ABSTRACT

The imperial mosaics at Hagia Sophia are among the best-known depictions of imperial power in Byzantine art. Justinian’s era Hagia Sophia continued to serve as a site for imaging and performing and for stating and reiterating imperial power through the ceremonies that took place there and through the generous, even lavish, support that emperors bestowed upon this foundation during the course of its history. The mosaics introduced to the Great Church in the ninth and tenth centuries not only signposted the imperial liturgy performed in the building but also flagged the emperor’s shifting social and cosmic status within the ceremonies. Most studies that explore the imperial liturgy at Constantinople begin their consideration at the threshold of the Great Church. The Book of Ceremonies prescribes that after the emperor enters the throne room, he should pray before the depiction of the enthroned Christ. The images of emperors in proskynesis operated in a similar fashion, as visually disclosed sacred mysteries.