Црквено сребро из ризнице храма Покрова Пресвете Богородице у Ваљеву

Abstract

Ваљевска црква Покрова Пресвете Богородице баштини у својој ризници различите богослужбене предмете начињене одсребра. Формирана је постепено сабирајући дарове господара Јеврема Обреновића Старој цркви, предмете из прошлости Шабачке епархије и дарове различитих еснафа, прилоге Томаније Обреновић те ваљевских грађана. У ризници су сачувани радови балканских кујунџија, сребро које су обликовали најистакнутији српски златари друге половине XIX века – Николић и Стоић – и увезени предмети настали у европским радионицама. Сагледана кроз различите контексте, ризницa ваљевске цркве указује на повезаност развоја примењене уметности са ширим културним кретањима у Србији током XIX века. Репрезентативни богослужбени предмети из ваљевске цркве значајни су за познавање литургијског живота и проучавање српске црквене и грађанске визуелне културе XIX века.

The church silver of the Valjevo’s church, created during the 19th century, reflects continuity in the artistic shaping of liturgical objects whose appearance kept changing and adjusting to the broader cultural trends. The votive giving practice constituted a strong mechanism by which the aesthetic inclinations formulated in the domain of the civic culture got transferred into the domain of the sacral. The set for the Holy Eucharist donated by Jevrem Obrenović in 1828 was made following the spirit of the goldsmith tradition before the adoption of the European artistic styles in the making of church objects. The same group also includes the silver fitting for the gospels made of good quality silver in the first half of the 19th century. The change of the cultural models was most apparent around the middle of the 19th century through the accepting of the European artistic styles. The candlesticks for the Altar table made in 1859 at the order of the bishops of Šabac and several silver hanging vigil lamps donated by wealthy citizens of Valjevo were made by the best artisans Serbia had at the time, goldsmiths Jovan Nikolić and Stoić from Belgrade. They had acquired their artistic and technical prowess in the Austrian Empire and the objects they made followed the developments in the European applied arts from the late Biedermeier Classicism to the Second Rococo style. The filigree elements of the main crosses constitute an example of the common practice combined with the way in which commitment to the orthodox tradition was comprehended. In the second half of the 19th century, this type of liturgical memory was collectively opted for by the BlacksmithRifle Makers Guild in 1871 and Ljubica Jovanović who donated a cross in 1886 as a sign of commemoration of Vida Nenadović. The end of the second half of the 19th century is characterised by objects that are in full conformity with the European style trends. If we look at the end of the 19th century as the time of eclecticism and history-making styles, then the same applies to the making of church objects the practice of which recapitulates prior experiences. The silver and the liturgical objects of the Valjevo church created during the 19th century contribute to a better understanding of the piousness and the visual culture of the given epoch.