Између репрезентације црквене власти и приказа актуелног: представе митрополита Михаила Јовановића у другој половини 19. века

Abstract

Митрополит Михаило Јовановић се убраја међу најзначајније личности у осмовековној историји српске цркве. Током столовања на челу Српске митрополије од 1859. до 1881. године, те од 1889. до 1898. године, оставио је дубок траг на богословску мисао и устројство црквене организације у другој половини 19. века. Деловао је као ангажовани национални радник и културни делатник у јавном простору заједнице. Упркос значајном проучавању митрополитовог богословског дела и јавног деловања, истраживање пласмана његовог лика у разноликим медијима није било предмет систематског истраживања.

Metropolitan Mihailo Jovanović is one of the most important figures in the eightcentury long history of the Serbian Orthodox Church. Officiating twice as the head of the Metropolitanate of Serbia, in the periods 1859 – 1881 and 1889 – 1898, he left a very deep mark on theological thought and church organization of the second half of the 19th century. He was an active advocate of national issues and a cultural worker within the public space of the community. Yet, his image that was set in various media was not subject to systematic research. The images of the Metropolitan in illustrated newspapers, photographs, arts, and satirical magazines reveal the multilayer aspects of visual culture. The representative poses of Metropolitan’s images, all the photographs made during public processions, his exaggerated figure on the cartoons, as well as his portrayal on the deathbed, confirm that his image was the subject of broader religious, cultural, social and political frameworks, beyond time constraints. At the same time, his images were subjects to intermedia permeation. The same canonical images fluctuated in the medium of painting, lithography, photography, etc. highlighting the period of mass consumption of the images of church leaders. His representative portraits in painting medium are of particular significance, originating from the concept of the magnificence of rulers’ portraits. In the late 19th century, Svetislav Jovanović and Rafailo Momčilović made the most striking official portraits of this church father. The images of the Metropolitan wearing medals in the form of an official portrait express the dignity and institutional importance of the church. The Metropolitan’s portrait is defined as his historical image, but also as a timeless visual confirmation of the authority of the institution of Metropolitanate. The media image of the Metropolitan Mihailo is finally discussed through the prism of the space between the representation of the head of the church institution and the present moment.