Cultul suveranului sud-est european şi cazul Ţării Româneşti: o perspectivă artistică
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | Romanian |
| Published: |
Iaşi
Lumen
2011
|
| Series: | Zsfassung in engl. Sprache u.d.T.: The cult of the South-Eastern European sovereign and the case of Wallachia
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Abstract |
| Physical Description: | 280 S. zahlr. Ill. |
| ISBN: | 9789731662749 |
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Record in the Search Index
| _version_ | 1804150229393473536 |
|---|---|
| adam_text | Cuprins:
I.
Introducere. Definiri ale artei aulice
..............................................7
II.
Cult imperial şi iconografie în spaţiul bizantin
...........................25
II.
1.
Teme generale ale cultului imperial în
Bizant
.........................25
II.
1.1.
împăratul,
Nomos
empsychos
.........................................................26
II.
1.2. Imperium
şi sacerdotium
...................................................................30
II.
1.3.
împăratul isapostolos
.........................................................................39
II.
1.4.
împăratul renovator
...........................................................................40
II.
1.5.
împăratul
Hristomimëtës
..................................................................43
11.1.6.
Cultul imaginii imperiale
....................................................................46
II.
2
Formule şi imagini imperiale în spaţiul slavo-balcanic
medieval
............................................................................................49
II.
3.
Cult imperial şi iconografie în epoca Paleologilor
..................66
III. Aspecte ale tradiţiei bizantine în mediul aulic muntenesc
(secolele XIV-XVIII)
........................................................................79
III.
1.
Politică şi imagine în spaţiul bizantino-balcanic şi în statul
muntenesc (secolele XIV-XV)
..........................................................79
III.
2.
Epoca post-bizantină. Definiri şi perspective istorice
...........97
111.3. Imaginea internă a domnitorilor munteni
............................105
III.3.1 încoronarea domnitorilor în Ţara Românească
...........................115
111.4. Raporturile dintre domnitori şi Biserica muntenească
.........123
III.
4. 1.
Contribuţii ale domnitorilor prndnd cultul sfinţilor în Muntenia
................................. .................................................................!......................130
Ш.5.
Relaţiile domnitorilor munteni cu Muntele
Athos
................150
>
III.6 Influenţă grecească şi spirit naţional în cultura Ţării
Româneşti
.......................................................................................158
Elisabeta
NEGRÂU
IV.
Cult domnesc şi artă aulică în Ţara Românească
....................177
IV.l. Surse de inspiraţie şi semnificaţii ale structurii bisericii
mănăstirii Curtea de Argeş
.............................................................177
IV.
2.
Deisis în varianta arhierească şi tema aulică în iconografie
190
IV.
3.
Observaţii asupra interpretării în cheie politică a picturii
murale munteneşti (secolele XVI-XVII)
........................................212
IV.
4.
Arta aulică laică a Ţării Româneşti
.......................................217
The Cult of the South-Eastern
European
Sovereign and the Case of
Wallachia. An Artistic Perspective
..................................................235
Indice
general:
................................................................................243
Abrevieri bibliografice....................................................................
263
Bibliografie
......................................................................................265
The Cult of the South-Eastern European Sovereign
and the Case of Wallachia.
An Artistic Perspective
Abstract
The present study analyses the role of the arts in building the cult
ot monarch in medieval South-Eastern Europe, focusing on the
relationship between the Royal Courts and the most active artistic factor
m
the Middle Ages, i.e. the Church. The main reference points of our
interpretation consist in the theological aspects of Byzantine political
theory. They were considered necessary due to the fact that the cultural
discourse of the Byzantine and post-Byzantine monarchies evolved
sequentially on religious principles. A main theoretical and methodological
target of the study is to analyse the political keys of the iconography,
without distorting or eclipse its prevalent theological message.
Two are the most important spheres in which the monarch} and
religion intersect: the moral one, which controls the aspects of law and
ideology of power, and the cult sphere, which regards the relationship
between the earthly monarchic court and Christian celestial Kingdom,
expressed in literature and art. In circumscribing the frames of
aulic
art,
the main criterion appears to be the message and the public destination of
the art object: this is considered to be
aulic
when reveals a message about
a monarch or Illustrates a political thought. But the artistic products made
by monarchs for their own use, products made in the monarch s name for
the use of community (buildings, infrastructure, religious monuments and
cult objects) or portraits of monarchs which are not
aulic
by origin, may
also be considered as revealing
aulic
significance. Researchers agree also
not to make quality the exclusive criterion for the
aulic
art. The
phenomenon of
aulic
art patronage is not homogeneous because the
social background of the various monarchs differs, especially in elective,
non-hereditary monarchies like the Byzantine or Romanian. Moreover,
many monuments were built by monarchs for private use. But the
structure of the medieval society does not permit a clear distinction
between private and public art, or religious and secular. In the Byzantine
religious mentality, the classical moral concept of the virtue ot
magnificence which encourages art patronage is transfigured into the
religious votive concept. In the arts, the
aulic
themes illustrating the
concept of power manifest through a specific iconography and aestheocs,
which are intended to express the strength and the sublime of the
enlightened governance.
235
Elisabeta
NEGRĂU
The imperial cult, introduced in Rome by
Octavian
Augustus, was
imported in Byzantium by
Constantine
and survived in most of its rites
until the fall of Constantinople. It left a long tradition behind, which, in
varying degrees and forms, was preserved by all Orthodox monarchies.
The doctrine of the divine essence of the monarchy was deeply rooted in
the imperial institution, because in the pagan Rome, the consecration of
the emperor was considered as an apotheosis. The ancient concept of wise
king, belonging to a third distinct spiritual class situated between gods and
humans, is a tradition inherited by the Byzantine Empire from ancient
Greece and the Jewish kings, but influenced also by the empires of the
Middle East. For the Christian monarchy, beginning with Emperor
Constantine,
the imperial cult consistency is given mainly by Scripture:
Old Testament figures of the leaders of God s people like Melchizedek,
Moses, Saul, David and Solomon become the main sources for Christian
monarchy
ideolog}?
and contribute to strengthen its providential and
quasi-priestly valences.
The monarch is the supreme judge of the state. He is the
exemplar} practitioner of Justice, the person required to identify
completely with the law, to embody the source of justice for the citizens
of empire. The nimbus represented around the heads of the Byzantine
emperors marks the presence of genius
ìmperatorìs in
the person of
monarch, i.e. the power to rule and legislate, a charisma given by God. All
the Byzantine monarchs, even the heretics and iconoclasts, are carriers of
the nimbus because they are legitimate holders of the divine legislative and
judicial power.
The concept of absolute authority of monarchs is revealed also by
their various image representations. The emergence of emperors in
ceremonies was directed to suggest a theophany and their portraits are
idealized, sumptuously decorated, impassive, stereotypical, depicting a
typology of monarchical ideal. This sacred, quasi-divine quality is
attributed also to the empresses, who have the same imperial dignity,
received both by marriage and coronation. However, in the Byzantine
official imagery, the coronation act is never accomplished by a clergyman.
The crown is offered to the emperor by Christ, Virgin Maty, a saint or an
angel. The images intend to show that sovereignty has been given as a
charisma by the heavenly powers. Thus, the depictions of the Byzantine
coronations are symbolic and ideological and almost never offer narrative
or historical evidence.
In ancient Rome, one of the main divine missions of the monarch
was to ensure victory against the barbarians, to defeat and capture the
enemies of the empire. The Christian Cross will become the main symbol
of victory and the essential attribute of the monarch. Another concept
closely related to the monarch s valences is renovatio: each king is praised
for having built, renewed and made cities to flourish. The idea of
renovating valences of the monarch met with the Church s central faith
236
Cultul suveranului
sud-est
european şi ca^ul Tării Româneşti..
regarding the
general
restoration at the Second Coming of Christ, aiming
to be a foreshadowing of it. Constantinople is the new Rome, the Church
is the New Jerusalem and the monarchs are called the new
Constantine,
the new David and new Solomon.
The Byzantines considered the civilized world as a cosmos, an
organized community. It has a strict social hierarchy, completely
subordinated to the monarch, who is considered a master of the world
and a master of the times. When the Roman Empire became gradually
Christian, the providential mission of
Constantine
began to be the
domination of all nations and the spread of the Christian faith on earth.
Constantine
was called equal to the Apostles by Church and his
successors also claimed this tide.
There are very little variations in the evolution of the art of
portrait on the entire length of over eleven centuries of Byzantine art and
the four more of post-Byzantine. Basically, the portraits accomplish a
documentary role: they are used on legal acts, on votive objects or
accompany funeral tombs. Rulers portraits are seen as efficient symbols
of the institution of monarchy, being used on coins, legal acts and seals, as
a guarantee of authenticity and legal effectiveness. Emperor s portrait had,
in some situations, the status of replacing the real presence of the
monarch, e.g. in courtrooms. They were sent to vassal princes in
diplomatic purposes, to replace symbolically the visit of the sovereign.
The Byzantine imperial portraits illustrated mainly the reMgious concept of
the nature of monarchy: the divine origin of power. Their role, in this
case, was to be moral antidotes against the corruption of political power.
Not the monarch prescribed the spiritual functions and themes of his
portraits, but he was the one to whom they were prescribed, by
intellectuals and theologians, through the artists.
In the Balkan states, the cult of leader had relied on the crucial
event of the Christianization of the Slavs. Through the emphasis of their
Christian character, the Slavic peoples were aiming to overcome the
condition of barbarians, a term which they were defined with by the
Byzantines. Serbian sacramental concept of dynastic monarchy was
developed on the principle-thai people s salvation is organically linked to
the acts of their leader. The pair of royal saints, Simeon Nemanja and his
son,
Sava Nemanijć,
the first Serbian autocephalous archbishop, become
in the Serbian memory the living expression of the two sacred institutions,
the monarchv and the Church. The Serbian monastery is built to be a
necropolis. The cult of the canonized Serbian leader is earned around Ins
grave, of which artistic features must illustrate, thus, both a sotenology
and a dynastic ideology. The link between the baptism of the Serbian
people and of their ruler is a recurring theme in Serbian religious
iconography, both because of their top-down
Chnsüanizaüon
and
because the practice of the ritual of anointing the monarch at the
coronation, since the first Serbian Christian leaders.
237
Elisabeta
NEGRÂU
The iconographic associations between the portraits of leaders and
the theological themes of spiritual enlightenment aim to praise the
monarchs who were chosen by God to be leaders of Christian peoples.
The divine concept of Sophia made a constant meditation theme for the
monarchs, following the biblical example of Solomon. For this reason,
they dedicated the most important cathedrals to the highest virtue of God,
the holy wisdom (Saint Sophia). In the late Byzantium, inside the synthesis
between the imperial and religious art, the religious idea had a final
triumph. In this late period, the ancient concept of imperial deification is
definitively absorbed by the Christian human deification. The iconography
is often marked by the presence of a central eschatological theme, the
Second Coming of Christ the Emperor, amid the dramatic historical
evolution of the Ottoman conquest.
Romanian medieval monarchy bore, from its inception, an
imperial core, which is read in the iconography of Wallachian princely
votive paintings from the 14th century: at
Curtea
de Arges,
the princes are
blessed directly by the divine source of power, Christ
Pantokrator.
The
Wallachian court chancery emitted chrysobulls, which were originally
imperial issues. At the height of this political ascension of Wallachia lays
the title of despot held temporary by Mircea the Elder. On the other
hand, in Moldavia and Wallachia, the votive paintings offer, from the 14C
century until the second quarter of the 16th century, many examples of
vestments influenced by the Western fashion of knights and courtiers.
During the 16th century, in both Romanian countries the clothing habits
became decisively influenced by the oriental fashion and the caftan was
adopted as the unique official robe for the ruler. This oriental princely
costume was received during the investment ceremony at the Ottoman
Porte.
The Romanian princes granted protection to the Byzantine
imperial idea on the entire period of Ottoman suzerainty. Like the
iconographic representations, the written documents point on the
existence of a dynastic and imperial aspiration in both Romanian
countries. But this desideratum was restricted mainly to the idea of
autocracy and bore no plans of territorial expansion. The imperial idea is
mostly the result of term confusion, due to the practice, in the Romanian
chancelleries, of equivalence of monarch with emperor .
The central ideas that guided the politics of the Romanian
countries from their founding to the modem times was the creed of
political government in the Christian Orthodox faith and the adoption of
the Byzantine political tradition. This clearly defined orientation did not
stop the princes to develop their interest and taste for European art and
culture, especially for the Baroque art forms and themes. The rulers were
the first promoters of the Western art and culture in the Romanian
countries. However, in the literature of the time, in the process of building
the figure of monarchical ideal, the scriptural and
hagiographie
references
238
Cultul suveranului
sud-est
european şi ca^ul Tarii Româneşti.
..........
still abound. Some monarchical figures closer in time and space to the
Wallachian state had also a strong impact on the princes, becoming
monarchical models: Serbian Prince
Lazar Hrebeljanović,
the legendary
Negru Vodă,
Neagoe
Basarab,
Stephen the Great, Michael the Brave.
The cultural interest for spectacular and for the new, but carefully
grafted on the old spiritual tradition, is characteristic for the generation of
new men who become rulers in the period
1500-1700,
including princes
Neagoe Basarab,
Radu Şerban, Radu Mihnea,
the Cantacuzino family and
Constantine Brancovan.
To the Greek and Levantine clientele, creditors
of the princes and mediators at the Ottoman Porte, is due the
aulic
court
atmosphere marked by syncretism and cultural eclecticism in the
Romanian principalities by
1600.
The spiritual influence of the hierarchs of the Church on rulers
was
stül
strong in the Romanian countries, as it was in Byzantium,
although the Caesaropapist demonstrations of princely authority over
the Church were present also. During these times, the cult of saints
remains an important element in building the authority of monarchy
among people. Romanian poHtical relations with the Slavic world
generated the adoption of the cult of Slavic saints (Sts. Simeon and
Sava,
Stefan
Dečanski).
On the other hand, by the 17th century, some saints
began to be devoted as Wallachian local saints , as Nicodemus of
Tismana and Gregory of Decapolis, and represented also in iconography.
The
hagiographie
history of Barlaam and Josaphatwas still
vety
popular in
the Romanian principalities, at the court milieus, like was at the Byzantine
and Serbian ones. In the Romanian countries during these times still
circulated widely the Laudae of Saints
Constantine
and Helen written at the
end of the 14th century by patriarch Euthymius of Tarnovo. The text was
still a canonical source of inspiration for the panegyrics dedicated to
Prince
Constantine
Brancovan by the beginning of the
18
century.
The monasteries on Mount
Athos
store numerous votive portraits
of Romanian rulers. Two recent discoveries of votive portraits of rulers or
WaUachia, donors to Mount
Athos,
the icon of the Virgin Deesis from
Vatopedi, with a portrait of prince
Radu
the Great, and a fresco with a
portrait of Prince Vlad
Vintila
in the Great
Lavra,
reveal new details about
the Wallachian imperial ideology in the first half of
16
century,
lhe
Wallachian imperial idea becomes, on Mount
Athos,
an explicit
declaration of spiritual and poHtical continuity with Byzantium. The
Byzantine ceremonial and monarchical canon is copied almost
m
the
The reign of Prince Matthew Basarab in the first half of the 17th
century
s
currently evaluated as a first essay of national cultural
^nthesi^
although
stul
marked by syncretism and acculturation. This
ιη«π κ
characterized by the interest for historical myths
^^^FJ^Í
the state founders
Negru Vodă
and Prince Neagoe Basarab are the main
ЙА^™«!^«««
the national idea configured around the
239
Elisabeta NEGRÄU
princely dynasty. The process of nationalization of the Orthodox cult in
Romanian is the most important event within the Church life during the
17th century, which until then used only the Old Slavic. This was
determined by the great liturgical reform actions taken across Europe after
the Catholic Council of Trent, which sought the unification and
rationalization of Church ritual. The Wallachian clergymen, since the reign
of Matthew Basarab, begin to be increasingly interested in the cultural
activism. The hierarchs of this period become main supporters of the arts,
scholars and church founders.
During the reigns of Serban Cantacuzino and
Constantine
Brancovan the national cultural policy remains in coherence with the
reforms of Matthew Basarab. However, a recurring process of systematic
re-Byzantinization of Wallachian culture and art begin to evolve along
with the massive emergence of the Greek Cantacuzino family in the state
dignities and the adoption of the Greek language in the liturgical office.
The Phanariots who ruled Wallachia after
Constantine
Brancovan found
here a familiar cultural atmosphere. They were integrated easily and
continued the culture patronage similar to the previous Romanian rulers,
maintaining the close cultural relations between Wallachia, Constantinople
and the Balkans until the beginning of the
1
9th century.
Our study also presents a few chapters with case studies of
Wallachian princely art of the 16th-17th centuries. They analyze the main
themes, models and features that characterize the Wallachian
aulic
art in
this period.
The Oriental origin of the builders of
Curtea
de Arges
Monastery
church
(1512-1517)
-previously presumed to be Armenians- has a
significant role in its unusual architecture and decoration. The early
Christian motive of the
12
columns in the church, symbolizing the
12
apostles, remained in the liturgical sources only in the canon of the church
foundation in the Armenian rite. The Armenian Canon of the foundation
of the church prescribes that at the church foundation shall be put
12
stones, forming a square. According to an old interpretation of the canon,
the stones symbolize the
12
apostles who were sent to preach the Gospel
to the four corners of the world. Psalm
83
is read repeatedly (six times) in
the canon of church foundation in the Armenian rite. The church in
Curtea
de Arges
presents similar dimensions to the temple from the vision
of Ezekiel, and references from the book of Ezekiel (the description of
the Temple) are used exclusively in the Armenian canon. The
12
columns
in narthex signifying the
12
apostles emphasize the book of Revelations
vision of Heavenly Jerusalem. The reference to these rites gives a
significant probability to the hypothesis that the builder of
Arges
monastery church was of Armenian origin. He accomplished with bis
peculiar creative means and references to Armenian traditions a command
which contained specific requirements, including the arrangement of a
space in narthex, designed for the founders tombs. For its outstanding
240
Cultul suveranului
sud-est
european şi ca^ul Tării Româneşti.
..........
artistic
qualities, the architecture of the
Arges
monastery was copied for
over two centuries in a number of churches founded by the Wallachian
princes.
The
iconographie
composition known as Deeds, with pre-
iconoclastic origins, was developed in Byzantium after the Triumph of
Orthodoxy. Most commonly, it represents Virgin s and St. John the
Baptist s acts of intercession for people to Christ
Pantocrator.
Deesis in
which Christ is clothed as bishop and bears imperial crown appeared
around the year
1330
in the area of
Ohrid
and exalted Christ as the true
author and actor of the Liturgy, sometimes being accompanied by the
Virgin intercessor as Empress (illustrating the liturgical Psalms
92:1,
respectively
44:11).
The image reveals the both divine and human reigning
nature of Christ, who is often named in the inscriptions „Emperor of
emperors and Lord of lords . This Deesis formula proliferated also in the
Romanian post-Byzantine art, being painted in church naves, in
Moldavian exterior church painting and
iconostases.
In Wallachia, it enters
as iconostasis theme after mid-17* century, introduced by Moldavian
painters. The theme Deesis displaying Christ as Archbishop reveals God s
giving and receiving of the offering within the office of the Liturgy, which
is accomplished in the eschatological purpose of humans salvation.
However, their recurrence especially in the large
aulic
church foundations
has
a subsidiar)
significance which addresses to the faithful princes. The
Deesis theme address monarchs
a parenetic
message which exalts Christ
as the absolute model of ruler. By their protectorate over the Church, the
princes aspired to present themselves as good Christian rulers at the Last
Judgement, in front of Christ the Great Emperor and Priest. In the Deesis
scene, Christ is exalted as the leader par excellence, Emperor and Priest,
who gives people the power of ruling but also judges its unfaithful
administration.
The capital of a country in the Middle Ages was represented by
the city of the court residence. In the Balkans, the main ernes and
especially their central cores were stone fortresses with strong walls and
towers, built on high, dominant positions. The enclosure or the
Wallachian princely court is quite small in the early times
(14
-b cent)
and its geographical placement is made on defensive reasons, but also
economic: They are located at the crossroads of trade routes. The
Wallachian princely residences of the 16th and
17*
centuries,
m
the times
of political suzerainty of the Ottoman Empire, do not have any more
military defensive functions. The princes focused on building comfortable
residences that do not display hostility. They were aware of the great
changes in taste and fashion at the
contemporan
European
^naissance
and Baroque courts. There were also great monasteries founded^
princes that contained princely residence houses, which served as places
of refuge or rest.
241
Elisabeta
NEGRĂU
If the opinions of the foreign travellers on the quality of
Wallachian princely architecture are divided, however, they are often
impressed by the quality of life at the Wallachian court, the luxury, the
sumptuousness and the relaxation that is revealed also by the architecture
of these courts. The pavilions, the loggias, the outdoor staircases which
came from the Byzantine-Ottoman architecture, the painted stucco
decorations of Ottoman taste and the large gardens artistically arranged
were the typical architecture features of the Wallachian
boyar
mansion in
the mid 17th century, which became the core of the princely court
architecture.
With the exception of a few panels painted with portraits of
Romanian rulers, donated to Mount
Athos,
there were not preserved any
examples of profane painting from the collections or donations of the
medieval Romanian princes. But it is known that such paintings existed,
consisting especially in portraits which decorated the princely palaces in
Bucharest and Iasi. In the 17th and 18th centuries, the two zones that
mediated the contacts of the Romanian countries with the European art
and the Western-style painting, are Transylvania, which was in close
relations with the central-European monarchies, and, secondly, Italy and
especially the city of Venice, which had contacts with the Ottoman
empire. However, a few engraved portraits of Wallachian and Moldavian
rulers from the 17th century, made by Flemish and Italian artists, are still
preserving. They are depicted in the manner of the realistic portrait by
nature , which emphasize their physical features, temperament and
luxurious exotic clothes. The regalia are currently replaced with Baroque
symbols of sovereign virtues and cartridges bearing symbolic crown,
sceptre and sword. The princely tide is presented in inscriptions through
the Latin equivalents
-.princeps
dominas
and the epithet absolute
{supremas).
Although it is difficult to assess today the variety of secular
paintings that adorned the interiors of palaces and the princes mansions
and villas, the documents attest that their number was significant. It must
be taken into account the currency of engagement portraits as gifts, the
taste for family and dynastic portraits and for decorative paintings, on
house walls and furniture. All these would be part of the decor of a typical
Romanian princely palace.
242
|
| any_adam_object | 1 |
| author | Negrău, Elisabeta |
| author_facet | Negrău, Elisabeta |
| author_role | aut |
| author_sort | Negrău, Elisabeta |
| author_variant | e n en |
| building | Verbundindex |
| bvnumber | BV040930633 |
| ctrlnum | (OCoLC)844049662 (DE-599)BVBBV040930633 |
| era | Geschichte 1400-1800 gnd Geschichte gnd |
| era_facet | Geschichte 1400-1800 Geschichte |
| format | Book |
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| geographic | Walachei (DE-588)4118956-5 gnd Byzanz (DE-588)4088772-8 gnd Südosteuropa (DE-588)4058449-5 gnd |
| geographic_facet | Walachei Byzanz Südosteuropa |
| id | DE-604.BV040930633 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:35:36Z |
| institution | BVB |
| isbn | 9789731662749 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025909570 |
| oclc_num | 844049662 |
| open_access_boolean | |
| owner | DE-12 DE-255 |
| owner_facet | DE-12 DE-255 |
| physical | 280 S. zahlr. Ill. |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | Lumen |
| record_format | marc |
| series2 | Zsfassung in engl. Sprache u.d.T.: The cult of the South-Eastern European sovereign and the case of Wallachia |
| spelling | Negrău, Elisabeta Verfasser aut Cultul suveranului sud-est european şi cazul Ţării Româneşti o perspectivă artistică Elisabeta Negrău The cult of the South-Eastern European sovereign and the case of Wallachia Iaşi Lumen 2011 280 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: The cult of the South-Eastern European sovereign and the case of Wallachia Geschichte 1400-1800 gnd rswk-swf Geschichte gnd rswk-swf Herrscherbild (DE-588)4159648-1 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Kult (DE-588)4033535-5 gnd rswk-swf König (DE-588)4031516-2 gnd rswk-swf Walachei (DE-588)4118956-5 gnd rswk-swf Byzanz (DE-588)4088772-8 gnd rswk-swf Südosteuropa (DE-588)4058449-5 gnd rswk-swf Südosteuropa (DE-588)4058449-5 g Byzanz (DE-588)4088772-8 g Walachei (DE-588)4118956-5 g König (DE-588)4031516-2 s Kult (DE-588)4033535-5 s Kunst (DE-588)4114333-4 s Geschichte z DE-604 Herrscherbild (DE-588)4159648-1 s Geschichte 1400-1800 z Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025909570&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025909570&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Negrău, Elisabeta Cultul suveranului sud-est european şi cazul Ţării Româneşti o perspectivă artistică Herrscherbild (DE-588)4159648-1 gnd Kunst (DE-588)4114333-4 gnd Kult (DE-588)4033535-5 gnd König (DE-588)4031516-2 gnd |
| subject_GND | (DE-588)4159648-1 (DE-588)4114333-4 (DE-588)4033535-5 (DE-588)4031516-2 (DE-588)4118956-5 (DE-588)4088772-8 (DE-588)4058449-5 |
| title | Cultul suveranului sud-est european şi cazul Ţării Româneşti o perspectivă artistică |
| title_alt | The cult of the South-Eastern European sovereign and the case of Wallachia |
| title_auth | Cultul suveranului sud-est european şi cazul Ţării Româneşti o perspectivă artistică |
| title_exact_search | Cultul suveranului sud-est european şi cazul Ţării Româneşti o perspectivă artistică |
| title_full | Cultul suveranului sud-est european şi cazul Ţării Româneşti o perspectivă artistică Elisabeta Negrău |
| title_fullStr | Cultul suveranului sud-est european şi cazul Ţării Româneşti o perspectivă artistică Elisabeta Negrău |
| title_full_unstemmed | Cultul suveranului sud-est european şi cazul Ţării Româneşti o perspectivă artistică Elisabeta Negrău |
| title_short | Cultul suveranului sud-est european şi cazul Ţării Româneşti |
| title_sort | cultul suveranului sud est european si cazul tarii romanesti o perspectiva artistica |
| title_sub | o perspectivă artistică |
| topic | Herrscherbild (DE-588)4159648-1 gnd Kunst (DE-588)4114333-4 gnd Kult (DE-588)4033535-5 gnd König (DE-588)4031516-2 gnd |
| topic_facet | Herrscherbild Kunst Kult König Walachei Byzanz Südosteuropa |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025909570&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=025909570&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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