Мушки властеоски портрет у време цара Уроша (1355–1371). Утицај традиције и нови обичаји

Abstract

У раду се разматрају представе српске властеле настале у доба власти цара Уроша. Слабљење и распадање Српског царства довели су до осамостаљивања и јачања властеоског слоја, што се непосредно одразило на уобличавање њихових представа. Темељна анализа показала је да оне чине спој старијих узора и нових решења. Ипак, поједине особености у иконографским, а нарочито програмским решењима представа српске властеле из доба власти цара Уроша указују на њихово посебно место у оквиру српског властеоског портретног сликарства.

The turbulent period of emperor Uroš’s reign (1355–1371) was marked by the ktetorial activity of the Serbian aristocracy. Noblemen on various levels of hierarchical scale became important ktetors. Unfortunately, there are few preserved aristocratic portraits in churches painted during the reign of the Serbian emperor Uroš. They can be found in the interior of the Church of St. John the Theologian in Zemen, the Church of the Virgin in Vaganeš and of St. Nicolas in Psača, as well as on facades of the Church of the Virgin in Sušica, of parakklesion of St. Gregory next to the Church of Virgin Peribleptos in Ohrid and the Church of the Virgin on the island of Mali Grad on Prespa. They all indicate the compound of traditional iconographic forms and some, until then, rare or unknown solutions and program concepts. When it comes to iconography, aristocratic portraits dated to the time of emperor Uroš did not basically differ from the images of male noblemen dated to the times of Uroš’s predecessors. It can be observed in the appearance of their clothes, as well as in their posture and gestures of the portrayed noblemen, etc. The program setting of aristocratic portraits is also the combination of older role-models and unusual solutions. The increase of the self-consciousness of the noblemen left its trace on the appearance of the portraits within the painting program of Serbian churches, which can be seen particularly in the custom of raising noblemen portraits in higher zones. Such a solution is the most distinctive program feature of aristocratic art in the age of emperor Uroš. All said suggests that the representations dated to the times of emperor Uroš have a special place within Serbian aristocratic portraits.