In the art of the Christian East, the depictions of the martyrdom of Saint Ignatius Theophorus, bishop of Antioch, can usually be found among the illustrations of the Menologion. The scene from the monastery of Novo Hopovo, dated to the 1600s, is one of the rare independent depictions of Saint Ignatius’s martyrdom. The paper discusses the iconography of this scene and possible reasons for placing it in the prothesis of the katholikon of Novo Hopovo. The inclusion of a scene showing the martyrdom of the bishop of Antioch into the thematic repertoire of this compartment is a solitary example in Serbian medieval and Byzantine monumental painting. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]
{"title":"Depiction of the martyrdom of Saint Ignatius Theophorus in the prothesis of Novo Hopovo","authors":"M. Popović","doi":"10.2298/zog1539193p","DOIUrl":"https://doi.org/10.2298/zog1539193p","url":null,"abstract":"In the art of the Christian East, the depictions of the martyrdom of Saint Ignatius Theophorus, bishop of Antioch, can usually be found among the illustrations of the Menologion. The scene from the monastery of Novo Hopovo, dated to the 1600s, is one of the rare independent depictions of Saint Ignatius’s martyrdom. The paper discusses the iconography of this scene and possible reasons for placing it in the prothesis of the katholikon of Novo Hopovo. The inclusion of a scene showing the martyrdom of the bishop of Antioch into the thematic repertoire of this compartment is a solitary example in Serbian medieval and Byzantine monumental painting. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"193-203"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68383052","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 themes in the sanctuary decoration at Markov Manastir (Christ Emmanuel, Virgin Orans, Descent of the Holy Spirit on the Apostles), whose peculiar iconographic elements reveal the mysteries of the Holy Trinity and the archpriesthood of Christ in the liturgical and theological context of the fourteenth century, are discussed in this paper. The remains of the text in the leitourgikon held by Christ the Archpriest have been re-examined. It seems plausible to assume that the inscription or a part of it referred to the opening dialogue of the anaphora. The iconographic peculiarities of individual items carried in the Great Entrance procession, modelled according to the structure of the archieratical Divine liturgy, have been reconsidered. It has been established that the way in which the large aer was carried, and its place in the procession escorting the Eucharistic gifts - which was very close to the holy offerings - followed the iconographic tradition of the Heavenly Liturgy in the dome, while the evidence for its shape and size can be found in a somewhat later liturgical source - the Patriarchal liturgical Diataxis of Dimitrios Gemistos. [Projekat Ministarstva nauke Republike Srbije, br. 177003: Medieval heritage of the Balkans: institutions and culture]
{"title":"To picture and to perform: The image of the Eucharistic liturgy at Markov Manastir (II)","authors":"Marka Tomić-Đurić","doi":"10.2298/zog1539129t","DOIUrl":"https://doi.org/10.2298/zog1539129t","url":null,"abstract":"The themes in the sanctuary decoration at Markov Manastir (Christ Emmanuel, Virgin Orans, Descent of the Holy Spirit on the Apostles), whose peculiar iconographic elements reveal the mysteries of the Holy Trinity and the archpriesthood of Christ in the liturgical and theological context of the fourteenth century, are discussed in this paper. The remains of the text in the leitourgikon held by Christ the Archpriest have been re-examined. It seems plausible to assume that the inscription or a part of it referred to the opening dialogue of the anaphora. The iconographic peculiarities of individual items carried in the Great Entrance procession, modelled according to the structure of the archieratical Divine liturgy, have been reconsidered. It has been established that the way in which the large aer was carried, and its place in the procession escorting the Eucharistic gifts - which was very close to the holy offerings - followed the iconographic tradition of the Heavenly Liturgy in the dome, while the evidence for its shape and size can be found in a somewhat later liturgical source - the Patriarchal liturgical Diataxis of Dimitrios Gemistos. [Projekat Ministarstva nauke Republike Srbije, br. 177003: Medieval heritage of the Balkans: institutions and culture]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"129-150"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382438","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 St Theodore (also known as "Sts Theodoroi") at Platanos, Kynouria, is a single-nave building of small dimensions. The interior surfaces of its walls preserve their Byzantine paintings, which are partially visible under the coat of plaster that covers most of them. The paintings exhibit affinity with wall-paintings of churches in the Peloponnese (neighbouring Laconia included), and can be dated to the last quarter of the thirteenth century.
{"title":"The Byzantine wall-paintings in the church of Saint Theodore at Platanos, Kynouria (Arcadia)","authors":"Maria Agrevi","doi":"10.2298/zog1539091a","DOIUrl":"https://doi.org/10.2298/zog1539091a","url":null,"abstract":"The church of St Theodore (also known as \"Sts Theodoroi\") at Platanos, Kynouria, is a single-nave building of small dimensions. The interior surfaces of its walls preserve their Byzantine paintings, which are partially visible under the coat of plaster that covers most of them. The paintings exhibit affinity with wall-paintings of churches in the Peloponnese (neighbouring Laconia included), and can be dated to the last quarter of the thirteenth century.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"91-105"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68382568","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 focuses on offering a possible iconographic interpretation of the decoration of a rare three nozzle lamp discovered in the ancient city of Viminacium, on the locality of a necropolis called Pecine, dated to the early fourth century. Among the numerous lamps unearthed at the site of this prominent Roman city, capital of Moesia Superior, this example stands out for its rectangular shape, three nozzles and a decoration of high artistic merit consisting of geometric and floral ornaments. Considering the function and meaning of lamps within the framework of Early Christian teachings, liturgy and burial practices, this imagery can be understood as visualization of concepts related to perceptions of eternity and otherworldly, divine light. [Projekat Ministarstva nauke Republike Srbije, br. 177036]
{"title":"The iconography of light. A possible interpretation of the decoration of a three nozzle lamp from Viminacium","authors":"Branka Vranešević","doi":"10.2298/ZOG1438023V","DOIUrl":"https://doi.org/10.2298/ZOG1438023V","url":null,"abstract":"This paper focuses on offering a possible iconographic interpretation of the decoration of a rare three nozzle lamp discovered in the ancient city of Viminacium, on the locality of a necropolis called Pecine, dated to the early fourth century. Among the numerous lamps unearthed at the site of this prominent Roman city, capital of Moesia Superior, this example stands out for its rectangular shape, three nozzles and a decoration of high artistic merit consisting of geometric and floral ornaments. Considering the function and meaning of lamps within the framework of Early Christian teachings, liturgy and burial practices, this imagery can be understood as visualization of concepts related to perceptions of eternity and otherworldly, divine light. [Projekat Ministarstva nauke Republike Srbije, br. 177036]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"24 1","pages":"23-29"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68381248","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 reviews the last will of the Kotor nobleman Nycolaus Marini Glauacti made in 1327 to bequeath to St. George’s church on the small island near Perast a depiction of the Madonna, St. Nicholas and St. John the Baptist. On the one hand, the legacy is analyzed in the context of the compositions involving the three saints in Kotor’s religious medieval art and, on the other, in the context of ad pias causas bequests and the concept of preparing for a good death (ars moriendi). The contents of the testaments of Nycolaus and his brother Johannes Marin Glauacti as of 1336 are contrasted, especially in terms of the number of pro remedio animae items bequeathed and their distribution. A special emphasis is laid on the comparison of the representations between the Franciscan and Benedictine Orders as the recipients of pious bequests. [Projekat Ministarstva nauke Republike Srbije, br. 177003: Medieval heritage of the Balkans: institutions and culture]
本文回顾了科托尔贵族尼科劳斯·马里尼·格劳亚蒂(Nycolaus Marini Glauacti) 1327年的遗愿，遗赠给佩拉斯特附近小岛上的圣乔治教堂(St. George’s church)，其中描绘了圣母、圣尼古拉斯和施洗者圣约翰(St. John The Baptist)。一方面，在科托尔中世纪宗教艺术中涉及三位圣人的作品的背景下分析遗产，另一方面，在ad pias causas遗产的背景下，以及为一个好的死亡做准备的概念(ars moriendi)。Nycolaus和他的兄弟Johannes Marin Glauacti在1336年的遗嘱内容进行了对比，特别是在遗赠的修复动物物品的数量及其分配方面。一个特别强调的是奠定了比较的代表之间的方济各会和本笃会命令作为虔诚的遗赠接受者。[南斯拉夫]塞族共和国部长项目;177003:巴尔干的中世纪遗产:制度和文化]
{"title":"On the trail of a painting bequeathed to St. George’s abbey on the islet near Perast the testaments of Nycolaus and Johannes Glauacti (as of 1327 and 1336)","authors":"V. Zivkovic, V. Zivkovic","doi":"10.2298/ZOG1438113Z","DOIUrl":"https://doi.org/10.2298/ZOG1438113Z","url":null,"abstract":"The paper reviews the last will of the Kotor nobleman Nycolaus Marini Glauacti made in 1327 to bequeath to St. George’s church on the small island near Perast a depiction of the Madonna, St. Nicholas and St. John the Baptist. On the one hand, the legacy is analyzed in the context of the compositions involving the three saints in Kotor’s religious medieval art and, on the other, in the context of ad pias causas bequests and the concept of preparing for a good death (ars moriendi). The contents of the testaments of Nycolaus and his brother Johannes Marin Glauacti as of 1336 are contrasted, especially in terms of the number of pro remedio animae items bequeathed and their distribution. A special emphasis is laid on the comparison of the representations between the Franciscan and Benedictine Orders as the recipients of pious bequests. [Projekat Ministarstva nauke Republike Srbije, br. 177003: Medieval heritage of the Balkans: institutions and culture]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"113-121"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68381905","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 is devoted to the chronology of the genesis of the iconostasis and the choros of the monastery of Piva and to the attribution of some of their icons. It presents the hitherto unpublished Deesis row which formed part of the original altar screen and was painted sometime between 1586 and 1604. The Deeisis and the somewhat younger Crucifix (1606) were mounted on the old iconostasis above the despotic icons painted by Longin in 1573/1574. At least one of the two-sided icons from the subsequently made choros (1610/1611) is not his work. For the new carved wooden iconostasis (1638/1639) the Serbian painter Jovan painted the despotic icons and the icon of the Descent of the Holy Spirit in the upper tier. A disciple of his painted the other eleven icons of the Great Feasts. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst i br. 177032: Tradicija, inovacija i identitet u vizantijskom svetu]
这篇论文致力于研究圣像和皮瓦修道院合唱的起源年表，以及他们的一些圣像的归属。它展示了迄今未发表的Deesis行，这是原始祭坛屏风的一部分，画于1586年至1604年之间。圣像和稍年轻的十字架(1606年)被安装在旧圣像上，上面是朗金在1573/1574年画的专制圣像。在后来制作的合唱(1610/1611)中，至少有一个双面图标不是他的作品。新雕刻的木制圣像(1638/1639)，塞尔维亚画家约凡在上层画了专制的圣像和圣灵降临的圣像。他的一个弟子画了其他十一幅大节日的圣像。[南斯拉夫]塞族共和国部长项目;[177036] Srpska srednjovekovna metnost, njen evropski kontekst .][177032: Tradicija, invacija i identitet u vizantijskom [j]
{"title":"The Deesis row from Piva: A contribution to the study of the iconostasis and icon painting of the monastery of Piva","authors":"D. Vojvodic, Miloš Živković, Miloš Živković","doi":"10.2298/zog1438203v","DOIUrl":"https://doi.org/10.2298/zog1438203v","url":null,"abstract":"The paper is devoted to the chronology of the genesis of the iconostasis and the choros of the monastery of Piva and to the attribution of some of their icons. It presents the hitherto unpublished Deesis row which formed part of the original altar screen and was painted sometime between 1586 and 1604. The Deeisis and the somewhat younger Crucifix (1606) were mounted on the old iconostasis above the despotic icons painted by Longin in 1573/1574. At least one of the two-sided icons from the subsequently made choros (1610/1611) is not his work. For the new carved wooden iconostasis (1638/1639) the Serbian painter Jovan painted the despotic icons and the icon of the Descent of the Holy Spirit in the upper tier. A disciple of his painted the other eleven icons of the Great Feasts. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst i br. 177032: Tradicija, inovacija i identitet u vizantijskom svetu]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"203-220"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68381864","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 this paper, the monastery of Prisklabetza (Πρισκλάβητζα) in Prilep, mentioned as the endowment of Michael Glabas Tarchaneiotes in the shortened version of the History by George Pachymeres, is identified with the monastery of Treskavac near Prilep. This conclusion is supported by the similarity between the names of the two monasteries, the composition with a ktetor in the porch of the main entrance to Treskavac, and the nature of construction works carried out in the monastery between 1280 and 1320. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]
{"title":"Michael Glabas Tarchaneiotes - the ktetor of the Treskavac Monastery","authors":"M. Markovic","doi":"10.2298/ZOG1438077M","DOIUrl":"https://doi.org/10.2298/ZOG1438077M","url":null,"abstract":"In this paper, the monastery of Prisklabetza (Πρισκλάβητζα) in Prilep, mentioned as the endowment of Michael Glabas Tarchaneiotes in the shortened version of the History by George Pachymeres, is identified with the monastery of Treskavac near Prilep. This conclusion is supported by the similarity between the names of the two monasteries, the composition with a ktetor in the porch of the main entrance to Treskavac, and the nature of construction works carried out in the monastery between 1280 and 1320. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"77-98"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68381199","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 katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst i br. 177032: Tradicija, inovacija i identitet u vizantijskom svetu]
在Praskvica修道院的katholikon中，有两层后拜占庭壁画的遗迹:较早的是16世纪第三季度的壁画，较晚的是17世纪上半叶的壁画，这是基于风格分析和技术特征得出的结论。属于其中一层或另一层的壁画部分可以彼此清楚地区分开来，并且比以前更彻底地阅读幸存的表现形式的内容。原来是教堂西立面的壁画似乎也属于较早的一层。这座教堂可能在其主事巴尔萨三世(Balsa III Balsic)在世时没有壁画。[南斯拉夫]塞族共和国部长项目;[177036] Srpska srednjovekovna metnost, njen evropski kontekst .][177032: Tradicija, invacija i identitet u vizantijskom [j]
{"title":"Stratigraphy of the wall paintings in the main church of the Praskvica Monastery","authors":"D. Vojvodic","doi":"10.2298/ZOG1438153V","DOIUrl":"https://doi.org/10.2298/ZOG1438153V","url":null,"abstract":"In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst i br. 177032: Tradicija, inovacija i identitet u vizantijskom svetu]","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"21 1","pages":"153-163"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68381691","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}
Five churches with mural paintings of the sixteenth and seventeenth centuries have survived in Stemnitsa, a wealthy post-Byzantine town with a rich historical heritage in the central Peloponnese. In the sixteenth century the Church of St Nicholas and in the seventeenth century the wall-paintings in four churches, Panagia Baphero, Prophet Elijah, St Panteleemon and the katholikon of the monastery of the Zoodochos Pege are consistent with the general clime of seventeenth-century painting in the Peloponnese where many and different trends developed in this period.
斯坦尼察(Stemnitsa)是伯罗奔尼撒半岛(Peloponnese)中部一个富有的后拜占庭小镇，拥有丰富的历史遗产，这里保存着五座带有16世纪和17世纪壁画的教堂。16世纪的圣尼古拉斯教堂和17世纪的四个教堂的壁画，Panagia Baphero, Prophet Elijah, St Panteleemon和Zoodochos Pege修道院的katholikon都符合17世纪伯罗奔尼撒绘画的总体气候，在这一时期发展了许多不同的趋势。
{"title":"The wall paintings of the sixteenth and seventeenth centuries at Stemnitsa in the Peloponnese, Greece","authors":"Xanthi Proestaki","doi":"10.2298/ZOG1438165P","DOIUrl":"https://doi.org/10.2298/ZOG1438165P","url":null,"abstract":"Five churches with mural paintings of the sixteenth and seventeenth centuries have survived in Stemnitsa, a wealthy post-Byzantine town with a rich historical heritage in the central Peloponnese. In the sixteenth century the Church of St Nicholas and in the seventeenth century the wall-paintings in four churches, Panagia Baphero, Prophet Elijah, St Panteleemon and the katholikon of the monastery of the Zoodochos Pege are consistent with the general clime of seventeenth-century painting in the Peloponnese where many and different trends developed in this period.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"165-201"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68381803","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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