Art 251 Carolingian and Ottonian Art and Architecture

After Western Christians fired Byzantium, the western part was used for the purpose of the church, but at first it may not have been suitable for the use of the church.

- Behind Christ is a pillar and a curtain, trying to create a space with visual cues (because there are few available ivory).

- The emperor is standing on a crouching person, he may put himself there to remind his presence to the emperor (Otto II)

After Carolingian late style, manuscript customer portrait stands out in Ortonia art. Much of Artonia's art reflects the desire of the dynasty to establish late Christian rulers such as Diodoric and Justinian, and the visual connections of their Carolingian predecessors, in particular Charlemagne. For example, portraits of rulers of the Ottoman Empire usually include images of long-term imperial history, such as rural personalization, or church representation of the military and papal aspects.

The Othon dynasty confirmed the sacred Roman dynasty and hoped to associate them with the late Christian rulers such as Theodoric and Justinian, and their predecessor, Carolegian predecessor, in particular Charlemagne. Otto's art reflects this desire and combines the art tradition and influence of the late Roman era, Byzantine era, Caroline Gang era. The style is usually magnificent and heavy, sometimes even excessive, initially not as good as Carolingian. Also, Otto style has no direct influence on Byzantine art, nor does it understand its classic model. Paintings surviving in this age are mainly present in illuminated manuscripts and illustrations of several mural paintings and mural paintings. In fact, the lighting manuscript is the best source of the royal portrait of Otto Renaissance painting.