The article attempts to give a thorough description of the style of the Bachkovo Ossuary frescoes and to draw analogies for their artistic manner and single figures. They appear to reveal the closest similarity with some miniatures found in Greek manuscripts of the late eleventh century. Several common artisticmethods were used in the Bachkovo frescoes and in the monumental painting of that time as well. They also include some motifs, which were well-known to artists of the second half of the twelfth century. The style of the Ossuary frescoes has been correctly described as classical in most of the pertinent studies. All the components of this style took shape already in the late eleventh century; however, it is not impossible that the frescoes were created later, in the twelfth century.
{"title":"On the style of the Bachkovo Ossuary frescoes","authors":"Irina Oretskaia","doi":"10.2298/zog1842037o","DOIUrl":"https://doi.org/10.2298/zog1842037o","url":null,"abstract":"The article attempts to give a thorough description of the style of the Bachkovo Ossuary frescoes and to draw analogies for their artistic manner and single figures. They appear to reveal the closest similarity with some miniatures found in Greek manuscripts of the late eleventh century. Several common artisticmethods were used in the Bachkovo frescoes and in the monumental painting of that time as well. They also include some motifs, which were well-known to artists of the second half of the twelfth century. The style of the Ossuary frescoes has been correctly described as classical in most of the pertinent studies. All the components of this style took shape already in the late eleventh century; however, it is not impossible that the frescoes were created later, in the twelfth century.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"37-54"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383901","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":"Ikone i freske zografa Antonija iz Kostura (1550-1560)","authors":"N. E. Cigaridas","doi":"10.2298/zog1842139c","DOIUrl":"https://doi.org/10.2298/zog1842139c","url":null,"abstract":"","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"139-153"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384381","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 fairly well-preserved fresco paintings in the dome of the Church of St. George at the Dobrilovina Monastery feature some rather unusual programmatic and iconographical solutions. The depiction of the Presanctified Liturgy and the figures of some Old Testament characters represented in the drum of the dome have no known parallels in the dome programs of Post-Byzantine monuments in the area of the Patriarchate of Pec. A troparion dedicated to the patron saint of the church was inscribed in the ring of the dome, which also bears evidence to the learnedness of the creator of this fresco ensemble, an important source for the research of Serbian wall paintings from the period after the restoration of the Patriarchate of Pec.
{"title":"The painted program in the dome of the Church of St. George in Dobrilovina","authors":"Marijan Markovic, Bojana Stevanović","doi":"10.2298/zog1842209m","DOIUrl":"https://doi.org/10.2298/zog1842209m","url":null,"abstract":"The fairly well-preserved fresco paintings in the dome of the Church of St. George at the Dobrilovina Monastery feature some rather unusual programmatic and iconographical solutions. The depiction of the Presanctified Liturgy and the figures of some Old Testament characters represented in the drum of the dome have no known parallels in the dome programs of Post-Byzantine monuments in the area of the Patriarchate of Pec. A troparion dedicated to the patron saint of the church was inscribed in the ring of the dome, which also bears evidence to the learnedness of the creator of this fresco ensemble, an important source for the research of Serbian wall paintings from the period after the restoration of the Patriarchate of Pec.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"209-229"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384879","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 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.
{"title":"Metamorphoses of ascetic texts in some depictions of St. Cyriacus the anchorite in the Balkans from the thirteenth to the seventeenth century","authors":"T. Vasilev","doi":"10.2298/zog1842155v","DOIUrl":"https://doi.org/10.2298/zog1842155v","url":null,"abstract":"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.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"155-164"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384531","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 subject of this paper is the staurotheke which is now kept in the treasury of the Dominican monastery in Dubrovnik, Croatia. It originally belonged to the church of Sts. Peter and Paul in Ras, Serbia, to which it had been donated jointly by the Serbian King Stefan Uros II Milutin and Bishop Gregory II of Raska (Rascia). The staurotheke in the shape of a double-armed cross is engraved with illuminating donor inscriptions on the front and back of the handle anda poetical epigram on the sides of the cross. Based on the palaeographical features of the inscriptions and the style of gold work, it has been established that the staurotheke was thoroughly renovated in the mid-sixteenth century but that the content of the inscriptions was faithfully copied from the original. The meaning and function of the staurotheke are discussed in the broader context of the cult of the True Cross in medieval Serbia.
{"title":"The staurotheke of the church of Sts. Peter and Paul in Ras, Serbia. A contribution to research","authors":"Danica Popović","doi":"10.2298/zog1842073p","DOIUrl":"https://doi.org/10.2298/zog1842073p","url":null,"abstract":"The subject of this paper is the staurotheke which is now kept in the treasury of the Dominican monastery in Dubrovnik, Croatia. It originally belonged to the church of Sts. Peter and Paul in Ras, Serbia, to which it had been donated jointly by the Serbian King Stefan Uros II Milutin and Bishop Gregory II of Raska (Rascia). The staurotheke in the shape of a double-armed cross is engraved with illuminating donor inscriptions on the front and back of the handle anda poetical epigram on the sides of the cross. Based on the palaeographical features of the inscriptions and the style of gold work, it has been established that the staurotheke was thoroughly renovated in the mid-sixteenth century but that the content of the inscriptions was faithfully copied from the original. The meaning and function of the staurotheke are discussed in the broader context of the cult of the True Cross in medieval Serbia.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"73-87"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384086","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 works of the Ottoman Empire’s Master Architect Sinan that he attached great importance to and produced the greatest in number were mosques. Mimar Sinan made use of multiple-support systems such as 4, 6 and 8-baldachins in his domed structures, planning the layouts of his domed buildings around the framework of these systems. In this article, five of Mimar Sinan’s square baldachin, singledomed mosques (Edirnekapi Mihrimah Sultan, Zal Mahmut Pasha, Luleburgaz Sokullu Mehmet Pasha, Fatih Bali Pasha and Manisa Muradiye) are selected, aiming to present an essay on the observed influence of Byzantine architecture in the domed square-baldachin and adjacent spaces that form the main area of these buildings.
奥斯曼帝国的建筑大师希南非常重视并建造了数量最多的清真寺。Mimar Sinan在他的圆顶结构中使用了多重支撑系统，如4,6和8-baldachin，并围绕这些系统的框架规划他的圆顶建筑的布局。在这篇文章中，选择了Mimar Sinan的五座方形巴尔达奇、单圆顶清真寺(Edirnekapi Mihrimah Sultan、Zal Mahmut Pasha、Luleburgaz Sokullu Mehmet Pasha、Fatih Bali Pasha和Manisa Muradiye)，旨在呈现一篇关于拜占庭建筑对圆顶方形巴尔达奇和形成这些建筑主要区域的邻近空间的影响的文章。
{"title":"An essay on Byzantine architectural influence on the spatial organization of the architect Sinan’s square baldachin single-domed mosques","authors":"A. Erarslan","doi":"10.2298/zog1842165e","DOIUrl":"https://doi.org/10.2298/zog1842165e","url":null,"abstract":"The works of the Ottoman Empire’s Master Architect Sinan that he attached great importance to and produced the greatest in number were mosques. Mimar Sinan made use of multiple-support systems such as 4, 6 and 8-baldachins in his domed structures, planning the layouts of his domed buildings around the framework of these systems. In this article, five of Mimar Sinan’s square baldachin, singledomed mosques (Edirnekapi Mihrimah Sultan, Zal Mahmut Pasha, Luleburgaz Sokullu Mehmet Pasha, Fatih Bali Pasha and Manisa Muradiye) are selected, aiming to present an essay on the observed influence of Byzantine architecture in the domed square-baldachin and adjacent spaces that form the main area of these buildings.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"165-179"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384179","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 the results of analysis of typological, stylis-tic-technical, epigraphic and iconographic features of the luxurious panagiarion, part of a complex reliquary, in the treasury of the Tersatto Monastery near Rijeka. The size and content of the panagiarion, made of jewels, pearls and relics in silver gilded revetments, provide basis to classify it within the group of Late Byzantine pectoral panagiaria-reliquaries and enkolpia of diverse forms. The dedicatory inscription on its reverse refers to despotissa Barbara Frankopan, the wife of the Serbian despot Vuk Grgurević, as its patron. The inscription on its rim and capsule with a miniature relief of the Virgin with Christ place it within the field of Orthodox personal devotion.
{"title":"Panagiarion of despotissa Barbara Frankopan","authors":"B. Cvetković","doi":"10.2298/zog1842119c","DOIUrl":"https://doi.org/10.2298/zog1842119c","url":null,"abstract":"The paper presents the results of analysis of typological, stylis-tic-technical, epigraphic and iconographic features of the luxurious panagiarion, part of a complex reliquary, in the treasury of the Tersatto Monastery near Rijeka. The size and content of the panagiarion, made of jewels, pearls and relics in silver gilded revetments, provide basis to classify it within the group of Late Byzantine pectoral panagiaria-reliquaries and enkolpia of diverse forms. The dedicatory inscription on its reverse refers to despotissa Barbara Frankopan, the wife of the Serbian despot Vuk Grgurević, as its patron. The inscription on its rim and capsule with a miniature relief of the Virgin with Christ place it within the field of Orthodox personal devotion.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"119-138"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384315","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 study deals with the evolution of great seals used by provosts of the St. Martin´s Spis Collegiate Chapter in the medieval Hungarian Kingdom. A seal image used to be an important part of seals. From the iconographic point of view the most interesting are seals of clerical institutions and dignitaries. These items, containing a large number of depicted motifs, became an important source of research in the area of medieval iconography, hagiography, heraldry and the history of art in general. The study introduces the evolution and metamorphoses of motifs as they appeared on Spis provosts´ seals during the thirteenth–fifteenth centuries.
{"title":"Iconographic changes of ecclesiastic seals in the medieval Hungarian Kingdom (illustrated by the example of Spis chapter provosts)","authors":"Glejtek Miroslav","doi":"10.2298/zog1842055g","DOIUrl":"https://doi.org/10.2298/zog1842055g","url":null,"abstract":"The study deals with the evolution of great seals used by provosts of the St. Martin´s Spis Collegiate Chapter in the medieval Hungarian Kingdom. A seal image used to be an important part of seals. From the iconographic point of view the most interesting are seals of clerical institutions and dignitaries. These items, containing a large number of depicted motifs, became an important source of research in the area of medieval iconography, hagiography, heraldry and the history of art in general. The study introduces the evolution and metamorphoses of motifs as they appeared on Spis provosts´ seals during the thirteenth–fifteenth centuries.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"55-71"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384058","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 Transfiguration constitutes one of the most important events in the New Testament. Yet, only few pre-iconoclastic examples of the Transfiguration scene have survived: S. Apollinaire in Classe, Ravenna, St. Catherine Monastery, Sinai and Porec in Istria, each has its unique iconography. Therefore, scholars have concluded that the Transfiguration scene became widespread only after the iconoclastic controversy. We aim to show, that Transfiguration scene in Shivta, an early Byzantine settlement in the Negev desert, allows a glimpse into the early Christian iconography of the well-known scene, providing a missing link to its development in the post-iconoclastic period.
{"title":"The transfiguration at Shivta. Retracing early Byzantine iconography","authors":"Emma Maayan-Fanar","doi":"10.2298/ZOG1741001M","DOIUrl":"https://doi.org/10.2298/ZOG1741001M","url":null,"abstract":"The Transfiguration constitutes one of the most important events in the New Testament. Yet, only few pre-iconoclastic examples of the Transfiguration scene have survived: S. Apollinaire in Classe, Ravenna, St. Catherine Monastery, Sinai and Porec in Istria, each has its unique iconography. Therefore, scholars have concluded that the Transfiguration scene became widespread only after the iconoclastic controversy. We aim to show, that Transfiguration scene in Shivta, an early Byzantine settlement in the Negev desert, allows a glimpse into the early Christian iconography of the well-known scene, providing a missing link to its development in the post-iconoclastic period.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"1-18"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383201","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 the structure and carved decoration of the restored marble sanctuary screen from the island of Kolocep near Dubrovnik. Based on the early medieval history of present-day southern Dalmatia and the fragmentary inscription commemorating a queen as the donor of the screen, it may be concluded that she was one of the Serbian Doclean (Duklja) queens from the second half of the eleventh century. The inscription is the only evidence that the kings of Dioclea ruled over the Elaphite islands. The carved decoration is typical of the Middle Byzantine period (9th-12th century), with some regional traits. The only exceptions are the figures of putti. They can be associated with Romanesque architectural sculpture in southern Italy created in the late eleventh century, after the Norman conquest of this region. The author puts forward the hypothesis that the donor was Queen Jaquinta, wife of King Bodin (1081-1101), who was a Norman woman from Bari.
{"title":"A sanctuary screen from the island of Koločep","authors":"V. Babić","doi":"10.2298/ZOG1741051B","DOIUrl":"https://doi.org/10.2298/ZOG1741051B","url":null,"abstract":"The paper discusses the structure and carved decoration of the restored marble sanctuary screen from the island of Kolocep near Dubrovnik. Based on the early medieval history of present-day southern Dalmatia and the fragmentary inscription commemorating a queen as the donor of the screen, it may be concluded that she was one of the Serbian Doclean (Duklja) queens from the second half of the eleventh century. The inscription is the only evidence that the kings of Dioclea ruled over the Elaphite islands. The carved decoration is typical of the Middle Byzantine period (9th-12th century), with some regional traits. The only exceptions are the figures of putti. They can be associated with Romanesque architectural sculpture in southern Italy created in the late eleventh century, after the Norman conquest of this region. The author puts forward the hypothesis that the donor was Queen Jaquinta, wife of King Bodin (1081-1101), who was a Norman woman from Bari.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"51-75"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383280","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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