Divine or Desire? The Male Gaze’s Role in the Imperial Feminine

Judith Herrin's 2000 article “The Imperial Feminine in Byzantium” covers quite a few topics, one of which I hope to explore more fully here: the relationship between the male gaze and the portrayal of female power in art and literature. Specifically, I will address how women, particularly empresses, were depicted in the culture, art, and literature of a society that frequently objectified them, while still infusing these representations with a sense of power and legitimacy. This duality raises important questions about admiration versus objectification, and how cultural contexts can transform the meaning behind female representations.

One of the key moments in Herrin's work follows her assertion that female figures in Byzantine art often represented authority rather than simply serving as objects of beauty. She notes, “The importance of these statues is that they were of actual, historical characters” (Herrin, 8). These were not mere fictional forms; they represented real women who wielded power and influence. Yet, these portrayals were still smothered in contradictions. While these statues personified imperial authority, they also functioned within established gender tropes that rendered them as allegorical figures, often subordinate to male power.

For instance, the depiction of an empress on a steelyard- an object commonly used for measuring valuable commodities- highlights a fascinating intersection of feminine imagery and authority. Here, the image of an empress embodies “the guarantee of accuracy and an assurance of good measure,” a role that both elevates the imperial feminine status, while still constraining the goddess’ depiction within the boundaries of traditional gender roles. Those roles during the time being women in the home, raising and rearing the children. Herrin explains that “the female figure represents the ruling power,” and that women were  prominent in the very fabric of imperial legitimacy. 

As Herrin continues her discussion of female representation, she highlights the delicate balance between admiration and objectification. The city of Constantinople is personified as a female figure, referred to as the “queen city” and traditionally depicted in a feminine form (Herrin, 9). This symbolic representation creates a further “confusion between different forms of power,” as the attributes of the city and the imperial feminine intertwine, reinforcing both the power of female figures and their symbolic subservience to a patriarchal structure (Herrin, 10). This concept is also evident in the transition from late antique representations, where power and legitimacy was regularly depicted in female form, to later, more modest, Christian ideals for women. Herrin notes that “artists normally showed [female martyrs and saints] in very modest attire which completely covers their hair and their limbs (Herrin, 11)”. The shift from celebrating the nakedness of imperial women, as was typical in earlier representations, to cloaking them in layers of fabric also symbolizes the evolving cultural attitudes towards femininity and power. It reflects a social evolution toward viewing women through the lens of piety and virtue rather than outright power. 

The context in which female figures were portrayed also played a significant role in shaping their narratives. In the late antique period (between the late third century CE and the sixth or seventh century), women with imperial responsibilities were often depicted in elaborate regalia, their bodies accentuated in ways that would later be deemed inappropriate that later would be deemed inappropriate, including portrayals of their “naked arms, shoulders, legs and feet" (Herrin, 11). This level of exposure would eventually become a point of contention, as later Christian authors critiqued such depictions for their indecency. Yet, even as the visual representation of women became more modest, their symbolic power persisted in more covert ways. Herrin emphasizes that “a feminine element in the decoration of the cities of the East Mediterranean therefore took many forms,” suggesting that the legacy of powerful women was woven into the very identity of these cities. While representations of men outnumbered those of women, the female representations that did exist served not only to celebrate past achievements but also to uphold the collective memory of a society that had once acknowledged women in power, and the significant roles they played as role models for others.

In examining the depictions of women in Byzantine art with Herrin's notion of the 'Imperial Feminine' in mind, we discover that women were both revered and objectified, their power simultaneously acknowledged and constrained. The male gaze undeniably shaped these portrayals, yet the persistence of female figures as symbols of authority speaks to an underlying recognition of women's capabilities. Ultimately, the portrayal of women in historical contexts challenges us to reconsider the narratives we uphold today. As we reflect on the ways female power has been depicted, we can begin to discern the thin line between admiration and objectification, a line that remains relevant in contemporary discussions about gender and representation. Herrin's exploration reminds us that every author of history, male or female, shapes the story we tell about power, femininity, and the complex identities of women throughout history.

-Mandy Brenner