Greek art in its Byzantine Age (4th-l5th centuries) continues, vital and
without break, in all categories, jewellery included, the techniques and modes
bequeathed to Byzantium by Greco-Roman tradition. Following the rainbow of a
centuries-long course, an achieves greatness in. its new synthesis. Through
authentic forms and ideas that laud the glory of God and the grandeur of the
emperor, through symmetry, harmony and brilliance of materials and colors, it
hymns the spiritual theory, treats might aright and evaluates beauty with
rhythms of imperturbable order, its most splendid expressions reaching unsurpassable
heights that sanctify the memory of the ecumenical Byzantine Empire
In Byzantine jewellery gold and silver, enamel, pearls, precious and semi-
precious stones coexist, invariably attuned with exquisite beauty and finesse to
priceless and presumptuous works, reflecting nobility and grace. The extravagant
joy of colors, the wealth and variety of costly materials that constitute, with
roots from the East, its characteristic qualities, beautify its refined form
with inspirational clarity and celebrate it with expressive longevity. Combining
different techniques, Byzantine goldsmiths chased noble metals, carved
semi-precious stones - jasper, sardonic, lapis lazuli, agates and rock crystal -
applied with unique mastery champleve and cloisonné enamel, and set pearls,
gems and polychrome glass, to create alluring works of an that capture the
divine light and radiate delight. The desire for luxury and splendid colorful
effects distinguished their work with good taste, wisdom and prudence.
In the early centuries of the Christian era types and designs of Late
Antiquity were used indiscriminately by pagans and Christians alike. Gradually
these evolved, being remodeled in new forms and enriched with subjects
appropriate to the Christian faith. Representations of Christ, the Virgin Mary,
angels and saints, as well as the cross, acquired a prominent position in
jewellery too. Symbolic and allegorical. themes - the peacock for immortality,
the tree for life, and a host of others - breathed anew in the finely drawn mesh
of floral, faunal and geometric decoration, with meanings that allude to the
Christian vocabulary. Inscriptions, invocations and blessings, in niello on.
gold and silver, recorded the pious expectations of the owners, who inscribed on
rings their monogram in the shape of the cross. On the nuptial ornaments Christ
appears crowning and protecting the bride and groom, who flank him right and
left.
On the successive plaques of the famous gold pericarpia from Thessaloniki,
birds, rosettes and palmettes of aniconic intention, precisely drawn and vividly
colored in cloisonné enamel, sing in unison, composing a paradise landscape. In
the superb necklace from Preslava similar birds and palmettes on enameled
plaques enliven the subtle chromatic symphony of gold and rock crystal, glass
and pearls, while the suppliant Virgin on the central enamels declares the
godliness of the lady who enjoyed the timeless beauty of this piece.
Greece
