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On the donors' composition and the new dating of the fresco painting of the Church of the Holy Virgin in Matei  [PDF]
Dimitrova Elizabeta
Zograf , 2002, DOI: 10.2298/zog0329181d
Abstract: The painted decoration of the Church of the Holy Virgin in Matei , the second largest fresco ensemble from the 14th century in the Balkans' region comprises one of the most interesting donors' compositions of the Late-Byzantine period. The figures comprised by the donors' composition are united by the conception of the Deesis scene, composed by the image of Christ in the lunette of the southern wall, the representation of the Virgin Hodegetria above the entrance to the diaconicon and the figure of John the Baptist, depicted in the southern part of the eastern wall of the naos. The broader context of the donor's composition, in addition to the images of the donors - tzarina Jelena and young king Uro , who in the presence of tzar Du an, present the model of their endowment to the patron saint, contains also the image of the patriarch Joanikije, depicted as the head of Serbian Orthodox Church. Within the donor's composition, one can see the images of Makarije, the abbot of the monastery and St. Stephan the great martyr dressed in deacon attire, represented with his traditional role as a defender of the rulers and donors from the Nemanji dynasty...
The fresco painting of the narthex of Zrze and the liturgy of Holy Week  [PDF]
Todi? Branislav
Zograf , 2011, DOI: 10.2298/zog1135211t
Abstract: The frescoes in the narthex of the Church of the Transfiguration at the Zrze Monastery near Prilep (1368/1369) depict several unusual themes, as well as a very rare iconography. The holy monks painted in the lower zone of frescoes can be interpreted as the three categories of monasticism: anchorites, representatives of coenobitic monasticism and monks who became the bishops and teachers of the Church. The remaining frescoes - an abbreviated cycle of Christ’s Passion with the Anapeson, the Holy Trinity in guise of the Hospitality of Abraham, with a heifer lamenting over a slaughtered calf, and the Communion of Apostles, with Judas heading communion with the wine - were painted under the influence of the liturgy served during Holy Week.
The fresco at the entrance to Danilo II church of the Mother of God at Pe  [PDF]
Milanovi? Vesna
Zograf , 2004, DOI: 10.2298/zog0530141m
Abstract: Painted around 1330, this fresco is located on a large section of the western fa ade of the church of the Mother of God Hodegetria at Pe above the entrance that leads from the monumental narthex into the interior of the building. It is a composition, joining the unusual image of the holy patroness of Archbishop Danilo II's ecclesiastical endowment, accompanied by two figures of angels in adoration, to create an iconographic whole with a twin presentation of the archpriests, St. Nicolas and Danilo II himself bowing in prayer. After giving a careful and detailed description of the entire content and setting of the painting, first of all, the paper discusses the content and message conveyed in the choice of the image of the Mother of God with Child, which, in the given assembly of figures, is distinguished by its central position and enlarged proportions. A perception of the views maintained so far, regarding the interpretation of this composition, and the specific points related to the choice of the central figure, when attempting to decipher its meaning, leads to considering that in a certain reinterpretation of the aforesaid, quite specific representation of the patroness of the Serbian archbishop's church endowment, there also lies the key for the explanation of the twin presentation of the two hierarchs in prayer, as well as for shedding light on the inter-relationship of all the figures involved in the painting, i.e. for perceiving the logic of uniting them in one composition. Even though a new attempt at comprehending the content and the subtle message of the fresco largely rests upon the examination and thorough research of comparative material that previous research workers have already noted as being significant for the examination of the given solution, this does not hold for the conclusions arising from the observation of that material. There is a critical review particularly of the previous conclusions that remain within the confines of an overstretched and unconfirmed hypothesis about the direct historical link between the Pe figure of the Mother of God and the supposed, unpreserved, almost contemporary Constantinople prototype, or some early copy of the same model - the icon of the Mother of God Zoodochos Pege - the design of which was the result of the newly established cult of the homonymous Constantinople monastery. A certain dissociation from the highly conventional trend of interpreting the figure of the Mother God on the western facade of Danilo II's church, i.e. from the views linking it to the said cult, also depends on the results
The icon of the Holy Virgin Vatopedini with a portrait of Voevoda Ioan Radul  [PDF]
Ma?ni? Mirjana M.
Zbornik Radova Vizantolo?kog Instituta , 2003, DOI: 10.2298/zrvi0340313m
Abstract: In this article, the author discusses iconography and stylistic characteristic of the icon featuring the Virgin Vatopedini with the Hungarian-Wallachian Voevoda loan Radul. The icon is treasured in the cathedral church of the Holy martyr Demetrios in Bitola. In more recent times, a new layer was painted over the icon, but not so long ago the icon was restored to its original condition. The inscriptions on the icon reveal that the Voevoda was a "new ktetor" of Vatopedi and also testify the painting was completed on November 28, 1502. The representation of the enthroned Virgin with the infant Christ sitting in her lap, flanked by St John Prodromes and the founder, belongs to the iconography of Deesis. Its stylistic features indicate that in most probability it was the work by a Cretan painter from the Ritzos family.
On the conceptual and thematic foundations of the fresco paintings in the diaconicon of the Church of Virgin Peribleptos in Ohrid  [PDF]
Grozdanov Cvetan
Zograf , 2009, DOI: 10.2298/zog0933093g
Abstract: The author presents the view that the themes referring to St. John the Precursor and the Virgin in the diaconicon of the Church of the Virgin Peribleptos in Ohrid were painted as the visual expression of the dogmatic belief in the Incarnation of the Saviour. He interprets the scenes of the Three Youths in the Fiery Furnace and of the Visitation that also appear in the diaconicon, in the same way. The recently identified figure of the prophet Elijah, painted on the western side of the diaconicon, is also published in this article.
Archbishop Danilo I: The donor of the frescoes in the prothesis of the Church of the Holy Apostles in Pe  [PDF]
Petkovi? Sreten
Zograf , 2004, DOI: 10.2298/zog0530081p
Abstract: The frescoes in the prothesis of the Church of the Holy Apostles in the Patriarchate of Pe in Kosovo, date from around 1260. They are in poor condition and little has been written about them. Only the portraits of the Serbian hierarchs and saints in the apsis, Sava and Arsenije, have drawn attention, chiefly because the image of the second Serbian archbishop Arsenije - is believed to have been painted during his lifetime. The scenes of the prophet Daniel and the composition The Penitence of King David, are considered to have been painted for their symbolic meaning, primarily regarding to the Holy Communion. Among the compositions, one can see that besides The David rebuked by Nathan, all of them are linked with the life and visions of the prophet Daniel [Daniel in the Lions' Den, The Prophet's Vision of the Kingdom of Heaven (Daniel 7, 1-28). The Archangel Gabriel Foretells Future Events to the Prophet Daniel (Daniel 8, 3; 8, 16-27) and perhaps, The Three Youths in the Fiery Furnace). The small, painted area in the interior (2 *3.70 meters), mostly with scenes devoted to the prophet Daniel, clearly indicates that the prothesis was dedicated to this Old Testament character. In Byzantine churches, the lateral sections of the altar area, the prothesis and the diakonikon - like the parecclesion - were dedicated to the Mother of God and the saints, in most cases, St. Nikolas and St. John the Forerunner. The choice of the prophet Daniel, as the patron of the Pe prothesis was quite unusual. This was obviously done according to the wishes of the Serbian archbishop, Danilo, who thereby wished to pay tribute to his Old Testament namesake. There are several instances in medieval times when Serbian donors dedicated churches to the saints, who were their namesakes. The donor ship of archbishop Danilo 1 also determines mi-date when the frescoes in the prothesis came into being. As he administered the Serbian church for a brief period of less than two years 1271-1272, the frescoes in the prothesis originated from that time. The dating of the other frescoes in the sanctuary and the naos could be shifted to the period between 1260 and 1265, because the prothesis was not decorated, probably due to the illness and death of archbishop Arsenije I (1266). The new dating of the prothesis in the Church of the Holy Apostles in Pe is also important because its refutes the thesis that living Serbian archbishops were painted alongside of the old Church Fathers in the scene of The Officiating Holy Bishops. Namely, the dating of the frescoes in the Pe prothesis in 1271-1272, exc
The fresco of the Virgin Hodegetria in the church of the Transfiguration in Ilyina street, Novgorod, and its artistic sources  [PDF]
Carevskaja Tat'jana Ju.
Zograf , 2010, DOI: 10.2298/zog1034125c
Abstract: The paper examines the iconography and style of the fresco-icon on the faüade of the Church of the Transfiguration in Ilyina Street. The fresco is considered to be one of the crucial artworks of Novgorod from the second half of the fourteenth century, and, is probably connected with the work of a southern Slav artist. The possible explanation for the co-existence of the fresco-icon, which was originally part of the decoration of the church's western narthex, and the decoration from 1378, the author of which was Theophanes the Greek, as well as the stylistic and colouristic differences between the fresco-icon and the decoration of the core part of the church, may lie in the circumstances caused by a fire in 1385. Those circumstances led to the renewal of the damaged fresco by artists who appeared in Novgorod during the final decade of the fourteenth century, when Theophanes the Greek had, most likely, already left the city.
Serbian themes in 14th century frescoes in the church of St. Demetrios in Pe  [PDF]
Todi? Branislav
Zograf , 2004, DOI: 10.2298/zog0530123t
Abstract: After new research excluded the likelihood of the frescoes in St. Demetrios in Pe having been painted in the period around 1345/1346, as they are usually dated, one should revert to the view held by the initial research workers, who believed that Archbishop Nikodim (1317-1324) not only built but also had the church decorated. Well-educated after having been a student in Hilandar, and one of the most meritorious Serbian archbishops, Nikodim created a program of frescoes in which one can clearly distinguish these personal traits. Nikodim's experience on Mount Athos, of which we learn from his writings, preserved in the preamble of the two charters granted to the Karyes Cell, is reflected in the Church of St. Demetrios in the arrangement of the scenes of The Birth of the Virgin and The Presentation of the Virgin m the Temple on the opposite walls of the altar (in the churches of Mount Athos, they are painted on the eastern walls of the choir which does not exist in the church in Pe ), and in the painting of the warrior saints and holy monks in the area of the naos beneath the dome, which is also characteristic of the churches on Mount Athos and of those decorated under the influence of this monastery. Nikodim erected the Church of St. Demetrios as his burial place. Therefore, he prepared a tomb for himself in the form of a sarcophagus in the western bay. beside the northern wall, and had it decorated with relief of a highly eschatological nature. During the painting of the church, he surrounded the tomb with presentations of a similar content. On the western wall, one can see The Lamentation (with the distinct figure of St. Nikodemus), the women bearing ointments and spices at the tomb of Christ, and Zechariah the Prophet with a Sickle and the prophecy about Him, written on a scroll. Directly above the tomb, however, there are the images of the donor's patrons and mediators (the warriors, St. Theodore Teron and St. Theodore Stratelates, and the anargyroi, SS Cosmas and Damianos. Fig. 1). while the place of St. Panteleimon ( who was relocated to the area beneath the dome) is occupied by a desert anchorite (Fig. 2) which was in keeping with Nikodim's ideals as a monk. Nikodim's example was followed by his successor, Archbishop Danilo II, in his mausoleum church dedicated to the Mother of God (around 1330): he too placed his tomb next to the northern wall of the western bay, a sarcophagus decorated with motives similar to those of Nikodim, surrounding it with images of the saintly physicians and warrior saints, a d placing the warrior saints and the holy monk
Classical elements in the endowments of Serbian XIII century donors
Gligorijevi?-Maksimovi? Mirjana
Zbornik Radova Vizantolo?kog Instituta , 2009, DOI: 10.2298/zrvi0946255g
Abstract: In Byzantine painting, starting from the XIII and particularly during the XIV century, there was a visible return to models from the period of Antiquity. The influences of ancient, ostensibly, Hellenistic heritage were reflected in the shapes, in the content of the compositions, as well as in the drawing, modellation and colours. In the art that came into being in the course of the XIII century, in the endowments of the Serbian donors numerous elements emerged that had existed in ancient art. In the frescoes in the Church of the Mother of God in Studenica, the endowment of Stefan Nemanja and his sons, we see personifications, symbols, the introduction of details, and space acquiring depth, features that were later to come to full expression, especially from the middle of the XIII century. The few preserved frescoes dating from the XIII century in the Church of the Resurrection in the i a monastery, the endowment of Stefan the First Crowned, his son Radoslav and his brother Sava, are an iconographic continuation of the trends in the art one encounters in Studenica. The frescoes in the Church of Christ's Ascension in Mile eva, the endowment of King Vladislav, with their subtly fashioned figures and carefully modelled faces, as well as refined colouring, signal a return to the Hellenistic models. The painting in the Church of Dormition of the Virgin in the Mora a monastery, the endowment of Prince Stefan, nephew of king Stefan, with its well-proportioned, firmly modelled figures, landscapes and architecture deepening the space, reminds one of the Sopo ani frescoes. In the fresco painting of the Holy Apostles in Pe , the endowment of Archbishop Sava which owed its outcome to the efforts of Archbishop Arsenije I, the images are very vivid, and the painted architecture is depicted in an abbreviated form, using different kinds of perspective. The painting in the Church of the Holy Trinity in Sopo ani, the endowment of king Uro I, represents an ensemble of new artistic trends that appeared during the first half of the XIII century. Its spacious and monumental compositions present solutions that give the figures a quality of flexibility and breadth to their movements, while their faces resemble those of Antiquity. The space is indicated by architecture painted in an abbreviated manner, the iconostasis and icons are framed in an ornament of stucco bearing antique motifs, some scenes contain personifications, while the rich and harmonious colours and gold in the background emphasise the Hellenistic spirit. The frescoes in the Church of the Annunciation in the Gra
The depiction of the Virgin with the Christ in a niche on the western fa ade of the Church of the Transfiguration in Novgorod and the question of the painter's origin  [PDF]
Starodubcev Tatjana
Zograf , 2010, DOI: 10.2298/zog1034137s
Abstract: The paper deals with a presentation of the Virgin with the Christ Child, in the niche above the archivolt of the western portal of the Church of the Transfiguration, in Novgorod. The fresco is assumed to have belonged to the painted ensemble in the church narthex, none of which has survived. It is also believed that like Theophanes the Greek, who headed the group painting the naos in the church, the zographos who worked on the decoration of the narthex, had arrived from Constantinople.
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