君士坦丁堡第一次陷落前后塞尔维亚与地中海世界和中欧的跨文化联系的王朝和政治关系的重要性及其对塞尔维亚内马尼德视觉文化的反思

Nikola Piperski
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引用次数: 0

摘要

本文的目的是提请注意塞尔维亚涅曼尼德王朝成员与拜占庭、威尼斯和匈牙利统治王朝之间的王朝关系的重要性,以中世纪塞尔维亚和巴尔干半岛与地中海和中欧之间的跨文化联系,及其对视觉文化的反思。将特别关注君士坦丁堡首次陷落前后的时期,这一时期直接影响了尼曼尼德与拜占庭、匈牙利和威尼斯的统治和贵族家庭的政治和王朝关系。这一时期巴尔干地区视觉文化的一个独特现象是Stephen Nemanja在塞尔维亚的主要基础- Studenica修道院,其katholikon教堂致力于圣母受难的盛宴。在君士坦丁堡第一次陷落之前和之后的几年里,这座塞尔维亚涅曼尼德的地标性纪念碑建立、建造和装饰着壁画,可能是当时政治和王朝联系如何反映在视觉文化上的最好例子。鉴于以知识转移、技术变革和空间和技术特殊性的同质化为特征并由此产生的前现代全球化概念,以及共同文化和特定的个人和集体身份的概念,这只是旨在重新评估内曼尼德、塞尔维亚和巴尔干地区视觉文化的更广泛研究的第一步。中世纪塞尔维亚与地中海世界和中欧的跨文化互动中的王朝关系的重要性,为这一时期视觉文化的一般性质开辟了新的视角。从这个角度来看,我们似乎可以更好地将这一时期的图像和视觉文化的力量和创造性生活视为生活在现在并展望未来的意识的基本要素。
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Importance of Dynastic and Political Ties for Cross–cultural Connections of Nemanide Serbia with the Mediterranean World and Central Europe around the First Fall of Constantinople, and its Reflections on Visual Culture of Nemanide Serbia
The aim of this text is to draw attention to importance of dynastic ties of the members of Serbian Nemanide dynasty with the Byzantine, Venetian and Hungarian ruling dynasties to cross-cultural connection between medieval Serbia and The Balkans with Mediterranean and Central Europe, and its reflection on visual culture. Special attention will be focused on the period around the first fall of Constantinople, which directly affected on political and dynastic relations of the Nemanide with the ruling and noble families of Byzantium, Hungary and Venice. A unique phenomenon in the visual culture of the Balkans of the period is Stephen Nemanja’s major foundation in Serbia ― Studenica monastery, with its katholikon church dedicated to the feast of the Dormition of the Virgin. This landmark monument of Nemanide Serbia founded, built and decorated with frescoes in the years immediately before and after the first fall of Constantinople is possibly the best example of how the political and dynastic connections of the time reflected on visual culture. It is only the initial step of broader study intended to reassess the visual culture of Nemanide Serbia and The Balkans in view of the concept of premodern globalization characterized by and resulting from a transfer of knowledge, technological change and homogenization of spatial and technological particularities, by the concept of common culture and particular individual and collective identities. Importance of dynastic ties in cross-cultural interaction of medieval Serbia, with Mediterranean world and Central Europe opens a new perspective on the general nature of visual culture of this period. It appears that from this perspective we could better perceive the power and creative life of imagery and visual culture in general in this period as an essential element of an awareness of living in the present and looking towards a future.
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