members of emperor’s family are also included to the scene and depicted with portrait precision; children smile and talk with each other, walk half-turned, in contrast to serious adults. These details emphasize Augustus’ concern for future generations. Presentation of Aeneas reminds not so much about Augustus divine origin as about Rome’s fame and glorious past.
Message, included into the mosaic Emperor Justinian and Courtiers is completely different. Justinian’s presentation does not contain any personal qualities. Emperor’s eyes are big and aloof, posture is motionless. Cloaks hide shapes of figures, and turn them into flat, fusing with wall silhouettes. There is a great contrast between the idealized picture of the young emperor and his courtiers. A bishop has sparse hair; a monk’s face is bony and sinewy. Justinian is presented as an ideal ruler, illumined with imprints of divine glory. He is dressed in purple, with crown on his head. In the Byzantine culture purple was the color of the greatest ruler, God on heavens and his regent, emperor, on earth. Gospel bindings were covered with purple textile. Purple is also observed as the color Virgin Maries clothes on sacred icons (Cunningham and Reich 163-164).
The Byzantine artist tried to express the divine nature of emperor’s power. The composition is V-shaped with Justinian ahead what personifies stern, preterhuman greatness of emperor’s power. The message is expressed by means of figures, which stand as an impenetrable wall and intently look directly at viewers. It seems that inquiring and searching eyes are only vivid details on the mosaic.
Emperor Augustus is presented as the first between equal. His position was grounded not only by the fame of Augustus family, but also by his personal services. He was the first, as long as he was considered a patron of classical traditions, protector of future generations, and wise and fair ruler. At the same time, he was equal to other Roman people, as long as Roman nation was great and mighty. Belonging to Roman nation was the highest honor.
At the same time, Justinian was the main and the first thanks to divine will and predestination. While Augustus ennobles together with his nation, Justinian is initially superior to his people. While Augustus is depicted vividly, he seems an earthy man, Justinian is presented as a heavenly figure, which is alien to earthy sins. His will is impeccable, and ordinary people should follow it without hesitation. Comparing messages in mosaic Emperor Justinian and Courtiers and Augustan Sculpture one may clearly observe appearance of a gap between an emperor and his nation, which was absent in times of emperor Augusts but emerged in the coarse of Byzantine Empire.
Work Cited
Cunningham, Lawrence and Reich, John. Culture and Values: A Survey of the Humanities. Stamford: Cengage Learning, 2009. Print.