The Spatial and Programmatic Context of the Noble Portraits: Byzantium-Serbia-Bulgaria
Apstrakt
The portraits of mediaeval nobility were located in various parts of the interior of Byzantine,
Bulgarian and Serbian churches, most frequently the naos or narthex. Very oten such portraits
were also placed on church façades, as can be seen in St. Marina in Karlukovo and in the church
of the Taxiarches of the Metropolis in Kastoria. In mediaeval Serbia this was a frequent practice
during the reigns of King and later Emperor Stefan Dušan, and his successor to the imperial crown,
Uroš (Pološko, Treskavac, Mali Grad, Sušica). he lower zone of the wall paintings in both the
naos and the narthex were the usual location for the portraits of the nobility in Byzantium and
the countries within its cultural sphere, but noble portraits also appear in the second zone on the
church façades and in the narthex. In the surviving examples of Byzantine art, such as the western
façade at Kurbinovo and the eastern wall of the narthex of the church of St Nicholas tou Kasnitzi
in Kastoria, the roy...al and noble portraits are located in the upper zones from as early as the 12th
century. In Serbian wall-painting however, the aristocratic portraits do not appear in the second or
third zones until ater 1355, in the reign of Emperor Uroš (the western façade of the church on the
island of Mali Grad in Lake Prespa, the southern façade of the church of the Virgin at Sušica and the
narthex of the church of the Virgin at Vaganeš).
Ključne reči:
portraits of mediaeval nobility / Byzantine / Bulgaria / SerbiaIzvor:
Thematic Session of Free Communications: THE PORTRAIT IN BYZANTIUM AND IN THE BYZANTINE WORLD: ITS POLITICAL, SYMBOLICAL AND CEREMONIAL CONTEXTS. 23rd International Congress of Byzantine Studies, Belgrade, 22-27 Avgust 2016., 08-2016, 640-641Izdavač:
- The Serbian National Committee of Byzantine Studies
Institucija/grupa
Istorija umetnosti / History of ArtTY - CONF AU - Pavlović, Dragana PY - 2016-08 UR - http://reff.f.bg.ac.rs/handle/123456789/6353 AB - The portraits of mediaeval nobility were located in various parts of the interior of Byzantine, Bulgarian and Serbian churches, most frequently the naos or narthex. Very oten such portraits were also placed on church façades, as can be seen in St. Marina in Karlukovo and in the church of the Taxiarches of the Metropolis in Kastoria. In mediaeval Serbia this was a frequent practice during the reigns of King and later Emperor Stefan Dušan, and his successor to the imperial crown, Uroš (Pološko, Treskavac, Mali Grad, Sušica). he lower zone of the wall paintings in both the naos and the narthex were the usual location for the portraits of the nobility in Byzantium and the countries within its cultural sphere, but noble portraits also appear in the second zone on the church façades and in the narthex. In the surviving examples of Byzantine art, such as the western façade at Kurbinovo and the eastern wall of the narthex of the church of St Nicholas tou Kasnitzi in Kastoria, the royal and noble portraits are located in the upper zones from as early as the 12th century. In Serbian wall-painting however, the aristocratic portraits do not appear in the second or third zones until ater 1355, in the reign of Emperor Uroš (the western façade of the church on the island of Mali Grad in Lake Prespa, the southern façade of the church of the Virgin at Sušica and the narthex of the church of the Virgin at Vaganeš). PB - The Serbian National Committee of Byzantine Studies C3 - Thematic Session of Free Communications: THE PORTRAIT IN BYZANTIUM AND IN THE BYZANTINE WORLD: ITS POLITICAL, SYMBOLICAL AND CEREMONIAL CONTEXTS. 23rd International Congress of Byzantine Studies, Belgrade, 22-27 Avgust 2016. T1 - The Spatial and Programmatic Context of the Noble Portraits: Byzantium-Serbia-Bulgaria EP - 641 SP - 640 UR - https://hdl.handle.net/21.15107/rcub_reff_6353 ER -
@conference{ author = "Pavlović, Dragana", year = "2016-08", abstract = "The portraits of mediaeval nobility were located in various parts of the interior of Byzantine, Bulgarian and Serbian churches, most frequently the naos or narthex. Very oten such portraits were also placed on church façades, as can be seen in St. Marina in Karlukovo and in the church of the Taxiarches of the Metropolis in Kastoria. In mediaeval Serbia this was a frequent practice during the reigns of King and later Emperor Stefan Dušan, and his successor to the imperial crown, Uroš (Pološko, Treskavac, Mali Grad, Sušica). he lower zone of the wall paintings in both the naos and the narthex were the usual location for the portraits of the nobility in Byzantium and the countries within its cultural sphere, but noble portraits also appear in the second zone on the church façades and in the narthex. In the surviving examples of Byzantine art, such as the western façade at Kurbinovo and the eastern wall of the narthex of the church of St Nicholas tou Kasnitzi in Kastoria, the royal and noble portraits are located in the upper zones from as early as the 12th century. In Serbian wall-painting however, the aristocratic portraits do not appear in the second or third zones until ater 1355, in the reign of Emperor Uroš (the western façade of the church on the island of Mali Grad in Lake Prespa, the southern façade of the church of the Virgin at Sušica and the narthex of the church of the Virgin at Vaganeš).", publisher = "The Serbian National Committee of Byzantine Studies", journal = "Thematic Session of Free Communications: THE PORTRAIT IN BYZANTIUM AND IN THE BYZANTINE WORLD: ITS POLITICAL, SYMBOLICAL AND CEREMONIAL CONTEXTS. 23rd International Congress of Byzantine Studies, Belgrade, 22-27 Avgust 2016.", title = "The Spatial and Programmatic Context of the Noble Portraits: Byzantium-Serbia-Bulgaria", pages = "641-640", url = "https://hdl.handle.net/21.15107/rcub_reff_6353" }
Pavlović, D.. (2016-08). The Spatial and Programmatic Context of the Noble Portraits: Byzantium-Serbia-Bulgaria. in Thematic Session of Free Communications: THE PORTRAIT IN BYZANTIUM AND IN THE BYZANTINE WORLD: ITS POLITICAL, SYMBOLICAL AND CEREMONIAL CONTEXTS. 23rd International Congress of Byzantine Studies, Belgrade, 22-27 Avgust 2016. The Serbian National Committee of Byzantine Studies., 640-641. https://hdl.handle.net/21.15107/rcub_reff_6353
Pavlović D. The Spatial and Programmatic Context of the Noble Portraits: Byzantium-Serbia-Bulgaria. in Thematic Session of Free Communications: THE PORTRAIT IN BYZANTIUM AND IN THE BYZANTINE WORLD: ITS POLITICAL, SYMBOLICAL AND CEREMONIAL CONTEXTS. 23rd International Congress of Byzantine Studies, Belgrade, 22-27 Avgust 2016.. 2016;:640-641. https://hdl.handle.net/21.15107/rcub_reff_6353 .
Pavlović, Dragana, "The Spatial and Programmatic Context of the Noble Portraits: Byzantium-Serbia-Bulgaria" in Thematic Session of Free Communications: THE PORTRAIT IN BYZANTIUM AND IN THE BYZANTINE WORLD: ITS POLITICAL, SYMBOLICAL AND CEREMONIAL CONTEXTS. 23rd International Congress of Byzantine Studies, Belgrade, 22-27 Avgust 2016. (2016-08):640-641, https://hdl.handle.net/21.15107/rcub_reff_6353 .