. I believe there was a beauty there like none other for a full thousand years.
This beauty continues, and we have reconstructions of services at Hagia Sophia according to the Cathedral Typikon by Dr. Alexander Lingas.
As splendid as those services were, I think Orthodox worship has grown more beautiful since then, in these respects:
Firstly, Hagia Sophia did not have a full Iconostasis, but rather a Templon - the exquisite towering iconostases with three or more rows of icons, sometimes as many as five or seven in some Russian churches such as in the Kremlin, and in some Ukrainian and other Slavonic churches, developed over the course of several centuries concurrently among the Coptic and Byzantine Orthodox from earlier arrangements which might be called “proto-iconostases” which developed from the classic liturgical curtain still in use in many Syriac Orthodox and Assyrian churches of the Church of the East, and the Armenian variant with the altar combined with the Bema as a raised platform with a row of icons in between the platform and the floor*
The extent to which having a towering wall of exquisite icons, combined with icons pained in frescoes along the floors and ceiling, cannot be overstated, and in this respect the newer Orthodox churches are particularly resplendant. Several of them follow the design of the Hagia Sophia very closely, including St. Alexander Nevsky in Sophia, which is my favorite Orthodox Church from an architectural standpoint (I also love St. Basil’s in Moscow, the Church on Spilled Blood in St. Petersburg, and various other churches the list of which would be too long to post here).
Secondly, since the time of the Hagia Sophia liturgical music has developed, with exquisite polyphonic music emerging in the Russian and Ukrainian churches as a result of the training of Slavonic composers by Italian and German composers during the Baroque, which allowed them to learn four part harmony and tonality (which were natural developments of the antiphonal form of hymnody developed by St. Ignatius of Antioch, which was historically avoided by the ultra-conservative church in Rome but embraced by the Gallican Rite churches starting with the Church in Milan under St. Ambrose during a vigil to prevent the Emperor from handing a church over to the Arians in 386 AD. Later, this style of music appeared in the Greek, Romanian, Serbian, Bulgarian and Antiochian churches, where it has complemented but not replaced Byzantine Chant. The Georgians use a beautiful system of three part harmony which I also have a recording of in Greek, although I don‘t know the history of it in the Greek church, but that would be interesting to explore.
Thirdly, despite some setbacks such as the unfortunate Nikonian schism, the Sabaite-Studite Typikon became particularly exquisite, with more services, longer services and better services, celebrating more saints, with more beautiful vestments in a larger variety of colors. The colors themselves aren’t specified in the Typikon, which only indicates light or dark vestments, but several Orthodox churches, in particular the Slavic churches, have embraced liturgical color with gusto and have developed a few different but equally beautiful liturgical color schemes, the most common of which is the Russian color scheme that uses gold as the primary liturgical color, blue on feasts of the Theotokos, Green on Palm Sunday and on the Feast of the Trinity on Pentecost Sunday and on Holy Spirit Monday and, feasts of ascetics and confessors and sometimes on All Saints Day, purple on feasts of the Cross and on most Saturdays and Sundays in Lent, black during Holy Week except for Holy Thursday, white on feasts of our Lord, red in Advent and on feasts of the martyrs and during much of Eastertide (in most Russian churches except for ROCOR and emigre churches, there is a change from black vestments at the Vesperal Divine Liturgy on Holy Saturday to white vestments, and then at night between the Paschal Matins and Paschal Divine Liturgy vestments are changed again from white to red, for two color changes of vestments (and paraments) in less than 24 hours. This use of color is relatively recent and is amazing, and the vestments are incredibly beautiful, whether the black and silver vestments used on weekdays in Lent and Holy Week, or the gorgeous blue vestments used on feasts of the Theotokos in a variety of shades, or the vibrant red, magisterial purple, royal gold, lush green and radiant white vestments. There are also more feasts as a result of more martyrs.
While some things are not as good as they were, for example, the Divine Liturgy of St. Mark is very nearly disused, in other respects some previously disused liturgies are being revived as well, for example, the Divine Liturgy of St. James, which was previously marred by what we might call an imaginative or speculative translation in the 19th century, but now Holy Trinity Monastery in Jordanville, which operates the main seminary for ROCOR, has published a more carefully translated edition which lacks the dubious practices of most of the Greek translations, and this promises to improve the image of the Divine Liturgy of St. James and increase access to it. Also, with the emergence of Western Rite Orthodoxy, Western Christians who care about worshipping in spirit and truth have access to Orthodox ideals of liturgical beauty combined with a traditional Western liturgical style in both ROCOR and the Antiochian Western Rite Vicarate. ROCOR’s Western Rite focuses on worship before the forced conversion of all of Western Europe to to post-Orthodox Scholasticism, while the Antiochian WRV focuses on adding Orthodox values to the traditional Roman and Anglican liturgies, thus offering, for example, the traditional Roman mass celebrated in the vernacular with the Eucharist in both kinds (which is not unlike what Vatican II intended in its reformed, but they received a different bill of merchandise altogether).
Also the Orthodox continue to celebrate the Divine Office, which is extinct in most Western churches (aside from the Anglican Communion, where it was revived, but has become endangered in the past few decades by the overall decline in the Anglican Communion), and which does not really exist outside of monasteries and some cathedrals in other Western churches.
This is extremely important, because the most beautiful and ornate liturgical services composed in most liturgical rites are those of Matins, which contain the majority of proper hymns and related material for each liturgy; in many Orthodox churches, Matins is celebrated the night before, combined with Vespers and Prime and sometimes other offices to form the All Night VIgil.
So if you want to experience the liturgy in its fullness, whether for Holy Matrimony, or the anointing of the sick with oil (which is efficacious), or the Great Blessing of Water on the Feast of the Baptism of Christ, or the beautiful Memorial liturgy, or any other service, particularly Vespers, Matins and the Divine Liturgy, the Orthodox church celebrates it, and you will not be able to tell whether you are in heaven or on Earth.
*The Armenian style is also used by the Eastern Orthodox and Roman Catholics as well as the Armenians at the jointly operated Church of the Nativity in Bethlehem, where it provides a convenient dual-level design that provides a liturgical altar above the exact place where the Blessed Virgin Mary gave birth to God. On the other side of a shared wall is the Syriac Orthodox Church of St. Mary’s, which is also used by the Copts, and which mirrors the layout of the Church of the Nativity.