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Sacral Art of the Serbian Lands in the Middle Ages Byzantine Heritage and Serbian Art Ii Byzantine Heritage and Serbian Art I–Iii

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Sacral Art of the Serbian Lands in the Middle Ages Byzantine Heritage and Serbian Art Ii Byzantine Heritage and Serbian Art I–Iii II BYZANTINE HERITAGE AND SERBIAN ART II BYZANTINE HERITAGE AND SERBIAN ART BYZANTINE HERITAGE SACRAL ART OF THE SERBIAN LANDS IN THE MIDDLE AGES BYZANTINE HERITAGE AND SERBIAN ART II BYZANTINE HERITAGE AND SERBIAN ART I–III Editors-in-Chief LJUBOMIR MAKSIMOVIć JELENA TRIVAN Edited by DANICA POPOVić DraGAN VOJVODić Editorial Board VESNA BIKIć LIDIJA MERENIK DANICA POPOVić ZoraN raKIć MIODraG MARKOVić VlADIMIR SIMić IGOR BOROZAN DraGAN VOJVODić Editorial Secretaries MARka TOMić ĐURić MILOš ŽIVKOVIć Reviewed by VALENTINO PACE ElIZABETA DIMITROVA MARKO POPOVić MIROSLAV TIMOTIJEVIć VUJADIN IVANIšEVić The Serbian National Committee of Byzantine Studies P.E. Službeni glasnik Institute for Byzantine Studies, Serbian Academy of Sciences and Arts SACRAL ART OF THE SERBIAN LANDS IN THE MIDDLE AGES Editors DraGAN VOJVODić DANICA POPOVić BELGRADE, 2016 PUBLished ON THE OCCasiON OF THE 23RD InternatiOnaL COngress OF Byzantine STUdies This book has been published with the support of the Ministry of Education, Science and Technological Development of the Republic of Serbia CONTENTS CULTuraL SPACES AND SACraL FraMEWORKS ON THE BOUNDARY AMONG WORLDS AND CULTURES – THE ESSENCE AND SPACES OF SERBIAN MEDIEVAL ART 13 Dragan Vojvodić BYZANTIUM IN SERBIA – SERBIAN AUTHENTICITY AND BYZANTINE INFLUENCE 41 Bojana Krsmanović Ljubomir Maksimović SERBIA IN BYZANTIUM – THE PATRONAGE OF SERBIAN KTETORS IN THE BYZANTINE EMPIRE 57 Miodrag Marković SERBIAN PATHS OF RHOMAEAN CULTURE – THE RoLE OF SERBIA IN SPREADING BYZANTINE-STYLE ART TOWARDS THE WEST AND NoRTH OF EUROPE 75 Miroslava Kostić Miloš Živković * THE LITURGICAL FraMEwoRK OF SERBIAN AND BYZANTINE RELIGIOUS ART 91 Vladimir Vukašinović PAN-CHRISTIAN SAINTS IN SERBIAN CULT PraCTICE AND ART 103 Dubravka Preradović Ljubomir Milanović A NATIONAL ‘PANTHEON’: SAINTLY CULTS AT THE FoUNDATION OF SERBIAN MEDIEVAL STATE AND CHURCH 119 Danica Popović ‘GoD DWELT EVEN IN THEIR boDIES IN SPIRITUAL WISE’ – RELICS AND RELIQUARIES IN MEDIEVAL SERBIA 133 Danica Popović I. IN THE WEST OF THE BYZANTINE EMPIRE: ON A QUEST FOR IDENTITY BEGINNINGS OF ARTISTIC ACTIVITY IN THE SERBIAN LANDS (9TH–11TH CENTURY) 147 Miodrag Marković ON THE TRAIL OF UNIQUE SOLUTIONS – SERBIAN ART IN THE 12TH CENTURY 165 Miodrag Marković THE EARLY PERIOD OF ILLUMINATIONS IN SERBIAN MANUSCRIPTS 183 Jadranka Prolović STUDENICA: THE FUNERARY CHURCH OF THE DYNASTIC FOUNDER – THE CORNERSTONE OF CHURCH AND STATE INDEPENDENCE 193 Miloš Živković II. ACHIEVEMENT OF INDEPENDENCE AND FINDING AN INDENTITY: ON THE RUINS OF BYZANTIUM SERBIAN MONUMENTAL ART OF THE 13TH CENTURY 213 Branislav Todić raška ARCHITECTURE OF THE 13TH CENTURY AND ITS ScULPTUraL DEcoraTION 233 Milka Čanak-Medić THEMATIC PROGRAMMES OF SERBIAN MONUMENTAL PAINTING 249 Dragana Pavlović EcHO OF THE ANCIENT CHRISTIAN ORIENT IN LATE 12TH AND 13TH CENTURY SERBIAN ART 261 Tatjana Starodubcev III. COMPETING WITH THE RESTORED BYZANTINE EMPIRE: AN EPOCH OF DYNAMIC BYZANTINISATION SERBIAN ART FROM THE BEGINNING OF THE 14TH CENTURY TILL THE FALL OF THE NEMANjić STATE 271 Dragan Vojvodić THE MODEL OF EMPIRE – THE IDEA AND IMAGE OF AUTHORITY IN SERBIA (1299–1371) 299 Smilja Marjanović-Dušanić Dragan Vojvodić BYZANTINE AND RoManеsQUE-GoTHIC CONCEPTIONS IN SERBIAN ARCHITECTURE AND ScULPTURE IN THE 14TH CENTURY (TILL 1371) 317 Ivan Stevović ILLUMINATION OF SERBIAN MANUSCRIPTS OF THE HIGH MIDDLE AGES (1299–1371) 331 Jadranka Prolović RISE OF LATE FEUDALISM – THE ENDOWMENTS OF THE SERBIAN NobILITY 341 Smiljka Gabelić IN ENcoUNTERING WESTERN CULTURE – THE ART OF THE POMORJE (MARITIME LANDS) IN THE 14TH CENTURY 357 Valentina Živković NEW KINGDOM IN THE SoUTH – ART IN THE MRNJAVčEvić STATE 367 Marka Tomić Đurić IV. ASCENT IN THE NORTHERN AND WESTERN REGIONS: NEW CENTRES OF BYZANTINE-STYLE ART ART IN THE LANDS OF THE LAZAREvić AND BraNKOvić DYNASTIES 383 Tatjana Starodubcev ARTISTIC TRENDS ON THE PERIPHERY – THE LANDS OF THE BALšić, KoSAčA AND CRNOJEvić FAMILIES 401 Marka Tomić Djurić IN SEARCH OF LEGITIMACY: IDEOLOGY AND ART OF THE NEW SERBIAN DYNASTS 411 Branislav Cvetković SACraL BUILDING IN MOraVAN SERBIA 423 Ivan Stevović ARCHITECTUraL ScULPTURE AND THE SYSTEM OF DEcoraTION OF MOraVAN CHURCHES 435 Dubravka Preradović LATE MEDIEVAL SERBIAN MANUSCRIPT ILLUMINATION (1371–1459) 447 Jadranka Prolović V. IN THE SHADOW OF A STRUGGLE FOR SURVIVAL: ART AfTER THE LOSS OF STATE AND CHURCH INDEPENDENCE ART IN THE SERBIAN LANDS IN THE FIRST CENTURY UNDER OTTOMAN RULE 457 Svetlana Pejić THE SYRMIUM BraNKOvić DYNASTY AND FoUNDING THE HOLY MOUNT OF FRUška Gora 473 Vladimir Džamić SERBIAN PRINTED BOOK DECORATION IN THE 15TH AND 16TH CENTURIES: CENTRES AND CREATIVE PRODUCTION 485 Miroslav Lazić VI. CHRISTIAN THEOCRATIC REALM WITHIN AN ISLAMIC EMPIRE: A GREAT POST-BYZANTINE RENEWAL ART OF THE RESTORED PATRIARCHATE OF PEć (1557–1690) 497 Zoran Rakić THE OLD STATE IN THE FOUNDATIONS OF THE RENEWED CHURCH 515 Svetlana Pejić SERBIAN IcoN PAINTING IN THE TERRITORY UNDER THE JURISDICTION OF THE RENEWED PATRIARCHATE 529 Miljana M. Matić ILLUMINATION OF 16TH AND 17TH CENTURY SERBIAN MANUSCRIPTS 541 Zoran Rakić ‘ALL HOLY AND HONOUraBLE THINGS’ – SERBIAN SACraL GOLDSMITHING OF THE 16TH AND 17TH CENTURY 553 Mila Gajić EMERGENCE OF VERSATILE ARTISTIC PERSONALITIES – LoNGIN 565 Irena Špadijer Branislav Todić ISLAMIC INFLUENCES ON SERBIAN ART DURING OTTOMAN RULE 575 Ljiljana Ševo CHRONOLOGY 581 BIBLIOGRAPHY 585 LIST OF COLLAboraTORS AND THEIR AFFILIATIONS* 629 ΙII COMPETING WITH THE RESTORED BYZANTINE EMPIRE: AN EPOCH OF DYNAMIC BYZANTINISATION BYZANTINE AND ROMAnеsQUE-GOTHIC CONCEPTIONS IN SErbIAN ArCHITECTURE AND SCULPTURE IN THE 14TH CENTURY (TILL 1371) Ivan Stevović When the marriage of Serbian King Stefan Uroš II Mi- truly fundamental transformation in the eyes of the con- lutin to Princess Simonida, daughter of the emperor temporaries is a question that requires further research. Andronikos II Palaiologos, was signed at Easter in 1299, It is particularly doubtful if one bears in mind that ever the seal was placed on one of the last great geostrategic since the times of the first members of the Nemanjić line, changes in late medieval Europe, in the Balkans, and in- Ohrid, Athos, Thessaloniki, Constantinople, the Holy directly, in much more distant areas. This union formal- Land and the various centres of Western art were sources ised the outcome of Milutin’s military operations in seiz- for the spiritual and material mainstays of Serbian iden- ing a large portion of Macedonia, lands the Byzantines tity.3 However Byzantine Milutin (1282–1321), Stefan had ruled for centuries as undisputed masters. Therefore, of Dečani (1322–1331) and Stefan Dušan’s (1331–1355) the last year of the 13th century was definitively the year robes and insignia may have been, all three were aware when Serbia ceased being simply a neighbour of the Em- of the echoes of that ambivalent tradition when erecting pire. As subsequent events would reveal in the next half- each of their most important endowments.4 Consequently, century, Serbia would, in a significant measure, overlap it, regardless of the ‘quantitatively’ convincing sway of Byz- expanding deep into its territories.1 antine influence on Serbian sacral building in the first half of the 14th century, one may at the same time conclude Still, even though the newly established balance of powers that some of its characteristics, by no means epiphenom- inducted Serbia into the ranks of Europe’s most important enal, in the said period retained the same face of Janus it states, contact with a milieu far superior in all levels of had worn in the previous century. Its profile was drawn by culture laid the premises for the waves of Byzantine cul- unifying the interior of the Eastern Christian church and tural expansion to travel largely in the opposite direction the external appearance that resulted from the work of to that of the advancing army. From the institutions of masters from the West. As in Byzantium itself, the biggest state administration to art,2 the ‘Byzantinisation’ of Serbia change in Serbian architecture of the time occurred in the was not merely one more projection of new masters ap- domain of the structure and silhouette of the church exte- propriating the heritage of the defeated, but a program- rior, in the aspiration to establish equal symbolic values of matic commitment by the Serbian leaders to secure for the internal and the external space.5 In Serbia, that change themselves the position of a guardian and propagator. To gave rise to a repertoire of solutions more diverse than at what extent this cultural turnabout, viewed as conspicu- any other point in the Byzantine world. ous, in view of present-day insights, seems to have been a Accordingly, to say that Serbian sacral building, which began at the time when the state reached its apogee, dis- 1 The political circumstances and events during this period are laid played the features of both contemporary Byzantine and out and analysed in a large number of publications. Hence we refer to the paper of B. Krsmanović and Lj. Maksimović in this volume, pronounced Romanesque-Gothic conceptions, would with bibliography. 2 Obolensky, The Byzantine Commonwealth,237 sq; Ćirković, I Serbi 3 Cf. Чанак-Медић, Поповић, Војводић, Манастир Жича, 13– nel Medioevo; Ђурић, Бабић-Ђорђевић, Српска уметност у сред- 110 (with previous literature). њем веку II, 5–47, 48–91; Кораћ, Шупут, Архитектура визан- 4 Марјановић-Душанић, Владарске инсигније, 52–59; eadem, Све- тијског света, 328–354; Todić, Serbian Medieval Painting,203–287; ти краљ, 323–336. Ćurčić, Architecture in the Balkans, 624–651. 5 Кораћ, Шупут, Архитектура византијског света, 364. 317 Ivan Stevović individuals like this in Byzantium.7 In Serbia, the practi- cal forms of their influence in architecture and art in gen- eral were personified in Archbishop Danilo II. He was the hegoumenos of Hilandar, the royal biographer, officially ap- pointed supervisor in the building of the sepulchral church- es of Milutin and Stefan of Dečani, but also a ktetor himself of several edifices, the most important of which were those that belong to the complex of the Patriarchate of Peć (figs.
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