Aesthetic Interpretation Of Mosaics In Hagia Sophia Church

The icon paintings in Hagia sophia church, are the products of religion and art in the middle age. The paper support view that icon paintings in the church not only decorate the church, but also play a function of language in a unique form. I use iconography research methods to contrast and analysis the icon paintings in Hagia Sophia church. By revealing the art form and the hidden symbolism in the typical icon paintings, this paper analyzes the function of the icon paintings especially the aesthetic function. Furthermore,this paper analyzes the aesthetic process of the human-centered icon paintings,and how do they reflect the public awareness and theological aesthetics in the Byzantine period. This article is divided into the following four parts:Chapter one is the confirmation of the relationship on the between the icon paintings and the churches, expecting to achieve the macro-control of the Church culture. In addition, this chapter will explore the origin of. icon paintings and the image records on the basis of the functions characteristics in the Orthodox churches. With the history and culture of the Hagia Sophia be the support, and the origin of icon paintings in the Church be the starting point, this chapter will analyze the function of Sophia icon paintings.Chapter two is divided into two sections to make comparative analysis of typical icon paintings, and then to demonstrate the form of icon paintings. The first step is to describe the paintings of the same theme in iconographic method, such as Emperor kneeling before Christ, the Theotokos with Justinian and Constantine, Empress Zoe and Comnenus; then to discuss the art form language of icons painting.Chapter three is divided into two sections to discuss the reproduction function and value of Bible from the discussion of symbol language and image of graphic function of the Trinity, to explore the existence and aesthetic values of icon paintings; finally to draws the aesthetic value of icon paintings as well as the reasons why it was conceived and developed in the medieval culture.Chapter four analyses the Theotokos and St John Chrysostom, explores the formation of aesthetic relationship between man and icon paintings, and also reviews the theory of icon paintings and their aesthetic concept. This part makes a detailed analysis on the relationship between the will of God and art in aesthetic theory and icon theory in an academic viewpoint, presenting the development of icon paintings as religious literature products during a specific time of human world. Summary language in the form of icons and functions attributed to the nature of language and images, archetypes and theology, and the reaction of the materialization of the Christ image transfer and change of aesthetic feeling. This chapter, as the conclusion of the whole text and the theoretical basis of icon paintings, discusses the changes of the visual image load and the aesthetic values under the background of Christian era during Byzantine period.To sum up, this paper uses iconographic method as a focal point to find the aesthetics and theory origin of the icon paintings in Hagia Sophia, looking forward to making a second contemplation to the relationship between medieval religious art works and human life.