Between the fifth until the middle of the fifteenth century, the Eastern Roman Empire was the birthplace of Byzantine art. The realism of classical art and the abstract ornamental characteristics of Oriental art were brought together in this work, which formed the connection between the ancient art of Greece and Rome and the art of the Western world in succeeding centuries. Early Christian art and Byzantine art did not have distinct borders between them at any point in time. “Byzantine era” refers to the time period between 300 and 500 years, during which Constantinople served as the capital of the Western Roman Empire. The reign of Justinian (527–565) marked the beginning of the first golden period of Byzantine craftsmanship. In the period between the eighth and ninth centuries, a significant number of sculptures and paintings were destroyed. The iconoclasm that had been going on for 843 years came to an end, and images of the holy figures were once again welcomed. From the ninth to the twelfth century, the Byzantine art world saw its second golden era. During this time, the art of the imperial court became more realistic, while religious art became more spiritual. It was under the reign of Palaiologos, which lasted from the 13th to the middle of the 15th century, that the Byzantine paintings sale reached its pinnacle of grandeur. This period of time is known as the resurgence of Byzantine. Later stages of religious art had a greater emphasis on realism and emotional expression. Within the official art, the Byzantine Empire, also known as the Eastern Roman Empire, was associated with the capital of Constantinople, which existed from the fourth to the fifteenth century, as well as Christian churches. Its ideological core consisted on the promotion of Christian theology and the worship of the emperor in order to strengthen the rule of the nobility to establish their authority. It was defined by the art form of late Rome and eastern art, such as the building of Saint Sofia’s church and the gorgeous décor that was found within, which reflected the theocratic control of spiritual power. As a result of the constraints imposed by the organization of the church, the later styles tended to be conceived and formulaic. It had a significant impact on the development of art in the nations of medieval Europe, particularly the art of the orthodox school.
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