The preserved wall paintings of Serbian nobility originate mainly from the period of the rule of King and Emperor Dusan (1331-1346, 1346-1355) and Emperor Uros (1355-1371). Portraits of these rulers or their family members have been preserved in eight aristocratic endowments. These are: narthex of the Church of the Virgin in Kuceviste, the White Church of Karan, the Church of Our Lady in Dobrun, the Church of St. Nicholas in Ljuboten, the Church of St. George in the Polosko, the Church of the Virgin in Lipljan, the narthex of the Church of St. Archangel Michael in Lesnovo, and the Church of St. Nicholas in Psaca. In this paper, the mentioned portraits were analyzed iconographically, especially in relation to their location in the temple where they are presented, and in particular, the relation nobleman (ktitor) - ruler was investigated.
Keywords:
young King and Emperor Uros / Serbian rulers / Serbian nobility / royal portrait / royal insignia / Queen and Empress Jelena / King and Emperor Dusan / iconography
Source:
Zbornik Matice srpske za likovne umetnosti, 2017, 45, 103-126
TY - JOUR
AU - Merenik, Sofija
PY - 2017
UR - http://reff.f.bg.ac.rs/handle/123456789/2365
AB - The preserved wall paintings of Serbian nobility originate mainly from the period of the rule of King and Emperor Dusan (1331-1346, 1346-1355) and Emperor Uros (1355-1371). Portraits of these rulers or their family members have been preserved in eight aristocratic endowments. These are: narthex of the Church of the Virgin in Kuceviste, the White Church of Karan, the Church of Our Lady in Dobrun, the Church of St. Nicholas in Ljuboten, the Church of St. George in the Polosko, the Church of the Virgin in Lipljan, the narthex of the Church of St. Archangel Michael in Lesnovo, and the Church of St. Nicholas in Psaca. In this paper, the mentioned portraits were analyzed iconographically, especially in relation to their location in the temple where they are presented, and in particular, the relation nobleman (ktitor) - ruler was investigated.
PB - Matica srpska, Novi Sad
T2 - Zbornik Matice srpske za likovne umetnosti
T1 - Royal portraits in wall paintings of Serbian nobility at the time of the Nemanja dynasty
EP - 126
IS - 45
SP - 103
UR - https://hdl.handle.net/21.15107/rcub_reff_2365
ER -
@article{
author = "Merenik, Sofija",
year = "2017",
abstract = "The preserved wall paintings of Serbian nobility originate mainly from the period of the rule of King and Emperor Dusan (1331-1346, 1346-1355) and Emperor Uros (1355-1371). Portraits of these rulers or their family members have been preserved in eight aristocratic endowments. These are: narthex of the Church of the Virgin in Kuceviste, the White Church of Karan, the Church of Our Lady in Dobrun, the Church of St. Nicholas in Ljuboten, the Church of St. George in the Polosko, the Church of the Virgin in Lipljan, the narthex of the Church of St. Archangel Michael in Lesnovo, and the Church of St. Nicholas in Psaca. In this paper, the mentioned portraits were analyzed iconographically, especially in relation to their location in the temple where they are presented, and in particular, the relation nobleman (ktitor) - ruler was investigated.",
publisher = "Matica srpska, Novi Sad",
journal = "Zbornik Matice srpske za likovne umetnosti",
title = "Royal portraits in wall paintings of Serbian nobility at the time of the Nemanja dynasty",
pages = "126-103",
number = "45",
url = "https://hdl.handle.net/21.15107/rcub_reff_2365"
}
Merenik, S.. (2017). Royal portraits in wall paintings of Serbian nobility at the time of the Nemanja dynasty. in Zbornik Matice srpske za likovne umetnosti
Matica srpska, Novi Sad.(45), 103-126.
https://hdl.handle.net/21.15107/rcub_reff_2365
Merenik S. Royal portraits in wall paintings of Serbian nobility at the time of the Nemanja dynasty. in Zbornik Matice srpske za likovne umetnosti. 2017;(45):103-126.
https://hdl.handle.net/21.15107/rcub_reff_2365 .
Merenik, Sofija, "Royal portraits in wall paintings of Serbian nobility at the time of the Nemanja dynasty" in Zbornik Matice srpske za likovne umetnosti, no. 45 (2017):103-126,
https://hdl.handle.net/21.15107/rcub_reff_2365 .
