Naslov (srp)

Царске двери из Даруварског Брестовца - о вази са цвећем у представи Благовести : Hommage Радмили Михаиловић

Autor

Кучековић, Александра П.

Opis (eng)

Summary: The iconostasis in the Slavonian village of Daruvarski Brestovac, painted in 1750, until now unknown in the study of Serb church painting of the mid-18th century, with a developed, baroque Marian iconographic program on the Royal Doors, was selected as the focus for observing a vase with flowers as a specific still-life motif in the scene of The Annunciation. A developed variant of this motif, which the anonymous painter saw most probably on graphic print templates of western or, which is more probable, of Russian and Ukrainian origin, can be seen on the Royal Doors in Brestovac. Its early, elaborated appearance in terms of the painting technique, in a provincial Slavonian village, indicates the toFig.ality of the theological content known to the person who commissioned the painted ensemble. Along with the other iconographic characteristics – the strong accent of the iconography of the Royal Doors on the teachings regarding the Immaculate Conception of the Mother of God – but also other aspects of the content and style (the “consecrative type” of the Last Supper above the Royal Doors and the sequence of the developed baroque landscape), the iconostasis in Brestovac is the result of the Slavonian environment’s strong inclination towards the theological and artistic concepts of Kiev-Pečersk origin, at the time of Bishop Sofronije Jovanović (1743-1757). By following the origin of the motif of the vase with flowers in the scenes of The Annunciation, but also of its independent development within the framework of the western European tradition, the probable contact points were noted which transferred this symbolic Marian focus to the Serbian iconostases of the mid-18th century. A particularly interesting aspect of the analysis in this context is the appearance of the ktetor’s inscription in Daruvarski Brestovac, which was conceived in most part as a panegyric to the virtues and merits of Bishop Sofronije Jovanović. In addition to the usual elements of this type of testimony, the inscription contains a poetic comparison of the bishop to the lily flower, which created the possibility of fitting this artistic and poetic ensemble into the context of similar baroque literary and visual art works in the Karlovac Metropoly

Opis (srp)

Сажетак: Рад представња осврт на специфичан мотив мртве природе у представама Благовести на царским дверима српских иконостаса средином XVIII века са укетом цвећа, на његово поркло, те путеве и контексте транспозиције у српско барокно религиозно сликарство. Повод је откривање досад непознатог зографског иконостаса са развијеним раним, али потпуно зрелим, маријанским имакулатичним концептом на царским дверима у цркви славонског села Даруварски Брестовац из 1750. Анализа је омогућила и шири увид у богословску позадину црквеног сликарства у Славонији у време епископа Софронија Јовановића (1743-1757).

Jezik

srpski

Datum

2012

Licenca

© All rights reserved

Predmet

Кључне речи: Благовести - иконографија, мртва природа, ваза са цвећем, крин, Пакрачко-славонска епархија, Софроније Јовановић.

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