The paper analyses late Gothic and early Renaissance imagery on the reliquary casket of Saint Tryphon kept in the Kotor Cathedral. The iconography of the torture and death scenes of the young martyr Tryphon, as well the representation of the architecture on the model of the town of Kotor in the hand of Saint Tryphon opens up the possibility of interpreting this reliquary in a historical context. The paper proposes an interpretation of the iconography of the scenes on the reliquary casket as part of the constructed memory of the Ottoman siege of Kotor under the command of kapudan pacha Hayreddin Barbarossa (1539) and the Venetian defense of the town. A similar way of creating memories through juxtaposing images of Turks, members of the Holy League and Kotor?s devotees under the protection of Saint Tryphon has been recorded in poetry, chronicles, and epistles.
本文分析了科托尔大教堂保存的圣特里丰圣物匣上的哥特晚期和文艺复兴早期的意象。年轻殉道者特里丰的折磨和死亡场景的肖像，以及圣特里丰手中的科托尔镇模型上的建筑代表，开辟了在历史背景下解释这个圣髑盒的可能性。本文提出了一种对圣物箱上场景的图像学的解释，作为在kapudan pacha Hayreddin Barbarossa(1539年)指挥下的奥斯曼围攻科托尔(Kotor)和威尼斯人对该镇的防御的构建记忆的一部分。通过将土耳其人、神圣联盟成员和科托尔?在诗歌、编年史和书信中都记载了圣特里丰保护下的信徒。
{"title":"Saint Tryphon’s reliquary casket in Kotor. A contribution to the study of the iconography","authors":"V. Zivkovic","doi":"10.2298/zog1943185z","DOIUrl":"https://doi.org/10.2298/zog1943185z","url":null,"abstract":"The paper analyses late Gothic and early Renaissance imagery on the reliquary casket of Saint Tryphon kept in the Kotor Cathedral. The iconography of the torture and death scenes of the young martyr Tryphon, as well the representation of the architecture on the model of the town of Kotor in the hand of Saint Tryphon opens up the possibility of interpreting this reliquary in a historical context. The paper proposes an interpretation of the iconography of the scenes on the reliquary casket as part of the constructed memory of the Ottoman siege of Kotor under the command of kapudan pacha Hayreddin Barbarossa (1539) and the Venetian defense of the town. A similar way of creating memories through juxtaposing images of Turks, members of the Holy League and Kotor?s devotees under the protection of Saint Tryphon has been recorded in poetry, chronicles, and epistles.","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":"68384931","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 deals with the architectural sculpture of the twelfth century Church of the Holy Virgin at the Studenica Monastery. Its parallels with Italian Romanesque sculpture have long been identified in academic literature, and attention has been drawn to the influence of classical sculpture, mostly in terms of style, which has been attributed to the impact of Byzantine art. The paper demonstrates that all the motifs present in Studenica?s sculptural decoration originate from Romanesque sculpture in the Italian regions of Emilia Romagna and Apulia. Most of them rely on ancient Roman models and the motif known as peopled or inhabited scrolls is dominant among them.
{"title":"The sculpture of the church of the holy virgin of the Studenica Monastery. Origin and models","authors":"V. Babić","doi":"10.2298/zog1943089b","DOIUrl":"https://doi.org/10.2298/zog1943089b","url":null,"abstract":"The paper deals with the architectural sculpture of the twelfth century Church of the Holy Virgin at the Studenica Monastery. Its parallels with Italian Romanesque sculpture have long been identified in academic literature, and attention has been drawn to the influence of classical sculpture, mostly in terms of style, which has been attributed to the impact of Byzantine art. The paper demonstrates that all the motifs present in Studenica?s sculptural decoration originate from Romanesque sculpture in the Italian regions of Emilia Romagna and Apulia. Most of them rely on ancient Roman models and the motif known as peopled or inhabited scrolls is dominant among them.","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":"68385069","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 discusses unknown frescoes in the narthex of the Patriarchate of Pec Monastery dating from c. 1332 and found during the conservation-restoration works undertaken in 1931. They were discovered above the younger vaults (the cycle of the Passion of Christ) and in the large arched openings on the western side of the narthex, which were walled up in the sixteenth century (cycle of the True Cross, busts and figures of saints). During works on the presentation of the monument in 1932, these frescoes were once again concealed without having been subjected to scholarly research. However, the photographs taken during the conservation works do allow them to be studied. The results of their research have significantly altered the picture of the original wall paintings in the narthex.
{"title":"Hidden and forgotten frescoes in Danilo’s narthex at the patriarchate of Pec","authors":"D. Vojvodic","doi":"10.2298/zog1943129v","DOIUrl":"https://doi.org/10.2298/zog1943129v","url":null,"abstract":"The paper discusses unknown frescoes in the narthex of the Patriarchate of Pec Monastery dating from c. 1332 and found during the conservation-restoration works undertaken in 1931. They were discovered above the younger vaults (the cycle of the Passion of Christ) and in the large arched openings on the western side of the narthex, which were walled up in the sixteenth century (cycle of the True Cross, busts and figures of saints). During works on the presentation of the monument in 1932, these frescoes were once again concealed without having been subjected to scholarly research. However, the photographs taken during the conservation works do allow them to be studied. The results of their research have significantly altered the picture of the original wall paintings in the narthex.","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":"68384646","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}
In previous research the human figures represented in the initials on fol. 26v and 120r of the Miroslav Gospel have been interpreted as personifications of the Year (Annus). However, this view can be challenged based on their iconographic characteristics, the Gospel verses that follow, the place of these verses in liturgical practice and their comparison with relevant visual specimens. The paper proposes a new identification of the shown human figures. The figure in the initial on fol. 26v can be interpreted as an allusion to the Feast of Pentecost, while the image in the initial on fol. 120r could arguably represent the Old Testament patriarch Noah.
{"title":"Two initials in the Miroslav Gospel (fol. 26v and 120r)","authors":"Dragana Acimovic","doi":"10.2298/zog1943075a","DOIUrl":"https://doi.org/10.2298/zog1943075a","url":null,"abstract":"In previous research the human figures represented in the initials on fol. 26v and 120r of the Miroslav Gospel have been interpreted as personifications of the Year (Annus). However, this view can be challenged based on their iconographic characteristics, the Gospel verses that follow, the place of these verses in liturgical practice and their comparison with relevant visual specimens. The paper proposes a new identification of the shown human figures. The figure in the initial on fol. 26v can be interpreted as an allusion to the Feast of Pentecost, while the image in the initial on fol. 120r could arguably represent the Old Testament patriarch Noah.","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":"68385058","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}
Under the influence of Russian and Austrian neo-Byzantinism, as well as increasingly extensive historiographic research, evocations of Byzantine architectural achievements appeared in Serbian architecture in the early 1870s. Their merging with the layers of the national schools of medieval masonry, adapted to the use of modern materials and methods of composition, stemmed from the uncritical identification of these two historical traditions, a view that was also present in scholarship for far too long. Regardless of its theoretical underdevelopment, the emulation of Byzantine monuments became the dominant trend in monumental architecture, with the cult of Hagia Sophia in Constantinople culminating after World War I, a period when large-scale structures were designed.
{"title":"The church of Hagia Sophia in Constantinople as a model for Serbian architects in recent times","authors":"Aleksandar Kadijević","doi":"10.2298/zog1943215k","DOIUrl":"https://doi.org/10.2298/zog1943215k","url":null,"abstract":"Under the influence of Russian and Austrian neo-Byzantinism, as well as increasingly extensive historiographic research, evocations of Byzantine architectural achievements appeared in Serbian architecture in the early 1870s. Their merging with the layers of the national schools of medieval masonry, adapted to the use of modern materials and methods of composition, stemmed from the uncritical identification of these two historical traditions, a view that was also present in scholarship for far too long. Regardless of its theoretical underdevelopment, the emulation of Byzantine monuments became the dominant trend in monumental architecture, with the cult of Hagia Sophia in Constantinople culminating after World War I, a period when large-scale structures were designed.","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":"68385272","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 analyses the occurrence of the iconography of the ruler crowned by angels in Wallachia in the mid-sixteenth century, a late revival of a Byzantine iconographic model with no examples known in Wallachia prior to this date. In the nave of the infirmary chapel of Cozia Monastery (1543), voivode Radu Paisie is depicted crowned by an angel and blessed by Saint Methodius of Patara, an iconographical hapax. The key for decoding the scene is provided by the Pseudo-Methodian Apocalypse, where a coronation by angels episode is found in the legend of the Last Christian Emperor. The frescoes were made in a political climate when anti-Ottoman war plans intensified in Central Europe following the occupation of Buda.
本文分析了16世纪中期瓦拉几亚地区天使加冕的统治者肖像的出现，这是一种拜占庭肖像模型的后期复兴，在此之前瓦拉几亚地区没有已知的例子。在科齐亚修道院医务室礼拜堂的中殿(1543年)，voivode Radu Paisie被一位天使加冕，并受到帕特拉的圣梅多迪乌斯的祝福。破解这一场景的关键是《伪卫理公会启示录》，在末代基督教皇帝的传说中发现了天使加冕的情节。这些壁画是在反奥斯曼战争计划在占领布达后中欧愈演愈烈的政治气候下创作的。
{"title":"Policy and prophecy. The legend of the last emperor and the iconography of the ruler crowned by angels in Wallachia","authors":"Elisabeta Negrău","doi":"10.2298/ZOG1943171N","DOIUrl":"https://doi.org/10.2298/ZOG1943171N","url":null,"abstract":"The article analyses the occurrence of the iconography of the ruler crowned by angels in Wallachia in the mid-sixteenth century, a late revival of a Byzantine iconographic model with no examples known in Wallachia prior to this date. In the nave of the infirmary chapel of Cozia Monastery (1543), voivode Radu Paisie is depicted crowned by an angel and blessed by Saint Methodius of Patara, an iconographical hapax. The key for decoding the scene is provided by the Pseudo-Methodian Apocalypse, where a coronation by angels episode is found in the legend of the Last Christian Emperor. The frescoes were made in a political climate when anti-Ottoman war plans intensified in Central Europe following the occupation of Buda.","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":"68384852","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 presents the investigation of a scene on the second layer of paintings done around 800 in the Virgin Church of the Monastery of the Syrians (Deir al-Surian) in the Scetis Desert or the Nitrian Desert (Wadi Al-Natrun). In it one can see Saint Colluthos performing a surgical operation on an eye. Also presented are writings dedicated to the saint and his cult and images of him. One can recognise influences of pagan traditions and Christian iconographic patterns and details of contemporary everyday life in the scene.
本文介绍了对公元800年左右在塞蒂斯沙漠或尼特里亚沙漠(Wadi Al-Natrun)的叙利亚修道院(Deir al-Surian)圣母教堂(Virgin Church of the Monastery of the syrian)第二层绘画中的一个场景的调查。在这幅画中，人们可以看到圣科洛托斯正在给一只眼睛做手术。同时展出的还有献给这位圣人和他的崇拜以及他的形象的作品。人们可以在场景中认识到异教传统和基督教图像模式的影响以及当代日常生活的细节。
{"title":"Between iconographic patterns and motifs from everyday life. The scene of an eye surgery performed by Saint Colluthos","authors":"Tatjana Starodubcev","doi":"10.2298/zog1842001s","DOIUrl":"https://doi.org/10.2298/zog1842001s","url":null,"abstract":"This paper presents the investigation of a scene on the second layer of paintings done around 800 in the Virgin Church of the Monastery of the Syrians (Deir al-Surian) in the Scetis Desert or the Nitrian Desert (Wadi Al-Natrun). In it one can see Saint Colluthos performing a surgical operation on an eye. Also presented are writings dedicated to the saint and his cult and images of him. One can recognise influences of pagan traditions and Christian iconographic patterns and details of contemporary everyday life in the scene.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"1-24"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383601","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 deals with “King’s Painter” Tevdore and his inscriptions preserved in three churches of Upper Svaneti (northwestern highland region of Georgia) dated back to the eleventh and twelfth centuries. The textual and visual data allow us to reconstruct the status of the painter and his impact on the embellishment of these churches. The inscriptions are considered from various perspectives, with a special emphasis on their political and social context. Tevdore’s title stressing his ties with monarchic power aimed to extend the “royal presence” in Svaneti. The spatial constructs, creating semantic focuses for the display of authors’ inscriptions, permit an evaluation of his status and place in the given social system.
{"title":"“King’s Painter” Tevdore and his inscriptions","authors":"Nina Chichinadze","doi":"10.2298/zog1842025c","DOIUrl":"https://doi.org/10.2298/zog1842025c","url":null,"abstract":"The paper deals with “King’s Painter” Tevdore and his inscriptions preserved in three churches of Upper Svaneti (northwestern highland region of Georgia) dated back to the eleventh and twelfth centuries. The textual and visual data allow us to reconstruct the status of the painter and his impact on the embellishment of these churches. The inscriptions are considered from various perspectives, with a special emphasis on their political and social context. Tevdore’s title stressing his ties with monarchic power aimed to extend the “royal presence” in Svaneti. The spatial constructs, creating semantic focuses for the display of authors’ inscriptions, permit an evaluation of his status and place in the given social system.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"25-36"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383763","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 explores the contents and historical context of the Cyrillic inscription written in old Serbian language with some Turkish words on the fresco “St. Nicholas takes Basil from the house of Emir” from the Church of St. Nicholas in Ramaca. Based on an analysis of the historical circumstances and events that took place at the end of the fourteenth and the beginning of the fifteenth century on the Balkan Peninsula and especially in the Lazarevic Principality, it is assumed that the presence of Turkish words in the mentioned inscription implies the influences of Islamic heterodox dervishes in the Christian milieu. The dating of the fresco painting from the Church in Ramaca can be narrowed down to the time of the reign of Stefan Lazarevic. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177025]
{"title":"The inscription on the fresco “St. Nicholas takes basil from the house of Emir” in the church of St. Nicholas in Ramaća as a historical source","authors":"Marko Šuica, B. Knežević","doi":"10.2298/zog1842107s","DOIUrl":"https://doi.org/10.2298/zog1842107s","url":null,"abstract":"This paper explores the contents and historical context of the Cyrillic inscription written in old Serbian language with some Turkish words on the fresco “St. Nicholas takes Basil from the house of Emir” from the Church of St. Nicholas in Ramaca. Based on an analysis of the historical circumstances and events that took place at the end of the fourteenth and the beginning of the fifteenth century on the Balkan Peninsula and especially in the Lazarevic Principality, it is assumed that the presence of Turkish words in the mentioned inscription implies the influences of Islamic heterodox dervishes in the Christian milieu. The dating of the fresco painting from the Church in Ramaca can be narrowed down to the time of the reign of Stefan Lazarevic. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177025]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"107-117"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384230","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}
{"title":"Depictions of Christ’s ancestors in the altar of Markov Manastir. A contribution to research","authors":"Marka Tomic-Djuric","doi":"10.2298/zog1842089t","DOIUrl":"https://doi.org/10.2298/zog1842089t","url":null,"abstract":"","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"89-106"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384406","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}
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