Srpska umetnost: 1690 - 1740
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Veröffentlicht: |
Beograd
Srpska Akad. Nauka i Umetnosti, Balkanološki Inst.
2006
|
| Schriftenreihe: | Posebna izdanja / Srpska Akademija Nauka i Umetnosti, Balkanološki Inst
91 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PST: Serbian art. - In kyrill. Schr., serb. - Zsfassung in engl. Sprache. - Zugl.: Belgrad, Univ., Diss., 2001 |
| Beschreibung: | 295 S. Ill. |
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Datensatz im Suchindex
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| adam_text |
САДРЖАЈ
ПРОСЛОВ
УВОДНА РЕЧ
ИСТОРИЈСКО-ПОЛИТИЧКИ
ВЕРСКЕ ПРИЛИКЕ
ЦРКВЕНО-ПРОСВЕТНЕ
АРХИТЕКТУРА
ЗИДНО СЛИКАРСТВО
ИКОНОПИС
МИНИЈАТУРНО
ГРАФИКА
ЗАКЉУЧНОРАЗМАТРАЊЕ
SUMMARY
ТАБЕЛЕ_
РЕГИСТАР ЛИЧНИХ ИМЕНА
РЕГИСТАР
ИКОНОГРАФСКИ РЕГИСТАР
БЕЛЕШКА
Ljiljana Stošić, PhD
SERBIAN ART
(Summary)
With few exceptions, the period dealt with in this survey of Serbian art between
1740
with the momentous displacement of Orthodox Christian population from the territory of the
Ottoman Empire to that of the
from the Late Byzantine to the Central European cultural sphere. Since Serbian highest religious
dignitaries in this period also acted as political leaders to their body of believers, embodying both
religious and secular power, the defence of religious identity was identified with the struggle for
the survival of the nation. This is also the main reason why along with the diffusion of Western
European influences, artistic activities of the Serbs living in the territories of the Metropolitanate
of Sremski
decades of the
tradition as the distinguishing mark of Orthodoxy. The process of gradual departure from medi¬
eval and adoption of modern artistic principles was determined by the place and time of creation
of a particular work of art, its commissioner, master or artistic workshop, by overall political, and
cultural conditions as well as by the situation in the Church, dominant, local, class or personal
artistic tastes, but was also related to the distance from the parent religious and political centres or
the proximity of heterodox environments.
Between the establishment of the provisional patriarchal see by patriarch Arsenije III
Čarnojević
grade, Sremski
establishment of an Orthodox secondary religious education system in the Metropolitanate of
Sremski
ing of teachers from Russia in the time of metropolitans
accompanied by sending away of selected clergymen to Kiev to get high education, had para¬
mount significance for the reformation of both religious and secular life among the Serbs during
the 1720s and 1730s.
In their endeavours to carry out reforms of religious life
epoch of emperor Peter the Great in Russia
and Danube rivers, Metropolitans of Belgrade and Sremski
departure from them. Living in the empire of the most zealous Roman Catholic rulers, in which
Orthodox Christianity was a tolerated but not an official religion, the highest dignitaries of the
Serbian Orthodox Church had to omit those chapters of the principal legislative book of the En¬
lightenment in Russia
-
243
СРПСКА УМЕТНОСТ
for an education in the native language of the people. It resulted in the restoration of the Kievan
movement advocating the absolutist theocracy, Orthodoxy and
Habsburg
hundred years before.
The adoption of decrees and ecclesiastical and monastic rules modelled after the Russian Reg¬
ulations and imposed by Metropolitans of Belgrade and Sremski
arch between the two Great Migrations, went neither easily nor smoothly, and was accompanied
by great resistance among the Serbs in the Austrian Empire. Rigorous administrative measures
and the centralization of all religious, ecclesiastical and educational activities met the opposition
of both their civil participants and lower clergy. Apart from the decree granting privileged posi¬
tion to Ukrainian painters in future, famous Circular Letter of patriarch Arsenije IV
Sakabenta of
the popularity of local self-taught zoographers (painters) among common people. As an expres¬
sion of the deepest concern of the highest ecclesiastical officials in the Metropolitanate of Sremski
Karlovci
by zoographers is the crucial testimony of the coexistence of
cultural life.
The duality of conservative and modern concepts can be noticed in all the branches of art
among the Serbs living in the territories of the Ottoman and Austrian Empires and the Venetian
Republic in the late 17th and the early decades of the 18th century.
Immediately following the Migration of
Serbian ecclesiastical authorities, monks, well-off bourgeoisie and military aristocracy set to resto¬
ration of old and construction of new cathedral, town and monastery churches in Southern Hun¬
gary. Serbian churches found in the
Old Balkan cabin churches without dome or were built of solid material and modelled after the
triconch structures typical of the
ously with the construction of churches in traditional, post-Byzantine spirit, accommodation of
old Serbian church architecture to new building styles in the period following the Great Migra¬
tion of
century, Serbian churches increased in length, width and height and they were better illuminated.
An exonarthex and a masonry belfry surmounting an open portico were attached to the main
body of the church and the belfry was soon to house a chapel on its first floor. Apart from the new
composition of the interior, elements of Central European Baroque architecture, to which Serbian
churches built in the territory of the Metropolitanate of Sremski
Іб"1
in their onion-shaped finials topping belfries, gables surmounting their entrances and decorative
articulation of their
In more prosperous monasteries, like those in
were restored immediately after
with the Western tradition, had flat ceilings, whereas the ground-floor was vaulted in an Oriental
fashion. Apart from conventual buildings, oriel-windows (doksati) shaped in Ottoman fashion
could be seen on the Belgrade Metropolitan court and Episcopal court in Valjevo. Two building
styles can be distinguished in the structure of the Belgrade Metropolitan court. However, they
were not applied to different levels of the building, but with respect to importance of the rooms
(those used for more solemn purposes were built in Western style and decorated in stucco). Mi¬
nor architectural structures in monasteries and courts in the territory of the Metropolitanate of
244
-----------------------------------------------------------------------------------------------------
Belgrade and Sremski Karlovci were built by local masons. Only few names of these masons have
come down to us.
Single-naved
façades
works of unknown local masons and stone-cutters. Architectural elements characteristic for this
group of Orthodox Christian churches are in essence no different from those typical of the coastal
or Mediterranean type of post-Byzantine architecture.
Unlike Serbian religious objects built in the late 17th and early 18th centuries, which, depend¬
ing on the region, reflect the tendency to preserve architectural features of earlier epochs, secular
buildings erected in Belgrade during the Austrian occupation of Serbia
characteristics of German military Baroque architecture. Since the most representative edifice of
the Austrian capital of the Kingdom of Serbia
berg
Gate of emperor Charles VI are the most significant testimonies of Baroque architecture in Bel¬
grade at that time.
It was as late as the fourth decade of the 18th century that a resort to old artistic tendencies,
accompanied with the adoption of more recent ones, could be noticed in Serbian mural painting.
Restorations of old ensembles and decoration of newly built churches were undertaken only after
the stabilization of overall political situation in the period of Austrian rule, which, apart from
the territory of Southern Hungary, also embraced Northern Serbia,
dozen mural ensembles dispersed over a the wide area between the monastery of Chilandar to
the south and
Vlach,
cal dignitaries of the Metropolitanate of Belgrade and Sremski Karlovci, abbots and well-off ktetors
and donors found among ordinary citizens.
Revived interest for fresco decoration among the Serbs in the 1730s is closely related to the
diffusion of uninterrupted painting traditions from the neighbouring Orthodox Christian regions.
Namely, these are the decadent Walachian
ing in the southern regions of the Balkans: one conservative or monastic, diffusing from the Mount
of
zoographers and authors of treatises on painting Dionysios of Fourna and Panaghiotis Doxaras.
However, neither the chief advocate of the revival of classical values of the Byzantine tradition,
monk-zoogmpher Dionysios, nor the circle of painters including Vlachs, Greeks and Serbs gath¬
ered around the court of Walachian prince
the famous Byzantine culture, could resist the splendour of European Baroque art. Nor the work
of the followers of David from
decorated the monastery churches of
direct offsprings of the late 17th and early
zoographers' schools, were devoid of elements of Western European Baroque. These two katholi-
cons at a distance of no more than a few dozens of kilometres, decorated within a few years' span,
act as convincing testimonies of crucial differences between the tastes and aspirations of members
of well-off secular and high ecclesiastical classes as commissioners in the late years of the Austrian
rule in Serbia.
The third great fresco ensemble from that period
tery
Vraćevšnica,
245
СРПСКА УМЕТНОСТ
trained in South Balkan hinterlands where he also became a follower of the artistic orientation of
Panaghiotis Doxaras.
acquired in a Levantine school of painting with hints of new Western artistic tendencies, intro¬
ducing into religious compositions echoes of everyday urban life. Although modelled after the
rules of traditional zoographers' painting, the frescoes from Bodjani were essentially different from
anything seen before; on the other hand, they looked so familiar. Since it was difficult to attune
Western narrative cycles to the interior of only partly reformed Serbian churches in the first half
of the IS"1 century, further development of the New Age Serbian Art
-
the church.
Along with paintings of self-trained zoographers who worked in village and parish churches in
the territories of the Patriarchate of
and the opening decades of the 18th century, icons of Russian provincial painters and travelling
Graeco-Tzintzar zoographers were also highly esteemed. Icon painting among the Serbs in this pe¬
riod, marked by a retarded Late Byzantine style, was by no means puritanically conventional: ob¬
literated or uncommon details and variances accompanied with entirely new
reflect the influence of post-Tridentine reforms carried out in the Roman Catholic world, of adopt¬
ed
the two Great Migrations, icons painted by Russo-Ukrainian or Graeco-Tzintzar zoographers were
either brought by travelling merchants, as souvenirs from pilgrimages, or were commissioned by
Serbian ecclesiastical church dignitaries. Apart from the work of mostly anonymous zoographers
or those known only by regions or city workshops in which they were working, opuses of Russian
(Grigorii Gerasimov), Greek (zoographer Mitrophanes,
tin
vić, Rafail Dimitrijević, Rafail Miloradović, Silvestar Popović,
Georgije Stojanović, Nedeljko Popović, Georgije Ranite)
down to us from the period preceding the arrival of Jov
pointment as the official court painter of patriarch Arsenije IV
Analogies of the
as three-headed Christ can be found in Serbian and Byzantine medieval painting, as well as in
works dating from the period of Ottoman rule. However, Christ depicted as King of Kings with
triple crown shaped as the papal tiara had not been seen before. The fact that all the icons of this
type were made in the border areas of the
evidence of the need for self-affirmation through explicit denial of Roman Catholic doctrine on
papal primacy.
Icons reflecting extraordinary admiration, glorification of and trust in the Holy Virgin as vir¬
tuous patron and inveterate wonder-worker appeared among the Serbs in the opening decades of
the 18th century as unambiguous signs of the rise of the Western Marian religiosity in the Baroque
period. Representations of Our Lady of Seven Sorrows and the Holy Queen as Rose that would never
wither are just two examples in the series of new
Instead of earlier
common forms in the late 17th and the early decades of the 18th century include standing or sitting
figures of saints, as well as equestrian figures of Holy Warriors. Characteristic features of the icons
from that period are concise depictions of several
sition, grouping of standing saints' figures (two or more), the most prominent place among which
was occupied by canonised Serbian advocates of Eastern Orthodoxy
246
-----------------------------------------------------------------------------------------------------
the first place. It was in the same period that the Annunciation as an undivided composition trans¬
formed from a post Byzantine icon to a Baroque painting, whereas the insertion of a zone with de¬
pictions of the Great Feasts was a significant contribution to the Baroquisation of the iconostasis.
New life of Serbian miniature painting was also rooted in traditional post-Byzantine culture.
Favourite motifs of miniature painters of the 16th century Kratovo School were taken over and
elaborated by the most talented painters from
jan), who paved the way for their followers in the Danube basin (Jerotej and Gavril
Venclović).
by
illustrative examples of the fusion between the art of illumination and skills preserved in the peri¬
od of Ottoman rule and books printed in Kiev, Moscow and Lvov. The greatest difference between
miniatures painted almost simultaneously in Hungary and Bosnia and Herzegovina rests upon
radically different approaches to space and colour: in manuscripts from Bosnia and Herzegovina
illuminations run across whole pages, they are devoid of horror
silver paints. With full appreciation of the role of organized copying activity of scribes from
and their followers, it must be pointed out that calligraphic skills of their counterparts living in
minor cultural centres in the territory of the Ottoman Empire also deserve attention. Differences
that can be noticed in their illuminations by no means obscure recognizability of common artistic
and
In the period following the First Great Migration of the Serbs
Metropolitans of Sremski
from anonymous or lesser-known Viennese engravers. The awareness of practical
effects of multiplied copper plates took an unprecedented form in a print showing the monastery
of
and
Jovanović Šakabenta
the publishing of
declaration of continuity and legitimacy of unified ecclesiastical and secular powers embodied in
the then Patriarch of
Simultaneously with the production of politically inspired copper plates, in quiet monastic
cells monks were making woodcuts with a single aim: to sell them or to give them away in order
to ensure livelihood for the monastic community and to stimulate pilgrimage and alms-giving
among their believers. Through such a humble and reticent life Stefan
ca, as well as anonymous monks from Mt
In the Serbian art between
the preservation of lasting values of indigenous artistic heritage and its incorporation into new,
Europeanized styles. Owing to German master-builders, Viennese engravers and Russian printed
books, exteriors of Serbian religious buildings, prints and hand-written and painted liturgical
books were the first to acquire Baroque forms in this period. The interiors of Serbian churches
were attuned to their Europeanized exteriors as late as the 1730s, when among authors of mural
decoration prevailed members of the best workshops from the neighbouring Orthodox Christian
regions, whereas manufacturing and decoration of
better trained Serbian zoographers and skilled artisans. Metropolitan residences in Belgrade and
Sremski
VI. Cathedral church in Belgrade, churches in
monasteries of Manasija,
247
Српска уметност
coes
Vraćevšnica,
painting the iconostasis for the church of the Nativity of St John the Baptist in Belgrade, priest Ste¬
fan
and painted the Miscellany.
Diversity of artistic tendencies and disbalanced development of different branches of art
among the Serbs between
stylistic period witnessing the creation of conditions for a somewhat calmer and more coherent
artistic period known as the Early Serbian Baroque. It is marked by a specific intertwining of en¬
tirely different artistic tendencies whose more traditional forms, though slightly transformed, will
remain popular among the Serbs, side by side with the official art until the early decades of the
19th century.
248 |
| adam_txt |
САДРЖАЈ
ПРОСЛОВ
УВОДНА РЕЧ
ИСТОРИЈСКО-ПОЛИТИЧКИ
ВЕРСКЕ ПРИЛИКЕ
ЦРКВЕНО-ПРОСВЕТНЕ
АРХИТЕКТУРА
ЗИДНО СЛИКАРСТВО
ИКОНОПИС
МИНИЈАТУРНО
ГРАФИКА
ЗАКЉУЧНОРАЗМАТРАЊЕ
SUMMARY
ТАБЕЛЕ_
РЕГИСТАР ЛИЧНИХ ИМЕНА
РЕГИСТАР
ИКОНОГРАФСКИ РЕГИСТАР
БЕЛЕШКА
Ljiljana Stošić, PhD
SERBIAN ART
(Summary)
With few exceptions, the period dealt with in this survey of Serbian art between
1740
with the momentous displacement of Orthodox Christian population from the territory of the
Ottoman Empire to that of the
from the Late Byzantine to the Central European cultural sphere. Since Serbian highest religious
dignitaries in this period also acted as political leaders to their body of believers, embodying both
religious and secular power, the defence of religious identity was identified with the struggle for
the survival of the nation. This is also the main reason why along with the diffusion of Western
European influences, artistic activities of the Serbs living in the territories of the Metropolitanate
of Sremski
decades of the
tradition as the distinguishing mark of Orthodoxy. The process of gradual departure from medi¬
eval and adoption of modern artistic principles was determined by the place and time of creation
of a particular work of art, its commissioner, master or artistic workshop, by overall political, and
cultural conditions as well as by the situation in the Church, dominant, local, class or personal
artistic tastes, but was also related to the distance from the parent religious and political centres or
the proximity of heterodox environments.
Between the establishment of the provisional patriarchal see by patriarch Arsenije III
Čarnojević
grade, Sremski
establishment of an Orthodox secondary religious education system in the Metropolitanate of
Sremski
ing of teachers from Russia in the time of metropolitans
accompanied by sending away of selected clergymen to Kiev to get high education, had para¬
mount significance for the reformation of both religious and secular life among the Serbs during
the 1720s and 1730s.
In their endeavours to carry out reforms of religious life
epoch of emperor Peter the Great in Russia
and Danube rivers, Metropolitans of Belgrade and Sremski
departure from them. Living in the empire of the most zealous Roman Catholic rulers, in which
Orthodox Christianity was a tolerated but not an official religion, the highest dignitaries of the
Serbian Orthodox Church had to omit those chapters of the principal legislative book of the En¬
lightenment in Russia
-
243
СРПСКА УМЕТНОСТ
for an education in the native language of the people. It resulted in the restoration of the Kievan
movement advocating the absolutist theocracy, Orthodoxy and
Habsburg
hundred years before.
The adoption of decrees and ecclesiastical and monastic rules modelled after the Russian Reg¬
ulations and imposed by Metropolitans of Belgrade and Sremski
arch between the two Great Migrations, went neither easily nor smoothly, and was accompanied
by great resistance among the Serbs in the Austrian Empire. Rigorous administrative measures
and the centralization of all religious, ecclesiastical and educational activities met the opposition
of both their civil participants and lower clergy. Apart from the decree granting privileged posi¬
tion to Ukrainian painters in future, famous Circular Letter of patriarch Arsenije IV
Sakabenta of
the popularity of local self-taught zoographers (painters) among common people. As an expres¬
sion of the deepest concern of the highest ecclesiastical officials in the Metropolitanate of Sremski
Karlovci
by zoographers is the crucial testimony of the coexistence of
cultural life.
The duality of conservative and modern concepts can be noticed in all the branches of art
among the Serbs living in the territories of the Ottoman and Austrian Empires and the Venetian
Republic in the late 17th and the early decades of the 18th century.
Immediately following the Migration of
Serbian ecclesiastical authorities, monks, well-off bourgeoisie and military aristocracy set to resto¬
ration of old and construction of new cathedral, town and monastery churches in Southern Hun¬
gary. Serbian churches found in the
Old Balkan cabin churches without dome or were built of solid material and modelled after the
triconch structures typical of the
ously with the construction of churches in traditional, post-Byzantine spirit, accommodation of
old Serbian church architecture to new building styles in the period following the Great Migra¬
tion of
century, Serbian churches increased in length, width and height and they were better illuminated.
An exonarthex and a masonry belfry surmounting an open portico were attached to the main
body of the church and the belfry was soon to house a chapel on its first floor. Apart from the new
composition of the interior, elements of Central European Baroque architecture, to which Serbian
churches built in the territory of the Metropolitanate of Sremski
Іб"1
in their onion-shaped finials topping belfries, gables surmounting their entrances and decorative
articulation of their
In more prosperous monasteries, like those in
were restored immediately after
with the Western tradition, had flat ceilings, whereas the ground-floor was vaulted in an Oriental
fashion. Apart from conventual buildings, oriel-windows (doksati) shaped in Ottoman fashion
could be seen on the Belgrade Metropolitan court and Episcopal court in Valjevo. Two building
styles can be distinguished in the structure of the Belgrade Metropolitan court. However, they
were not applied to different levels of the building, but with respect to importance of the rooms
(those used for more solemn purposes were built in Western style and decorated in stucco). Mi¬
nor architectural structures in monasteries and courts in the territory of the Metropolitanate of
244
-----------------------------------------------------------------------------------------------------
Belgrade and Sremski Karlovci were built by local masons. Only few names of these masons have
come down to us.
Single-naved
façades
works of unknown local masons and stone-cutters. Architectural elements characteristic for this
group of Orthodox Christian churches are in essence no different from those typical of the coastal
or Mediterranean type of post-Byzantine architecture.
Unlike Serbian religious objects built in the late 17th and early 18th centuries, which, depend¬
ing on the region, reflect the tendency to preserve architectural features of earlier epochs, secular
buildings erected in Belgrade during the Austrian occupation of Serbia
characteristics of German military Baroque architecture. Since the most representative edifice of
the Austrian capital of the Kingdom of Serbia
berg
Gate of emperor Charles VI are the most significant testimonies of Baroque architecture in Bel¬
grade at that time.
It was as late as the fourth decade of the 18th century that a resort to old artistic tendencies,
accompanied with the adoption of more recent ones, could be noticed in Serbian mural painting.
Restorations of old ensembles and decoration of newly built churches were undertaken only after
the stabilization of overall political situation in the period of Austrian rule, which, apart from
the territory of Southern Hungary, also embraced Northern Serbia,
dozen mural ensembles dispersed over a the wide area between the monastery of Chilandar to
the south and
Vlach,
cal dignitaries of the Metropolitanate of Belgrade and Sremski Karlovci, abbots and well-off ktetors
and donors found among ordinary citizens.
Revived interest for fresco decoration among the Serbs in the 1730s is closely related to the
diffusion of uninterrupted painting traditions from the neighbouring Orthodox Christian regions.
Namely, these are the decadent Walachian
ing in the southern regions of the Balkans: one conservative or monastic, diffusing from the Mount
of
zoographers and authors of treatises on painting Dionysios of Fourna and Panaghiotis Doxaras.
However, neither the chief advocate of the revival of classical values of the Byzantine tradition,
monk-zoogmpher Dionysios, nor the circle of painters including Vlachs, Greeks and Serbs gath¬
ered around the court of Walachian prince
the famous Byzantine culture, could resist the splendour of European Baroque art. Nor the work
of the followers of David from
decorated the monastery churches of
direct offsprings of the late 17th and early
zoographers' schools, were devoid of elements of Western European Baroque. These two katholi-
cons at a distance of no more than a few dozens of kilometres, decorated within a few years' span,
act as convincing testimonies of crucial differences between the tastes and aspirations of members
of well-off secular and high ecclesiastical classes as commissioners in the late years of the Austrian
rule in Serbia.
The third great fresco ensemble from that period
tery
Vraćevšnica,
245
СРПСКА УМЕТНОСТ
trained in South Balkan hinterlands where he also became a follower of the artistic orientation of
Panaghiotis Doxaras.
acquired in a Levantine school of painting with hints of new Western artistic tendencies, intro¬
ducing into religious compositions echoes of everyday urban life. Although modelled after the
rules of traditional zoographers' painting, the frescoes from Bodjani were essentially different from
anything seen before; on the other hand, they looked so familiar. Since it was difficult to attune
Western narrative cycles to the interior of only partly reformed Serbian churches in the first half
of the IS"1 century, further development of the New Age Serbian Art
-
the church.
Along with paintings of self-trained zoographers who worked in village and parish churches in
the territories of the Patriarchate of
and the opening decades of the 18th century, icons of Russian provincial painters and travelling
Graeco-Tzintzar zoographers were also highly esteemed. Icon painting among the Serbs in this pe¬
riod, marked by a retarded Late Byzantine style, was by no means puritanically conventional: ob¬
literated or uncommon details and variances accompanied with entirely new
reflect the influence of post-Tridentine reforms carried out in the Roman Catholic world, of adopt¬
ed
the two Great Migrations, icons painted by Russo-Ukrainian or Graeco-Tzintzar zoographers were
either brought by travelling merchants, as souvenirs from pilgrimages, or were commissioned by
Serbian ecclesiastical church dignitaries. Apart from the work of mostly anonymous zoographers
or those known only by regions or city workshops in which they were working, opuses of Russian
(Grigorii Gerasimov), Greek (zoographer Mitrophanes,
tin
vić, Rafail Dimitrijević, Rafail Miloradović, Silvestar Popović,
Georgije Stojanović, Nedeljko Popović, Georgije Ranite)
down to us from the period preceding the arrival of Jov
pointment as the official court painter of patriarch Arsenije IV
Analogies of the
as three-headed Christ can be found in Serbian and Byzantine medieval painting, as well as in
works dating from the period of Ottoman rule. However, Christ depicted as King of Kings with
triple crown shaped as the papal tiara had not been seen before. The fact that all the icons of this
type were made in the border areas of the
evidence of the need for self-affirmation through explicit denial of Roman Catholic doctrine on
papal primacy.
Icons reflecting extraordinary admiration, glorification of and trust in the Holy Virgin as vir¬
tuous patron and inveterate wonder-worker appeared among the Serbs in the opening decades of
the 18th century as unambiguous signs of the rise of the Western Marian religiosity in the Baroque
period. Representations of Our Lady of Seven Sorrows and the Holy Queen as Rose that would never
wither are just two examples in the series of new
Instead of earlier
common forms in the late 17th and the early decades of the 18th century include standing or sitting
figures of saints, as well as equestrian figures of Holy Warriors. Characteristic features of the icons
from that period are concise depictions of several
sition, grouping of standing saints' figures (two or more), the most prominent place among which
was occupied by canonised Serbian advocates of Eastern Orthodoxy
246
-----------------------------------------------------------------------------------------------------
the first place. It was in the same period that the Annunciation as an undivided composition trans¬
formed from a post Byzantine icon to a Baroque painting, whereas the insertion of a zone with de¬
pictions of the Great Feasts was a significant contribution to the Baroquisation of the iconostasis.
New life of Serbian miniature painting was also rooted in traditional post-Byzantine culture.
Favourite motifs of miniature painters of the 16th century Kratovo School were taken over and
elaborated by the most talented painters from
jan), who paved the way for their followers in the Danube basin (Jerotej and Gavril
Venclović).
by
illustrative examples of the fusion between the art of illumination and skills preserved in the peri¬
od of Ottoman rule and books printed in Kiev, Moscow and Lvov. The greatest difference between
miniatures painted almost simultaneously in Hungary and Bosnia and Herzegovina rests upon
radically different approaches to space and colour: in manuscripts from Bosnia and Herzegovina
illuminations run across whole pages, they are devoid of horror
silver paints. With full appreciation of the role of organized copying activity of scribes from
and their followers, it must be pointed out that calligraphic skills of their counterparts living in
minor cultural centres in the territory of the Ottoman Empire also deserve attention. Differences
that can be noticed in their illuminations by no means obscure recognizability of common artistic
and
In the period following the First Great Migration of the Serbs
Metropolitans of Sremski
from anonymous or lesser-known Viennese engravers. The awareness of practical
effects of multiplied copper plates took an unprecedented form in a print showing the monastery
of
and
Jovanović Šakabenta
the publishing of
declaration of continuity and legitimacy of unified ecclesiastical and secular powers embodied in
the then Patriarch of
Simultaneously with the production of politically inspired copper plates, in quiet monastic
cells monks were making woodcuts with a single aim: to sell them or to give them away in order
to ensure livelihood for the monastic community and to stimulate pilgrimage and alms-giving
among their believers. Through such a humble and reticent life Stefan
ca, as well as anonymous monks from Mt
In the Serbian art between
the preservation of lasting values of indigenous artistic heritage and its incorporation into new,
Europeanized styles. Owing to German master-builders, Viennese engravers and Russian printed
books, exteriors of Serbian religious buildings, prints and hand-written and painted liturgical
books were the first to acquire Baroque forms in this period. The interiors of Serbian churches
were attuned to their Europeanized exteriors as late as the 1730s, when among authors of mural
decoration prevailed members of the best workshops from the neighbouring Orthodox Christian
regions, whereas manufacturing and decoration of
better trained Serbian zoographers and skilled artisans. Metropolitan residences in Belgrade and
Sremski
VI. Cathedral church in Belgrade, churches in
monasteries of Manasija,
247
Српска уметност
coes
Vraćevšnica,
painting the iconostasis for the church of the Nativity of St John the Baptist in Belgrade, priest Ste¬
fan
and painted the Miscellany.
Diversity of artistic tendencies and disbalanced development of different branches of art
among the Serbs between
stylistic period witnessing the creation of conditions for a somewhat calmer and more coherent
artistic period known as the Early Serbian Baroque. It is marked by a specific intertwining of en¬
tirely different artistic tendencies whose more traditional forms, though slightly transformed, will
remain popular among the Serbs, side by side with the official art until the early decades of the
19th century.
248 |
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| author | Stošić, Ljiljana 1958- |
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| building | Verbundindex |
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| callnumber-label | N7971 |
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| ctrlnum | (OCoLC)84905594 (DE-599)BVBBV022304850 |
| era | Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1690-1740 gnd |
| era_facet | Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1690-1740 |
| format | Book |
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| geographic | Serbien (DE-588)4054598-2 gnd |
| geographic_facet | Serbien |
| id | DE-604.BV022304850 |
| illustrated | Illustrated |
| index_date | 2024-07-02T16:56:24Z |
| indexdate | 2024-07-20T04:23:47Z |
| institution | BVB |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015514765 |
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| physical | 295 S. Ill. |
| publishDate | 2006 |
| publishDateSearch | 2006 |
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| publisher | Srpska Akad. Nauka i Umetnosti, Balkanološki Inst. |
| record_format | marc |
| series2 | Posebna izdanja / Srpska Akademija Nauka i Umetnosti, Balkanološki Inst |
| spelling | Stošić, Ljiljana 1958- Verfasser (DE-588)103661425 aut Srpska umetnost 1690 - 1740 Ljiljana Stošić Beograd Srpska Akad. Nauka i Umetnosti, Balkanološki Inst. 2006 295 S. Ill. txt rdacontent n rdamedia nc rdacarrier Posebna izdanja / Srpska Akademija Nauka i Umetnosti, Balkanološki Inst 91 PST: Serbian art. - In kyrill. Schr., serb. - Zsfassung in engl. Sprache. - Zugl.: Belgrad, Univ., Diss., 2001 Orthodox Eastern Church In art Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1690-1740 gnd rswk-swf Art, Serbian 17th century Art, Serbian 18th century Christian art and symbolism Serbia Modern period, 1500- Kunst (DE-588)4114333-4 gnd rswk-swf Serbien (DE-588)4054598-2 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Serbien (DE-588)4054598-2 g Kunst (DE-588)4114333-4 s Geschichte 1690-1740 z DE-604 Srpska Akademija Nauka i Umetnosti, Balkanološki Inst Posebna izdanja 91 (DE-604)BV000007645 91 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015514765&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015514765&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Stošić, Ljiljana 1958- Srpska umetnost 1690 - 1740 Orthodox Eastern Church In art Art, Serbian 17th century Art, Serbian 18th century Christian art and symbolism Serbia Modern period, 1500- Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4114333-4 (DE-588)4054598-2 (DE-588)4113937-9 |
| title | Srpska umetnost 1690 - 1740 |
| title_auth | Srpska umetnost 1690 - 1740 |
| title_exact_search | Srpska umetnost 1690 - 1740 |
| title_exact_search_txtP | Srpska umetnost 1690 - 1740 |
| title_full | Srpska umetnost 1690 - 1740 Ljiljana Stošić |
| title_fullStr | Srpska umetnost 1690 - 1740 Ljiljana Stošić |
| title_full_unstemmed | Srpska umetnost 1690 - 1740 Ljiljana Stošić |
| title_short | Srpska umetnost |
| title_sort | srpska umetnost 1690 1740 |
| title_sub | 1690 - 1740 |
| topic | Orthodox Eastern Church In art Art, Serbian 17th century Art, Serbian 18th century Christian art and symbolism Serbia Modern period, 1500- Kunst (DE-588)4114333-4 gnd |
| topic_facet | Orthodox Eastern Church In art Art, Serbian 17th century Art, Serbian 18th century Christian art and symbolism Serbia Modern period, 1500- Kunst Serbien Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015514765&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015514765&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV000007645 |
| work_keys_str_mv | AT stosicljiljana srpskaumetnost16901740 |