Žene ktitori i vizuelna kultura Balkana u srednjovekovno i rano moderno doba, od XI do XVI veka

Abstract

Ova doktorska disertacija posvećena je istraživanju vizuelne kulture nastale kao rezultat ktitorske delatnosti žena iz dinastija Komnina, Duka, Paleologa, Nemanjića, Asenovaca, Lazarevića i Brankovića na teritoriji Romejskog carstva i zemalja pravoslavnih Slovena na Balkanu. O tome svedoče ktitorske zadužbine (crkve, manastiri, kapele i paraklisi), i njihova ukupna pripadajuća vizuelna kultura koja podrazumeva fresko dekoraciju, arhitektonsku plastiku, ikone, relikvijare, iluminirane rukopise, bogoslužbene predmete i vez kojima su te njihove zadužbine, ali i drugi sakralni prostori pod njihovim ktitorstvom opremani. Navedeni primeri koji su predmet proučavanja ove doktorske disertacije, deo su korpusa vizuelne kulture romejskog kulturnog kruga, nastali u hronološkom rasponu od kraja XI do sredine XIV veka. Posebna pažnja posvećena je načinu na koji je lična pobožnost i lični odnos prema svetiteljima uticao na ideje i želje ktitorki koje su oblikovale vizuelnu kulturu ovog razdoblja. Praćenjem ktitorske delatnosti pomenutih žena iz vladajućih dinastija na Balkanu od XI do XVI veka utvrđeno je koliko su se ovi koncepti menjali i usložnjavali u zavisnosti od političkih, društvenih i teoloških promena na teritoriji zemalja romejskog kulturnog kruga. Pristup istraživanju oslanja se na stanovišta ikonološkog i ikonografskog metoda koji su prošireni metodologijom studija vizuelne kulture. Korišćeni su metodi nove ikonologije i antropologije slike Hansa Beltinga, hijerotopije, prospografije i studija mreža konektivnosti kako bi doprineli potpunijem sagledavanju načina na koji su ostvarene veze između ktitorki, kao i načina na koji su modeli ktitorske delatnosti iz Romejskog carstva bivali prenošeni do zemalja pravoslavnih Slovena na Balkanu. Imajući u vidu da se radi o temi koja obuhvata različite vidove vizuelne kulture, primeri analizirani u okviru disertacije su raznorodni. Svaki od njih oblikovan je prema želji i ideji same ktitorke i predstavljao je votivni dar svetitelju koji je bio njihov lični zaštitnik i zastupnik tokom celog života ali i na Strašnom sudu. Životne okolnosti ktitorki i njihova politička teologija i lični habitusu uticao je na oblikovanje vizuelnih obrazaca ktitorske delatnosti, stoga je ova doktorska disertacija oblikovana kroz jednu vrstu portreta ktitorki u okviru kojih je poseban akcenat stavljen na njihov život, privatnu pobožnosti i ktitorstvo.

This doctoral dissertation is devoted to research of visual culture which is the result of women ktetorship from Komnenian, Doukai, Palaiologos, Nemanjić, Assen, Lazarević and Branković dynasties in Roman empire and other states of Slavia Orthodoxa. This is demonstrated by the ktetorship’s endowments (churches, monasteries, chapels and parekklesions), and their overall associated visual culture, which includes fresco decoration, architectural sculpture, icons, reliquaries, illuminated manuscripts, liturgical objects and embroidery with which their endowments, but also other sacral spaces were embellished under their patronage. The above examples, which are the subject of this doctoral dissertation, are part of the corpus of visual culture of the Roman cultural circle, created in the chronological range from the end of the 11th to the middle of the 16th century. Special awareness is devoted to the way in which personal piety and personal attitude towards saints influenced the ideas and wishes of the women patrons who shaped the visual culture of this period. By observing the ktetorship of the mentioned women from the ruling dynasties in the Balkans from the 11th to the 16th century, it was determined how much these concepts changed and became more complex depending on political, social and theological changes in the territory of the Roman cultural circle. The approach to the research relies on the views of the iconological and iconographic method, which have been expanded by the methodology of the study of visual culture. The methods of the Hans Belting's new iconology and “anthropology of images”, hierotopy, cross-cultural connections and prospography have contributed to a more complete understanding of relations between women patrons and also how models of ktetorship from Roman empire were transferred to states of Slavia Orthodoxa. Bearing in mind that this is a topic that includes different aspects of visual culture, the examples analyzed in the dissertation are various. Each of them was shaped according to the wishes and ideas of the women patron herself and was a votive gift to the saint who was their personal patron throughout her life, but also at the Last Judgment. The life circumstances of the founders and their political theology and personal habitus influenced the shaping of visual models of donor activities, so this doctoral dissertation is written through a representation of the women patrons in which special emphasis is placed on their life, private piety and patronage.