Kasnobarokna retrospektivnost i zlatarstvo Nišavske eparhije u XIX veku

Abstract

Uloga kujundžija i zlatara koji deluju u razvijenim trgovačkim varošima, poput Pirota, značajna je za sagledavanje balkanske vizuelne kulture i crkvene umetnosti XIXveka. Autentičan korpus umetničkih predmeta nastalih za potrebe crkve u radionicama lokalnih varoških kujundžija i zlatara pripada materijalnoj kulturi gradova, čineći sponu sa svakodnevicom i njenim profanim predmetima sačuvanim u neznatnom broju. Zlatarski radovi pirotskih majstora obuhvataju okove jevanđelja, masivne srebrne putire sa diskosima, Prestone krstove, ripide, tasove i anafornike, bračna venčila, kao i bogate okove ikona. Naročitu grupu predmeta čine radovi lokalnih zlatara s kraja XIX veka, koji se povremeno javljaju i kao njihovi priložnici. Umetničke karakteristike pomenutih predmeta ukazuju na kontinuirano negovanje kasnobaroknih modela pod uticajem zlatarstva XVIII veka. Predmeti nastajali u pirotskim radionicama nadovezuju se na tradicije hrišćanske umetnosti juga Balkana i Levanta. Od perioda tanzimatskih reformi do Prvog svetskog rata pirotski majstori izrađuju reprezentativno crkveno srebro, čija je osnovna vizuelna karakteristika dosledno negovanje kasnobarokne tradicije i odsustvo istorističkih stilova. Predmeti iz varoških crkava Pirota i njegove neposredne okoline reprezentuju umetničke tokove i društvenu dinamiku u južnim krajevima Srbije tokom XIX i u prvim decenijama XX veka.

The role of silversmiths and goldsmiths who were active in developed trading towns such as Pirot is important for getting a good view at the Balkan visual culture and ecclesiastical art of the 19th century. The authentic corpus of artistic objects created for the needs o f the church at the workshops of the town's local silversmiths and goldsmiths belongs to the urban material culture creating a link with the daily life and its profane objects preserved in small numbers. The pieces made by masters from Pirot include the silver cover for Gospels consisting o f variously shaped metal fittings, massive silver chalices with patens, blessing crosses, rhipidions, silver plates and antidoron bowls, wedding crowns, as well as 'votive silver fittings for icons. A particular group of the objects consists of the works made by local goldsmiths from the end of the 19th century who sometimes appear also as their donors. The artistic characteristics of the said objects suggest continuous cherishing of the Baroque models under the influence of the 18th-century goldsmithery. The objects created at the workshops of Pirot constitute a continuation of the tradition of the Christian arts of the Balkans and the Levant. From the period of the Tanzimat reforms to WWI, the masters from Pirot made representative ecclesiastical silver the basic visual characteristic of which was consistent cherishing of the late Baroque tradition and absence of historic styles. The objects from the urban churches of Pirot and its direct environs represent artistic trends and social dynamics in the south regions of Serbia during the 19th century and in the first decades of the 20th century.