Представе властелинки у српском зидном сликарству у доба Немањића

Abstract

У српском сликарству у доба Немањића супруге приказаног племића добијале су значајно место у властеоским портретним целинама. У раду ће бити речи о размештају властелинки у оквиру групних властеоских представа тога периода, те о њиховим ставовима и гестовима, као и о њиховој одећи, инсигнијама и накиту. Детаљна анализа показаће постојање знатних разлика у изгледу, кроју и украсима на хаљинама властелинки и појединих чланова њихових породица. Са друге стране, у већини случајева положај фигура властелинки, као и покрети тела и руку сличан је ставовима њихових супружника. Властеоске композиције представљају стога важан извор за проучавање инсигнија, накита и костима супруга представника српског властеоског слоја у 14. веку.

The results of research and the analysis of representations of noblewomen in Serbian wall painting of the Nemanjić period – twelve aristocratic family portraits – have shown that, in the predominant number of cases, they were depicted with their husbands and children, in different parts of the church, in the narthex and the nave, or on the church façades, in both the lower and the higher painted zones. Observed on the whole, the position of the figures, the movements of the bodies and arms on the portraits of noblewomen is similar to the positions in which their husbands were depicted. They were painted frontally, turned slightly to the left or right or in semi-profile, most often with one or both hands raised in prayer. And, while only some of the Serbian noblemen were depicted with circlets on their heads, noblewomen were most often portrayed wearing a crown, a circlet, a počelica (worn across the forehead), or a kerchief around the head and neck in different ways. The surviving examples indicate the existence of significant differences in the appearance, models and ornaments on the robes of noblewomen and some of their family members. The dress of noblewomen mainly consisted of undergarment, an outer dress and the mantle worn over them. The differences in the appearance of the garment of noblewomen and their husbands, apart from the presence of a belt at the waist on the men’s and its absence on the women’s robes almost as a rule, is observed in their length, since the men’s robes are always shorter than the women’s. Consequently, with all these details, the portraits of noblewomen in the Serbian art of the Nemanjić period represent a first-rate document about their physical appearance, names and titles. At the same time, they are an unavoidable source for studying the insignia, jewellery and aristocratic attire of that period.