Тематски програм живописа у старој Богородичиној цркви у Подмаинама

Abstract

Сликани програм подмаинског храма потиче из 1630. године, а распоред сцена и појединачних представа које се јављају у живопису цркве у складу су са уобичајеним токовима уметности након обнове Пећке патријаршије. У раду је највећа пажња посвећена идентификовању сцена и појединачних представа светих уз ишчитавање натписа и цитата у оквиру њих, са освртом на неколико особености подмаинског сликарства.

The oldest building in Monastery Podmaine is a church dedicated to the Entry into the Temple. It is a small aiseless church without an apse and with a narthex on the west. The nave has a slightly broken barrel vault, and the narthex was originally covered with a pitched roof. A fresco-inscription in the nave tells us that the founder of the church was hieromonk Visarion from Cetinje and that the painted decortion in the church dates from 1630. The content of the paintings in the Podmaine church confirms that the frescoes date from the time after the restoration of the Patriarchate of Peć. The paintings in the vault show various iconographic acpects of Christ and the Virgin and include a representation of Christ which forms part of a representation of the Ascension. On the north and south walls of the nave in the zone below the vault are the figures of twenty four prophets. Below them are two zones containing scenes from a combined Christological cycle and the Akathist of the Virgin with two scenes from the life of the Mother of God. Below the Akathist and above the zone of the standing figures are painted busts of the ings in the old chrurch also includes a scene of the Last Judgment on the east wall of the narthex, and scenes of the Hospitality of Abraham, the Healing of the Man Born Blind, the Conversation with the Woman of Samaria, and the Miracle at Cana. Some iteresting details in the arrangement of scenes, such as the representations of Christ Emmanuel and Christ Pantocrator in the niches on the south wall of the nave or the representation of the Holy Mandylion above one of the niches, indicate that the artist sought to make the programme of the small Podmain church similar to the thematic repertoire of much larger churches. Several scenes reproduce iconographic features that can be seen in the illustrations of Božidar Vuković’s Festal Menaion, which was one of the models for the decoration of the Podmaine church. Certain features not frequently found in the churches decorated with fresoes before and after the restoration of the Patriarchate of Peć, including some details in the scene of the Immaculate Conception, the figure of St Sisoje at the grave of Alexander of Macedonia, and the representations of a cow and a calf in the scene of the Hospitality of Abraham, contribute to the importance of the Podmain church for the study of the painting of that period.