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  • INSTITUT DTUDES BYZANTINESDE LACADMIE SERBE DES SCIENCES ET DES ARTS

    TUDES 44/2

    FONDATION DE SAINT MONASTRE DE HILANDAR

    Tome II

    Mlanges offerts Mirjana ivojinovi

    RdacteursDejan Delebdi, Bojan Miljkovi

    SecrtairesBojana Pavlovi, Milo ivkovi

    B E L G R A D E2 0 1 5

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    1 v. The holy and great monastery of Vatopaidi. Tradition, history, art, I, Mount Ahos 1998, 4453 (N. Oikonomides), 5471 (K. Chrysochoides); Actes de Vatopdi, I, Paris 2001, 438; Actes de Vatopdi, II, Paris 2006, 345.

    2 . . . , , 1935, passim; . , I, 19912, 57129; . -, , 1991, 121173. . . . , , ,

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    2007, 6092; . , , 2009, 60.

    3 . . , , . . , . , 1979, 1516; . . , , 19 (1983) 185198; . , , , 2005, 136152; . , , 2007, 4546; . , , 2008, 4258, 6465 ( ).

    4 , Venezia 18643, 29 ( 1701. ). v. O. Cicanc, P. Cernovodeanu, Contribution la con-naissance de la biographie et de l'oeuvre de Jean Hierothe Comnne (16681719), Balkan Studies 12/1 (1971) 143186; E. Stergiopoulou, , . , Athens 2014, 183 . (1778), . ---, , , -, , , 1723, 1747 , , I, 17933, 620.

    5 . , . , 58 . 97. . . . , . , 7 (1961) 126136.

    6 S. Lampros, , 9 (1912) 211; The Slavonic Patria of Mount Athos (BHG 1054u + BHG 2333), ed. G. R. Parpulov, Plovdiv 2013, 25, 59.

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    1769. 1792. .7 -, , . , , .8 , - , 1744. 1767. (. 1).9

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    7 1769. . The holy and great monastery of Vatopaidi, II, 548549 (I. E. Tavlakes); . , , 2004, 26, 63 (. 5), 194. 1792, , 1802, , . , . , 185198, . 1; D. Papastratos, Paper icons, II, Athens 1990, 416419, nr. 445 ( ).

    8 , . , 194; , . , . 12; Papastratos, op. cit., 417, nr. 445; The holy and great monastery of Vatopaidi, II, 549551 (I. E. Tavlakes); , . , 47, . IV.

    9 . Papastratos, op. cit., 414416, nos. 443444 ( , , 1744. , 1769 1792); The holy and great monas-tery of Vatopaidi, II, 548, 552553 (I. E. Tavlakes). . , . , 26, 63 (. 4), 1744. . . , , , . (Papastratos, op. cit., 414), , . http://www.day.kiev.ua/ru/photo/pod-odnoy-kryshey-goyya-mikelandzhelo-i-tician. .

    10 . The holy and great monastery of Vatopaidi, I, 220279 (E. N. Tsigaridas), 285308 (I. A. Papangelos); , . , 4654; N. Toutos, G. Fousteris, . 1017 , Athens 2010, 113139 ( , 1819, , ).

    11 , . , 191, . 6; E. Tsigaridas, (9631453), , 920 , Athens 1996, 156, . 20; , . , 58; , , op. cit., 130.

    12 . , . , 126136; The holy and great monastery of Vatopaidi, I, 280284 (E. N. Tsigaridas); , . , 139142, . 23 (

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    1363/1364); Toutos, Fousteris, op. cit., 149155.

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    14 , . , 127 sqq; , . , 140141; Toutos, Fousteris, op. cit., 149155 ( 1847. ).

    15 . S. V. Mamaloukos, . , Athens 2001, 92102, 127128, 207208, fi gs. 339383; Toutos, Fousteris, op. cit., 138.

    16 , . , 150, . 1112 ( - ); , . , 46, . 2223.

    17 1780. - , . Mamaloukos, op. cit., 263, no. 43.

    18 . The holy and great monastery of Vatopaidi, I, 294 296, fi g. 253254 (I. A. Papangelos); , . , 5658.

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    20 , . , 195, . 10; , . , 150.21 . , . , 195.

    . Mamaloukos, op. cit., 108113, 131, 221; .Toutos, Fousteris, op. cit., 135.

    22 Moyseos Hagioreitos, , Vatopedi Monastery 2007, 55 . 23 . , , CIV/33703 (, 6.

    IX 2007) 16. 24 st= sa=va.25 . . . , , 2 (1967)

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    Vatopaidi, 309315 (N. Zias); Mamaloukos, op. cit., 8291, 125126, 206207, fi gs. 277338; Toutos, Fousteris, op. cit., 136137.

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    29 E. N. Tsigaridas, , , II, Athens 2003, 863868. . The holy and great mon-astery of Vatopaidi, 309 (N. Zias); Mamaloukos, op. cit., 84, 215, 261, no. 40.

    30 Ibidem, 206207.31 Toutos, Fousteris, op. cit., 136137 (

    1791. ).32 Mamaloukos, op. cit., Sch. 75.1, 76.1, fi gs. 277280.33 Ibidem, 215, 226.34 .

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    35 . . , , 1972, 257 (), 275276 ( ); , , , 599610 ( ); , , , 341361 (); , , , 571574 (); , , , 7982 (); , , , 343348 (); , , , 533535 (); , , , 126 ( ); A dictionary of Christian biography and literature to the end of the sixth century A.D., with an account of the principal sects and heresies, ed. H. Wace, W. C. Piercy, London 1911, 246 ( ), 602606 ( ), 746747 ( ).

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    Miodrag Markovi(Faculty of Philosophy, University of Belgrade)

    ABOUT REPRESENTATIONS OF ST SAVA OF SERBIA IN VATOPEDI MONASTERY, WITH SPECIAL FOCUS ON FRESCO IN THE PAREKKLESION OF ST DEMETRIOS

    The names of many ktetors have been inscribed in the long history of the Vatopedi monastery. St Sava, the fi rst Serbian archbishop, holds one of the most prominent places among them. Sava was strongly related with the monastery. He re-ceived monastic tonsure in Vatopedi and lived there during the fi rst years upon his arrival at Mount Athos. He also received there Simeon Nemanja, when the latter de-cided to join his youngest son in monastic life. The father and son undertook several ktetor endeavours in Vatopedi. That is why they gained great reputation among the Vatopedi brethren still during their lives. After their deaths, they were liturgically celebrated as new ktetors. In copper engravings with the veduta of the respectable Athonite monastery, made in Vienna and Venice (the oldest known originates from 1744), Sava was assigned a place of honour, equal to that of Emperor Theodosius the Great, the legendary ktetor of Vatopedi.

    The respect that Vatopedi monks had for St Sava is also seen in some other works of art preserved in their monastery. The oldest known such work seems to have been located in the katholikon narthex and originated from 1311/2. However, like many frescoes in the temple, in 1819 it was covered with an image of the same contents.

    In the 14th century, St Savas portrait was, most probably, painted also in the chapel of the Holy Anargyroi, which was erected and decorated with frescoes by des-potes Jovan Ugljea, somewhat before September 1371. His fi gure is placed on the eastern wall of the narthex, in the immediate vicinity of the despotes ktetor portrait and the image of St Simeon Nemanja. Unfortunately, in the 19th century (1847) these images were completely covered by a new layer of paint.

    Images of the two Serbian saints are also included in the fresco program of the chapel dedicated to St Nicholas. Sava and Nemanja are presented next to each other in the north-western corner of the nave of this church, which was built along the south-western fl ank of the Vatopedi katholikon back in the mid11th century. The frescoes date back to 1780. It is not known whether these frescoes cover some older wall painting.

    The relationship between old and new frescoes is not known even in the Vatopedi refectory, whose present-day frescoes date back to 1786. Sava is painted in the altar area together with the most reputable church fathers of the Eastern Christian ecumene. He received a place of honour in the central part of the apse, along with St John Chrysostom.

    The presentation in the western wall of the exonarthex, created in 1842/3, cer-tainly belongs to Savas youngest portraits in Vatopedi, even if replicating an older

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    image. Namely, the katholikon porch was built only in the late 17th or early 18th centu-ry and could not have had the frescoes much older than the ones which adorn it today.

    The oldest images of St Sava which can be seen today in Vatopedi belong to the icon painting. These are two icons, still unpublished in professional literature. We pre-sent both of these icons here thanks to the academician Gojko Suboti who cordially provided us with his photographs taken in the monastery.

    The older of the two icons, with revetment of gilt silver, presents the bust St Sava in his archbishops vestments. The fi rst Serbian archbishop holds a codex in his left hand and blesses with his right hand. The icon is not entirely unknown to a wider public. The academician Suboti has written about it a few words. He concluded that the icon is stylistically close to paintings of the Kaleni monastery, i.e. the work of master Radoslav who also made the miniatures for the Tetraevangelion of the monk Visarion in the Blagovetenje monastery near drelo, in 1428 or 1429. It seems that the Vatopedi icon stylistically truly belongs to the vanguard of Serbian art of the fi rst half of the 15th century.

    The second icon is much more complex in iconographic terms. Its central panel is divided into two zones of approximately the same height. The upper zone contains the Synaxis of the Archangels, and the lower zone shows fi ve standing fi gures of saints. The central part depicts John the Theologian, surrounded by his two disciples and two Serbian saints. To the left are St Ignatius the God-Bearer and St Simeon Nemanja, and to the right is St Sava of Serbia and St Polycarp the bishop of Smyrna. According to preliminary stylistic analyses, it may be assumed that the icon was cre-ated in the 17th century. The images of patrons (two monks), the prominent position of the Serbian saints, particularly of St Sava, and Greek inscriptions point to the conclu-sion that it was made upon the order of the Vatopedi brethren.

    A century later, Vatopedi monks ordered the hagiographical icon of St John the Forerunner, whose lower part also contains the image of the fi rst Serbian archbishop. In this icon, kept in the monastery katholikon, St Sava is accompanied with three saints Panteleemon, Athanasios the Athonite and Stephen the First Martyr. St Sava and St Athanasios, both of them Athonite monks, are particularly highlighted as they face each other.

    In addition to Savas portrait preserved in the above icon of the Synaxis of the Archangels, there is in Vatopedi another unpublished presentation of the fi rst Serbian archbishop. The present text elaborates on this icon in most detail. The portrait is painted in the parekklesion of St Demetrios, built along the north-western fl ank of the katholikon. Sava is depicted there in his archbishops vestments, with the Gospel in his hands. He can be easily recognised by the inscription in the fresco and the ton-sure. The fresco is located in the eastern wall of the prothesis, above the fi gure of St Stephen the First Martyr. Together with St Pankratios of Taormina, it fl anks the semi-calotte of the prothesis apse, which features the dead Christ in the tomb (imago pieta-tis). The frescos of the St Demetrios parecclesion were painted in 1721 by Kosmas from Lemnos, upon the order of Vatopedi monks. The frescoes in its prothesis, which was added only in the 18th century, originate from the same period.

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    The fresco program in the prothesis is very simple. It consists mainly of fi gures of archbishops. They cover the vault and a larger part of wall surfaces of the prothesis. There are no such fi gures only in the niche of the eastern wall which is adorned, in ac-cordance with the purpose of the space, the above-mentioned image of the dead Christ in the tomb, which was surrounded by fi gures of two seraphims. In this case, St Sava of Serbia did not get his place in the program so that his ktetor merits for Vatopedi and Hilandar be highlighted. His merits are not indicated either in inscriptions or the program context. The selection of saints among whom St Sava is included points to the assumption that Vatopedi monks aimed to emphasise Savas theologian work and his struggle to spread and preserve the true faith. It was exactly the archbishops who evinced such activity that received their place in the fresco program of the St Demetrios chapel.

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