Dans le présent article nous publions une icône inédite de saint Romain, qui guérit un cheval de la « sklepa », du dernier quart du XVe siècle, de la Collection de Rumen Manov. L’icône est l’œuvre d’un peintre anonyme de l’École crétoise, qui a probablement pris comme modèle la scène identique de l’église de Saint Phanourios (deuxième quart du XVe siècle) à Valsamonero en Crète. L’icône est d’une valeur exceptionnelle, car elle est la seule, à notre connaissance, qui présente saint Romain dans un tel contexte, à la différence de la peinture murale, proposant quatre scènes semblables, qui ne sont connues qu’en Crète et datent de la seconde moitié du XIIIe au deuxième quart du XVe siècle. Mots-clés: XIIIe–XVe siècles, fresques, École crétoise, Collection de Rumen Manov, saint Romain Sklepodioktis, saint Romain guérit un cheval de la « sklepa »
{"title":"Icône crétoise inédite de St. Romain qui guérit un cheval de la \"sklepa\" (dernier quart du XVe siècle) de la Collection de Rumen Manov","authors":"Alexandra Trifonova Ph.","doi":"10.2298/ZOG2044179T","DOIUrl":"https://doi.org/10.2298/ZOG2044179T","url":null,"abstract":"Dans le présent article nous publions une icône inédite de saint Romain, qui guérit un cheval de la « sklepa », du dernier quart du XVe siècle, de la Collection de Rumen Manov. L’icône est l’œuvre d’un peintre anonyme de l’École crétoise, qui a probablement pris comme modèle la scène identique de l’église de Saint Phanourios (deuxième quart du XVe siècle) à Valsamonero en Crète. L’icône est d’une valeur exceptionnelle, car elle est la seule, à notre connaissance, qui présente saint Romain dans un tel contexte, à la différence de la peinture murale, proposant quatre scènes semblables, qui ne sont connues qu’en Crète et datent de la seconde moitié du XIIIe au deuxième quart du XVe siècle. Mots-clés: XIIIe–XVe siècles, fresques, École crétoise, Collection de Rumen Manov, saint Romain Sklepodioktis, saint Romain guérit un cheval de la « sklepa »","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"179-188"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article discusses the presence of iconographical details of Western origin in the scene of Christ’s Crucifixion in the post-Byzantine period. It focuses on the role of works by painters from the Cretan and Epirote schools in their distribution among the next generation of icon-painters. From here a detailed examination of the compositions of the Crucifixion on three monuments in the territory of modern-day North Macedonia, Montenegro and Bosnia and Herzegovina, dated to the late sixteenth and early seventeenth centuries, is carried out. The comparison with monuments from the same period originating mainly in Greek territories leads to hypotheses regard-ing the painters’ provenance or the place of their education. A rare version of the scene from the second half of the seventeenth century from the territory of Bulgaria is also discussed.
{"title":"Iconographical details of Western origin in some scenes of the Crucifixion from the end of the sixteenth and the seventeenth centuries","authors":"Maria Kolusheva","doi":"10.2298/ZOG2044205K","DOIUrl":"https://doi.org/10.2298/ZOG2044205K","url":null,"abstract":"The article discusses the presence of iconographical details of Western origin in the scene of Christ’s Crucifixion in the post-Byzantine period. It focuses on the role of works by painters from the Cretan and Epirote schools in their distribution among the next generation of icon-painters. From here a detailed examination of the compositions of the Crucifixion on three monuments in the territory of modern-day North Macedonia, Montenegro and Bosnia and Herzegovina, dated to the late sixteenth and early seventeenth centuries, is carried out. The comparison with monuments from the same period originating mainly in Greek territories leads to hypotheses regard-ing the painters’ provenance or the place of their education. A rare version of the scene from the second half of the seventeenth century from the territory of Bulgaria is also discussed.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"205-225"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68386050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines church decoration during the Transitional period (ca. 650–850), focusing on unpublished elements from the Fatih Camii (Hagios Stephanos?) in Zeytinbağı (Trilye). Located on the south shore of the Sea of Marmara, the church may be securely dated to the early years of the ninth century. Among the variety of decorative details uncovered during an unauthorized restoration in 1997 are more than a dozen fragments of opus sectile. The variety of these panels expands the corpus of geometric patterns known from the period; in addition, opus sectile seems to have been used both on the walls and the floor.
本文考察了过渡时期(约650-850年)的教堂装饰，重点关注Zeytinbağı (Trilye)中的Fatih Camii (Hagios Stephanos?)中未发表的元素。这座教堂位于马尔马拉海的南岸，可以肯定地追溯到9世纪初。在1997年的一次未经授权的修复中，发现了各种各样的装饰细节，其中包括十多块opus sectile碎片。这些面板的多样性扩展了该时期已知的几何图案的语料库;此外，opus sectile似乎在墙壁和地板上都有使用。
{"title":"New evidence for church decoration in the early ninth century","authors":"R. Ousterhout","doi":"10.2298/ZOG2044017O","DOIUrl":"https://doi.org/10.2298/ZOG2044017O","url":null,"abstract":"This paper examines church decoration during the Transitional period (ca. 650–850), focusing on unpublished elements from the Fatih Camii (Hagios Stephanos?) in Zeytinbağı (Trilye). Located on the south shore of the Sea of Marmara, the church may be securely dated to the early years of the ninth century. Among the variety of decorative details uncovered during an unauthorized restoration in 1997 are more than a dozen fragments of opus sectile. The variety of these panels expands the corpus of geometric patterns known from the period; in addition, opus sectile seems to have been used both on the walls and the floor.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"17-35"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The juxtaposition of historical and architectural evidence supports the possibility of seclusion practice in the church proper. This hypothesis is valid for both the Byzantine Empire and Old Rus?. Seclusion in a church led to a higher authority and religious status of an ascetic. The structural pair of a cell and a chapel above it was introduced into a number of Middle Byzantine, mediaeval Serbian and Old Russian monuments. Idiosyncratic features of this module suggest its development for the specific needs of recluses imitating the life of a stylite.
{"title":"Byzantine church as a dwelling place. Monastic seclusion practices in Byzantium and Old Rus’ in the ninth-thirteenth centuries","authors":"Anna A. Freze","doi":"10.2298/zog1943023f","DOIUrl":"https://doi.org/10.2298/zog1943023f","url":null,"abstract":"The juxtaposition of historical and architectural evidence supports the possibility of seclusion practice in the church proper. This hypothesis is valid for both the Byzantine Empire and Old Rus?. Seclusion in a church led to a higher authority and religious status of an ascetic. The structural pair of a cell and a chapel above it was introduced into a number of Middle Byzantine, mediaeval Serbian and Old Russian monuments. Idiosyncratic features of this module suggest its development for the specific needs of recluses imitating the life of a stylite.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the course of conservation work on the wall-paintings in the Protaton Church on Mount Athos a number of letters were found that can form the name ?Eutychios? or ?Eutychiou?, the name of one of the two painters who decorated the Peribleptos Church in Ohrid. This discovery has overturned the findings of previous research and also poses new questions. The answers to these questions constitute the aim of the present article. More specifically, the wall-paintings in the Protaton are attributed to two painters, Michael Astrapas and the painter of the Chapel of St. Euthymios in Thessalonica, and are dated to between 1309 and 1311/1312. Since there are many problematic points in Astrapas? artistic development, this article reexamines certain ensembles of wall-paintings, and particularly that of the Bogorodica Ljeviska Church, as a key to interpreting and solving the problem of ?Michael Astrapas?.
{"title":"The wall-paintings of the Protaton Church revisited","authors":"M Konstantinos Vapheiades","doi":"10.2298/zog1943113v","DOIUrl":"https://doi.org/10.2298/zog1943113v","url":null,"abstract":"During the course of conservation work on the wall-paintings in the Protaton Church on Mount Athos a number of letters were found that can form the name ?Eutychios? or ?Eutychiou?, the name of one of the two painters who decorated the Peribleptos Church in Ohrid. This discovery has overturned the findings of previous research and also poses new questions. The answers to these questions constitute the aim of the present article. More specifically, the wall-paintings in the Protaton are attributed to two painters, Michael Astrapas and the painter of the Chapel of St. Euthymios in Thessalonica, and are dated to between 1309 and 1311/1312. Since there are many problematic points in Astrapas? artistic development, this article reexamines certain ensembles of wall-paintings, and particularly that of the Bogorodica Ljeviska Church, as a key to interpreting and solving the problem of ?Michael Astrapas?.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The work of Felix Kanitz titled Serbiens byzantinische Monumente. Gezeichnet und beschrieben von F. Kanitz [The Byzantine Monuments of Serbia. Drawn and Described by F. Kanitz] published in German and Serbian in 1862 has never been subjected to more detailed analysis from the perspective of art history. The need for the contextualization of illustrated books and their relation to the European culture of historicism, to nature and landscape, as well as their relationship with various artistic phenomena of the mid-nineteenth century, demands the placement of Kanitz?s book into the wider cultural framework of the epoch.
Felix Kanitz的作品名为Serbiens byzantinische纪念碑。塞尔维亚的拜占庭古迹。1862年以德语和塞尔维亚语出版的《F. Kanitz绘制和描述》从艺术史的角度来看，从未受到过如此详细的分析。对插图书的语境化的需求，以及它们与欧洲历史主义文化、自然和景观的关系，以及它们与19世纪中期各种艺术现象的关系，要求卡尼茨?把这本书放到那个时代更广阔的文化框架中。
{"title":"The medieval revival and historical topographic representations in The Byzantine monuments of Serbia","authors":"Igor Borozan","doi":"10.2298/zog1943197b","DOIUrl":"https://doi.org/10.2298/zog1943197b","url":null,"abstract":"The work of Felix Kanitz titled Serbiens byzantinische Monumente. Gezeichnet und beschrieben von F. Kanitz [The Byzantine Monuments of Serbia. Drawn and Described by F. Kanitz] published in German and Serbian in 1862 has never been subjected to more detailed analysis from the perspective of art history. The need for the contextualization of illustrated books and their relation to the European culture of historicism, to nature and landscape, as well as their relationship with various artistic phenomena of the mid-nineteenth century, demands the placement of Kanitz?s book into the wider cultural framework of the epoch.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper presents extant texts narrating about St. Moses the Ethiopian or the Black written in Greek, Coptic, Ge?ez, Syrian, Arabic and Old Church Slavonic and reviews the cult of the saint connected to the Baramus Monastery in the Scetis Desert or the Nitrian Desert. His preserved images in Egypt, Palestine, Byzantium, and in the countries whose churches used various recensions of the Old Church Slavonic language are listed. The final part of the study proposes some conclusions on his cult and representation.
{"title":"St. Moses the Ethiopian or the black. Cult and representation in the middle ages","authors":"Tatjana Starodubcev","doi":"10.2298/zog1943001s","DOIUrl":"https://doi.org/10.2298/zog1943001s","url":null,"abstract":"The paper presents extant texts narrating about St. Moses the Ethiopian or the Black written in Greek, Coptic, Ge?ez, Syrian, Arabic and Old Church Slavonic and reviews the cult of the saint connected to the Baramus Monastery in the Scetis Desert or the Nitrian Desert. His preserved images in Egypt, Palestine, Byzantium, and in the countries whose churches used various recensions of the Old Church Slavonic language are listed. The final part of the study proposes some conclusions on his cult and representation.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research explores the relationship between iconographicprogrammatic innovations in altar wall paintings of post-Iconoclastic churches intended to facilitate liturgical interpretation and depictions of the Theotokos (with Christ) usually placed in the apsidal conch. The conclusion on the existence of direct semantic ties between this type of portrait and the discovery of the motif of Christ-Child-on-the-Altar-Table is the result of a contextual analysis of a specific series of artistic explorations based on the spatial dispersion of Presentation of Christ in the Temple compositions on the very edges of the altar spaces, which preceded this iconographic discovery and were ended shortly thereafter.
{"title":"From the mother’s arms to the holy table. On the influence of the iconography of the presentation of Christ in the temple on the programmatic evolution of altar paintings in Byzantine churches","authors":"Todor Mitrović","doi":"10.2298/ZOG1943045M","DOIUrl":"https://doi.org/10.2298/ZOG1943045M","url":null,"abstract":"This research explores the relationship between iconographicprogrammatic innovations in altar wall paintings of post-Iconoclastic churches intended to facilitate liturgical interpretation and depictions of the Theotokos (with Christ) usually placed in the apsidal conch. The conclusion on the existence of direct semantic ties between this type of portrait and the discovery of the motif of Christ-Child-on-the-Altar-Table is the result of a contextual analysis of a specific series of artistic explorations based on the spatial dispersion of Presentation of Christ in the Temple compositions on the very edges of the altar spaces, which preceded this iconographic discovery and were ended shortly thereafter.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article clarifies the dating of the earliest examples of the Novgorod Sophia iconography - a fresco of 1441 in the Novgorod Archbishop?s chamber and a double-sided icon from the Annunciation Cathedral of the Moscow Kremlin. A reasonable challenge to the life of this iconography is considered on the basis of its content in the context of the ecclesiastical political position of the Novgorod archbishop Euthymius II on the dialogue with the Catholic Church and the reaction of the Russian Church to the Florentine Union.
{"title":"An early version of the Novgorod iconography of Sophia the divine wisdom and the circumstances of its appearance","authors":"T. Tsarevskaya","doi":"10.2298/zog1943151c","DOIUrl":"https://doi.org/10.2298/zog1943151c","url":null,"abstract":"The article clarifies the dating of the earliest examples of the Novgorod Sophia iconography - a fresco of 1441 in the Novgorod Archbishop?s chamber and a double-sided icon from the Annunciation Cathedral of the Moscow Kremlin. A reasonable challenge to the life of this iconography is considered on the basis of its content in the context of the ecclesiastical political position of the Novgorod archbishop Euthymius II on the dialogue with the Catholic Church and the reaction of the Russian Church to the Florentine Union.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：