Saint Sampson, whose feast is celebrated on June 27, was depicted among holy physicians. However, his images were not frequent. He was usually accompanied with Saint Mokios (in Saint Sophia in Kiev, the Transfiguration church in the Mirozh monastery and the church of the Presentation of the Holy Virgin in the Temple in the monastery of Saint Euphrosyne; possibly also in Saint Panteleimon in Nerezi and Saint Demetrios in the village of Aiani near Kozani; furthermore, in the church of Saint Nicholas in Manastir and, afterwards, in the katholikon of the Vatopedi monastery). In a later period, he was usually shown in the vicinity of Saint Diomedes (in the churches of Saint Achillius in Arilje, Saint George in the village Vathiako on Crete, Saint Nicholas Orphanos in Thessaloniki, the Annunciation in Gracanica, the narthexes of the Hilandar katholikon and the church of the Holy Virgin in the monastery of Brontocheion at Mistra, the katholicon of the Pantokrator monastery and the church of Saint Demetrios in Markov Manastir). There are no substantial data regarding the identity of the saints depicted next to him in the metropolitan Church of Saint Demetrios at Mistra, while in a number of cases the image of the saint shown next to him has not been preserved (e.g. Saint Irene in the village of Agios Mamas on Crete, Gregory’s Gallery in the church of Saint Sophia in Ohrid and the church of the Holy Virgin (Panagia Kera) near the village Chromonastiri on Crete). On the other hand, in the church of the Holy Virgin in Mateic, Saint Sampson is, exceptionally, depicted among bishops, while in the church of the Holy Archangels in Prilep and the chapel of the Holy Anargyroi in Vatopedi, he is, as usual, surrounded by holy physicians but his mates are not featured - neither Saint Mokios, not Saint Diomedes. The earliest known commemorative text dedicated to him is the extensive hagiography - Vita Sampsonis I, composed in the seventh or the early eighth century. Other hagiographies, which mostly date from the tenth century, are completely based on the earlier writing. Such a composition can be found in the Synaxarion of the Church of Constantinople. In the extensive text (Vita Sampsonis II), Symeon Metaphrastes added a part that included detailed descriptions of a number of posthumous miracles, mostly healings; all these events are also mentioned in the short Hagiography. Finally, in the late thirteenth century, Constantine Akropolites wrote the still unpublished Hagiography (Vita Sampsonis III), in which he presented an account of events from the later history of the Saint’s hospital. The hagiographies inform us that Sampson was a Roman by birth and a kin of Emperor Constantine. He inherited a fortune, which he distributed to the poor. Then, he departed for Constantinople, where he found a modest home. Patriarch Menas ordained him a priest. Relying on the medical knowledge, Sampson was saving the sick and he even cured Emperor Justinian from an incurable disease
{"title":"Physician and miracle worker. The cult of Saint Sampson the Xenodochos and his images in eastern Orthodox medieval painting","authors":"Tatjana Starodubcev","doi":"10.2298/zog1539025s","DOIUrl":"https://doi.org/10.2298/zog1539025s","url":null,"abstract":"Saint Sampson, whose feast is celebrated on June 27, was depicted among holy physicians. However, his images were not frequent. He was usually accompanied with Saint Mokios (in Saint Sophia in Kiev, the Transfiguration church in the Mirozh monastery and the church of the Presentation of the Holy Virgin in the Temple in the monastery of Saint Euphrosyne; possibly also in Saint Panteleimon in Nerezi and Saint Demetrios in the village of Aiani near Kozani; furthermore, in the church of Saint Nicholas in Manastir and, afterwards, in the katholikon of the Vatopedi monastery). In a later period, he was usually shown in the vicinity of Saint Diomedes (in the churches of Saint Achillius in Arilje, Saint George in the village Vathiako on Crete, Saint Nicholas Orphanos in Thessaloniki, the Annunciation in Gracanica, the narthexes of the Hilandar katholikon and the church of the Holy Virgin in the monastery of Brontocheion at Mistra, the katholicon of the Pantokrator monastery and the church of Saint Demetrios in Markov Manastir). There are no substantial data regarding the identity of the saints depicted next to him in the metropolitan Church of Saint Demetrios at Mistra, while in a number of cases the image of the saint shown next to him has not been preserved (e.g. Saint Irene in the village of Agios Mamas on Crete, Gregory’s Gallery in the church of Saint Sophia in Ohrid and the church of the Holy Virgin (Panagia Kera) near the village Chromonastiri on Crete). On the other hand, in the church of the Holy Virgin in Mateic, Saint Sampson is, exceptionally, depicted among bishops, while in the church of the Holy Archangels in Prilep and the chapel of the Holy Anargyroi in Vatopedi, he is, as usual, surrounded by holy physicians but his mates are not featured - neither Saint Mokios, not Saint Diomedes. The earliest known commemorative text dedicated to him is the extensive hagiography - Vita Sampsonis I, composed in the seventh or the early eighth century. Other hagiographies, which mostly date from the tenth century, are completely based on the earlier writing. Such a composition can be found in the Synaxarion of the Church of Constantinople. In the extensive text (Vita Sampsonis II), Symeon Metaphrastes added a part that included detailed descriptions of a number of posthumous miracles, mostly healings; all these events are also mentioned in the short Hagiography. Finally, in the late thirteenth century, Constantine Akropolites wrote the still unpublished Hagiography (Vita Sampsonis III), in which he presented an account of events from the later history of the Saint’s hospital. The hagiographies inform us that Sampson was a Roman by birth and a kin of Emperor Constantine. He inherited a fortune, which he distributed to the poor. Then, he departed for Constantinople, where he found a modest home. Patriarch Menas ordained him a priest. Relying on the medical knowledge, Sampson was saving the sick and he even cured Emperor Justinian from an incurable disease","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"25-46"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382122","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 church of Saint George at Recani, destroyed in the summer of 1999, belonged to the group of small-sized churches in the form of a compact cross-in-square, with three bays and a dome. In terms of architectural features, the church at Recani did not stand out among modest churches founded by Serbian aristocrats in the fourteenth century. The examined documentation, drawings made by conservation professionals and records of conservation works have provided valuable information related to the architectural features of the church, which was listed as a cultural monument on June 1961, becoming a state-protected asset. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]
{"title":"The architecture of the church of Saint George at Recani: The original design and subsequent alterations","authors":"Bojana Stevanović","doi":"10.2298/zog1539119s","DOIUrl":"https://doi.org/10.2298/zog1539119s","url":null,"abstract":"The church of Saint George at Recani, destroyed in the summer of 1999, belonged to the group of small-sized churches in the form of a compact cross-in-square, with three bays and a dome. In terms of architectural features, the church at Recani did not stand out among modest churches founded by Serbian aristocrats in the fourteenth century. The examined documentation, drawings made by conservation professionals and records of conservation works have provided valuable information related to the architectural features of the church, which was listed as a cultural monument on June 1961, becoming a state-protected asset. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"119-128"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382178","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 discusses sensory experience in the practice of devotion of two highly venerated icons in medieval and Early Modern Balkans: the mosaic icon of the Virgin Hodegetria from the monastery of Chilandar and the icon of Gospa of Skrpjela (Our Lady of the Reef) from the Bay of Kotor. Although part of two different, albeit historically intertwined and perpetually connected cultural and liturgical spheres, icon veneration in both the Orthodox and the Catholic community of the broader Mediterranean world and the Balkans in medieval and Early Modern times shares the same source. It relies on the traditional Byzantine manner of icon veneration. This is particularly true of highly venerated and often miracle working images of the Mother of God, identity markers of political, social and religious entities, objects of private devotion as well as performative objects around which are centered public rituals of liturgical processions and ephemeral spectacles.
本文讨论了中世纪和近代早期巴尔干半岛两个备受尊崇的圣像的虔诚实践中的感官体验:Chilandar修道院的圣母Hodegetria的马赛克圣像和Kotor湾的Skrpjela (Our Lady of the Reef)的Gospa圣像。尽管是两个不同的部分，尽管历史上交织在一起，并且永远联系在一起的文化和礼仪领域，中世纪和近代早期的地中海世界和巴尔干地区的东正教和天主教社区的圣像崇拜有着相同的来源。它依赖于传统的拜占庭式的偶像崇拜方式。这一点尤其适用于受到高度尊敬的，经常是奇迹的圣母形象，政治，社会和宗教实体的身份标志，私人奉献的对象以及以礼拜游行和短暂景观为中心的公共仪式为中心的表演对象。
{"title":"Praying with the senses: Examples of icon devotion and the sensory experience in medieval and early modern Balkans","authors":"S. Brajović, Jelena Erdeljan","doi":"10.2298/ZOG1539057B","DOIUrl":"https://doi.org/10.2298/ZOG1539057B","url":null,"abstract":"This paper discusses sensory experience in the practice of devotion of two highly venerated icons in medieval and Early Modern Balkans: the mosaic icon of the Virgin Hodegetria from the monastery of Chilandar and the icon of Gospa of Skrpjela (Our Lady of the Reef) from the Bay of Kotor. Although part of two different, albeit historically intertwined and perpetually connected cultural and liturgical spheres, icon veneration in both the Orthodox and the Catholic community of the broader Mediterranean world and the Balkans in medieval and Early Modern times shares the same source. It relies on the traditional Byzantine manner of icon veneration. This is particularly true of highly venerated and often miracle working images of the Mother of God, identity markers of political, social and religious entities, objects of private devotion as well as performative objects around which are centered public rituals of liturgical processions and ephemeral spectacles.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"57-63"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382248","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 Greek-Orthodox ecclesiastical embroidery in Ottoman Constantinople after 1453 until the emergence of the Constantinopolitan School of embroidery. We are well informed about the artistic production that flourished between the last decades of the seventeenth century and midnineteenth century via preserved artifacts and inscriptions bearing the embroiderers’ signature. Nevertheless, our knowledge of the production between the fall of Byzantium and the last decades of the seventeenth century is lacking. In this paper, our aim is to evaluate whether the Byzantine artistic tradition continued to live in the Greek Constantinopolitan production. The iconographical and technical analysis of different artifacts will give the answer to this question revealing at the same time the foundation basis of the embroidery of that School.
{"title":"On the beginnings of the Constantinopolitan School of embroidery","authors":"Elena Papastavrou, Daphni Filiou","doi":"10.2298/ZOG1539161P","DOIUrl":"https://doi.org/10.2298/ZOG1539161P","url":null,"abstract":"This paper examines Greek-Orthodox ecclesiastical embroidery in Ottoman Constantinople after 1453 until the emergence of the Constantinopolitan School of embroidery. We are well informed about the artistic production that flourished between the last decades of the seventeenth century and midnineteenth century via preserved artifacts and inscriptions bearing the embroiderers’ signature. Nevertheless, our knowledge of the production between the fall of Byzantium and the last decades of the seventeenth century is lacking. In this paper, our aim is to evaluate whether the Byzantine artistic tradition continued to live in the Greek Constantinopolitan production. The iconographical and technical analysis of different artifacts will give the answer to this question revealing at the same time the foundation basis of the embroidery of that School.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"161-176"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382939","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 is dedicated to the figures of holy monks in the west bay of the Church of the Virgin in Studenica, painted during the restoration of the original murals in 1568. The paper seeks to establish the identity of some saints who were previously incorrectly identified, as well as the identity of those who were unobserved in previous studies. It also discusses to what extent the choice of holy monks to be depicted was determined by the original iconographic program. The research results confirm the hypothesis that has for long been present in scholarly literature; according to it, during the restoration of frescoes in the Studenica katholikon, the painters largely repeated the original painted program. Nevertheless, judging by the example of the holy monks depicted in west bay, it may be concluded that in some cases they departed from the original iconographic program. In selecting new saints to be depicted they must have relied on the Menologion. [Projekat Ministarstva nauke Republike Srbije, br. 177032: Tradicija, inovacija i identitet u vizantijskom svetu]
这个书房是专门用来展示斯图德尼察圣母教堂西湾的圣僧形象的，这些形象是在1568年原始壁画修复期间绘制的。这篇论文试图确定一些以前被错误识别的圣徒的身份，以及那些在以前的研究中未被观察到的人的身份。它还讨论了在多大程度上选择被描绘的神圣僧侣是由原始的图像程序决定的。研究结果证实了学术文献中长期存在的假设;根据该报告，在修复斯图尼察·卡索利孔的壁画期间，画家们在很大程度上重复了原始的绘画程序。然而，从西湾描绘的圣僧的例子来看，可以得出结论，在某些情况下，他们偏离了原来的图像程序。在选择要描绘的新圣徒时，他们一定是依赖于Menologion。[南斯拉夫]塞族共和国部长项目;[177032: Tradicija, invacija i identitet u vizantijskom [j]
{"title":"Depictions of holy monks in the western bay of the Church of the Virgin in Studenica","authors":"Miloš Živković","doi":"10.2298/ZOG1539065Z","DOIUrl":"https://doi.org/10.2298/ZOG1539065Z","url":null,"abstract":"The study is dedicated to the figures of holy monks in the west bay of the Church of the Virgin in Studenica, painted during the restoration of the original murals in 1568. The paper seeks to establish the identity of some saints who were previously incorrectly identified, as well as the identity of those who were unobserved in previous studies. It also discusses to what extent the choice of holy monks to be depicted was determined by the original iconographic program. The research results confirm the hypothesis that has for long been present in scholarly literature; according to it, during the restoration of frescoes in the Studenica katholikon, the painters largely repeated the original painted program. Nevertheless, judging by the example of the holy monks depicted in west bay, it may be concluded that in some cases they departed from the original iconographic program. In selecting new saints to be depicted they must have relied on the Menologion. [Projekat Ministarstva nauke Republike Srbije, br. 177032: Tradicija, inovacija i identitet u vizantijskom svetu]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"39 1","pages":"65-90"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382445","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 seeks to establish who was the founder of the church of Saint George at Polosko and revise the conclusions of previous researchers regarding this issue. According to the opinion commonly adopted in the scholarly literature, Jovan Dragusin, a cousin of King Dusan, had merely undertaken the construction of church at Polosko, whereas his mother was responsible for the completion of construction and painting of frescoes in the church. Through an analysis of written and visual sources the conclusion is reached that the sole person responsible for the construction and painting of the church at Polosko was the nun Maria, the mother of Jovan Dragusin. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]
{"title":"The founder of the church of Saint George at Polosko","authors":"D. Pavlovic","doi":"10.2298/zog1539107p","DOIUrl":"https://doi.org/10.2298/zog1539107p","url":null,"abstract":"The paper seeks to establish who was the founder of the church of Saint George at Polosko and revise the conclusions of previous researchers regarding this issue. According to the opinion commonly adopted in the scholarly literature, Jovan Dragusin, a cousin of King Dusan, had merely undertaken the construction of church at Polosko, whereas his mother was responsible for the completion of construction and painting of frescoes in the church. Through an analysis of written and visual sources the conclusion is reached that the sole person responsible for the construction and painting of the church at Polosko was the nun Maria, the mother of Jovan Dragusin. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"107-118"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382112","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 chronology of the construction of the Studenica monastery and the historical context of Stefan Nemanja’s founding act. The study focuses on the data provided by early hagiographies of Stefan Nemanja, particularly on the information that the Serbian Grand Župan issued a chrysobull for the monastery, as well as the reference to his title of samodržac (autokrator). The emergence of Constantinopolitan influences during the construction of the monastery Studenica is associated with the political relations between the Byzantine Emperor Isaac II Angelos and Stefan Nemanja. [Projekat Ministarstva nauke Republike Srbije, br. 177032]
{"title":"The chronology and the historical context of the construction of the Studenica monastery: Contribution to the study","authors":"Srdjan Pirivatric","doi":"10.2298/ZOG1539047P","DOIUrl":"https://doi.org/10.2298/ZOG1539047P","url":null,"abstract":"The paper deals with the chronology of the construction of the Studenica monastery and the historical context of Stefan Nemanja’s founding act. The study focuses on the data provided by early hagiographies of Stefan Nemanja, particularly on the information that the Serbian Grand Župan issued a chrysobull for the monastery, as well as the reference to his title of samodržac (autokrator). The emergence of Constantinopolitan influences during the construction of the monastery Studenica is associated with the political relations between the Byzantine Emperor Isaac II Angelos and Stefan Nemanja. [Projekat Ministarstva nauke Republike Srbije, br. 177032]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"8 1","pages":"47-56"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382195","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}
Owing to old photographic plates that recorded those segments of the mural decoration of Davidovica on the Lim which were later destroyed or considerably damaged, it is possible to put forward a more complete reconstruction of its thematic program. The programmatic and iconographic features of both the destroyed frescoes and the surviving ones correspond to the solutions that can be found in Post-Byzantine painting. The palaeographic analysis of inscriptions and the analysis of the style of the murals in the dome, the area under the dome and both chapels in Davidovica clearly indicate that we are dealing with paintings done in the second half of the sixteenth century. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst i br. 177032: Tradicija, inovacija i identitetu vizantijskom svetu]
由于记录了后来被摧毁或严重损坏的林姆岛上的达维多维卡壁画装饰片段的旧照相底片，因此有可能提出更完整的主题方案重建。被破坏的壁画和幸存的壁画的程序和图像特征都对应于后拜占庭绘画中可以找到的解决方案。对铭文的古生物学分析以及对穹顶壁画风格的分析，穹顶下的区域以及达维多维卡的两座教堂都清楚地表明，我们正在处理的是16世纪下半叶的画作。[南斯拉夫]塞族共和国部长项目;[177036] Srpska srednjovekovna metnost, njen evropski kontekst .][177032: Tradicija, invacija i identitetu vizantijskom [j]
{"title":"Wall paintings of the Davidovica monastery: Additions to the thematical programme and dating","authors":"D. Vojvodic","doi":"10.2298/ZOG1539177V","DOIUrl":"https://doi.org/10.2298/ZOG1539177V","url":null,"abstract":"Owing to old photographic plates that recorded those segments of the mural decoration of Davidovica on the Lim which were later destroyed or considerably damaged, it is possible to put forward a more complete reconstruction of its thematic program. The programmatic and iconographic features of both the destroyed frescoes and the surviving ones correspond to the solutions that can be found in Post-Byzantine painting. The palaeographic analysis of inscriptions and the analysis of the style of the murals in the dome, the area under the dome and both chapels in Davidovica clearly indicate that we are dealing with paintings done in the second half of the sixteenth century. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst i br. 177032: Tradicija, inovacija i identitetu vizantijskom svetu]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"206 1","pages":"177-192"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383014","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 deals with a little known ensemble of wall paintings at the Church of the Saviour in Chvabiani, Upper Svaneti, Georgia. The initial decoration of the church dated to 978- 1001 has survived mainly in the apse. The badly preserved Theophany in the conch attracted the attention of scholars who analyzed its iconography. The Apostles in the lower zone, however, were considered to be repainted at a later date. Our examination of these wall paintings revealed no traces of later additions. Through the analysis of technique and style we aim to prove that the both compositions belong to the turn of the tenth to eleventh century. These wall paintings show unusually high quality and close affinities with Byzantine art of this period. In our view, they could be a work of a visiting artist, probably a Georgian trained at some major Byzantine artistic center. He may well have been among the artists working on wall paintings at the cathedrals built and decorated by order of kings and church hierarchs during the late tenth to early eleventh centuries, in Tao-Klarjeti or other lands of the Georgian kingdom still under formation.
这篇文章讨论的是乔治亚州上斯瓦涅季(Upper Svaneti)的Chvabiani救世主教堂(Church of The savior)一组鲜为人知的壁画。教堂最初的装饰可追溯到978- 1001年，主要保存在后殿。保存完好的海螺中的神神显现吸引了分析其肖像的学者的注意。然而，较低区域的使徒被认为是在稍后的日期重新绘制的。我们对这些壁画的检查没有发现后来添加的痕迹。通过对技巧和风格的分析，我们旨在证明这两幅作品都属于10世纪至11世纪之交。这些壁画表现出不同寻常的高品质，与这一时期的拜占庭艺术有着密切的联系。在我们看来，它们可能是一个来访艺术家的作品，可能是一个在拜占庭艺术中心受过训练的格鲁吉亚人。他很可能是在10世纪末至11世纪初国王和教会等级下令建造和装饰的大教堂壁画艺术家之一，这些教堂位于陶克拉杰蒂或格鲁吉亚王国仍在形成的其他地区。
{"title":"Original wall paintings at the church of the Saviour in Chvabiani (Upper Svaneti, Georgia) and Byzantine art at the turn of the tenth to eleventh centuries","authors":"A. Zakharova, S. Sverdlova","doi":"10.2298/ZOG1539011Z","DOIUrl":"https://doi.org/10.2298/ZOG1539011Z","url":null,"abstract":"The article deals with a little known ensemble of wall paintings at the Church of the Saviour in Chvabiani, Upper Svaneti, Georgia. The initial decoration of the church dated to 978- 1001 has survived mainly in the apse. The badly preserved Theophany in the conch attracted the attention of scholars who analyzed its iconography. The Apostles in the lower zone, however, were considered to be repainted at a later date. Our examination of these wall paintings revealed no traces of later additions. Through the analysis of technique and style we aim to prove that the both compositions belong to the turn of the tenth to eleventh century. These wall paintings show unusually high quality and close affinities with Byzantine art of this period. In our view, they could be a work of a visiting artist, probably a Georgian trained at some major Byzantine artistic center. He may well have been among the artists working on wall paintings at the cathedrals built and decorated by order of kings and church hierarchs during the late tenth to early eleventh centuries, in Tao-Klarjeti or other lands of the Georgian kingdom still under formation.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"11-23"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382049","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}
It was in the monastery of Saint Francis in Venice in the year 1520 when Božidar Vukovic purchased the icon of the Holy Mandylion. By that particular acquisition, this prominent publisher originating from Zeta has visualized his new position in the sixteenth century Venice. The multi-layered identity of Božidar Vukovic was manifested by the subsequent inclusion of the noble coat of arms of the House of Vukovic on the back of the icon. By the use of verbal and visual language the artificial initiation of Božidar Vukovic within the distinguished members of Venetian society has been confirmed. [Projekat Ministarstva nauke Republike Srbije, br. 177001: Predstave identiteta u verbalno-vizuelnoj kulturi novog doba]
{"title":"Icon of the Holy Mandylion and representation of multi-layered visual identity of Bozidar Vukovic","authors":"Igor Borozan","doi":"10.2298/zog1539151b","DOIUrl":"https://doi.org/10.2298/zog1539151b","url":null,"abstract":"It was in the monastery of Saint Francis in Venice in the year 1520 when Božidar Vukovic purchased the icon of the Holy Mandylion. By that particular acquisition, this prominent publisher originating from Zeta has visualized his new position in the sixteenth century Venice. The multi-layered identity of Božidar Vukovic was manifested by the subsequent inclusion of the noble coat of arms of the House of Vukovic on the back of the icon. By the use of verbal and visual language the artificial initiation of Božidar Vukovic within the distinguished members of Venetian society has been confirmed. [Projekat Ministarstva nauke Republike Srbije, br. 177001: Predstave identiteta u verbalno-vizuelnoj kulturi novog doba]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"151-159"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382801","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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