This article deals with a rock-cut church (Bezirana kilisesi), dedicated to the Theotokos, recently rediscovered in the Ihlara valley (Cappadocia). The paintings from the very end of the 13th century or the beginning of the 14th, of exceptional quality, indicate that the patron of the church, whose identity is unknown, was a high-ranking, wealthy and literate individual. They bear witness to the maintenance of close links with Byzantium in this region, as well as to the mobility of artists, and bring new testimony on the cultural diversity of Seljuk Anatolia.
{"title":"Bezirana kilisesi (Cappadoce). Un exceptionnel décor paléologue en terres de Rūm. Nouveau témoignage sur les relations entre Byzance et le sultanat","authors":"C. Jolivet-Lévy","doi":"10.2298/ZOG1741107J","DOIUrl":"https://doi.org/10.2298/ZOG1741107J","url":null,"abstract":"This article deals with a rock-cut church (Bezirana kilisesi), dedicated to the Theotokos, recently rediscovered in the Ihlara valley (Cappadocia). The paintings from the very end of the 13th century or the beginning of the 14th, of exceptional quality, indicate that the patron of the church, whose identity is unknown, was a high-ranking, wealthy and literate individual. They bear witness to the maintenance of close links with Byzantium in this region, as well as to the mobility of artists, and bring new testimony on the cultural diversity of Seljuk Anatolia.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"107-142"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383804","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 the church of Saint George Sfakiotis, built on the outskirts of the settlement Diavaide in the Perfecture of Heraklion in Crete, narrative interest is focused on the large painting with the mounted figures of the military saints George and Demetrios. Saint George is shown together with the young pillion rider, whereas the element of water on the lower part of the scene establishes a connection between the episode of the slave’s release and a rarer variant according to which the liberator saint crosses the sea (‘thalassoperatis’, trans. he who crosses the sea). The iconographic and stylistic analysis of the representation of Saint George as well that of Saint Demetrios at Diaviade reflects the artistic environment of the Eastern Mediterranean, possibly that of Cyprus, where images of equestrian military saints form part of the tradition of the island.
{"title":"Figures of mounted warrior saints in medieval Crete. The representation of the equestrian Saint George “Thalassoperatis” at Diavaide in Heraklion","authors":"M. Bormpoudaki","doi":"10.2298/ZOG1741143B","DOIUrl":"https://doi.org/10.2298/ZOG1741143B","url":null,"abstract":"In the church of Saint George Sfakiotis, built on the outskirts of the settlement Diavaide in the Perfecture of Heraklion in Crete, narrative interest is focused on the large painting with the mounted figures of the military saints George and Demetrios. Saint George is shown together with the young pillion rider, whereas the element of water on the lower part of the scene establishes a connection between the episode of the slave’s release and a rarer variant according to which the liberator saint crosses the sea (‘thalassoperatis’, trans. he who crosses the sea). The iconographic and stylistic analysis of the representation of Saint George as well that of Saint Demetrios at Diaviade reflects the artistic environment of the Eastern Mediterranean, possibly that of Cyprus, where images of equestrian military saints form part of the tradition of the island.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"143-156"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383814","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 appearance of the synthronon, the position of the locus inferior (αρχιeρατικός, or δeσποτικός θρόνος, the episcopal throne in the nave, donje mesto) of the Metropolitan of Požega at the Orahovica Monastery, fresco paintings inspired by the purpose of the throne in front of the sanctuary, and the views it incorporated. The synthronon is in fact a series of niches. The locus inferior has not survived; based on the fresco program, the author places it between the southwestern pillar and the southern wall. The fresco decoration of the locus inferior - one of the largest in Serbian art - is both centered on the topoi of the throne program and unique. Christ and the apostles from the apostolic Deisis draw on the teaching about Christ as the eternal leader of the liturgical community and the apostolic roots of the church and the office of bishop; by emphasizing the presence of St. Andronicus and St. Titus beside the seat, the program incorporates the tradition of the apostolic lineage of the church among the Slavs and in the Metropolitanate of Požega. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]
{"title":"The synthronon and locus inferior (αρχιερατικός θρόνος) of the metropolitan of Pozega. Liturgical furniture and wall paintings of the Orahovica Monastery","authors":"Milan Radujko","doi":"10.2298/ZOG1741189R","DOIUrl":"https://doi.org/10.2298/ZOG1741189R","url":null,"abstract":"The paper discusses the appearance of the synthronon, the position of the locus inferior (αρχιeρατικός, or δeσποτικός θρόνος, the episcopal throne in the nave, donje mesto) of the Metropolitan of Požega at the Orahovica Monastery, fresco paintings inspired by the purpose of the throne in front of the sanctuary, and the views it incorporated. The synthronon is in fact a series of niches. The locus inferior has not survived; based on the fresco program, the author places it between the southwestern pillar and the southern wall. The fresco decoration of the locus inferior - one of the largest in Serbian art - is both centered on the topoi of the throne program and unique. Christ and the apostles from the apostolic Deisis draw on the teaching about Christ as the eternal leader of the liturgical community and the apostolic roots of the church and the office of bishop; by emphasizing the presence of St. Andronicus and St. Titus beside the seat, the program incorporates the tradition of the apostolic lineage of the church among the Slavs and in the Metropolitanate of Požega. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"189-212"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383912","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":"Pope Pius II’s charter of donation of the arm of St John the Baptist to Siena cathedral","authors":"M. Joksimović","doi":"10.2298/ZOG1741095J","DOIUrl":"https://doi.org/10.2298/ZOG1741095J","url":null,"abstract":"","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"95-105"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383733","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 explores the semiotic meaning of relief panels from a three-light window on the northern facade of the naos of the Church of Archangel Michael and St. Gavrilo of Lesnovo at the Lesnovo Monastery (1340/1341). Iconographically derived from tombstones and objects of everyday use, their geometrical and zoomorphic decoration seems to suggest that the ktetor and his family believed in the protective power of the symbols and signs carved on them.
本文探讨了Lesnovo修道院(1340/1341)的大天使迈克尔教堂和St. Gavrilo of Lesnovo教堂北立面的三光窗浮雕面板的符号学意义。这些图案来源于墓碑和日常用品，它们的几何和兽形装饰似乎表明，ktetor和他的家人相信雕刻在它们上面的符号和标志具有保护作用。
{"title":"Relief panels on a three-light window from Lesnovo. Proposing an interpretation of the semiotics of carved motifs","authors":"Smiljka Gabelić","doi":"10.2298/ZOG1741157G","DOIUrl":"https://doi.org/10.2298/ZOG1741157G","url":null,"abstract":"The paper explores the semiotic meaning of relief panels from a three-light window on the northern facade of the naos of the Church of Archangel Michael and St. Gavrilo of Lesnovo at the Lesnovo Monastery (1340/1341). Iconographically derived from tombstones and objects of everyday use, their geometrical and zoomorphic decoration seems to suggest that the ktetor and his family believed in the protective power of the symbols and signs carved on them.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"157-168"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383870","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 text presents to the academic public two so-far unpublished pieces from the collection of Coptic textiles housed at the Museum of Applied Art in Belgrade. The aim of this text is to identify the motifs represented on them, as well as to propose a possible iconographic and iconological reading of their imagery. Both pieces of Coptic textile presented here display a number of iconographic subjects typical of Late Antique Egypt such as the Dionysiac thiasus and other subjects related to Dionysos – vines, lions, panthers and other animals, as well as the so-called Coptic horseman. They are typical of the visual idiom which survived from the classical period into Late Antique Coptic Egypt and was taking on new meanings in the context of religious and cultural syncretism.
{"title":"A note on two unpublished Coptic textiles from Belgrade","authors":"Jelena Erdeljan","doi":"10.2298/zog1741019e","DOIUrl":"https://doi.org/10.2298/zog1741019e","url":null,"abstract":"This text presents to the academic public two so-far unpublished pieces from the collection of Coptic textiles housed at the Museum of Applied Art in Belgrade. The aim of this text is to identify the motifs represented on them, as well as to propose a possible iconographic and iconological reading of their imagery. Both pieces of Coptic textile presented here display a number of iconographic subjects typical of Late Antique Egypt such as the Dionysiac thiasus and other subjects related to Dionysos – vines, lions, panthers and other animals, as well as the so-called Coptic horseman. They are typical of the visual idiom which survived from the classical period into Late Antique Coptic Egypt and was taking on new meanings in the context of religious and cultural syncretism.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"19-24"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383427","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":"Early church of the middle Byzantine period and the relics of St. Tryphon in Kotor","authors":"Ivan Stevović","doi":"10.2298/zog1741037s","DOIUrl":"https://doi.org/10.2298/zog1741037s","url":null,"abstract":"","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"37-50"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383213","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 takes a systematic approach to the hitherto unpublished relic of St John the Baptist’s right arm which is kept in a cache in Siena cathedral. It includes the available historical information about the relic’s journey from Serbia until its arrival in Siena (1464) and the circumstances in which it came into the possession of pope Pius II. It provides a detailed description both of the relic and of the reliquary, an exquisite piece of medieval goldsmithing and filigree work with few direct analogies. Particular attention is devoted to the inscription on the reliquary lid: “Right arm of John the Forerunner, cover me, Sava the Serbian archbishop.” Based on the inscription, the reliquary is identified as one of the founding objects of the treasury of the monastery of Žiča (the Serbian cathedral and coronation church) which was gradually built up in the first decades of the thirteenth century through the effort of Sava of Serbia. Discussed in the context of this topic are also the “veil” and the “cushion”, the luxurious textiles in which the Baptist’s arm was brought to Siena.
{"title":"The Siena relic of St John the Baptist’s right arm","authors":"Danica Popović","doi":"10.2298/ZOG1741077P","DOIUrl":"https://doi.org/10.2298/ZOG1741077P","url":null,"abstract":"The paper takes a systematic approach to the hitherto unpublished relic of St John the Baptist’s right arm which is kept in a cache in Siena cathedral. It includes the available historical information about the relic’s journey from Serbia until its arrival in Siena (1464) and the circumstances in which it came into the possession of pope Pius II. It provides a detailed description both of the relic and of the reliquary, an exquisite piece of medieval goldsmithing and filigree work with few direct analogies. Particular attention is devoted to the inscription on the reliquary lid: “Right arm of John the Forerunner, cover me, Sava the Serbian archbishop.” Based on the inscription, the reliquary is identified as one of the founding objects of the treasury of the monastery of Žiča (the Serbian cathedral and coronation church) which was gradually built up in the first decades of the thirteenth century through the effort of Sava of Serbia. Discussed in the context of this topic are also the “veil” and the “cushion”, the luxurious textiles in which the Baptist’s arm was brought to Siena.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"2017 1","pages":"77-94"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383336","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 twelve visual depictions that in all like-lihood represent St. Ignatios of Constantinople and were created between the ninth and the thirteenth century. Most of these depictions show Patriarch Ignatios beardless, which re-flects the fact that he was a eunuch of the ἐκτομίας category. The paper analyzes two iconographical elements distinctive of his portraits: beardlessness and youthful appearance. It concludes that, on the one hand, the artists who painted the beardless portraits of Ignatios strove to depict the saint as realistically as possible; while, on the other hand, his beardless and youthful appearance also had a metaphorical meaning and served to highlight the chastity and purity of the eunuch saint.
{"title":"Beards that matter. Visual representations of Patriarch Ignatios in Byzantine art","authors":"Bojana Krsmanović, Ljubomir Milanovic","doi":"10.2298/zog1741025k","DOIUrl":"https://doi.org/10.2298/zog1741025k","url":null,"abstract":"The paper discusses twelve visual depictions that in all like-lihood represent St. Ignatios of Constantinople and were created between the ninth and the thirteenth century. Most of these depictions show Patriarch Ignatios beardless, which re-flects the fact that he was a eunuch of the ἐκτομίας category. The paper analyzes two iconographical elements distinctive of his portraits: beardlessness and youthful appearance. It concludes that, on the one hand, the artists who painted the beardless portraits of Ignatios strove to depict the saint as realistically as possible; while, on the other hand, his beardless and youthful appearance also had a metaphorical meaning and served to highlight the chastity and purity of the eunuch saint.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"25-36"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383579","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":"Specific research of Serbian Byzantine influence in Poland. Frescoes in the Monastery in Supraśl","authors":"Velimir Matanovic","doi":"10.2298/zog1741213m","DOIUrl":"https://doi.org/10.2298/zog1741213m","url":null,"abstract":"","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"213-226"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383934","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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