Zograf : časopis za srednjovekovnu umetnost

: Remarques sur certains archaïsmes iconographiques dans les peintures murales byzantinisantes de la Pologne au XVe siècle; L'étude des certains rarissimes archaïsmes iconographiques dans les peintures murales de style byzantin en Pologne de l'époque du roi Ladislas Jagiello (fin du XIVe - début du XVe siècle) a révélé la pénétration d'une tradition riche et originale qui remonte au milieu syro-palestinien des premiers siècles du christianisme. Ce langage pictural conservateur traduit le phénomène du retour à des formules archaïques et s'inscrit dans l'effort, de la part du roi, d'harmoniser les tensions politiques et religieuses des deux communautés du pays (orthodoxe et catholique), grandi après l'union du grand Duché de Lituanie au royaume de Pologne en 1386. .

: Representation of the Five Martyrs of Sebaste in the Church of Saint Stephen at Konče; The identification was carried out in this article o the significantly damaged figures of the saints, depicted in the second zone of the eastern pillars in the Church of Saint Stephen at Konče (before 1366), using a large number o analogous examples. The meaning of this group of martyrs was interpreted as funerary, on the basis of the corresponding notion about the representation of the Holy Martyrs and the location of their figures in certain monuments...

: Representations of Christ’s parables in Serbian medieval churches; The article examines the six parables included in the painted decoration of the Monastery of Dečani. The soteriological and eschatological content of the four parables depicted in the parecclesion of Saint Nicholas leads to the conclusion that it was most likely used for memorial services, however its use cannot be specified. The choice of these particular allegorical stories is due to their liturgical importance in the Sabaitic Typikon, which was adopted by the Serbian Church since the early fourteenth century. During this period parables in general are beginning to be included in the iconographic program of Serbian, for the most part, churches.

: Representations of medical instruments and equipment in Serbian medieval painting; The paper topic is identification of medical instruments and equipment using the images preserved in Serbian medieval painting. This topic has not been the subject of special study in the Serbian science. Medical instruments and equipment make an integral part of iconography of saint physicians. The following medical instruments have been displayed: knives, probes, spoons, tweezers, as well as various carrying boxes for equipment (square-like and cylindrical) and cases, and glass vessels for medical lubricants. Identification has been carried out owing primarily to late Roman remains of medical instruments and equipment, while such remains originating from Byzantine period are very rare. [Projekat Ministarstva nauke Republike Srbije, br. 178018: Društvene krize i savremena srpska književnost i kultura: nacionalni, regionalni, evropski i globalni okvir]

: Research and photographing of medieval monuments under the auspices of the National Museum in Belgrade to 1941; The text reconstructs research and photographing of primarily Serbian medieval monuments on the territory of Serbia, Kosovo and Metohija, Macedonia, Montenegro, Herzegovina, Dalmatia and Mount Athos undertaken from 1907 to 1940 by experts employed at the National Museum in Belgrade or other researchers under its patronage. The paper aims to highlight the significance of these research activities for the development of the study of medieval art in Serbia, as well as the importance of this collection of photographs for present-day research. Analysis of archival documents has provided insights into the circumstances in which this research was carried out, as well as into the role of the National Museum in the preservation of monuments in the field.

: Rite et aménagements baptismaux à l'époque paléochrétienne; L'article est consacré aux aménagements baptismaux géorgiens de l'époque paléochrétienne (VIe-VIIe siècle). Nous essayons de préciser la typologie des premiers fonts baptismaux géorgiens, de les replacer dans l'art paléochrétien, d'étudier la destination fonctionnelle et la valeur artistique de ce type de mobilier ainsi que de formuler des hypotheses sur le rite du baptême en Géorgie paléochrétienne. Nous insistons particulièrement sur la cuve de Žalet'i, remarquable par son décor figuratif. Une étude iconographique détaillée de ces images rares, met en évidence la conception bien réfléchie du décor et ses spécificités. L'analyse nous conduira à aborder la question de la tradition du décor des cuves à cette époque.

: Russkaja rukopis' "Postničeskih slov Vasilija Velikogo" rubeža XIV-XV vekov, RNB, F.p.I.40, i ej miniatjura; The author deals with the miniature from a manuscript containing St. Basil the Great’s “Asketikon”, written at the end of the fourteenth century (St. Petersburg, National Library of Russia, F.n.I.40). The miniature depicts St. Basil in monk’s attire, writing his text. The compact composition, sharp and tense contours, the dark colouring and the saint’s concentration, create a striking image of monastic virtue and dignity. The manuscript, which originates from one of the monasteries in northeastern Russia, confirms the importance of monastic figures in art in the countries of the Byzantine cultural circle, from the end of the fourteenth century.

: Saint george “μέγας δούξ” - an icon from the Byzantine Museum of Kastoria; In this paper, the icon of St George with the epithet Megas Doux (Μέγας Δούξ), held in the Kastoria Museum, is published for the first time; it dates from the first decade of the fourteenth century. The discussion lists all known examples of holy warriors with the same epithet preserved in the area of Kastoria. Based on these examples it is concluded that the epithet was not only related to St Demetrios. During the reign of Andronikos II Palaiologos, donors who bore the title of dux wished to endow their personal patron saint - most commonly Demetrios and George - with the same title.

: Salvific imagery in the Barberini psalter (Rome, Biblioteca Apostolica Vaticana, Barb. gr. 285); The article explores iconography of the illuminated initial letters in the tenth-eleventh-century Italo-Byzantine psalter (Vatican, Barber. gr. 285). It is argued that its initial letters clearly express Byzantine attitude to personal prayer, a plea for salvation and the struggle with evil through the words of Psalms, despite the mixture of models, most of which are certainly of non-Byzantine character.

: Sava Krabulević, the Painter of the Late Seventeenth and Early Eighteenth Century; The painter Sava Krabulević is known only as the author of the iconostasis in the Monastery of Orahovica in eastern Slavonia. This work, which he produced in 1697, attracted the attention of Serbian art historians because some of the icons show Western influences. The article describes how Krabulević found himself in Moscow (1688-1694) by dint of circumstance and adopted some of the West European painting techniques through Russian icon painters.

: Serbian Themes in 14th Century Frescoes in the Church of St. Demetrios in Peć; After new research excluded the likelihood of the frescoes in St. Demetrios in Peć having been painted in the period around 1345/1346, as they are usually dated, one should revert to the view held by the initial research workers, who believed that Archbishop Nikodim (1317-1324) not only built but also had the church decorated. Well-educated after having been a student in Hilandar, and one of the most meritorious Serbian archbishops, Nikodim created a program of frescoes in which one can clearly distinguish these personal traits. Nikodim's experience on Mount Athos, of which we learn from his writings, preserved in the preamble of the two charters granted to the Karyes Cell, is reflected in the Church of St. Demetrios in the arrangement of the scenes of The Birth of the Virgin and The Presentation of the Virgin m the Temple on the opposite walls of the altar (in the churches of Mount Athos, they are painted on the eastern walls of the choir which does not exist in the church in Peć), and in the painting of the warrior saints and holy monks in the area of the naos beneath the dome, which is also characteristic of the churches on Mount Athos and of those decorated under the influence of this monastery. Nikodim erected the Church of St. Demetrios as his burial place. Therefore, he prepared a tomb for himself in the form of a sarcophagus in the western bay. beside the northern wall, and had it decorated with relief of a highly eschatological nature. During the painting of the church, he surrounded the tomb with presentations of a similar content. On the western wall, one can see The Lamentation (with the distinct figure of St. Nikodemus), the women bearing ointments and spices at the tomb of Christ, and Zechariah the Prophet with a Sickle and the prophecy about Him, written on a scroll. Directly above the tomb, however, there are the images of the donor's patrons and mediators (the warriors, St. Theodore Teron and St. Theodore Stratelates, and the anargyroi, SS Cosmas and Damianos. Fig. 1). while the place of St. Panteleimon ( who was relocated to the area beneath the dome) is occupied by a desert anchorite (Fig. 2) which was in keeping with Nikodim's ideals as a monk. Nikodim's example was followed by his successor, Archbishop Danilo II, in his mausoleum church dedicated to the Mother of God (around 1330): he too placed his tomb next to the northern wall of the western bay, a sarcophagus decorated with motives similar to those of Nikodim, surrounding it with images of the saintly physicians and warrior saints, a d placing the warrior saints and the holy monks opposite each other in the central part of the church. More than other Serbian archbishops, Nikodim revered St. Sava. He wrote about him with great love and viewed his own work as the hegoumenos of Hilandar. as an anchorite in the Karyes Cell and as the Serbian archbishop, as the continuation of Sava's deed. If, in his day. it was already believed that St. Sava was the patron of the Church of the Holy Apostles in Peć, then the fact that Nikodim erected St. Demetrios next to it should be interpreted as his desire to propagate St. Sava's ideas. However, Nikodim fulfilled this intention with the frescoes around his tomb. With the paintings of The Descent of the Holy Spirit and the first two Ecumenical Councils (Fig. 3) he expressed the idea about the beginnings of Christ's church on Earth, its establishment and its nature of communion. The first Serbian archbishop, as a new apostle educated his people, strengthened their faith and laid the path for the successors to his throne, which is illustrated in the painting, The Council of St. Sava (Fig. 4). Nikodim was Sava's successor and the executor of his legacy, as he pointed out in his writings, especially in the preface to the translation of the Jerusalem Typikon. The ideas about the unity of spiritual and temporal authority in the country embodied from the very beginning in Simeon and Sava, right until Stefan Dečanski and Archbishop Nikodim, are harmoniously interwoven on the frescoes in the Church of St Demetrios. Namely, on the opposite side of the vault, beside the scene of The Council of St. Sava, we see the painting of The Council of St. Simeon Nemanja and King Mi lutin (Fig. 5). In accordance with the old ideological and iconographical templates and especially with the program painted in the narthex of the Sopoćani monastery, half a century earlier, the purpose of this painting was to demonstrate that Simeon Nemanja was the source of temporal authority in Serbia and that he passed it on to his successors by the will of God and by his own decision. It was no mere coincidence that his "grandson". King Milutin, the father of Stefan Decanski, was chosen to be his successor. Accorded by God, legitimate authority was transferred from St. Simeon, through Milutin, to the new king. Thus, Stefan Dečanski 1322-1331) with his son Dusan, the young king, was painted in the same area on the southern wall, surrounded by the portraits of St. Sava and Archbishop Nikodim (Fig. 6). thus indicating that he did not rule by right of inheritance alone, but also in the Orthodox Christian spirit, with the blessing of the Church. Since it is known that Stefan Dečanski came to the throne under extraordinary circumstances, it is understandable that he wished to emphasise the legitimacy of his rule, which he legally inherited from his father, in the See of the archbishop. He did the same in his charters, especially in the Dečani Chrysobull. Such ideologically intoned painting may have been produced soon after Stefan's coronation, so the frescoes in the Church of St. Demetrios in Pec should be dated between 1322 and 1324. At that time. King Stefan Dečanski and young King Dušan were certainly still under the influence of their seven-year sojourn in Constantinople. This is why their official portraits on the southern wall (Figs 8 and 9), painted against a red, almost purple background, surrounded by the images of Archbishop Nikodim (Fig. 7) and St. Sava (Fig. 10), are imbued with the spirit and tastes of the court in Constantinople consequently they bear little similarity with the earlier images of rulers in Serbia. However, certain insignia and robes, worn here for the first time by King Stefan Dečanski, young King Dusan and Archbishop Nikodim. would occasionally appear on their portraits and those of other people almost until the end of the 14th century.

: Socrates and st. John the apostle; This article discusses depictions of the evangelist and apostle John and the similarity of his portrait to that of Socrates as known from antique monuments. Although not directly connected, certain parallels can also be found in their vitas.

Zograf : časopis za srednjovekovnu umetnost

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