2. Tololoi Alina-Felicia Moneaga Oana-Nicoleta The Byzantine influences in the Romanian painting art

3. - The expressions and sobriety of the faces; - Surprising the emotional states through colour; - Styling of the details ; The features of the Byzantine painting The Holy Mother and the Son

4. The features of the Byzantine painting art -The accent falls on surprising the spiritual features, not so much the physical ones; -The accent falls on surprising the spiritual features, not so much the physical ones; Theotokos Platytera,

5. The features of the Byzantine painting art - Over sizing of the central characters, compared to the others; Mosaic of Christ enthroned, between the empress Zoe and emperor Constantine X Monomachos – Hagia Sophia Church

6. The features of the Byzantine painting art -Clothes were very decent; -Clothes were very decent; Mother of God Theotokos

7. - The mosaic - The wall painting - Icon on wood Christ Pantokrator – wooden Icon, VI-th Century Sinai Monastery Ways of expression of the Byzantine painting:

8. - Most of the paintings are ecclesiastic (with a religious theme), the Byzantine art having a profound religious character - Most of the paintings are ecclesiastic (with a religious theme), the Byzantine art having a profound religious character - There are many Churches where these paintings (mosaics and frescoes) lasted in time - The Castles, the palaces and other buildings decorated with non- religious mosaics were unfortunately destroyed

9. The mosaic: was used by Roman artists, but it was perfected in the Byzantine period. The mosaic: was used by Roman artists, but it was perfected in the Byzantine period. For this reason it is considered a form of expression specific to the Byzantine art. For this reason it is considered a form of expression specific to the Byzantine art. The Virgin implores Christ The Church St. Saviour in Chora The mosaic in Byzantine church

10. Painting on wood -In the painting on wood, the oil painting technique is prevalent; -The face is accentuated; - There is a disproportion between the Child and the Virgin Mary.

11. The wall painting has a more free and popular character, largely used today. The two techniques were found in the same building. In the 16th Century, the wall painting covered not only the interior but also the exterior walls of the churches. Voroneţ Monastery, southern wall Northern Moldova, Romania The wall painting

12. The influence of the Byzantine religious painting was felt in the Romanian countries at the beginning of the 14th century. The first churches were decorated by Greek painters. The oldest and most valuable monument in fresco is Saint Nicholas Princely Church, Curtea de Argeş. Interior painting from Saint Nicholas Princely Church, Curtea de Argeş The wall painting

13. The Byzantine art influence in the Romanian countries was felt especially in the painting of the Monasteries in the northern Moldavia: Voronet, Humor, Suceava, Arbore, Probota, Moldovita, Patrauti. Monasteries from North of Moldavia

14. T he Byzantine iconographic program The Painting of the Orthodox churches is made according to a precise rule established along the history of Christianity, namely the iconographic program. Mother of God enthroned Humor Monastery, eastern wall, Northern Moldavia, Romania

15. The Orthodox churches are not painted to impress the eye, but to get the man closer to God. The Byzantine iconographic program The Last Judgment, western wall Voronet Monastery, Northern Moldavia, Romania

16. The Holy Mother and the Son The influence of the Byzantine painting is visible both at the level of theme (the Judgement Day, The Akathist Hymn) and at the level of technique of the wooden icons, the glass icons (a Romanian art particularity) or the wall icons (frescoes). The influence of the Byzantine painting

17. Colour is not just a decorating element; it plays an important role in icons. Associating colours, the icons translate, beyond the reality of the object, a profound message, felt at a spiritual level. The importance of colour in the Byzantine painting The Hospitality of Abraham, by Andrei Rublev, 1410-1420 Tretiakov Gallery, Moscow

18. BLUE – the colour of the sky, prevalent in the medieval paintings, is a symbol of silent sorrow. It is widely used in iconography for the cape of the Pantokrator, for the clothes of Virgin Mary and of the Holy Apostles. The importance of colour in the Byzantine painting Saint Paraskevi, mosaic Metropolitan Cathedral in Iasi

19. The importance of colour in the Byzantine painting RED - symbol of love, sacrifice and altruism is essential in the chromatic of icons. Red are the cape of the Saviour in the Praetorium, the coat of Holy Martyrs and the cape of Holy Archangel Michael RED - symbol of love, sacrifice and altruism is essential in the chromatic of icons. Red are the cape of the Saviour in the Praetorium, the coat of Holy Martyrs and the cape of Holy Archangel Michael Archangel Michael, painting by Andrei Rublev, cca. 1394 Tretiakov Galleries, Moscow

20. The importance of colour in the Byzantine painting GREEN – symbol of spiritual rebirth, is the colour of the Prophets, including Saint John the Baptist, and of Saint John the Apostle, the messengers of the Holly Spirit. GREEN – symbol of spiritual rebirth, is the colour of the Prophets, including Saint John the Baptist, and of Saint John the Apostle, the messengers of the Holly Spirit. The Virgin implores Christ The Church St. Saviour in Chora

21. The importance of colour in the Byzantine painting WHITE - in the first Centuries, baptism was called “enlightenment”. The new baptised wore white clothes, as a sign of birth to a new life. Lazarus’ clothes are white in the icon of his Raising from Death and also are Jesus’ clothes on the day of His Resurrection. WHITE - in the first Centuries, baptism was called “enlightenment”. The new baptised wore white clothes, as a sign of birth to a new life. Lazarus’ clothes are white in the icon of his Raising from Death and also are Jesus’ clothes on the day of His Resurrection. Resurrection of Lazarus

22. The importance of colour in the Byzantine painting YELLOW - and gold represents eternal life and faith, but above all it is a symbol of Jesus: “The sun”, “the Light” “the Sunrise”, “the Light of people”, as Saint John the Apostle was saying. Mother of God holding Jesus Chora Church

23. Concluding, Romania’s painted monasteries and the iconography show the influence of the Byzantine art, brought by the Byzantine artists active in Wallachia and Moldavia in the 14th and early 15th centuries. Concluding, Romania’s painted monasteries and the iconography show the influence of the Byzantine art, brought by the Byzantine artists active in Wallachia and Moldavia in the 14th and early 15th centuries. In the Romanian spiritual space, mural painting represents one of the most spectacular artistic accomplishments, in which the Byzantine and Western influences merged with the autochthonous tradition, resulting a painting of an exceptional artistic and ethnic refinement. In the Romanian spiritual space, mural painting represents one of the most spectacular artistic accomplishments, in which the Byzantine and Western influences merged with the autochthonous tradition, resulting a painting of an exceptional artistic and ethnic refinement.