Zbornik za likovne umetnosti 40 Novi Sad 2012

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    ISSN 0352-6844 / UDK 7 (5)

    Matica srpskaproceedings for fine arts

    40

    Editoria board

    ALEKSANDAR KADIJEVI, editor-in-chief(Universit of Belgrade Facult of Philosoph)

    KOKAN GREV(Universit American College Skopje, Macedonia)

    MIODRAG MARKOVI(Universit of Belgrade Facult of Philosoph)

    LIDIJA MERENIK(Universit of Belgrade Facult of Philosoph)

    NENAD MAKULJEVI(Universit of Belgrade Facult of Philosoph)

    RUDOLF KLEIN(Sent Istvn Universit, Budapest, Hungar)

    BISSERA PENTCHEVA

    (Stanford Universit, USA)

    NOVI SAD

    2012

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    ISSN 0352-6844 / UDK 7 (5)

    40

    , ( )

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    2012

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    MATICA SRPSKADepartment of Visual Arts

    Copright , , 2012

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    C O N T E N T S

    , , ARTICLES, TREATISES, CONTRIBUTIONS

    1. , - Dejan orievski, ON THE POSSIBLE PARTICIPATION OF MIHAILO ASTRAPA IN THEPAINTING OF THE CHILANDAR CATHOLICON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    2. M . Ma, . Mirjana M. Mani, LA PEINTURE MURALE DE LEGLISE DE ST GEORGE LE VAIN-qUEURA A MLADO NAGORIANE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    3. , Snjeana Orlovi, ICONS FROM THE TREASURy OF THE KRUPA MONASTERy . . . . . . .

    4. Ioannis P. Houliars, THE WORK OF THE PAINTER IOANNIS SKOUTARIS FROM GRAM-MOSTA, KASTORIA IN EPIRUS AND SOUTHERN ALBANIA (16451672/3) . , , (16451672/3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    5. , Miroslava Kosti, ICONOSTASIS OF THE SyNOD CHURCH IN SREMSKI KARLOVCI . . .

    6. , : XIX

    Igor Boroan, BORDERLINES OF LOyALTy: SERBS AND THE IMAGES OF THEHABSBURGS IN THE FIRST HALF OF THE 19thCENTURy . . . . . . . . . . . . . . . . . . . . . . . . .

    7. . , - Velimir Lj. erimovi, THE CHURCHyARD OF SAINT DEMETRIUS ORTHODOX CHURCHIN DAlj . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    8. , . Predrag Dragojevi, THE COMPARATIVE METHOD OF STRzyGOWSKI AND ITS RECEP-TION IN SERBIA. THE IDEOLOGICAL AND METHODOLOGICAL IN CONSIDERATIONS

    OF ART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9. ,

    Vuk Dautovi, GOLDSMITH JOVAN NIKOLI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10. Dragan Damjanovi, HERMAN BOLL I zAGREBAKA PREOBRAENSKA CRKVA

    Dragan Damjanovi, HERMANN BOLL AND THE CHURCH OF TRANSFIGURATION INzAGREB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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    11. , . - (19081930)Aleksandar Kadijevi, THE CONSTRUCTION ACTIVITIES OF PETAR J. POPOVI INSOUTHEAST SERBIA (19081930) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    12. , , 1910. Sran Markovi, THE FIRST SERBIAN ARTISTIC, PAINTERS AND SCULPTORS EXHI-BITION IN SOMBOR IN 1910. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    13. , : Ana Pani, ART AND AUTHORITy: LANDSCAPES FROM THE ART COLLECTION OFJOSIP BROz TITO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    14. , : Radovan Popovi, HERMENEUTICS OF PERCEPTION: THE PROBLEM OF INTERPRETA-TION OF VISUAL TEXT IN THE INTERPRETATIVE PROCEDURE OF HANS SEDLMAyR.

    REVIEWS

    1. Jasmina S. iri, Un voyage dans le temps de lhistoriographie: Lavenir de Byzance en Europe(ed. Paul Stephenson) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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    3. , : .4. , : Dalmatia praeromanica . . . . . . . . . . . . . . . . . . . . .5. Dragan Damjanovi,Branko olovi: Sakralna batina dalmatinskih Srba . . . . . . . . . . . . . . . . .6. , Klein Rudolf: Zsinaggk Magyarorszgon 17821918: fejldstrtnet,

    tipolgia s ptszeti jelentsg/Synagoges in Hngary 17821918: genealogy, typology andarchitectural significance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    7. , : . . . . . . . . . . . . . . . . . .8. ,Adolph Stiller (ed.): Belgrad, Momente der Architektur / Belgrade,

    Moments in Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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    . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

    . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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    , , ARTICLES, TREATISES, CONTRIBUTIONS

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    UDC 75.046(495 Athos)

    ,

    / Original scientific paper

    : . - . . . .

    : , , , -, , , .

    .1 ,2 - -

    . - , .3 , , .4 ,

    1 . , , 1993, 77; . , . , . /12, 2007, 79100.

    2 . . , XIV , , 4, 1968, 6876.3 . ,

    , : , 1995, 572573, 600602; Ch.Walter, The warrior saints in Byzantine art and tradition, Aldershot 2003, 133134.4 , (1295), .

    , cf. . , , 1990, 84101 ( 1990). 1990, . M. Markovi, The Painter Eutychios Fa-ther of Michel Astrapas and Protomaster of the Frescoes in the Chrch of the Virgin Peribleptos in Ohrid, ,38, 2010, 18, 22; idem, .

    , , 35, 2011, 136 (. 267).

    9

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    , . , -, - , . . , . . - , , - 5 -

    1317/1318. .6 , . , , , - , . -, (.1).7 ,

    , -

    .8

    , - , , .

    , . . -

    , -, . , - , . ,

    5 . , , , 5, 1974, 3537.6 1317. cf. . , . , -

    , , 34, 1995, 136.7 , , 125, . 47.8 , 1345. ,

    cf. . ,

    ,

    , 4, 1938, 153, n. 7;

    cf. . ,

    , ,

    15,1957, 122140; , cf. Ch. Walter, St. Demetrius, the Myroblytos of Thessalonica,: idem, Studies in Byzantine Iconography, London 1977, 167169. . ( , 124125, n. 212) . (, op. cit., 81, n. 14).

    10

    . 1. , . e

    *

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    - .

    , 1321,9 XIX . . (. 2), . (. 3) . (. 4), . , - -.10

    . , .11 -, . . , ,

    9 . , . . , , - , 10, 1998, 201217.

    10 . , , : , . . , 1998, 226; . , , 1998, 353; - , cf. W. Taylor Hostetter, Jr.,In the heart of Hilandar. An interactive presentation ofthe frescoes in the main church of the Hilandar monastery on Mt. Athos, Beograd 1998 (CD-ROM).

    11 , op. cit., 8283.

    11

    . 2. , . (: . , . . ,. ,, 1978)

    . 3. ,.

    . 4. ,. -

    * ...

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    . 5. ,.

    . 6. , .

    . 7. ,. ()

    . 8. ,. ()

    *

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    , . .12 . , - . . .. , . , , - .

    -. . . (. 3). . (. 5), . . ,

    (. 6). , (. 4). , , . - , - (. 7) . (. 8).

    .13 - . , -

    . . , .

    . - ,14 - .15

    12 , cf. . , , 1958;D. C. Winfield,Middle and later Byzantine wall painting methods ( comparative stdy), DOP, 22, 1968, 63139.

    13 cf. H. Buchthal, The msterbch of Wolfenbttel and its position in the art of the thirteenthcentury, Wien 1979; R. W. Scheller,Exemplm: Model-book drawings and the practice of artistic transimission inthe middle ages (ca. 900ca. 1450), Amsterdam 1995.

    14 G. Millet,Recherches sur liconographie de lvangile aux XIV, XV et XVI sicles daprs les monuments deMistra, de la Macdoine et d Mont-Athos, Paris 1916, 32.

    15 . -, , , X/23, 1966, 203218; idem, , 1967, 230233.

    13

    * ...

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    . , .16 , ,

    -.17 , - , .18 - , .19 - , (- , 1320. ) .20 - ( , ,

    ).21 , .22

    , -. , . . , -.23 , - .

    .24

    , .25 oe , - , - .26 ,

    16 V. J. Djuri, Fresques Medievales a Chilandar, Actes du XIIe congrs international des tudes bantines,III, Beograd 1964, 78.

    17 Idem,La peintre de Chilandar a l poqe d roi Miltin, , 4, 1978, 3141.18 , , 270.19 Ibidem, 271.20 , , 241.21 Ibidem, 241242.22 Idem, . ,

    , , XVII/2, 2004, 110112.23 Idem, . . , : -

    IV, 2006, 282283.24 Ibidem, 284, . 3.25 Ibidem, 285.26 Ibidem, 287288, . 6, 7.

    14

    *

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    , , , -.27 - ,

    . , , .

    , - .28

    - , - . , ( -

    ) , .

    , - - . , , , -

    .29 , , , - .30 - - , -

    , , , , . , ( ) , - . ,31 - .

    ,

    27 Ibidem, 289.28 Idem, , ,44, 2007, 353362.29 . , ,

    1986, 111, 121, 124, 126, 263266 passim; V. J. Djuri,La peinture de Chilandar, 3141.30 . -, , 213, . 37;

    , . - .

    31 . , , , 1973, 112121.

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    . , 1320. ,32 - , 13221323, - .33 , - 1321. , - 1322. . II, 1324. .34 , - , , 1324. .35

    z. Blai, Tehnika i konzervacija naih fresaka, Skoplje 1958.L. Brehier,Les vielles eglises serbes. Impressions de voyage dn congressiste, Nova Evropa, XXIV/1, 1931.H. Buchtal, The msterbch of Wolfenbttel and its position in the art of the thirteenth centry , Wien 1979.Ch. Walter, St. Demetris The Myroblytos of Thessalonica, in: Stdies in Byzantine Iconography, London 1977.Ch. Walter, The warrior saints in byzantine art and tradition, Bodmin 2003.D. C. Winfield, Middle and later Byzantine wall painting methods (A comparative study), Dumbarton Oaks

    Papers, XXII, 1968, 63139.. , , 1990.. , . , -

    ., 12, 2007, 79100.V. J. Djuri, Fresques Medievales a Chilandar, Actes du XIIe Congrs Intern. Des Etudes Bantines, tom. III,

    Beograd 1964, 5998.. . , XIV , , 4, 1968, 6876.V. J. Djuri,La peintre de Chilandar a l poqe d roi Miltin, , 4, 1978, 3141.

    S. Kisas, Solnska metnika porodica Astrapa, zograf, 5, 1974, 3537.A. , , , , 15, 1957, 122140.. , -

    , : , 1995, 567626.. , . . , , -

    , 10, 1998, 201217.. , , : , . -

    , 1998.. , . ,

    , , XVII/2, 2004, 95112.. , , :

    IV, 2006.. Markovi, ,

    , XLIV, 2007, 353362.

    32 , , 343344 ( ).33 , , 105106.34 Idem, , 293294.35 , , 105106; idem, -

    , 291295.

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    M. Markovi, The Painter Eutychios Father od Michel Astrapas and Protomaster of the Frescoes in the Churchof the Virgin Peribleptos in Ohrid, , 38, 2010, 934.

    . , . - , , 35, 2011, 119143.

    G. Millet,La derniere evoltion de lart byzantin, :Histoire de lart, depis les premiers temps chretiens jsqanos jours, t. III/2, Paris 1908.G. Millet,Lecole grecqe dans architectre byzantine, Paris 1916.G. Millet,Recherches sr l iconographie de lvangile ax XIV, XV et XVI sicles daprs les monments de

    Mistra, de la Macdoine et d Mont-Athos, Paris 1916.. -, -

    , , X/23, 1966, 203218.. -, , 1967.. , , ,

    1938.. , , 1973.. , . , , , XXXIV, 1995.. , , 1993.. , , 1998.

    . , , 1986.Talor W. Hostetter, Jr.,In the heart of Hilandar. An interactive presentation of the frescoes in the main chrch

    of the Hilandar monastery on Mt. Athos, Beograd 1998 (CD-ROM).R. W. Scheller,Exemplm: Model book drawings and the practice of artistic transimission in the middle ages

    (ca. 900 ca. 1450), Amsterdam 1995.

    Dejan orievski

    ON THE POSSIBLE PARTICIPATION OF MIHAILO ASTRAPAIN THE PAINTING OF THE CHILANDAR CATHOLICON

    Summar

    In the Church of St. George in Staro Nagoriino, on the north wall of the naos, there is a grand figureof the Thessaloniki martr St. Demetrius Apokaukos. What is interesting about this fresco is that a versimilar one can easil be found in the Church of the Presentation of the Virgin Mar in Chilandar. TheChilandar figure of the hol warrior, i.e. the contours of its drawing, are a perfect match with the contoursof the fresco drawing in Nagoriino, which had been painted a few ears before. A similar thing can be no-ticed with other frescoes: St. George Gorg from Nagoriino is ver close to the image of St. Procopius fromChilandar, while the fresco of St. Eustatius Plakida is almost identical in both churches. We believe thatsuch similarities in fresco paintings are possible onl if the frescos were painted b the same artist or a verclose associate of his, who possessed the painting charts of figures painted in Nagoriino. The claim thatthe studio of Mihailo Astrapa worked in the Serbian monaster in Athos can be justified b some specificiconographic solutions which are found onl in Chilandar and in the churches of King Milutin, whereAstrapas presence has been ascertained. For example, in St. Nikita near Skoplje there are paintings of St.Simeon Nemanja and St. Sava Srpski as the oldest examples of a special iconographic design made inChilandar. In this church there is a damaged scene of the Presentation of Virgin Mar in place where a scenefrom Christs miracles and lessons should be, with a similar iconograph like in Graanica and Chilandar.St. Nikita also took over the distribution of the scenes from Chilandar the ccle of Christs messagesafter death is found in the altar, and the Passion of Christ and Christs miracles and lessons are paintedunder the great feasts. The programme is repeated in the painting of the front side of the east pair of pillars

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    under the dome and there are similarities in the Bishops Liturg, where there are the same fourteenpriests. Let us also mention the scene of Christs visit to the house of Mar and Martha from Graanica,Chilandar and St. Nikita, where we find a figure of a woman with a raised hand who talks to Christ andwho is not found in an other medieval monument.

    If we accept the participation of Mihailo Astrapa in the painting of the Chilandar catholicon, then wecan ascertain with more precision the time when the frescoes of St. Nikita near Skoplje were painted, i.e.we can date them back to around 1324, at the time of the rule of Stefan Deanski.

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    UDC 75.052(497.7)UDC 726.54(497.7)

    . ,

    / Original scientific paper

    .

    : - . . - . , , - . XVI .

    : . , , -, , , XVI .

    . , , , - (. 1).

    , - .1, . , , .

    . - , , , , .

    1 . -: . -, , , . , 1909, 437439; . .,, , 1909, 194195; G. Millet,Lancien art

    serbe,Les glises, Paris 1919, 102; . , , , 1922, 107; . . ,

    , . , 1925, 237348; . . , . , , , , . X, 1930,141; . , , , , . -, 1931, 176; Idem, , , 1932, 220; . . , , 1950, 203, . 600603; M. Kiel, Armenian andOttoman Influences on a Group of Village Churches in the Kumanovo District, - , . 7, 1971, 248, 255; . , 14591690, 1984, 8788; eadem, XVIXVII , 1991, 151152.

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    , , , - , .

    XIX - , , . , - .2

    , . . .. . , 1900. , , ( ) , ,

    , , XV XVI ( ).3 . - . - , - (1313).4 . . XIV , .5 . -- ( 1406/1407. 1427), , .6 - . ,7

    . , . , , , , (1557), XVI , . . , 1600. -.8

    1998. , 1999. ,

    2 . - . , 1868. 1873. .

    3 . . ,, 194195.4 . -, , 438.5 . . ,, 203.6 . . , . , 141.7 . , , 176.8 . . , , , . 1, 1975, 25, . 73; -

    . , , 8788; eadem, , 151152.

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    .9 - .

    2008. -, , - - .

    10 - .

    - . , - , .11 11 -

    , , . . ( S S), , . ( S S), , . ( S S), , . ( SS, , . ( S S), , .

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    9 2007. . (. . , . , ,6, 2007, 131151).

    10 . , , 8788.11 ,

    (. . . ,, 194).12 . , , . . , ,

    1, 1988, 116.

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    . ( S SS [S]), . ([SS]),. , (S), . ( S S).13 . (SS) . () , , : . ( S SS), , . ( S S), , . ( SSS), - , . (. 4).

    . . , . (. 5) - . (OUSPENIE SV[E]TOMOU NIK[OLI]) /, .

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    : (POTYANIE ZANEFO) ( NOMENOS TON DROPIKO)14 ,

    13 (. . -, , 1967, 59).

    14 (Ibidem).

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    15 , (. 3), -

    , : ( 21, 3) , ( 21, 46), ( 21, 7) (. 11).

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    15 (Ibidem).16 . . .17 . -,, 60.18 (Ibidem).

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    (SS), , -, , , , (. 16). ,

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    .19 , - , - , , , , -, , , ( ). , - . (. 9). , - , ,20 ,21 - . , : , ,

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    19 . -,, 112119; . , , 1993, 103107.

    20 (. . ,- , 1987, 162167, . 111118), (. . ,, -, 1988, 152155).

    21 . , , 104107.22 II , .

    . , , 106, . 106.23 . , , 105106;

    , , . . , , : II ,

    1991, 411, 418.24 , (. . . , , 143).

    25 , .26 . . -,, . 42.27 . . ,, . VII.28 Cf. J. Prolovi,Die Kirche der Heiligen Andreas an der Treska, Wien 1997.29 . , , 71.

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    , . , -

    , , - .35

    , ( : , , ) , . , , , , , , . . .

    . , - , .36 . -. , . .

    30 . , (15571614), 1965, 203204; , . , . , , , 12/13. . 2000, 21.

    31 . -, . , , . 56, 1978/80, 187.

    32 , . . -,, 8892; . ,

    , Balcanica XXVII, Belgrade 1996, 274; . , , , 2000,362, 368.

    33 . , , 274, . 5.34 . , , 1991, 8788, 8889, 103111.35 , 88, 89, 103111.36 (. . -,,

    61).

    . *

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    , , - ,

    . . , ,37 -

    , - .38

    . , , . , , , - .

    , , , . - , -

    .39 , , , . , , , .

    . . , , - .

    , ,

    , - , / , XVI . - .

    , - , , . , , -

    37 . (. . -,

    . , , 1718/199091, 1991, 84).38 . , , 7677.39 (. . . , , 195). -

    ( , - , ). - , (cf. E. N. Georgitsoanni,Les peintres mrales d viex catholicon d monastre de la Transfigration ax Meteores(1483), Athnes 1993, 151, 154 ( ).

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    , ( , -, ). , - . , , , , , .

    , XVI XVII - , . -,40 . / . ,41 . ,42 . - , .43 - - .44 , (1606/1607) . -, . (1608/1609), , , .45

    - , - .

    , XVIII XIX ,46 (1691), :

    Da se nae kad prognae Nemci / Tourina wt Boudima do ...ipz / dostignou do Veles / Valeto RQ.

    40 . , , 2005.41 . . , . /. . , -

    , . ( ).42 . , , 203204; . , . , 21.43 . , . . , , . 89,

    1983, 111125.44 , .

    . . , , , 1991; . . . , . , , 192021/19929394, 1996, 202207; . . , ,

    , 1998, 288292; (1499), (1606), (1608), (1622), . , (. . , XVI , 1995, 223); XV XVI ,( ), , . ,

    , 274277.45 (. . -, , 83100); - . -, , , . ., 2 ( . -), 1996, 235236.

    46 . - . (. . -,, 439; . , , 1970, 135).

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    , , . - -

    , , .

    Mirjana M. Mani

    LA PEINTURE MURALE DE LEGLISE DE ST GEORGE LE VAINqUEURA MLADO NAGORIANE

    Rsum

    Ce texte dcrit la peinture murale de lglise de St George le Vainueur lglise de Mlado Nago ri-ane, prs de Kumanovo, ui reprsente une difice trs reprsentative de la priode de lautorit otto-mane sur le territoire de la Macdoine.

    Elle fait partie des monuments dont larchitecture complexe ainsi ue lart dcorative ont provoulintrt des scientifiues durant la priode du sicle dernier. Cependant, la dcoration peinte est resteinconnue cause des travaux de restauration (fin du XIXe sicle) au cours desuels les murs ont t soitrepeints soit couverts de crpi, ce ui a rendu la peinture invisible.

    Les scientifiues de lavant-guerre ont constat ue larchitecture de lglise date de lpoue du roiMilutin (1313) ou du despote Stefane Laarevi (1406/071427) et ue la peinture murale est soit partiel-lement conserve soit elle nexiste plus. Lacadmicien V. J. uri est le premier ui indiue ue cest unmonument ui nest pas trs ancient et ui est realis dans la deuxime moiti du XVIe sicle tandis ueles restes de la peinture sont dats dans la priode de lanne 1600.

    Au mois de dcembre 1998, on entreprend des recherches de conservation de la peinture et au coursdu mois daot 1999, des interventions de conservation. Le sondage des surfaces peintes a montr lexis-tance des carrs de peintures murales. Nanmoins, les dernires interventions de conservation (octobrenovembre 2008) ont donn la possibilit pour localiser le programme thmatique et la peinture muraleainsi ue le degr sa conservation.

    La conception thmatiue de la peinture de St Georges le Vainueur Mlado Nagoriane reprendcelle de lglise de Staro Negoriane.

    On retrouve dans lespace de lautel des compositions caractristiues pour cette partie de lglise.Les fresues au sommet de la niche apsidal sont compltement dtruites. Dans la suite, il a une frise de11 bustes dvues et suivie de la Communion des Aptres. Au dessous, lOffice des vqes a Christ.Les vues sont peints de mme sur les murs lest et au sud de lespace diaconal.

    Dans la ones suprieure du prothesis, on voit le Cycle de scnes de la vie de St. Nicolas, et dans lamme one de lespace diaconal, le Cycle de scnes de la vie de la Vierge. Au sud, juste au-dessous duccle pictural consacr la Vierge, il a trois peintures de lancien testament:Miracle Chona, Troisjenes Hbrex dans la fornaise etDaniel dans la grotte ax lions, appartenant au ccle des Archanges

    et ui sont troitement lies aux prfigurations de la Vierge.Dans une large coupole ferme, sur la peinture rnove du XIXe sicle, on aperoit un regroupementthmatiue caractristiue pour cette partie de ldifice. LeJss Christ Pantocratorentour de laLitur-gie Divine et les uatre vanglistes prsents sur les pendentifs. La thmatiue de lancienne peinturemurale, ue lon peut appercevoir sur les endroits abms, est compltement respecte.

    Les compositions du ccle desFtes sont peintes sur les petites votes des sous-coupoles et elles sontgnralement abmes. Celles qui sont conserves, ce sont laPrsentation du Christ au Temple, sur le mur

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    mridional, et les Rameax, sur le mur septentrional, ainsi ue la Dormition de la Vierge ui nest pastraditionnelle et ui reprsente leDplacement d corps vers le tombea Gethsmanie,peint sur le murde louest, au-dessus de lentre.

    Les compositions du ccle desMiracles du Christ (Christ et Zakheus et la Grison d malade de la

    mal deau sur le mur mridionnal, ainsi ue la Grison de la belle-mre de Saint Pierre par leChrist, setrouvant trs haut sur le mur de louest au-dessus deaDormition) et deux scnes de la Chsse Miraculeuse(ou lApparition la mer de Thiveriade) sur le mur septentrional, sontplaces au-dessous desFtes.

    Six compositions du ccle des Passions du Christont t dcouvertes (la Prire de Gethsman,Jdas reoit des monnaies en argent de Anne et de Caphe, a Trahison de Jdas, leJugement chez Anneet Caphe, leJugement de Pilate) sur le mur mridional, une composition (Le Reniement de saint Pierre)sur le mur occidental, et trois compositions (le Chemin de la Croix, aMise en Croix, a Crucifixion) surle mur septentrional, et dans la suite un espace endommag sur leuel on avait peint les scnes finales.

    Le cycle de scnes de St Georges a trouv sa place dans la dcoration peinte du naos, dans une suiteau-dessus des figures peintes sur les murs mridional, occidental et septentrional. Il suit en general lasuccession du ccle de Staro Nagoriane.

    La one des figures des saints isols commence sur le mur mridional, prs de liconostase, par lescinuime martres, les saints guerriers et les pauvres, continue sur le mur occidental avec les reprsen-

    tants des religieux de loecumnisme chretien et finit par le couple imprial de Sts Constantin et Hlne.La peinture des ones infrieures du mur septentrional est compltement ruine.

    Les figures des martrs ont t peints sur les piliers et ceux ui taient orients vers le nord ont tcompltement ruins. Le patron de lglise de St Georges est peint sur le pilier sud, ct ouest. Sa tte estcouronne dune gerbe de martr et il est vtu dune tuniue verte au-dessus de lauelle il a une cui -rasse et une plerine rouge lie sur la poitrine. Il tient une lance dans la main droite et un bouclier accrochau dos. St Nicolas est peint sur le mme pilier, ct nord, St Efrme Sirine, ct sud et lvangliste Mat-thieu, ct est.

    Ce qui est particulirement attractif, cest la prsentation iconographique de la Dormition de laVierge. De meme ue dans lglise de Staro Nagoriane, la fresue du Dplacement d corps de la Viergeinclut le thme de Les Prophtes tont annonc. La smbiose iconographiue des deux thmes expliueessentiellement la ralisation des prophties de lancien testament.

    Un groupe de plusieurs mmbres a peint les fresues de lglise mais lunification de stle est proba-

    blement d lintervention finale dau moins deux matres en chef.Les petits formats des compositions, beaucoup de figures dans des scnes en masse, la manire

    lauelle les phisionomies ont t peint, de meme ue la palette de couleurs bien adapte, indiuent uilsagit dun atelier de peinture bien connu ui a t, au cours du dernier uart du XVIe sicle, engag de lapart du mtropolite de Skopje pour raliser les peintures murales de lglise de St Georges MladoNagoriane.

    La peinture de Mlado Nagoriane est li au nom dun atelier asse htrogne ui a t particulire-ment engag dans les deux dernires dcennies du XVIe sicle et dans les deux premires du XVIIe sicle,dans plusieurs glises de la rgion de Skopje et de Kumanovo. On lidentifie en tant que latelier de Kostouret de Linotopi.

    Les inscriptions didentification sont crites en grec et en ancient slave, tandis ue les inscriptionsdes rouleaux dans les mains des vues sont exclusivement en ancient slave.

    Sur les surfaces au-dessous des figures prsentes debout, sur les murs du sud et de louest, on ap -peroit de nombreuses inscriptions dont la signification est trs intressante.

    La richesse de thmes, la conception, liconographie des ccles et des prsentations, de mme que lescaractristiues de stle de la peinture de lglise de St Georges le Vainueur Mlado Nagoriane, font dece monument relativement inconnu, un oeuvre remaruable appartenant au cercle de ralisations impor-tantes de la priode ottomane, ui enrichit en mme temps le corpus du patrimoine artistiue et spirituelmdieval dans cette partie de la Macdoine.

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    . 1. .

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    . *

    .

    .

    .

    .

    .

    .

    . ()

    . 2.

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    * . ...

    . 3. ,

    . 4. .

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    . *

    . 5. .

    . 6.

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    * . ...

    . 9.

    . 7. . 8.

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    . *

    . 10. ,

    . 11.

    . 1. ,

    . 2. ,

    . 3.

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    * . ...

    . 12. ,

    . 13.

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    . *

    . 15. .

    . 14. .

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    * . ...

    . 16. ,

    . 16. .

    . .

    . . .

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    . *

    . 17. . , . , .

    . 18. . . 19. . . 20. .

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    UDC 75.046(497.5 Krupa)UDC 726.7(497.5 Krupa)

    / Original scientific paper

    : . XVI XX , -

    , , . , - . - , , , , - 1720. , .

    : , , XVIXIX , , , .

    , , 1317. , , .1 ,

    , .2 , - , , . , . , XVI - XX , , .3

    , , , . , .

    , , ,

    1 : . , , 2008, 1115; - .

    2 . , , : , 1968, 21.3 , -

    , .

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    , . , (, , , , ...), , - . ,

    . - , , ,4 1753. -

    , 1638. , .5 , , , -, , , , , , - . , -

    . , , . XVIII - . XVIII , . , , , , . (17521828).6 , 1789. , , .

    , , - . , - . . 1787. . -, , , , - 1782. , , ,

    4 . -

    . : . , , 2000, 125; . . -, XVIII XVIII, , . 18, 1982, 201.

    5 7.6 ,

    , , -. .: . , , : , 1968, 17; -

    , , : , 1968, 58; . . ,. , 204.

    *

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    .7 , , -.8 , , -, , .9 XVIII , , , -.10 ( , , , , , - , , , , , -, , ...),11 ( , , , , , , , , ...) XV . , , , ,

    .12 , , .13 , , . XVIII , XIX , .14

    , , . - . XVI

    XVII , .

    7 . , , . 1, 1897, 1, 61, 89, 209; ,. , 52; . , , : , 1971, 289292; . . ,. , 200204, 211; . ,. , 162, 176.

    8 . , XVIII ,, . 5, 1969, 121.

    9 . , - XVIII , , . 4, 1968,217219, 223; . . ,. , 203.

    10 . ,- XVIII , , VII 1, - 1963, 381.

    11 . ,. , 163.12 , -

    ,

    , XV . .: . , , , 16/2, 1977, 159177; . . ,. , 200;. , , , 21, 1997, 9799; . , ,1663, 232233; . , , 2006, 119122; . ,

    15.19. ., 2011, .13 . ,. , 125126.14 . . ,. , 212.

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    . 1.

    *

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    - . XVIII , (. 1. ).15 , . , .16 , , , .17

    , .18 , XVI , (. 1. ). . (15711640).19 101 71 , . -

    , .

    . , -. . (. 1. ) -

    , , () (). (. 1. , . 2) , (), - ,

    15 , . , , -

    . . , . -. : . , , 1, 141, 209; . , - II, 1903, 3299, 3300, 3463; . , , 41; .. ,. , 208209; . , , -

    , 16/2, 1997, 151; . , , 91; . , , , 7, 2009, 432436; . ,- , 2009, 81.

    16 , - , . : . , - , , 4, 1972, 48.

    17 , : . , , 1996, 356; . , : , : , , 2000, 221236.

    18 , () . - , , . .: . , , 53; . , , 59.

    19 .: . , , 4041; . , - , 4353; . , i, (14501830) , 1987,175176; . ,. , 5859, 72.

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    . 4., XVII . 5. , XVII

    . 3. , ,

    XVI XVII

    . 2. , ,

    XVI XVII

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    (. 18, 36 . 26, 26; I 11, 24 ). , . - , , , , , , , , , - .20 . (. 1. ) - , (. 3, 2). . (. 1. , . 3) . , . - .

    XVII , (26,8 x 22,7 ).

    (. 1. , . 4).21 (35,5 28,4 ), () . , , . (.1. , . 5). XVII - . , , . , (. 1. , . 6). - , -

    . XVII XVIII - (. 7) (22,4 x 13 ), , . (. 1. ).22 . ,

    (47,5 29 ), . , , . . , (. 1. ).

    20 . , , 59.21 . . .: . ,

    , , 5, 1950, 188.22 ,

    . . . : . ,. , 191192.

    *

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    . 6. ,XVII

    . 7. , XVII XVIII

    . 8. , XVII XVIII

    . 9. ,

    , 1720.

    *

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    (. 1. , . 8) (63,7 49 ) - . , . -, , .

    (42,3 x 30,4 ), , , 1720. -. (. 1. , . 9) , , , . , , -, , , . , - (, , , ...), .

    , - , -, . . -

    XVIII , -, . 1702. .23 , - , , - .

    , -

    , , - , XVIII , , . (31 25,5 )

    (. 10. ) , , (. 11) (24,3 x 20,3 ), , , . , , -, . , .

    23 , , - . . . , . : . , , 305, 317; . ,. , 6869, 105, 112; . , , : II , 1991, 409424.

    *

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    . 10.

    *

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    , - (81,5 x 34 ) (81,5 28 ).24 , , . , (. 10. ). , . - , - . (. 10. , . 12) -. , . .

    , XVIII .25 (. 13) , . - . - ,

    .26 , , , . - . , , . (. 10. ).

    XVIII . (37 36 )27 (. 10. , . 14) , . - . -

    , . (43,5 35,5 )28 (. 10. ,. 15). ,29 911.

    24 . XV . .: . , -, 1930, 128.

    25 : . , , : , 2000, 575577, 582; . . , , : - , 2008, 91100.

    26 web site- www.kostov.bravehost.com/fotogalerija2.html, .

    27 1967. 43,5 35,3 . , (

    ). . . . : . . .28 1967. 37 x 35,9 ,

    .29 XIII .

    . : . , , 188; . , - , , . 25, 1989, 95133; . . , ,

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    . 11. , XVIII

    . 13. , XVIII

    . 12. , XVIII

    . 14., XVIII

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    , . , - . . , -. , , . (. 10. ) (37 35,8 ) . , - . , . , . , .

    - . , XVIII , . - (41,2 31 )30 ,

    . , . (. 10. ). - (47,2 35 ), . (. 10. , . 16) , , .

    . (. 10. , . 17) (39,5 x 28,5 ), . (R), . ,

    . XVIII , , , .

    , XVIII - . , - (), XVIII - .31

    , , .

    1995, 191192; . , , 359; . , , 163, 242.

    30 , 1968, 51, XVII .31 ,

    . , : . , , 427444.

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    . 15. e ,XVIII

    . 16. ,XVIII

    . 17. , XVIII

    . 18. , XVIII

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    . , . , , , . , . XVIII -, .32 XVIII , . -. . , , -. , , ,

    , - .

    - - , .33

    34(. 18) (36 28,8 ) , .

    (), (), ( ). . - , , , . 35 (. 10. ) (36 28,8 ), ,

    , , . . , - . 36 (. 10. ) (36,5 28,5 ) . , -

    , , , .

    32 XVIII XIX .33

    . , ,

    XVIII . . - . , ( , , , , ...). : . , . , 151, 156, 158, 185, 239.

    34 1967. .35 1967. , ,

    .36 1967. .

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    . 19., XVIII

    . 20. , XVIII

    . 21. , XVIII XIX

    . 22. , XIX , 1904.

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    .37 , . , . - (. 10. ) (36,5 28,5 ) . , . , . , - . , .38 (. 10. ) (36,5 28,5 ) . - , (), -

    . , , - .

    . , , .39

    (. 10. , . 19) (35,4 28,8 )40 - , , ,

    , , . (. 10. ) (35,3 27,7 )41 - , , , - . , .

    . (. 10. ) (35,8 28,9 ) - , .

    37 -. .: . , , 95133; ., . ,156.

    38 1766. . ,

    , . : . ,. , , 1981, 112 (. . 107, . 22); . , . ,95133, . 11; . , . , 157.

    39 . .: . , . , 179.40 1967. . : . . -

    , , : - , 2008, 154168; . . , , : , 2008,169181; . , , 2007.

    41 1967. 63,7 x 49,3 .

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    , 42 (35,7 28,8 ) (35,8 x 28,7 ). (. 10. ) - . , , , . , , , , , .43 - (. 10. , . 20) , . , .44 , . - .

    XVIII XIX () (35,5 28,4 ), . -

    , , . , . , , . . , -, (. 10. , . 21). -

    XVII , , (, , , , , ).45

    , , , - XVIII .

    () XIX , 1903. 1904, - (. 22). . .

    , . , , . , . (38,9 28,6 ), XVIII/XIX ,

    42 1967. .43 .44 . -

    , . , . . .: . , , 1930, 110; . , ., 157, 189.

    45 . , (1619. ), 1998, 260261; . , . ,139.

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    . , , , , . , , . (30,5 26 ), XVIII , . , (30,3 21 ).

    , . - , , XVIII . , . . XVIII , XVII . - , , . , -

    . (41,5 32 ) , XVIII . - , .46

    . 47 , . - .

    , , - , . -

    , - .

    Snjeana Orlovi

    ICONS FROM THE TREASURy OF THE KRUPA MONASTERy

    Summar

    Although the Krupa Monaster (the Dalmatian Bishopric) was frequentl demolished and burntsince its construction, man icons have been preserved until toda. The were ordered b priests, impor-tant monks and bishops, as well as b groups of believers, who were in man cases well off. These iconshave been donated to the monaster for man centuries, thus creating a valuable, important collection of

    46 . . . . , , 187.

    47 . . , XVIII , 200.

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    man items. These icons can be dated from the 16th to the beginning of the 20 th centur and were createdin domestic as well as Venetian and Russian workshops and workshops of other cultural centres. Some ofthem were made in the spirit of the post-Bantine art and man of these icons were made in the barouestle. The oldest icons that belong to the monaster treasur toda are dated to the end of the 16 th centur.

    These are four, once main icons of a Krupa iconostasis which were painted b the Crete painter JohnApaka. Silver frames were made for these icons in Venice in the 18th centur and several other icons withframes have been preserved until the present da. The largest number of icons were made in the 18 th cen-tur and the one that deserves a special mention is the icon with the image of the Theotokos with OldTestament prophets from 1720, a piece b the Greek painter Constantine Dimitriou. The number of items,therefore of icons as well, that are preserved in the monaster treasur has been decreasing over ears,which somehow reflects the historical circumstances in this region. This short review of the icons pre-served until toda in the treasur of the Krupa monaster also reflects the material assets of people fromthis region and their contacts with other regions. And finall, these icons speak of enormous cultural andspiritual wealth of Serbs in this area.

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    UDC 75.071.1:929 Skoutar is I.

    IOANNIS P. HOULIARS20th Department (Ephorate) of Bantine Antiuities (zaknthos, Kefalonia and Ithaka)

    / Original scientific paper

    The Work of the painter Ioannis Skoutarisfrom Grammosta, Kastoria in Epirusand Southern Albania (16451672/3)*

    ABSTRACT: In several churches of Epirus and Southern Albania as well in twoicons of 17th c. is written the name or we recognie the art of the painter Ioannis Scoutarisfrom Grammosta, Kastoria. Ioannis is a recogniable and competent artisan during thesecond half of the 17th c. working initiall with his father and later with two assistants,Dimitrios and Georgios. He continues the work of the great linotopite painters. Ioannis andgenerall the painters from the village Grammos while adhering to the tradition of the lo-cal epirote school the present certian trends in refreshing and enriching their iconograph,as opposed to the linotopites.

    KEyWORDS: 17th centur (16451672/73), Epirus ans Southern Albania, Painting,Painter Ioannis Skoutaris, Grammos-Grammosta, Kastoria, Church of Hol Apostles inMolvdoskepastos, Monasteries of the Prophet Elijah in zitsa-of the Spilaiotissa on theVoidomatis River-of Spilaio in Sarakinishta of Lunxheri-of Agioi Anargroi in Kleidonia-of Ravenia in Dropoli-of zoodachos Pigi in Molvdoskepastos, Icons.

    Ioannis Skoutaris is a 17th centur painter, whose name is known to us for the first timefrom the inscription of the church of the Hol Apostles of Molvdoskepastos in Ioannina,which has the ear 1645 inscribed1. He was the son of Dimitrios, a fact found in the foundersinscription of the Hol Apostles. Ioannis appears in his first signed work with his father andwe read that he was from the now abandoned village of Grammosta (or Grammos) in the re-gion of Kastoria. In other words, we are dealing with a famil workshop, without, naturall,eliminating the existence of one or more assistants, as was the norm in such cases of decora-tion of large churches.

    * The theme was presented at the 30th smposium of the Christian Archaeological Compan (Athens, 1416 ofMa 2010), with the title (16451672/73). I would like at this

    point to thank Professor George Velenis for his significant contribution to the graphological examination of the in-scriptions of the painter Ioannis Skoutaris. I must also note that the greater part of Southern Albania, west of the AoosRiver and south of the Akrokeravnian mountains is the geographical limit of Northern Epirus. See N. G. L. Hammond, , , 4000 - (. . . ), 1997, 12 on. All of the photographs are from m personal archive.

    1 . , 17 , , , , (19261996), , , 2003, 292294, 305.

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    Ioannis Skoutaris is a point of interest in our studies for three basic reasons: First, be -cause he is one of the most prolific painters from Grammos. Second, because he cooperateswith two workshops during the 17th centur, initiall one with his father, as an apprentice, anda second one later as a teacher, and third, because he is one of the few Post-Bantine paintersin Epirus whose surname or nickname, at least, is known.

    The presence of Ioannis Skoutaris is mentioned in the inscriptions of two icons and oftwo other churches in Epirus, besides the Hol Apostles. His art can be detected, without hisname being inscribed, in at least four more churches, within Epirus and Southern Albania.The anomal that occurs is that he onl inscribes his surname in the Hol Apostles of Mol -vdoskepastos and on the icon with Christ as the Severe Judge, from the church of SaintAthanasios in Droviani in North Epirus (1657)2. He onl inscribes his name in the other twochurches and the remaining icon. Also, in the inscription of the Hol Apostles, his name fol-lows that of his fathers, while in the other two churches, his is inscribed first and the namesof his two assistants, Dimitrios and Georgios, are inscribed after3.

    The churches in which Ioanniss name appears are, besides the Hol Apostles, the cathol-

    ica of the monasteries of the Prophet Elijah in zitsa (1657)4

    and of the Spilaiotissa on theVoidomatis River (1672/73)5. His name is written in the large icon of Christ the Pantokratorfrom the templon of the church of the Hol Apostles of Molvdoskepastos (1645/46). There-fore we can pinpoint the artists period of activit within a span of 27 or 28 ears (16451672/73)6, a time-span which is considered normal for a painter of that era, who uite pos-sibl worked from a oung age in his fathers workshop7.

    Besides the aforementioned churches, the illustrative art of Ioannis Skoutaris can be foundin four more monuments. In three of these he seems to be painting b himself, possibl withthe help of certain assistants, while the fourth features the possible contribution of a secondartist. The are, in chronological order: the narthex of the monaster of Spilaio in Saraki-nishta of Lunxheri (Albania) (1658/59)8, the catholicon of the monaster of the Agioi Anargroi

    2 , , , . . . . , 14 -12 2006, no. 32, fig. on page 105.

    3 , 2003, 293 on, fig. 1, 2, 5.4 , 2003, 294298, fig. 2. Herself. 17 -

    , 2009, 342 on. Regarding the dating of the decoration, to 1657. See . . -, 16 17 , 2009, 43 note 117.

    5 , 2003, 303305, fig. 5. , 2009, 4144, fig. 28.6 We must note at this point, that the decoration of the main church and narthex of Saint Athanasios in Mikro

    Peristeri (Prosgoli), Ioannina, as well as certain icons within the church, have been incorrectl attributed to the artist.See , 2009, 411 note 2228. Regarding the above attribution, see . . , -- . . (16801690),

    34 (2000), 111112. . , (14501850),3, 2010, 322323, with the previous bibliograph.

    7 See. Regarding the period of apprenticeship of painters, the age at which the began, and the stages of their

    practice . -, . , (. . ), 1997, 151152. . -, . , , - 700 12921992, 2931 1992, 1999, 103139, especiall 125 on.

    8 K. Giakoumis, The Monasteries of Jorgcat and Vanishte in Dropll and of Spelaio in Lnxheri as Mon-ments and Instittions dring the Ottoman Period in Albania (16th19th Centries), Volme I, II, The Universit ofBirmigham 2002, 225 note 146. , 2009, 346 note 2479. , 2009, 408409, fig. 336, 337.

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    in Kleidonia (1661)9, a section of the decoration (besides the apse, the dome, and the northernsection) of the catholicon of the monaster of Ravenia in Dropoli (Albania) (around 1660)10 anda section of the decoration of the monaster of zoodochos Pigi in Molvdoskepastos (7th or8th decade of the 17th c.)11. With reservations, because of the damage sustained and few pres-entations, the depictions on the apse in the church of the Dormition of the Virgin in Kleidonia(second half of the 17th c.) could also be considered works of Ioanniss workshop12.

    Until recentl, the identification of the Ioannis Skoutaris of the Hol Apostles of Mol-vdoskepastos as the same Ioannis who illustrated the catholica of the monasteries of theProphet Elijah in zitsa and of the Spilaiotissa on the Voidomatis River was risk at best13. Therecent publication of an icon from Droviani, with Ioannis Skoutaris signature14, as well as theicon from the templon of the Hol Apostles, were the missing links in the chain of thoughtwhich led to this identification. A significant factor in this identification of Ioanniss works ishis handwriting stle, which could also be identified utiliing the two icons.

    The despotic icon in the templon of the Hol Apostles of Molvdoskepastos has dimen-sions of 1.05x0.65 meters (fig. 13). It has sustained extensive damage and is covered in soot.

    The icon can be found placed in its original position, to the right of the sanctuar door. Itconsists of a central theme, depicting Christ enthroned (fig. 1, 2), while around him we cansee the smbols of the evangelists. At the top, on either side of his head, we see the Angel(Matthew) on the left and the Eagle (John) on the right. At the bottom, on the left side of hisfeet we see the Lion (Mark) and on the right the Bull (Luke). On the raised side sections, oneither side of the central depiction, there is a series of small icons with the twelve apostles, sixon each side. The first one, depicted on the top left, is the apostle Peter and beneath him fol-low in this order the apostles Matthew, Mark, Andrew, Jacob, and Thomas. On the corre -sponding right side, the apostle Paul is depicted first and the apostles John, Luke, Simon,Bartholomew, and Philip follow. Christ holds in his left hand an open book with an inscrip -tion written with large lettering, which begins with a red letter and continues with black let -

    ters on a gold background: / / / ()() / -/ // / () (Matthew 25:34). The sm-bols of the evangelists Matthew and John each hold an open codex, as well as the four evan-gelists which can be found in the apostles one, however these have small lettering. The restof the apostles are depicted with closed scrolls. The inscriptions are relativel readable in the

    9 , 2009, 385 on.10 Giakoumis, 2002, 225. , 2009, 346 note 2479. , 2009, 409410, fig. 338341. Gener-

    all for the monaster, see . . , , 1995.11 Ioanniss art can mainl be discerned on the west wall of the church, where, unfortunatel, the presentations

    are not preserved intact. In the dome and in the Sanctuar, the stle of the frescoes is different, an explanation forwhich could be the presence of another artist, which could be identified as Ioanniss co-worker Georgios, but the non-

    publication of the monument does not allow this identification without reservations, see , 2009, 346 note

    2479. , 2009, 410, fig. 342. For the church in general, see . . . , - , 2006, 4143.12 , 2009, 410411, fig. 343345.13 A. Karamperides, without knowing about the existence of the icon in the templon of the Hol Apostles of

    Molvdoskepastos, supports the theor that the Ioannis of the Hol Apostles is not in fact the same Ioannis whopaints in zitsa and Spilaiotissa. See , 2003, 291 on, in particular 306. Herself, 2009, 342 on, in particu-lar 350352 and note no. 2807.

    14 See above note 2.

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    books of the three evangelists, but not in the case of John, where the inscription is almostcompletel destroed. In Marks codex, we can more readil discern the left folio, where weread:/ / /-(...) (possibl Luke 21:8), in that of Luke: / () / /-/ / (Luke 21:33) and finall in Matthew: / /

    / / -[] / [ ]/ /[] (Matthew 24:34) (fig. 3). The inscription on

    the book which is held b the smbol of the evangelist Matthew has not been preserved ade-uatel, but in the case of the smbol of the evangelist John, we can discern the beginning ofhis gospel divided between the two folia: / / / () - /

    / . The painters inscription, with red lettering on a dark background , can be found on the bottom right hand side of the icon, between the legs of the throne.On the lower raised fringe of the icon, the donor inscription is written with red lettering on a

    Fig. 1. Christ enthroned Icon of Hol Apostles ofMolvdoskepastos

    Fig. 2. Christ enthroned Icon of Hol Apostlesof Molvdoskepastos detail

    Fig. 3. Christ enthroned Icon of Hol Apostlesof Molvdoskepastos detail

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    gold background: () [] .. .. According to this inscription, the icon was donated bthe monk Christoforos during the ear 1645/6.

    At this point we must make a minor note, with regards to the date written on the icon.The date from the birth of Christ is read as 1646. However, thanks to recent studies, we nowknow of the peculiarit exhibited b the painters from Grammos in the use of chronologicalsstems from the birth of Christ and the Beginning of the world during the months of Sep-tember through December. As such, we cannot rule out the possibilit of the icon, as it wascompleted during December of the ear from the birth of Christ, not correspondingto the ear 1646, but to the ear 1645, which would be in tune with the sstem from the begin-ning of the world, in which the ear begins in September15.

    The comparison of the frescoes with the icons Ioannis paints confirms his singular stle,his similar choices in each detail and his iconographical consistenc. Ioanniss art in the iconfrom the Hol Apostles of Molvdoskepastos presents some basic characteristics, which can

    be seen in all of his works and some of which improve over time. A defining characteristic is

    Ioanniss passion for designing the folds of garments, the bright parallel lines in the joints andthe sculpting of figures, which in his art is gentle but monolithic. These characteristics im-

    prove considerabl in the icon from Droviani and even more in the monaster of Spilaiotissa.Certain technical details, such as the use of colors, the utiliation of space, and the laout ofthe details, remain unchanged. The basic characteristics of Ioanniss stle, which can be foundin all his works, are the human-centric compositions (fig. 7, 8, 10, 13), the bold outlines (fig.2, 4, 5), the sculpting uniformit of the naked bod sections (fig. 4, 6, 12), the singular earswhich often connect to the forehead (fig. 2, 4, 5, 9, 12), the penetrating ees (fig. 6, 7, 11, 13)and usuall small mouths (fig. 2, 4)16. Important stlistic elements include the nose that isslightl bulbous towards the center (fig. 2, 5, 12), the wider right nostril compared to the leftone (fig. 2, 12), the red dash of paint which denotes the upper lip, the essentiall unchanged

    shadows beneath the nose, the lower lip and the chin, the identical design of the ears, thesimilar depiction of facial hair, the robust necks with a crooked line at their base and the ol-ive-green shading on the sides of the face, which becomes brown-green in the icons (fig. 1, 5,12). In all of his works, he also designs the tip of the nose identicall, and draws the almond-shaped ees with two black dashes of paint protruding on either side, round brown irises, andbold pupils in the center. The forehead is normall triangular, with a bold outline whichseparates the hair from the face, the hair does not differentiate as a uniform mass, and thefacial hair is depicted with cruder lines in his earlier works (fig. 2, 4). The folds are designedmore simpl in the older works, with more linearit and far steeper in comparison with thefar more flowing ptcholog of garments seen in the Droviani icon (fig. 5, 7). Another pointof interest is the design of the hands which is more gentle in later works. The crude design of

    the, most often right, leg with the bold line which becomes a groove verticall and the similar

    15 Regarding the particularities of the chronological sstems, in particular in Epirus, see. . , - , - , , 2127 2003 (. . . ), , 2008, 659679.

    16 Regarding these characteristics, see , 2009, 403 on.

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    Fig. 4. Hol Apostles of MolvdoskepastosSt Dadas detail

    Fig. 4. Hol Apostles of MolvdoskepastosSt Dadas detail

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    wa in which theptcholog of Christs chiton is depicted exactl above his bare feet in bothicons, but also more simpl in certain walled presentations (fig. 1, 9, 10), are also points ofinterest. As it concerns the colour options of Ioannis we must notice the common use of thered in man balances for the garments and especiall for the chiton of Christ.

    The identification of Ioannis on an artistic level is unquestionable, regarding the church-es where his name is inscribed. The significant differences which can be found between thefirst monument, the Hol Apostles of Molvdoskepastos (fig. 4), and the other two, the mon-aster of the Prophet Elijah (fig. 5, 6) and the monaster of Spilaiotissa (fig. 7, 8), can be ex-

    plained b the dominant presence of Ioanniss father Dimitrios, in the greater part of the artin the Hol Apostles17. Ioanniss art is also prominent in the two icons he designs. In the firsticon, of the church of the Hol Apostles, as we can see, he does not write his surname, how-ever the decoration of the church in November of 1645 b Dimitrios and Ioannis Skoutarisand the dating of the icon, which is dated to December of 1645 or 1646, in conjunction withthe appearance of Ioanniss stle in it and its inclusion in the templon do not allow an conjec-tions that the Ioannis who drew the icon is anone other than Ioannis Skoutaris.

    Skoutariss art, even though it presents obvious progress in the Spilaiotissa monaster,does not differentiate from the previous churches andicons, and of course presents almost nodifferentiation in the choice of lettering. We can see that Ioanniss art in the Spilaiotissa mon-aster achieves a certain nobilit and fullness, a clear sign that he is maturing as a painter, butwith certain elements that remain unchanged, as we can see for ourselves in the piercinggaes, the wa the ears are depicted and the figures in profile.

    Ioannis appears essentiall after the end of artistic activit from the two prolific li-notopite painters, Michael and his son Constantinos18. The significant activit of these two

    painters and their possible high rewards perhaps pushed the painters from Grammos into asimilar trajector during the second half of the 17th centur. Ioannis in particular, for a smalltime period, was a contemporar of Constantinos, as well as with the last known painters ofthe 17th c. from Linotopi19, but during this period, he onl appears in the Hol Apostles ofMolvdoskepastos. This fact once again reveals the linotopites dominance in the art of Epi-

    17 Ioanniss presence indeed can be found in a few faces of the main church and in certain compositions, whichwe cannot, however, depict safel, if a thorough cleansing of the frescoes is not carried out first. Also, the foundersinscription of the monument does not correspond to Ioanniss writing stle, however its writer is quite possiblDimitrios, who adds his sons name to end of the inscription, seemingl to enforce the writing of his name in it. See, 2003, 294, fig. 1.

    18 The work of these two painters and, to a lesser extent, their helper Theologis has been meticulousl studiedin recent ears in important articles and monograms, see for example . ,

    , 1991. Herself, (16 17 -). , -22 () (2001), 341355. . . , - , 21 (2000), 249266. . . , . ,

    38 (2004), 455491. Herself, . 17 , - 2011. . , 1419 ., 2007, 81on.. , , , 42 (2008), 7594. Herself, 2009. , 2009, 285 on. Himself, . , -

    29 (2010), 363387.19 For these painters, see for example , 1991, 3445. , 2000, 261263.

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    Fig. 6. Monaster of ProphetElijah in zitsa Divine Liturgdetail

    Fig. 5. Monaster of ProphetElijah in zitsa Deisis detail

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    rus while the are at the apex of their activit, but also reveals the nonexistence of a succes -sive situation, which the painters from Grammos, in particular Ioannis and the brothers Dim-itrios and Georgios manage to utilie, to create their own tradition, mainl from 1657 andafterwards. Of course, this tradition formed b the painters from Grammos was alreadpresent in the central Balkans from the 16th c20, but the dominant position held b the li-notopite painters overshadowed it for a large period of time21. The painters from Grammosappear as a tpe of succession, when the famil workshops of Linotopi essentiall cease func-tioning during the second half of the 17th c. This event is depicted in the continuation of thework of the linotopites b Ioannis and the brothers Dimitrios and Georgios22. In fact, this con-tinuation is visible in churches which the linotopites Michael and Constantinos had partldecorated which were completed b the grammostans Ioannis, Dimitrios, and Georgios. Ex-amples include the monasteries of Spilaion in Sarakinishta (fig. 9)23, of Ravenia in Dropoli(fig. 10, 11)24 and of the Prophet Elijah in Stegopoli25, all in Southern Albania.

    Ioannis and his co-workers continue the tradition of the school of Northwestern Greeceand create conservative depictions with anti-classical figures. It is characteristic, however,

    that their iconographical inspirations and their art present certain differentiations in com-parison with their linotopite comrades. The grammostan painters, while adhering to the tradi-tion of the local school, also include classical elements in comparison with the linotopiteswith regards to space and the human figure, and follow sometimes, with their templates, theso-called Cretan school, an element absent from the works of the linotopite painters26. Gener-all speaking, even though the painters from Grammos remain dedicated to the local, Epirotetraditions, the present certain trends in refreshing and enriching their iconograph, as op-

    posed to the linotopites, who prove to be more conservative in the depiction of their themes.

    20 Man painters are descended from the same village, with the earliest being, according to evidence gathered

    until toda Ioannis, son of Theodoros, and Nikolaos, who paint in the region of Skopia during the first half of the 16

    th

    c. See for example M. Mani, Jean le ographe et son activit artistiue. Connaissances antrieures et actuelles,Problemi na Izkstvoto 2 (1997), 1017, 63. Herself, Sur uelues uvres attribues rcemment Jean zographe deGramosta,Ni and Byzantim, 8th Symposim (Ni, 35 jne 2009), The Collection of Scient ific Works VIII(ed. M.Rakocija), Ni 2010, 355364. J. Spahiu, The Great Feasts Scenes in the Monaster of Toplica, Patrimonium.mk78(2010), 331350. , 2010, 322323, with the previous bibliograph. At the beginning of the 17th c. the art-ists Michael and Constantinos from Grammosta appear at the monaster of Divrovounion in Albania (1604), see. Th.Popa, Considrations gnrales sur la peinture post-bantine en Albanie,Actes d 1er Congrs International des

    Etdes Balkaniqes et Sdest Eropennes, II, Sofia 1966 (1970), 778. . . , (14501830),2, 1997, 132, 192. . , - 17 , 31 (

    ) (2011), 8081.21Alread from the end of the 16 th c. the linotopite painters appear dominantl in the art of northern and west-

    ern Greece, see for example. , 1991, 2328. Herself, , , 2123 -

    1988, 1991, 379385. Herself, The Painters from Linotopi (Greece) and the Serbian Church, ZbornikMatica Srpska za Likovne Umetnosti (ZMSLU) 2728 (19911992), 319325.22 , 2009, 362.23 Th. Popa,Mbishkrime t kishave n Shqiperi, Tiran 1998, 234 no. 559, 236 no. 564. Giakoumis, 2002, 225.

    , 2009, 346 note 2479. , 2009, 408409., 2011, 278 on.24 Giakoumis, 2002, 225226. , 2009, 311 note 2272, 316, 346 note 2479. , 2009, 409410.25 Popa, 1998, 230 no. 550. , 2003, 301302. , 2009, 466. , 2011, 51, 329 on.26 , 2009, 404 406, 466.

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    Fig. 9. Monaster of Spilaion in Sarakinishta the Burning Bush Fig. 9. Monaster ofSpilaion in Sarakinishta theReceiving of the Law detail

    Fig. 7. Monaster of Spilaiotissa Incredulitof Thomas detail Fig. 8. Monaster of Spilaiotissa the Entrinto Jerusalem detail

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    The identification of Ioannis, who illustrates the monasteries of the Prophet Elijah in zitsaand the Spilaiotissa as Ioannis Skoutaris, solves the problem of the workshops from the village ofGrammos during the second half of the 17th c., as it is made clear that Ioannis, who is a student ofhis father in the Hol Apostles of Molvdoskepastos, is clearl a teacher a decade later. Thisrevalation is attributed mainl to the writing of his name before those of all the other painters inzitsa and the Spilaiotissa, a practice which is usuall adhered to the inscriptions of Bantine and

    post-Bantine churches written b the teacher and master27. Ioannis himself becomes master ofthe workshop, which consists of himself and the brothers Dimitrios and Georgios. Of course,Ioanniss father was also named Dimitrios. This coincidence leads us to the next step, which is theattempt to connect Ioannis Skoutaris with familial bonds to the members of his second workshop.

    In the monaster of the Transfiguration of Drenovo in Lunxheri (or monaster of Migouli)in Albania (1666)28, P. Poulitsas and Th. Popa mention a seven-lined inscription in the conch ofthe prothesis which includes the following: () / / / / / / : ()29. Toda, thisinscription cannot be clearl seen, however, if the older reading is correct, it creates problems

    regarding Ioanniss familial ties with the brothers Dimitrios and Georgios. According to theinscriptional tradition and the importance of the word historiographer, the historiographers ofthe temple are its painters30. It is also known that man painters write their names in the conchof the prothesisin the form of votive inscriptions31. In the founders inscription, in this particu-lar church, mention is made of Dimitrios and Georgios as the painters. However, Ioanniss nameis not present32. Besides the word historiographers, another small detail presents a problem:After Georgioss name follows a colon (:) and after this the name Ioannis. We do not, ofcourse, know if this name was included in the original inscription or if it was added later.

    If this inscription did not exist, things would be uite simple and we could claim withrelative safet that Ioannis was the father of the brothers Dimitrios and Georgios, and Dimi-trios, as the eldest, took his grandfathers name. Also for certain, after the identification of Ioannis

    as Ioannis Skoutaris, we can rule out the possibilit that Ioannis was the brother of Dimitriosand Georgios, because the parents of the two brothers are mentioned as Manuel and zoga.The close familial ties of Ioannis with the brothers Dimitrios and Georgios must be con-

    sidered obvious however, as we know of their common birthplace, the oftentimes familialnature of the workshops33, and most importantl, the common name Dimitrios for the fatherof Ioannis and the brother of Georgios. One of the most possible familial relationships of theaforementioned individuals is that of the first cousin. Dimitrios, son of Manuel and zoga,

    27 -, 1999, 133134.28 Popa, 1998, 236237 no. 567. , 2003, 300301. . . ,

    (1666), 27 (2007), 129130.29 . . , ,

    5 (1928), 83. Popa, 1998, 288289 no. 787. Popa, in the 6th row, reads instead of .30 S. Kalopissi-Verti,Dedicatory Inscriptions and Donor Portraits in Thirteenth Centry Chrches of Greece,Wien 1992, 6869. . , . - ,22 (2001), 134.

    31 , 1928, 83. . , , , , 1994, 394, fig. 2 on page 399. Popa, 1998, no. 7, 14, 93, 94.

    32 See above note 28.33 See for example -, 1997, 149150.

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    Fig. 12. Monaster of Agioi AnargroiKleidonia Pantokrator

    Fig. 11. Monaster of Ravenia in Dropoli Albaniathe Martrdom of St John the Baptist

    Fig. 10. Monaster of Ravenia in Dropoli Albania Incredulit of Thomas

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    possibl was named after his uncle, and fatherof Ioannis Skoutaris. The use of the unclesname for one of the bos in families of brothersis not a rare occurrence in our tradition, espe-ciall when there is more than one bo in afamil. Another possibilit is that of the broth-ers Dimitrios and Georgios having another

    brother, who was also named Ioannis. Perhapsthis is the reason that the name Ioannis is re-corded in the conch of the prothesis in the mon-aster of Migouli, even though, as we men-tioned before, we cannot be certain about thedate that the name was written. In diagram 1we can see the possible famil tree of the paint-ers Ioannis, Dimitrios and Georgios.

    Finall, with regards to the writing of thename or the surname, we must note that thispractice is rare, although it is not absent fromBantine and post-Bantine art34.Surnamesgenerall denote profession, a certain propert,or ancestr; the writing of Ioanniss surnamecould possibl correspond to one of that. Theword Skouteris denotes the sheep-herdersfirst mate or the master of the sheep farm35.Also, Skoutarios or Skouterios was an official in the bantine roal court36.Also, Skoutariwith emphasis either on the u or the a is a common name for locations in the southern Bal-

    kans37

    . Ioanniss non-inclusion of his surname mainl after 1657 must be attributed mostl tothe fact that he does not illustrate alone on an of the churches, on which we knew until now thathe illustrated and inscribed his name. This fact proves the inscription of his surname that sameear, 1657, on an icon and the absence of it in the monaster of the Prophet Elijah in zitsa, wherehe illustrates accompanied b the brothers Dimitrios and Georgios. Finall, the surnameSkoutaris is well known in Kastoria, where since the 18th c. at least one of the large aristocraticfamilies of the cit bore the name. In fact, the famils manor house is still preserved38.

    34 The anonmit of the Bantine artist is replaced during the earl post-Bantine ears b the named paint-ers, advocates mostl of the Cretan school of art, a habit which stretches beginning from the 16 th c to the whole ofGreece and into all of the trends, however the inscription of the surname remains rare, see generall --, 1997, 121 on. . , 15 , (. . ), 1997, 161 on.

    35 . , , 2009.36 See . . , , 2001, 281. Itis descended from the word or , which means shield or Escutcheon. See . . Sophocles, Greek

    Lexicon of the Roman and Byzantine Periods (from B.C. 146 to A.D. 1100), London 1914, 997998. A. P. Kahdan,The Oxford Dictionary of Byzantim, New york-Oxford 1991, vol. 3, 1913.

    37 For example we mention that Skoutari is a common name for the cit of Skodra in Albania as well as for asuburb of Constantinople on the asian side (the ancient Chrsoupolis).

    38 . . , ,, . , 1953, 503509.

    Fig. 13. Monaster of Agioi Anargroi Kleidoniathe Betraal detail

    * THE WORK OF THE PAINTER IOANNIS SKOUTARIS FROM GRAMMOSTA...

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    As a result, we can conclude that Ioannis combines all the elements which identif apainter of his era: A singular stle, characteristic handwriting, organied and stead profes-sional team, famil unit and a conscientious choice of was of expression. He differentiatesfrom his contemporaries however in his choice to highlight his surname and home region,mainl in his earlier works, thus showing us that he is no ordinar painter, but a recogniableand competent artisan during the second half of the 17th c. B placing emphasis on his sur-name and home region, he wants to highlight the fact that he continues a great tradition of his

    particular home and that he has a name, which is a characteristic of his work and serves todifferentiate him from the other painters. We could not imagine this painter, who continuesthe work of the great linotopite painters, who almost alwas signed their work and proudldeclared their home region, differentl. This fact reveals the indisputable domination of the

    painters from Grammos in the art of Epirus during the second half of the 17th c.

    .

    , (16451672/3)

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    IOANNIS P. HOULIARS *

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    UDC 271.222(497.113 Sremski Karlovci)-523UDC 75.052 (497.113 Sremski Karlovci)

    ,

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    . . -, , , , , , .2 -, - . - .

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