Animal motifs

In Byzantium

Animal motifs, part of the rich ornamental repertory, were associated with Byzantine art at an early stage. The use of animal motifs, although less frequent than that of geometric and plant motifs, took on a major importance, especially in Early Christian art. The magnificent floor mosaics of Early Christian churches, the wall mosaics and paintings, the capitals of columns and the sarcophagi comprise an ornamental decoration that combines geometric, plant, floral and animal elements with a view to creating a universe rich in symbolism that was, at times, whimsical and unreal.

Representations of birds of all types (the church of Saint George in Thessalonica), sea creatures (basilica of Aquileia) and exotic animals from distant lands (Piazza Armerina, Sicily; the Great Palace, Constantinople) form entire panels or are an integral part of hunting and circus scenes, scenes of city and country life, mythological scenes, and depictions of the seasons, months, signs of the zodiac and planets. Until the late fourth century or early fifth century, the Church allowed these subjects, even on the walls and vaulting of places of worship. It tolerated them on the floors for a much longer period. Of course, there was no shortage of theological themes. The prohibition of figural representation on the floor out of respect for sacred figures resulted in the increased use of highly symbolic plant and animal themes and motifs: the representations of lambs and fish, symbols of the Incarnation and sacrifice of Christ, birds drinking on either side of the fountain of life, animals and birds pecking at bunches of grapes in a paradisiacal setting, and ducks and fish depicted in the waters of the four rivers of Paradise (Tayibat al-Imâm, Syria).

Animal motifs later lost much of their symbolic import, acquiring a signification that was decorative, narrative and/or explanatory. During the Iconoclast crisis and under the pressure of the Arabs and the Jews, peoples with an aniconic tradition, the representations of sacred figures gave way to depictions of birds, fantastic animals and plant motifs combined in racing, hunting and horse-racing scenes. This ornamental tendency, adopted for the decoration of churches, also appeared in the minor arts: many textiles, ivory objects and enamels were decorated with fantastic animal motifs. At the end of the Iconoclast crisis and the subsequent artistic and cultural renewal during the Macedonian dynasty, despite the reappearance of religious iconography on the walls of the churches, profane themes continued to be used in the imperial palaces and for portable objects. The reason was the great interest shown in classical literature, art and science in the literary circles of Constantinople. In the following period of Byzantine art, animal motifs continued to be used, albeit in a less spectacular fashion. Their role was, rather, to be a part of the narrative in order to clarify it.

Animal motifs were also very common in Byzantine manuscripts. As decorative elements, they framed ornamental paintings, adorned the margins and made up historiated initials. Figures of real or fantastic birds and animals appeared on the arches, in the polychrome paintings and even on the sides, outside the architectural framework. Peacocks, parrots, elephants, camels and griffins faced each other on either side of a plant or a fountain above an ornamental painting. Elephants, lions, horses and donkeys were transformed into capitals bearing the heavy weight of an architrave in the decoration of the Canon Tables, which comprises large arches and rectangular paintings resembling sumptuous carpets[1]. Sometimes the large initials at the beginnings of chapters or paragraphs were made up of animal motifs. Partridges, parrots, peacocks, storks, snakes, panthers, lions and griffins intermingled, combined or faced each other, thus forming the shape of the letter. Elsewhere, the representation of animals creates a necessary visual support that accompanies theological texts (the homilies of Gregory of Nazianzus[2]), which directly or indirectly allude to scenes of the country or the seasons, and scientific texts referring to animal diseases (hippiatric manuscripts) or various remedies[3].

E. Y.