Srpska minijatura XVI i XVII veka:
Saved in:
| Main Author: | |
|---|---|
| Format: | Thesis Book |
| Published: |
Beograd
Pravoslavni Bogoslovski Fak. - PBF [u.a.]
2012
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Abstract |
| Item Description: | In kyrill. Schr., serb. - Zsfassung in engl. Sprache u.d.T.: The Serbian miniature of the 16th and 17th century |
| Physical Description: | 356 S. zahlr. Ill. |
| ISBN: | 9788674051085 |
Staff View
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| 245 | 1 | 0 | |a Srpska minijatura XVI i XVII veka |c Zoran Rakić |
| 246 | 1 | 3 | |a The Serbian miniature of the 16th and 17th century |
| 264 | 1 | |a Beograd |b Pravoslavni Bogoslovski Fak. - PBF [u.a.] |c 2012 | |
| 300 | |a 356 S. |b zahlr. Ill. | ||
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| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a In kyrill. Schr., serb. - Zsfassung in engl. Sprache u.d.T.: The Serbian miniature of the 16th and 17th century | ||
| 502 | |a Teilw. zugl.: Belgrad, Univ., Diss. | ||
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Record in the Search Index
| _version_ | 1804151538657001472 |
|---|---|
| adam_text | CAFLPWAJ
YBOFLHA PEH 7
FLOCAFLAUJTT A
MCTPA KHBAHJA
9
CPNCKA KHBMRA Y XVI M XVII BEKY
NPENUCMBAHKM UEHTPM, NMCAPH, MMHUJATYPMCTH M YMETHMHKA ONPEMA 23
CKPUNRAPUJM, NPENNCUBAMN 1/1 NOPYNNOQN 25
MATEPUJA/I W NPN6OP 3A NI/ICAHTE M NOBE3 KHDMRE 29
MUHMJATYPE * TEXHMKA I/I3PAFLE V HTUXOBM AYRAPN 33
TEMATCKE M MKOHOFPAOCKE OCOBEHOCTM 47
AYROPCKM NOPIPETH 49
FLOJEFLUHAHHE NPEFLCTASSE CBETHTERT A N OMNO3HL(NJE 63
MNHMJATYPE Y BEOIPAGCKOM OCANCOUPY 75
M AHV ]AJYPE Y LUECCOOGHEEY JOEAHA EL3APXA A XPUUIFIAHCKOJ
IUEOUEOLPACPUJU KO3ME L/LHGUKOUENOEA 83
CTMJ1CKM TOKOBM H MAJCTOPH 101
C/IMKAHNYKPAC PYKONNCA M3 NPBE NO/IOBMHE M CPEFLMHEXVI BEKA 103
NPENOPOFLMHHMJATYPEYFLO6AO6HOBE FLETIKE NATPUJAPIUMJE 105
JIOHTOH N NEFIKA RPYNA C^NKAPA 107
MUHUJATYPE NPE3BMEPA USSETKA H3 TOFLNJEBA, NUCAPA PLAB^A V NONA
CRPAXI/IHBE H3 BYFLMMRT A 113
FLPOAOPN NCJIAMCKE OPHAMEHTMKE: NON JOBAH H3 KPATOBA, PYGAPCXU3CIKOHUK
V KAPAHCKO HECOEOPOJEEAHTJE/BE. . 122
MUHNJATYPA Y BPEME NAIPUJAPXA RIAJCUJA. BEOLPAGCKU OCANCUEUP 136
OIMKAPJOBAH 145
AHFLPEJA PAMMEBNII 148
XN^AHFLAPCKM CKPNNTOPNJYMY XVII BEKYN RPYNA CPOFLHUX PYKONNCA.
RIPOCKUHMTAP FABPN^ATAANTIA 159
MUHHJATYPA Y ROFLMHAIVIA NPEFL BE^MKY CEO6Y 175
MAHACTUPA PANE I/I XPUCTOCFIOP PAQAHMH 178
KATAJIOI 187
CKPATIEHMLTE MEIUTIE HASSOT)EHE^MEPATYPE 189
THE SERBIAN MINIATURE OF THE 16
TH
AND 17
TH
CENTURY 305
J1HTEPATYPA 309
CNHCAK M/IYCTPAUMJA 321
LIST OF ILLUSTRATIONS 329
MMEHCKH PEFMCTAP 337
HKOHORPACDCKI/1 PEFMCTAP 347
PEFUCTAP PYKORIMCA 353
THE SERBIAN MINIATURE OF THE
1
6th AND
1
7th CENTURY
The Serbian miniature of the and 17th century, created during
Turkish rule, represented, in many of its elements, a continua¬
tion of the abundant medieval tradition which was established
during the times of independent statehood. On the other
hand, its development and characteristics were determined by
the intensity of the copying and of the artistic environment in
which it was being created.
During the early decades of the Ottoman rule, which were
marked by the painstaking adjustment to the new masters of
a foreign religion, the work on the copying and decorating of
manuscripts was on the decline. However, by the second quar¬
ter of the century, thanks to scribes, as well as the activities of
printing presses, which were being founded in some monas¬
teries or towns, book copying was gradually being revived. The
real expansion happened in the decades after the reconstruc¬
tion of the Patriarchate of
Peć
in
15 57.
From that time on, until
the end of the 17th century, there was no noticeable decline in
the copying and illuminating of codices, which went on with
undiminishing intensity until the Great Migration.
This abundance of copying activity is reflected in the
number of hand-written books that have been preserved to
this day. Out of more than
2,200
copies, created from the 11th
to the end of the 17th century, which have been registered in
the territory of the former Yugoslavia, more than two thirds
—
around
1,420
copies originate from the period between
1500
and
1700.
Similar conclusions can be drawn on the basis of the
manuscript heritage kept in the library of the Hilandar monas¬
tery, in which around half of the Cyrillic manuscripts originate
from this period.
It is important to point out that no particular, original
style was created in the illumination of Serbian manuscripts
during the period of Ottoman rule. Adherence to the great tra¬
ditions from the epoch of state independence, which, during
the time of Turkish rale, acquired a more profound meaning,
connected with the preservation of the national and religious
identity, was expressed in all fields of artistic creativity. In the
work of copyists and illuminators, this was reflected in imitat¬
ing the way their predecessors had worked. The materials and
tools for writing and decorating, and the choice of religious
books which were illuminated and the system of their deco¬
ration, did not change much during the and 17th century in
comparison with medieval times.
Due to specific, primarily material circumstances, the
most intricate form of book decoration
—
the miniature
—
is found in a relatively small number of manuscripts. Merely
over
80
codices equipped with
figurai
representations have
been preserved to this day. These were mostly created by the
scribes but also, when circumstances permitted, by painters,
including the most distinguished ones, like Longin, presbyter
Strahinja from Budimlje and Cvetko from Godijevo in the
,
and
Jovan
and
Andreja
Raičević
in the 17th century. The min¬
iatures
Raičević
painted in three codices, the most significant
among them being the copy of the Christian Topography of
Cosmos Indicopleustes, decorated with
60
illustrations, make
this author the most prolific Serbian miniaturist of the post-
Byzantine epoch.
It is quite certain that, in the Serbian countries of the and
17th century, there were no scriptoria with organised division
of work between the calligraphers and painters, which was
common in the famous European centres. Moreover, uninter¬
rupted work on writing and painting books was only taking
place in a small number of monastic and urban environments,
the most significant being Hilandar, Decani, the monastery of
the Holy Trinity near Pljevlja,
Rača,
Kratovo and
Nikolj -Pazar.
The majority of monasteries and parish churches sated their
needs for books from gifts, by purchasing them or by occa¬
sionally employing some of the traveling scribes
—
diaks, who
were the principal agents of copying activities throughout the
period of Ottoman rule. Like the calligraphers, the miniature
painters were employed only occasionally, when the financial
situation permitted.
It seems that high prices were the main cause for hand¬
written books being seldom decorated with miniatures, es¬
pecially with those created by the better established masters.
Proof of this lies in the present-day collection of hand-written
books from the period of the and 17th century. Of the said
306
The Serbian Miniature of the 16th and 17th Century
1,420
copies, less than
50
codices are decorated with minia¬
tures. The situation is similar in collections outside Serbia.
The library of the Hilandar monastery, which possesses
266
copies created in thai period, has only
15
books with
figurai
representations.
In keeping with the centuries-long traditions of deco¬
rating books in Byzantium and the countries of the eastern
Christian world, the most widespread form of illustration in
the Serbian miniature painting of the
ρ
ost-
Byzantine epoch
were portraits of the authors. Besides these, images of Christ
and of the Mother of God were depicted at the beginning of
some textual ensembles, and the figures of saints in the meno-
logia. Compositions, primarily scenes from the cycles of the
Great Feasts and the Passion of Christ, were far less frequently
depicted in hand-written books.
Besides these usual illustrations, one should point out,
as separate wholes, the significantly more complex thematic
and
iconographie
repertoire of three manuscripts
—
The Bel¬
grade Psalter, The Hexaemeron and the Christian Topography
ofCosmas Indicopleustes and Pilgrimage to the Holy Sepulchre
and Holy Sites in the Holy City of Jerusalem, by
Gavrilo Tadić.
However, such wealth of painted decorations in all three codi¬
ces was a consequence of the use of models, as these texts and
illustrations had been made according to older originals. The
Belgrade Psalter was created as a copy of the Serbian Psalter,
which is nowadays kept in Munich, the copy and miniatures of
the Hexaemeron and of the Christian Topography were based
on a lost Russian model, while the picturesque vedutes in the
Proskynitarion by
Gavrilo Tadić
were taken from a Greek
original.
Among the portraits, the most commonly depicted were
the authors whose texts were regularly read during services:
evangelists in the four-gospels, the Prophet David in Psalters,
the liturgists John Chrysostom and Basil the Great in Service-
books, the apostles in the text Acts and Letters of the Apos¬
tles and, in only one known copy, in the Octoechos which is
kept in Zagreb,
melodians
John the Damascene, Cosmas of
Maiuma and Joseph the Hymnographer. One unique form of
the authors portraits is that of members of the Mining Coun¬
cil, painted at the beginning of the Miners Code (Belgrade,
Archive of the Serbian Academy of Sciences and Arts,
№ 465)
during the 1580s.
The authors portraits appear in two forms
—
painted
across the entire page, as frontispieces, or inside medallions
placed within ornamented headpieces. The portraits of the au¬
thors which occupy the entire page in front of the correspond¬
ing text are painted in some
20
copies of the book of four-
gospels, most of which originate from the or the early 17th
century. The presentations of gospel authors in them conform
to common solutions, known from Byzantine or medieval Ser¬
bian art. The evangelists are depicted sitting down and writing
the words of their compositions, and they are sometimes ac¬
companied by their symbols or personifications of the Divine
Supreme Wisdom.
The other, larger, group consists of the authors portraits
painted within an almond-shaped medallion in the centre
of a rectangular headpiece filled with plant motifs, inspired
by Islamic art. On the basis of information collected so far, it
seems that this type of the authors portraits first appeared in
codices written and illustrated during the second half of the
century by the priest
Jovan
from Kratovo and his followers. In
this, they unified the elements of artistic creation
ofthat
time,
the Byzantine miniature, especially that of the so-called neo-
Byzantine or luxurious style of the 14th century, and some
Islamic influences, expressed in the ornaments. Similar por¬
traits of authors are also found in a large group of manuscripts
from the 17th century. The distinctive examples among these
are some twenty manuscripts from the second and third quar¬
ter of the century, which are kept in the library of the Hilandar
monastery, or were created in the scriptoria of Mount
Athos.
The same type of headpiece with images of the authors was
accepted in the second half of the 17th century, probably from
Athonian models, by the illuminators in domicile areas and,
especially, by the calligraphers in the
Rača
monastery on the
River
Drina.
A separate group encompasses the miniatures of the
Prophet David, Saint George Killing the Dragon, and Saints
Sava
and Simeon of Serbia, depicted by the painter
Jovan
in
the Psalter of
Gavrilo Trojičanin.
Judging by
iconographie
solutions,
Jovan
found the models for them in the graphic
elements of Serbian printed books and works of Cretan icon-
painters, but also in his own works.
Besides the illustrations in the Belgrade Psalter and the
Christian Topography, only a few compositions have been pre¬
served in the miniatures of Serbian manuscripts of the and
17th century. The Deesis and the Holy Trinity are painted in the
Four-Gospel of
Veliko Središte,
in that from
Beočm
—
The Dee-
sis, the Cross of Golgotha, the Baptism of Christ, the Resurrec¬
tion of Lazarus and the Crucifixion, and in the Octoechos from
Zagreb
—
the Resurrection of Christ, the Revelation to the
Myrrh-Bearers, the Doubting of Thomas and the Ascension.
Created at a later date, in the period when their
iconographie
schemes were completely formed, these compositions did not
bring any novelties, nor do they possess any special features.
The miniatures in the Belgrade Psalter (known from pho¬
tographs, because the manuscript was destroyed in the bomb¬
ing of the Belgrade National Library in
1941)
from the third
decade of the 17th century, and in its original, which is two and
a half centuries older, are not completely identical. Besides the
understandable differences in colour, painting techniques and
the fact that they were created in the spirit of the art of that
time, the miniatures in the Belgrade Psalter do not correspond
to the original in certain
iconographie
solutions, either. In the
majority of miniatures the composition is simplified,
schemat-
The Serbian Miniature of the
Ιό - 1
and
1
7th Century
307
ic and with a smaller number of participants. In some cases,
especially when they found partially damaged miniatures and
were unable to rely on the original, the copyists found solu¬
tions that corresponded with their own knowledge, painting
practice and the
iconographie
schemes of their epoch and of
the environment they originated from, without always under¬
standing the true meaning of a presentation, its complex ico¬
nography and symbolism.
The copyist of the second luxuriously painted manuscript
—
the Holy Trinity monastery copy of the Hexaemeron and
the Christian Topography of Cosmas Indicopleustes
—
used a
model that had arrived from Russia. Nevertheless, on some
miniatures (Original Sin, the Cycle of Jonah, Homo
signorům,
and representations of exotic animals) some details indicate
resorting to the use of West European models. In addition to
that, the painter of those miniatures,
Andrija Raičević,
also
turned to models from Serbian printed books as can be seen
in the Stoning of St.
Stephan,
produced according to a graphic
print from the Menaion of Feast Days by
Božidar Vuković
In the course of studying and 17th century miniatures, a
particular problem is to unify them in a clearly defined en¬
semble and distinguish certain stylistic trends which could
be comprehensively followed and would in turn allow the re¬
construction of an image of the development of this art form.
Generally speaking, this process could be divided into several
large sections. The first encompasses the time from the begin¬
ning of the century to the restoration of the Patriarchate of
Peć.
The second unfolded in the decades following the resto¬
ration and lasted till the arrival of Pajsije on the patriarchal
throne. Then follow the works created in the time of Patriarch
Pajsije
(1614-1648).
The last period encompasses the second
half of the 17th century and ends in the wartime years around
the Great Migration.
The dramatic decades marked by the Turkish conquest of
the Serbian Despotate and the restoration of the Patriarchate
of
Peć,
full of strife and uncertainty of all kinds, did not offer
even the very basic conditions for the unhindered develop¬
ment of art. The temporary standstill that came about in all the
fields of painting did not even leave the work on manuscript
layout unaffected. When, at the beginning of the century, the
times of hardship had become a thing of the past and condi¬
tions had partly returned to normal and become more stable,
work on painting miniatures gradually resumed (the
Mileševa
Gospel, Belgrade, Patriarchate Library,
№ 69).
The revival of Serbian art in the decades after the restora¬
tion of the Patriarchate included work on the embellishment
of hand-written books. In contrast to the books decorated with
ornaments, often executed by the calligraphers themselves, the
painting of compositions with human figures was sometimes
entrusted to renowned painters in this period. The best among
those artists approached the task assigned to them as though
it was a small icon, by virtue of which one can observe the
same features that characterised the style of their
iconographie
and fresco works. In addition to those artists, this task was
sometimes left to less talented painters, who were present in
larger numbers, and sometimes even to scribes who ventured
to draw and then paint
a figurai
representation. All of these
circumstances made the stylistic development of Serbian min¬
iature painting during the second half of the and beginning of
the
1
7th century considerably more diversified and its trends
more complex than it had been in the first half of the century.
Nevertheless, even in such a complex development which
unfolded in the period marked by two significant years
—
1557,
which marked the restoration of the Patriarchate and
1614,
when Pajsije was elected to the patriarchal throne
—
one can distinguish several more striking trends. Those trends
covered the same period, and at times, they overlapped and
influenced each other. The miniatures painted by the best
painters assembled around the Patriarchate and the Patriarch
or their direct followers belong to the first and also the most
important trend. Although preserved in only a number of
manuscripts (the
Krušedol
Gospel for which the author s por¬
traits were done by Longin, the Leontije Gospel from Sarajevo,
and the Four-Gospels at Cetinje and in
Veliko Središte),
those
miniatures can be considered an inseparable part of the great
painting revival, which at the same time included wall paint¬
ings and iconography.
The tone of the other trend, which encompasses the ma¬
jority of the preserved miniatures, was given by the works of
authors who had built their stylistic conceptions on the artis¬
tic achievements of the Late Middle Ages, and on emulating
the works of the group of painters who worked in
Peć
at the
same time. However, they simplified the painting procedure
of their models, rendering it more rustic and often reducing it
to a coloured drawing. The most significant achievements in
this collection of Gospels were accomplished by the presbyters
Cvetko from Godijevo and Strahinja from Budimlje, and the
scribe
Pavle.
The miniatures of several scribes and illumina¬
tors whose knowledge of painting was even more modest and
stylistic expression even more imbued with schematization
and the process of roughening the form can also be attributed
to this trend.
The third group encompasses numerous manuscripts with
authors portraits painted in medallions within the headpiec¬
es, the ornamentation of which reveals the infiltration of Is¬
lamic art. The core of this collection consists of the illuminated
manuscripts which had been done by the renown calligrapher
and priest,
Jovan
of Kratovo and his closest disciples during
the second half of the century. A certain number of simi¬
larly decorated books which were done by mostly unknown
scribes and illuminators during the whole of the 17th century
could also be added to this group. Some of those calligraphers
linked their work to the copying centres of the Holy Mount,
which supplied illuminated manuscripts not only to
Hilan-
308
The Serbian Miniature of the
1
6th and
Ì7th
Century
dar,
but also the monasteries in the area of the Patriarchate of
Peć.
There are also two very specific works that belong to the
group of manuscript books that came into being under the
influence of Islamic art
—
the copy of the Code of Mines of
Despotes
Stefan
Lazarević,
and the Four Gospels of
Karan.
The
ornamentation and the layout of these books show strikingly
Oriental influences.
Following the creative
élan
in the decades after the resto¬
ration of the Patriarchate and the brief lull on the threshold
of the new century, the next period of zealous dedication to
miniature painting occurred during the second quarter of the
17th century. In that period, the administration of the Church
stabilised in the hands of Patriarch Pajsije, the Church with
him at the helm went through a relatively peaceful period aus¬
picious for artistic activity. It was then that the painters
lovan
and
Andrija Raičević
created their most beautiful works, which
included important accomplishments in miniature painting.
Among them, a prominent place is occupied by the Psalter
copied in the monastery of the Holy Trinity near Pljevlja in
1643:
not only was it written by the hand of
Gavrilo Trojičanin,
the most outstanding calligrapher
ofthat
time, it was also dec¬
orated with miniatures produced by
Jovan,
the best Serbian
painter of that epoch. Painted in resounding tempera colours
in thick layers with an abundance of gold, flawless drawing,
and with a multitude of colourful details, these works, even at
a first glimpse, similar to the intricately painted
iconographie
achievements, undoubtedly represent the most beautiful min¬
iatures from the times of Turkish rule.
Andrija Raičević,
although less talented and eclectic in
stylistic conception, also found ways, whenever the opportu¬
nity arose, to introduce recognizable traits of his own paint¬
ing into the strict schemes that were established according to
the Russian model, during his work on the miniatures of the
Hexaemeron and the Christian Topography ofCosmas Indico-
pleustes
(1649).
Moreover, one sometimes has the impression
that thanks to the good performance or to momentary inspira¬
tion, he surpassed his usual painting skills. In those privileged
moments, he created picturesque and refined details and even
entire compositions, such as Building the Tower of Babel, or
Angels who carry the stars.
The patriarch himself encouraged the work on copying.
His love of books was not limited only to literary creativity
and the collection of books, it also extended to taking care
of the repair of damaged manuscripts. Thanks to his efforts,
the said copy of the most richly decorated Serbian codex from
the times of state independence, the so-called Serbian Psalter
of Munich, was produced between
1627
and
1630.
The nearly
150
miniatures which had then been copied were the greatest
undertaking in the painting of miniatures in the era of Turk¬
ish rule. The work of the old copying centres intensified and
certain centres, such as the Holy Trinity monastery of Pljevlja
experienced an extraordinarily thriving period.
The revival of the copying and illuminating activities in
the Serbian territories apparently reverberated in Hilandar as
well. After several decades of inactivity, the first richly decorat¬
ed manuscripts (the Hilandar Apostle
№ 107
from
1660
can be
singled out for the beauty of the author s portraits) appear in
Hilandar and also in some other scriptoria of the Holy Mount
that had worked for clients from Serbia, around
1630.
Such
activity would continue throughout the entire third quarter
of the 17th century right until the middle of the ninth decade
when it began to wane.
Several preserved manuscripts with miniatures, which
came into being in Serbian regions during the 1670s and 1680s,
prove that books decoration with complex ornamentation and
with miniatures went on without interruption until the Great
Migration itself. Besides the monastery of
Rača,
manuscripts
were also copied and embellished with
figurai
presentations
in other copying centres, as well. Their ornamentation,
icono¬
graphie
schemes and style of miniatures are diverse and were
inspired by models including the painted ornaments of books
from the Holy Mount from the second and third quarter of the
17th century, layouts of somewhat older Serbian and Russian
printed books, and details taken from Western European art.
In the times leading up to the Great Migration
(1689),
the most important representative of the
Rača
scriptorium
was Hristofor. The carefully copied and vividly illuminated
pages in the sixteen preserved manuscripts that originated
from the workshop
ofthat
talented calligrapher and illumina¬
tor also represented the final brilliant achievements of a long
and great tradition that reached back to medieval times. The
opus of Hristofor
Račanin
finally concluded this periodically
weakened but never completely disrupted flow. As the copy¬
ing centres were transferred to southern Hungary, the activi¬
ties of his brethren and their followers continued the work on
writing, copying, and decorating books along new paths that
swiftly included Serbian literature and art in the trends of West
European baroque culture.
|
| any_adam_object | 1 |
| author | Rakić, Zoran |
| author_facet | Rakić, Zoran |
| author_role | aut |
| author_sort | Rakić, Zoran |
| author_variant | z r zr |
| building | Verbundindex |
| bvnumber | BV041421420 |
| ctrlnum | (OCoLC)881774997 (DE-599)BVBBV041421420 |
| era | Geschichte 1500-1700 gnd |
| era_facet | Geschichte 1500-1700 |
| format | Thesis Book |
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| genre | (DE-588)4113937-9 Hochschulschrift gnd-content |
| genre_facet | Hochschulschrift |
| geographic | Serbien (DE-588)4054598-2 gnd |
| geographic_facet | Serbien |
| id | DE-604.BV041421420 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:56:25Z |
| institution | BVB |
| isbn | 9788674051085 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026868491 |
| oclc_num | 881774997 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 356 S. zahlr. Ill. |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Pravoslavni Bogoslovski Fak. - PBF [u.a.] |
| record_format | marc |
| spelling | Rakić, Zoran Verfasser aut Srpska minijatura XVI i XVII veka Zoran Rakić The Serbian miniature of the 16th and 17th century Beograd Pravoslavni Bogoslovski Fak. - PBF [u.a.] 2012 356 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., serb. - Zsfassung in engl. Sprache u.d.T.: The Serbian miniature of the 16th and 17th century Teilw. zugl.: Belgrad, Univ., Diss. Geschichte 1500-1700 gnd rswk-swf Buchmalerei (DE-588)4008650-1 gnd rswk-swf Serbien (DE-588)4054598-2 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Serbien (DE-588)4054598-2 g Buchmalerei (DE-588)4008650-1 s Geschichte 1500-1700 z DE-604 SWB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026868491&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026868491&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Rakić, Zoran Srpska minijatura XVI i XVII veka Buchmalerei (DE-588)4008650-1 gnd |
| subject_GND | (DE-588)4008650-1 (DE-588)4054598-2 (DE-588)4113937-9 |
| title | Srpska minijatura XVI i XVII veka |
| title_alt | The Serbian miniature of the 16th and 17th century |
| title_auth | Srpska minijatura XVI i XVII veka |
| title_exact_search | Srpska minijatura XVI i XVII veka |
| title_full | Srpska minijatura XVI i XVII veka Zoran Rakić |
| title_fullStr | Srpska minijatura XVI i XVII veka Zoran Rakić |
| title_full_unstemmed | Srpska minijatura XVI i XVII veka Zoran Rakić |
| title_short | Srpska minijatura XVI i XVII veka |
| title_sort | srpska minijatura xvi i xvii veka |
| topic | Buchmalerei (DE-588)4008650-1 gnd |
| topic_facet | Buchmalerei Serbien Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026868491&sequence=000001&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=026868491&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT rakiczoran srpskaminijaturaxviixviiveka AT rakiczoran theserbianminiatureofthe16thand17thcentury |