Macedonian art (sometimes called the Macedonian Renaissance) was a period in Byzantine art which began with the reign of the EmperorBasil I of the Macedonian dynasty in 867. It was a period in which the Macedonian rule was controlled by the individual going into rule assoiciating themselves with the dynasty through marriage. Basil I a peasant born in Thrace or Macedonia between ca. 830-36, was an unlikely candidate to found an imperial dynasty. Originally moving to Constinopole Basil was married. He was then noticed by Michael III and moved to the imperior household. He was then forced to divorce his wife and marry Michael's mistress. His family ruled for 194 years. This period was known as the Modern Renaissance where art, literature, and architecture flourished. The period followed the lifting of the ban on icons (iconoclasm) and lasted until the fall of the dynasty in the mid-eleventh century. It coincided with the Ottonian Renaissance in Western Europe. There was a long period of the struggling for life in the Byzantine empire due to the military. Then in the ninth and tenth centuries, the Empire's military situation improved, and art and architecture revived. New churches were again commissioned, and the Byzantine church mosaic style became standardised. The best preserved examples are at the Hosios Lukas Monastery in mainland Greece and the Nea MoniKatholikon in the island of Chios. The very free frescoes at Castelseprio in Italy are linked by many art historians to the art of Constantinople of the period also. There was a revival of interest in classical Greco-Roman heritage themes (of which the Paris Psalter is an important testimony) and more sophisticated techniques were used to depict human figures. There was also a naturalistic style and more complex techniques from ancient Greek and Roman art mixed with Christian themes used in art.
Although monumental sculpture is extremely rare in Byzantine art, the Macedonian period saw the unprecedented flourishing of the art of ivory sculpture. Many ornate ivory triptychs and diptychs survive, with the central panel often representing either deesis (as in the Harbaville Triptych) or the Theotokos (as in a triptych at Luton Hoo, dating from the reign of Nicephorus Phocas). On the other hand, ivory caskets (notably the Veroli Casket from Victoria and Albert Museum) often feature secular motifs true to the Hellenistic tradition, thus testifying to an undercurrent of classical taste in Byzantine art.