Zidno slikarstvo crkve Bogorodice Odigitrije u Peći

Abstract

Crkva Bogorodice Odigitrije u Peći, zadužbina srpskog arhiepiskopa Danila II (1324-1337), predstavlja jako vredan spomenik srpskog srednjovekovnog živopisa. Gotovo ceo živopis te crkve nastao je između 1334/1335. i 1337. godine i očuvan je skoro u potpunosti. Dve freske koje čine drugi sloj slikarstva verovatno potiču iz kasnijeg XIV veka. Ova disertacija sastoji se iz sedam poglavlja i posvećena je prvenstveno ikonografsko-programskim i likovnim osobenostima živopisa Bogorodičine crkve. U prvom poglavlju se govori o rezultatima dosadašnjih istraživanja zidnog slikarstva crkve. U drugom poglavlju se sažeto obrađuju podaci iz istorijskih izvora o ktitoru crkve Danilu II i njegovim motivima posvete crkve. U trećem poglavlju se slikarstvo prvog sloja datuje u vreme između 1334/1335. i 1337. godine, a izvedena je i pretpostavka o širem datovanju drugog sloja živopisa u XIV vek. Ustanovljeno je da freske zapadne fasade Bogorodičine crkve ulaze u programski okvir slikarstva priprate Pećke patrijaršije i da slikarstvo fasade Bogorodičine crkve čini programsku celinu sa fasadama čitavog pećkog kompleksa. U četvrtom, najznačajnijem i najobimnijem poglavlju rada obrađene su ikonografsko-programske odlike fresaka XIV veka. Posebno su razmatrane freske kupole i pandantifa, oltara, paraklisa Sv. Arsenija, paraklisa Sv. Jovana Preteče, središnjeg dela crkve – naosa, severozapadnog i jugozapadnog traveja, kao zasebnih prostornih odnosno programskih celina. Zapaženo je da se u izboru tema, rasporedu postavljanja scena triju ciklusa (Veliki praznici, Bogorodičino žitije, Hristov javljanja posle vaskrsenja), njihovom položaju i ikonografskim osobenostima, slikarstvo oslanja na dostignuća rane renesanse Paleologa, a uočene su i najdirektnije analogije ikonografskim rešenjima scena, koje katkad potiču iz mlađih spomenika srpskog monumentalnog živopisa. U izboru tema i njihovom programskom mestu u crkvi naručioci živopisa su se katkad služili uzorima iz sedišta arhiepiskopije – iz crkava u Žiči, Sv. Apostolima i Sv. Dimitriju u Peći. U radu je identifikovan određen broj pojedinačnih figura, pojedinačnih scena i scena koje su ulazile u sastav ciklusa, ranije neprimećenih, netačno protumačenih ili u prethodnoj literaturi samo nagoveštenih i pomenutih. Zaključeno je da zidove Bogorodičine crkve krasi tematski izuzetno bogat i vredan živopis, koga odlikuje velika teološka učenost i iznijansiranost. Peto poglavlje posvećeno je ornamentalnom ukrasu Bogorodičine crkve, a šesto likovnim osobenostima živopisa – slikarskim rukopisima i njihovom slikarskom postupku. Zaključeno je da su živopis Bogorodičine crkve izvela tri glavna majstora sa pomoćnicima. U sedmom poglavlju, zaključku, izneta su osnovna zapažanja uočena prilikom istraživanja živopisa. Na kraju rada pored spiska skraćenica, spiska crteža i fotografija analiziranih fresaka i plana crkve sa grafičkim rasporedom fresaka, priloženi su na kompakt-disku i crteži fresaka Bogorodičine crkve u Peći od M. Nagornog, i fotografije fresaka V. T. Hostetera.

The Church of the Virgin Hodegetria, the foundation of Serbian archbishop Daniel the Second (1324-1337), represents a very precious monument of the Serbian medieval wall painting. Nearly all wall paintings of this church were executed between 1334/1335 and 1337 and they are almost entirely preserved. Two frescoes that form the second layer of frescoes may originate from the later 14th century. This PhD thesis consists of seven chapters and it is mainly dedicated to the iconographic programme and painterly characteristics of the wall paintings of the Virgin Church in Peć. The first chapter tells about the results of previous investigations of the wall paintings of the Church. The second chapter concisely deals with the data from historical sources on the church founder and his motives for the church dedication. The third chapter determined the first layer of the wall paintings dated between 1334/1335 and 1337, and there is an assumption that the second layer of the frescoes was executed in the late 14th century. The frescoes on the western façade of the Virgin church were found to be part of the conceptual framework of the nartex wall paintings and the frescoes on the southern façade to form the conceptual unity with the façade wall paintings of the entire architectural complex of the Patriarchate of Peć. The fourth chapter deals with the iconographic programme characteristics of the 14th century frescoes. Special attention was paid to the frescoes of the dome, of the pendentives and the altar, of the chapel of St Arsenius, the chapel of St John the Forerunner, of the nave, the north-west bay, and the south-west bay, which all represent separate spatial and programmatic units. It was observed that, when it comes to the choice of the themes, the layout of the frescoes of the all three cycles (cycle of Great Feasts, the Virgin Cycle and the Eonthina Cycle), their position and iconographic characteristics, the wall paintings rely on the achievements of the early renaissance of Paleologos. In some cases the most direct analogies of the iconographic formulas of the scenes were noticed in later monuments of Serbian wall paintings. For the themes and their programmatic position in the church, the painters sometimes used the models from the archbishop seats (Ţiča, St Apostles and St Demetrius in Peć). This paper identified certain number of previously unnoticed or incorrectly interpreted individual figures, individual scenes and scenes that were part of cycles, that were just suggested and mentioned in a previous bibliography without any further arguments. It was concluded that the walls of the Virgin Church were decorated with thematically exceptionally rich and precious wall paintings, characterized by a high level of theological knowledge and nuances. The fifth chapter is dedicated to the ornamental decoration of the Virgin Church, and the sixth to the stylistic characteristics of the wall paintings - artistic styles and their stylistic treatments. It was concluded that three painters and their assistants executed the wall paintings of the church. The conclusion, as seventh chapter, presents the main remarks observed during the study. The paper also includes a list of abbreviations, a list of drawings and illustrations of the analysed frescoes, the plan of the church with the position of the frescoes in the church, and finally the CD with the drawings of the frescoes by M. Nagornji and the photographs by W. Taylor Hostetter.