MATICA SRPSKA Odeqewe za likovne umetnosti MATICA SRPSKA Department of Visual Arts Copyright © Matica srpska, Novi Sad, 2010 ISSN 0352-6844 / UDK 7 (05) Zbornik Matice srpske za likovne umetnosti 38 Uredništvo dr ALEKSANDAR KADIJEVIÃ (glavni i odgovorni urednik) dr MIODRAG MARKOVIÃ dr LIDIJA MERENIK dr NENAD MAKUQEVIÃ dr KOKAN GRÅEV (Skopqe, B.J.R. Makedonija) NOVI SAD 2010 SADRŸAJ — CONTENTS ÅLANCI, RASPRAVE, PRILOZI ARTICLES, TREATISES, CONTRIBUTIONS 1. Miodrag Markoviã, THE PAINTER EUTYCHIOS — FATHER OF MICHAEL ASTRAPAS AND PROTOMASTER OF THE FRESCOES IN THE CHURCH OF THE VIRGIN PERI- BLEPTOS IN OHRID Miodrag Markoviã, SLIKAR EVTIHIJE — OTAC MIHAILA ASTRAPE I PRO- TOMAJSTOR FRESAKA U CRKVI BOGORODICE PERIVLEPTE U OHRIDU . 9 2. Dragan Vojvodiã, SLIKA SVETOVNE I DUHOVNE VLASTI U SRPSKOJ SRED- WOVEKOVNOJ UMETNOSTI Dragan Vojvodiã, THE IMAGE OF SECULAR AND SPIRITUAL AUTHORITIES IN SER- BIAN MEDIEVAL ART ......................... 35 3. Saša Brajoviã — Tatjana Bošwak, PARK NA JEZERU IBERA ROBERA U NAROD- NOM MUZEJU U BEOGRADU Saša Brajoviã — Tatjana Bošnjak, PARK ON A LAKE BY HUBERT ROBERT IN THE NA- TIONAL MUSEUM IN BELGRADE ..................... 79 4. Bogdan Jawuševiã, PRILOG PROUÅAVAWU STARE GRADSKE KUÃE U SOMBORU Bogdan Janjuševiã, HISTORY OF THE ORIGINAL EDIFICE OF THE TOWN HALL IN SOMBOR ............................... 97 5. Miroslav Timotijeviã, PROSPEKT MANASTIRA KRUŠEDOLA U SREMU: BAKRO- REZ ZAHARIJE ORFELINA IZ 1775 Miroslav Timotijeviã, PROSPEKT OF THE KRUŠEDOL MONASTERY IN SREM: COPPER ENGRAVING OF ZAHARIJA ORFELIN FROM 1775 .............. 111 6. Nenad Makuqeviã, ANDREJA DAMJANOV: ARHITEKTA POZNOOSMANSKOG BAL- KANA Nenad Makuljeviã, ANDREJA DAMJANOV: ARCHITECT OF LATE OTTOMAN BAL- KANS ................................ 137 7. Miloš Stankoviã, IKONA HRISTOVOG POLAGAWA U GROB IZ STARE CRKVE U SARAJEVU Miloš Stankoviã, ICON OF LAYING CHRIST IN THE TOMB FROM THE OLD CHURCH IN SARAJEVO ............................. 151 8. Rostislava Grimaquk, VITRAŸI PETRA KARPQUKA U KONTEKSTU 101. GODI- ŠWICE DELATNOSTI „ATEQEA VITRAŸA I MOZAIKA STANIŠIÃ I SI- NOVI" U SOMBORU Rostislava Grimalyk, V¡TRAŸ¡ PETRA KARPLYKA V KONTEKST¡ 101-L¡TNÜOÏ D¡ÄLÜNOST¡ „ATELÜE V¡TRAŸ¡V ¡ MOZAÏKI STAN¡Š¡Å ¡ SINI" U SOMBOR¡ Rostyslava Hrymalyuk, STAINED GLASS BY PETRO KARPLYUK IN CONTECST OF 101 YEARS OF WORK ACTIVITY “STAINED GLASS AND MOSAIC STUDIO STANI- ŠIÃ AND SONS" IN SOMBOR ...................... 161 9. Vladimir Popoviã, POMORSKE BITKE NA JADRANU 1914—1915. NA CRTEŸI- MA SLIKARA NIKOLE JEREMIÃA Vladimir Popoviã, BATAILLES NAVALES DE 1914—1915 SUR L'ADRIATIQUE ILLU- STRÉES PAR LE PEINTRE NIKOLA JEREMIÃ ................ 175 10. Simona Åupiã, „KUÃA BEZ ŸENE NE MOŸE BITI, A NITI I ŸENA BEZ KUÃE" Simona Åupiã, "A HOUSE WITHOUT A WOMAN CANNOT EXIST LIKE A WOMAN CANNOT EXIST WITHOUT A HOUSE" ................... 199 11. Milanka Todiã, POTROŠAÅKA KULTURA U IZGRADWI, PREDSTAVA ŸENE U ŠTAMPANIM REKLAMAMA (1900—1940) Milanka Todiã, CONSUMER CULTURE ON THE RISE, A REPRESENTATION OF WO- MEN IN PRINTED ADVERTISEMENTS (1900—1940) ............. 213 12. Nenad Radiã, VRATIO SAM SE IZ „RAJA" — ÅETIRI AUTOPORTRETA SA PA- LETOM Nenad Radiã, I'VE COME BACK FROM 'HEAVEN' — FOUR SELF-PORTRAITS WITH A PALETTE .............................. 235 13. Milan Popadiã, NOVI ULEPŠANI SVET: SOCIJALISTIÅKI ESTETIZAM I ARHITEKTURA Milan Popadiã, NEW IMPROVED WORLD: SOCIALISTIC ESTHETISM AND ARCHI- TECTURE ............................... 247 14. Dragan Bulatoviã, DISKURS NEALUZIVNE PRODUKCIJE I NUŸNA ALUZIV- NOST INTERPRETACIJE Dragan Bulatoviã, A DISCOURSE OF NON-ALLUSIVE PRODUCTION AND NECES- SARY ALLUSIVENESS OF INTERPRETATION ................ 261 PRIKAZI REVIEWS 1. Balša Ðuriã, Dušan Milovanoviã: Riznice manastira Hilandara ........ 275 2. Jerko Denegri, Srðan Markoviã: Decembarska grupa .............. 278 3. Davor Xalto, Mišel Fakos: Symbolist Art in Context .............. 281 4. Katarina Nešiã, Bruno Zevi: Arhitektura — kontraistorija ......... 283 5. Aleksandar Kadijeviã, Aleksandra Stupar: Grad globalizacije .......... 287 6. Igor Borozan, Katarina Mitroviã, Topåider. Dvor kneza Miloša Obrenoviãa ... 289 IMENSKI REGISTAR .......................... 297 GEOGRAFSKI REGISTAR ......................... 307 UPUTSTVO ZA AUTORE .......................... 313 TEKSTOVE ZBORNIKA MATICE SRPSKE ZA LIKOVNE UMETNOSTI BR. 38 RECENZIRALI SU: Aleksandar Kadijeviã Branislav Todiã Donka Stanåiã Nenad Radiã Lidija Merenik Aleksandar Igwatoviã Srðan Markoviã Miodrag Jovanoviã Miodrag Markoviã Nenad Makuqeviã Miroslav Timotijeviã Saša Brajoviã Milanka Todiã Simona Åupiã Zbornik Matice srpske za likovne umetnosti Izlazi jedanput godišwe Izdavaå Matica srpska Uredništvo i administracija: Novi Sad, Ulica Matice srpske 1 Telefon: ++381-21/420-199, 6615-038 e-mail: [email protected] Matica srpska Proceedings for Visual Arts Published once a year Published by Matica srpska Editorial and Publishing Office: Novi Sad, 1 Matice Srpske Street Phone: ++381 21 420 199 or 6615 038 e-mail: [email protected] ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Uredništvo je Zbornik Matice srpske za likovne umetnosti br. 38/2010. zakquåilo 28. januara 2010. Struåni saradnik Odeqewa: Marta Tišma Prevodilac za engleski jezik: Biqana Radiã-Bojaniã Prevodilac za francuski jezik: Marie Létourneau-Åuråiã Lektor i korektor: Tatjana Pivniåki-Driniã Tehniåki urednik: Vukica Tucakov Kompjuterski slog: Mladen Mozetiã, GRAFIÅAR, Novi Sad Štampa: Štamparija Stojkov CIP — Katalogizacija u publikaciji Biblioteka Matice srpske, Novi Sad 75(082) ZBORNIK Matice srpske za likovne umetnosti / glavni i odgovorni urednik Aleksandar Kadijeviã. — 1986, 22— . — Novi Sad : Matica srpska, 1986—. — Ilustr. ; 26 cm Godišwe. — Tekst na srp., rus. i eng. jeziku. — Je na- stavak: Zbornik za likovne umetnosti = ISSN 0543-1247 ISSN 0352-6844 COBISS.SR-ID 16491778 Štampawe ovog Zbornika omoguãilo je Ministarstvo za nauku i tehnološki razvoj Republike Srbije ÅLANCI, RASPRAVE, PRILOZI ARTICLES, TREATISES, CONTRIBUTIONS UDC 75.052:726.54(497.7 Ohrid) MIODRAG MARKOVIÃ University of Belgrade Univerzitet u Beogradu, Filozofski fakultet, Odeqewe za istoriju umetnosti Originalan nauåni rad / Original scientific paper The Painter Eutychios — Father of Michael Astrapas and Protomaster of the Frescoes in the Church of the Virgin Peribleptos in Ohrid1 ABSTRACT: This study primarily deals with the identity of the protomaster of the frescoes in the church of Virgin Peribleptos in Ohrid and with the painters' signatures in the church of St. George in Staro Nagoriåino and the church of St. Niketas near Skopje. KEY WORDS: Michael Astrapas, Eutychios, Byzantine painters, Staro Nagoriåino, the church of St. Niketas near Skopje, the church of the Virgin Peribleptos in Ohrid, painter's signatures, Byzantine painting, Serbian medieval painting Professional circles, for the first time, heard of Michael and Eutychios, the well-known Byzantine painters from the end of the 13th and the beginning of the 14th century, almost one hundred years ago, when Gabriel Millet and Louis Bréhier discovered inscriptions with their names in the Church of St. George in Staro Nagoriåino (Figs. 1a, 1b, 1c and 2a, 2b, 2c).2 The names of the two artists were later discovered on a fresco in the Church of St. Ni- ketas near Skopje (Figs. 3a, 3b, 3c) and, in the mid-1900s, several of their signatures were fo- 1 This text was read out at the symposion entitled „The Artistic Life of Pskov and Late Byzantine Art" held in Moscow, in September, 2003. The papers from that symposion were published only recently in the new issue of the Drevnerusskoe iskusstvo (Khudozhestvennaia zhizn' Pskova i iskusstvo pozdnevizantiiskoi epokhi. K 1100-letiiu Psko- va, Moscow 2008; our text is found on pp. 411—416). Unfortunately, the text was published without any illustra- tions, even though the author had submitted them in time. Besides, parts of the text that were written in the Greek language were printed with numerous mistakes so that they were illegible or it was difficult to read them. Given that the text primarily concerns the artists' signatures written in Greek, the said errors rendered the text useless. There- fore, we are publishing it here, once more, and express our gratitude to the editorial board of the Zbornik Matice srpske za likovnu umetnost for their understanding. 2 First Millet read the name of Eutychios on the tunic of St. Theodore Teron (Figs. 1a, 1b, 1c) in 1906, and then Bréhier, in 1928, discovered Michael's name on the shield of a holy warrior, probably St. Artemios, painted on the northern wall of the naos (Figs. 2a, 2b, 2c), see G. Millet, La derniére évolution de l'art byzantin, in: Histoire de l'Art, depuis les premiers temps chrétiens jusqu'à nos jours, ed. A. Michel, t. III/2, Paris 1908, 952; idem, L'école grecque dans l'architecture byzantine, Paris 1916, 12, fig. 2; L. Bréhier, Les vieilles églises serbes. Impressions de voyage d'un congressiste, Nova Evropa XXIV/1 (1931), 12. 9 MIODRAG MARKOVIÃ * Fig. 1a St. Theodore Teron. The Church of Saint George in Staro Nagoriåino 10 * THE PAINTER EUTYCHIOS — FATHER OF MICHAEL ASTRAPAS … Fig. 1b St. Theodore Teron, a detail (signature with the names of Michael and Eutychios). The Church of Saint George in Staro Nagoriåino (drawing P. Miljkoviã-Pepek) Fig. 1c St. Theodore Teron, a detail (signature with the names of Michael and Eutychios). The Church of Saint George in Staro Nagoriåino (drawing B. Todiã) 11 MIODRAG MARKOVIÃ * Fig. 2a St. Artemios. The Church of Saint George in Staro Nagoriåino