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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 NEW KINGDOM IN THE SOUTH – ART IN THE MRNJAVčEvić STATE Marka Tomić Đurić The conditions for the political and state changes that St. John the Forerunner on Mt. Menoikeion (fig. 44) and occurred during the seventh decade of the 14th century the monasteries on Mount Athos.5 There remain, partial- emerged gradually within the expanses of the Nemanjić ly preserved under a layer from the 19th century, frescoes Empire. A faltering, visible in all segments of political life ordered by the despot to decorate the chapel dedicated in the state, headed at the time by the emperor Uroš, a to the Holy Anargyroi Sts. Cosmas and Damian in Vato- ruler without power and progeny, propelled to the fore- pedi (before 1371, figs. 46, 47),6 while the arcosolia in front the most powerful Serbian feudal lord at the time Hilandar with fresco icons depicting the Pelagonitissa – Župan of Prilep Vukašin Mrnjavčević. In 1365, Vukašin mark the graves of his son, Uglješa Despotović, and the was crowned king and became co-ruler with the emperor father-in-law of the kesar Vojihna.7 Another patron of Uroš Nemanjić. Vukašin’s son Marko, on receiving the the arts from the Mrnjavčević family circle was Nikola title of the ‘young king’ in late 1370 or the first half of Radonja, brother-in-law to Despot Uglješa and King 1371, laid the foundation for the creation of a new Ser- Vukašin, who, as the monk Roman, after the death of bian dynasty (fig. 308).1 his wife and daughters, built the Chapel of St. Nicholas above the narthex of the katholikon of the Monastery of As co-ruler with Emperor Uroš, Vukašin Mrnjavčević had St. John on Mt. Menoikeion, near Serres (circa 1364, fig. been recognised as king in the south-western parts of the 49).8 Vukašin’s son Marko embarked on his ktetorial ac- Serbian Empire since 1365. That the subjects considered tivity as the young king. It was by his ‘order and ransom’ his rule legitimate is evidenced by the ktetorial portraits that the Church of the Annunciation of the Mother of in Psača (1365–1371), depicting the emperor Uroš and God in Prizren was painted (1370/1371).9 the king Vukašin along with members of the family of the sebastokrator Vlatko (figs. 88, 232).2 The political ascent Depending on political circumstances and economic and newly gained royal dignity was accompanied by an resources, the nobility of the Mrnjavčević dynasty built inclination to engage in ktetorial activities, which King churches and monasteries on their land. In the private Vukašin did with a monumental church dedicated to St. family foundation of the monk German, dedicated Demetrios, in Sušica, near Skopje (fig. 298). The kteto- to the Transfiguration, at the Zrze monastery outside rial inscription, if it may be relied upon, states that the Prilep, his successors, the future metropolitan Jovan katholikon of Marko’s Monastery (Markov Manastir) was Zographos and the hieromonk Makarije (fig. 307), paid commenced in 1344/45,3 while an architectural analysis to have the newly built narthex decorated with frescoes shows that the church was most likely completed circa (1368/69, figs. 286, 287).10 That same year, the kesar 1365/66.4 The ktetorial efforts of Vukašin’s brother, Des- pot of Serres Jovan Uglješa, focused on renowned shrines 5 Кораћ Д., Света Гора, 127–137, 148–155, 175–176. located in the territory under his rule - the Monastery of 6 Ђурић, Фреске црквице Светих бесребреника, 125–136; Тодић, Српске уметничке старине у Ватопеду, 139–142, figs. 2–3. 1 Михаљчић, Крај Српског царства, 79–99, 164–173; idem, Вла- 7 Поповић Д., Сахране и гробови, 211–214. дарске титуле, 252–258. 8 Djordjević, Kyriakoudis, The Frescoes in the Chapel of St. Nicholas, 2 Ђорђевић, Зидно сликарство српске властеле, 117–119, 172–173. 167–233. 3 Грозданов, Суботић, Црква светог Ђорђа у Речици, 73–74. 9 Ивановић, Натпис младог краља Марка, 20–21. 4 Касапова, Марков манастир, 299–303. 10 Тодић, Сликарство припрате Зрза, 211–222. 367 Marka Tomić Đurić Fig. 298. Marko’s Monastery (Markov manastir), Church of St. Demetrios Novak had an older church on Lake Prespa’s Mali Grad In the Mrnjavčević state, the high clergy of the Ohrid island, dedicated to the Mother of God (built as long Archbishopric and representatives of the nobility (fig. ago as 1344/45), restored and re-decorated with a new 309) also undertook significant ktetorial activities. Bishop layer of frescoes.11 The recently torn down Church of St. of Devoll Grigorije was responsible for the building and George in Rečani, outside Prizren, where an unknown decorating of the Chapel of St.
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