Zograf : časopis za srednjovekovnu umetnost
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Publisher: Faculty of Philosophy, Belgrade
Country of publisher: Serbia
ISSN 0350-1361
eISSN 2406-0755
Pages
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- Metamorphoses of ascetic texts in some depictions of St. Cyriacus the anchorite in the Balkans from the thirteenth to the seventeenth century
- The text presents several unpublished Greek inscriptions written on the scrolls of St. Cyriacus the Anchorite from Bulgaria. The main focus falls on an inscription from the narthex of the Rozhen Monastery (sixteenth century) and its identification; parallel inscriptions observed in Athonite monasteries are discussed too. A second group of inscriptions from Bulgaria and Macedonia are also discussed, with a stronger focus on an inscription in the church St. Apostles Peter and Paul in Veliko Tarnovo. The linguistic analysis attempts to discern the patterns by which such ascetic texts are visualized and transformed along the way from their original textual source to their final destination - the wall painting.
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- Michael Glabas Tarchaneiotes - the ktetor of the Treskavac Monastery
- In this paper, the monastery of Prisklabetza (Πρισκλάβητζα) in Prilep, mentioned as the endowment of Michael Glabas Tarchaneiotes in the shortened version of the History by George Pachymeres, is identified with the monastery of Treskavac near Prilep. This conclusion is supported by the similarity between the names of the two monasteries, the composition with a ktetor in the porch of the main entrance to Treskavac, and the nature of construction works carried out in the monastery between 1280 and 1320. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]
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- Mosaics of a villa in Velvento near Kozani, Greece
- The excavations held in Kamkoutis’ field in the city of Velvento, near Kozani, Greece so far have revealed a villa dated in the early Byzantine period. Three of the villa’s rooms are covered with mosaic floors. The mosaicists share the common repertory. Floral and vegetal elements are predominant, while animal and mythological scenes are excluded. The good workmanship of the floor makes this discovery of considerable interest.
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- New Elements of the Painted Program in the Narthex at Nerezi
- The fresco paintings in the narthex of the St. Panteleimon church in Nerezi are only partly preserved, and by their thematic character, they can be divided into 3 groups: the first group consists of fragments of the Life cycle of St. Panteleimon, the second group consists of remnants of the Deesis composition painted over the entrance to the naos. The third group consists of fragments of the scenes in the first zone on the north end of the east wall, as well as the fragment of the imperial scene, which can be linked with the donor composition which was painted in the second zone on the north end of the east wall.
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- Newly Discovered Fragments of Frescoes in the Church of Saint Ana above Perast, the Boka Kotorska bay
- Several years ago, during the reconstruction and refurbishment of the Church of Saint Ana above Perast, the original layer of frescoes was discovered in this church, which is otherwise known for the wall paintings by Tripo Kokolja (beginning of the XVIII century). Since this church is also known as indicated in the paper, by the name of Saint Veneranda, or Saint Paraskevi, the point that was discussed first of all, was the change in the dedication of the church. On the basis of an analysis of the architecture it was argued that this was one of the oldest shrines in Perast, dating from the mid-XV century. Fragments of frescoes were then analysed, which made it possible to conclude beyond a doubt that Saint Paraskevi was painted on the triumphal arch, on the southern side, and above her, the Crucifixion. The placement of this scene in the main place in the temple resulted from the fact that the Church of Saint Ana was located at the end of the Way of the Cross (Via Crucis), in Perast. All this indicates that the educated population of Perast knew exactly how to create the sacral topography of a town. Finally, it seems that the paper proves, persuasively enough, that the wall paintings in Saint Ana are the work of Lovro Marinov Dobričević, a painter of Kotor and Dubrovnik from the middle and the latter half of the XV century.
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- Newly discovered portraits of rulers and the dating of the oldest frescoes in Lipljan
- On the façade of the church of the Presentation of the Virgin, in Lipljan, the damaged depictions of two rulers were discovered under a more recent layer of fresco mortar. The depictions can be identified as portraits of the Serbian king and the emperor Stefan Dušan (1331-1355) and his wife Jelena. That provides the basis for the more reliable dating of the original wall painting in the interior of the church. For their part, the stylistic characteristics of that expressionistic painting suggest that the original Lipljan frescoes came into being around the mid-fourteenth century. Probably, they were executed by the same workshop that did the frescoes in the Church of St. Peter near Unjemir in Metohia, not very far from Lipljan.
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- Notes From the Church of the Virgin at the Island of Mali Grad
- In this text the unknown parts of the wall paintings from the Church of the Virgin at the island of Mali Grad (The Great Prespa Lake) are analyzed: the figure of a monk praying to St. Paraskeve, on the southern wall of the nave, as well as the painting on the southern faüade with the depictions of St. George on horseback, the Virgin as Empress enthroned, and the bust of two saints, St. Paraskeve and St. Nicholas. The monk is identified with the hegoumenos Jona, mentioned in the donor’s inscription dating from 1369.
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- Notes from Kučevište
- The most complete study of the Church of the Virgin in the village of Kučevište near Skopje, the naos of which was built and painted by ca. 1330 and the narthex, between 1332/1334 and in 1337, was published by Ivan M. Djordjević (η. 1-2). Later, other researchers examined it in their articles (n. 3). Our observations concern the distribution of some individual figures in the programme of the naos and, especially, the symbolic meaning of the iconographic presentations of the two chief archangels and their positions in the programme.
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- Notes on a Byzantine Processional Cross from the George Ortiz Collection
- On the reverse of the Ortiz cross, besides three archangels and St. Niketas the Goth, there is depicted, most likely, St. Paul of Kaiouma, the little known martyr from Constantinople. The very local importance of the cult and the exceptional rarity of the representations of this martyr afford a firm basis for the assumption that the cross was created for some Constantinopolitan monastery, probably for the monastery of Kaiouma, where the cult of St. Paul was for a long time centered. The cross was made in the eleventh century, presumably before the beginning of the era of the Komnenoi.
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- Notes on byzantine Panagiaria
- The article offers some new insights into the significance and function of Byzantine panagiaria, small-scale containers for the bread sanctified in honor of the Virgin in a rite known as the Elevation of the Panagia. This rite, it is argued, was not limited to monastic and courtly contexts or to routine liturgical observance, as is often assumed, but could be performed by the laity as well. Proposing that the use of panagiaria as personal devotional instruments was fairly common in Byzantium, the article explores the interplay between the design, materiality, epigraphic enhancement, and ritual and devotional use of these objects.
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- Novšestva v russkoj ikonografii konca XIV - načala XV veka - Obščevizantijskie processy i ih lokal'nye varianty
- (ruski) Pokojnyj kollega Ivan Džordževin obladal širokim naučnym krugozorom i interesovalsja mnogimi ëtapami v istorii hudožestvennoj kul'tury Vizantii vključaja paleologovskij period. V predlagaemoj zametke, posvjaščennoj ego pamjati, reč' pojdet o jarkih novšestvah v sfere ikonografii, voznikavših na Rusi v pozdnepaleologovskij period. Oni svidetel'stvujut o bol'šom tvorčeskom potenciale vsej pozdnevizantijskoj kul'tury, kotoryj posvoemu projavilsja na Rusi.
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- Ob odnom obraze Bogomateri v gruzinskoj čekanke
- (ruski) V stat'e rassmotren obraz Bogomateri na serebrjanom kreste rubeža XI-XII vekov iz cerkvi Spasa v selenii Čažaš (Ušguli, Verhnjaja Svanetija Gruzija). Na osnovanii issledovanija hudožestvennogo svoeobrazija ëtogo čekannogo obraza, a tak že gruppy nebol'ših serebrjanyh ikonok Bogomateri ëtogo že ikonografičeskogo tipa, sozdannyh v masterskih Svanetii, vyjavleny hudožestvennye osobennosti interpretacii rasprostranennogo tipa Bogomateri t.n. Maloj Oranty gruzinskimi masterami. Značitel'noe vnimanie udeleno svoeobraznoj ikonografičeskoj programme serebrjanogo kresta.