Ana Kostić is an Associate Professor and Research Associate at the University of Belgrade, Faculty of Philosophy, Department of Art History. Her main research areas are Serbian 19th-century art, Balkan visual culture, religious art in Serbia, and the relation between religious art, society, state, and politics. Dr. Kostić received her Ph.D. degree in 2016 from the University of Belgrade, and her Thesis was on the connections between State, Society, and Religious Art in the Principality of Serbia (1830-1882). Since 2021. she is the Director of the Center for Visual Culture of the Balkans, Faculty of Philosophy, University of Belgrade, and since 2017 a member of the professional association Society of Historians of Art and Visual Culture in Modern Times. Since 2018 she is a member of the Council of the Academy for Conservation and Restoration of the Serbian Orthodox Church.
Hram Svetih Arhangela Mihaila i Gavrila u selu Kondželju kod Prokuplja, u Topličkom okrugu, podig... more Hram Svetih Arhangela Mihaila i Gavrila u selu Kondželju kod Prokuplja, u Topličkom okrugu, podignut je i ukrašen u periodu od 1893. do 1901. godine. Monumentalno zdanje, izgrađeno u srpsko-vizantijskom stilu, živopisano i opremljeno ikonostasom koji je delo kopaničara Zarije, Zaše Dimitrijevića i zografa Avrama Dičova, predstavlja reprezentativan primer prakse izgradnje i opremanja hramova na novooslobođenim južnim teritorijama Srbije nakon Berlinskog kongresa 1878. godine. Nacionalne pobude vezane za izgradnju hrama, učestvovanje lokalne parohijske zajednice, a potom i celokupnog srpskog naroda u tom poduhvatu, zakonske procedure i okviri poštovani pri izgradnji, ali i negovanje nasleđene tradicije prilikom njegovog ukrašavanja, jasno ukazuju na modele i tokove crkvene umetnosti u južnim krajevima Kraljevine Srbije na prelazu između dva veka. Kako u dosadašnjim istraživanjima ovom hramu nije bila obraćena posebna naučna pažnja u radu se daju osnovni istorijski okviri i podaci vezani za procese njegove gradnje i ukrašavanja.
Истраживање манастира Жиче у 19. веку ослања се на претходне доприносе бројних историографа са по... more Истраживање манастира Жиче у 19. веку ослања се на претходне доприносе бројних историографа са покушајем дефинисања феномена који су обележили 19. век као важно и по моного чему посебно раздобље у вековном трајању овог манастира. Потпуно нову етапу у историји свог постојања Жича доживљава у српској култури 19. века, са формирањем нововековне српске државе. У складу са националном идеологијом и културом историзма, које су обележиле све сфере друштевног, политичког и црквеног живота и деловања у 19. веку, Жича бива препозната као значајан споменик националне прошлости, важна спона средоњвековне са нововековном српском државом и у складу са тим истраживана, обновљена и популаризована у културној и научној јавности оновремене Србије. Њен значај допринео је томе да буде укључивана у важне државне програме током 19. века. Обнова Жиче је посматрана као општепатриотски чин; први је манастир за који је донет Закон о његовој обнови, а даљој популарности је допринела чињеница да су се у њој миропомазали 1889. краљ Александар Обреновић и 1904. краљ Петар I Карађорђевић. Као резултат свих усмерених напора појединаца и државе ка обнови, проучавању и заштити појавио се и повећан садржај различитих визуелних представа манастира. Заснована на обимној литератури, периодици из 19. и с почетка 20. века, као и теренским и архивским истраживањима монографија настоји да предметом свог истраживања употпуни постојећу научну празнину у прошлости манастира Жиче и да допринос познавању укупне културне историје Србије 19. века. Подељена је на три веће, хронолошки конципиране целине са одговарајућим подпоглављима: Манастир Жича у првој половини 19. века, Обнова Жиче средином 19 века и Жича у другој половини 19. века. У првом поглављу представљена је историја манастира у Првом српском устанку, затим, разодбље од Другог српског устанка до обнове средином 19. века, те истраживања Жиче у првој половини 19. века. Средишње поглавље књиге разматра све аспекте обнове манастира средином 19. века, од грађевинских радова на обнови цркве Св. Спаса, преко опремања ентеријера, улогом владике Јоаникија „као обновитеља Жиче“, те оновременим критикама поводом обнове манастира. У трећем поглављу књиге представљени су истраживачи и истраживања Жиче у седмој и осмој деценији 19. века, место Жиче у владарској идеологији и државним и националним програмима до Првог светског рата.
U monografiji je data kratka istorija sela Vreoci kao i detaljna istorija vreočke parohije. Data ... more U monografiji je data kratka istorija sela Vreoci kao i detaljna istorija vreočke parohije. Data je detaljna istorija vreočkih crkvenih hramova kao i njihov detaljni opis uključujući i opis ikonostasa u oba hrama.
In the Principality of Serbia in the 19th century, the Orthodox Church represented a significant ... more In the Principality of Serbia in the 19th century, the Orthodox Church represented a significant entity and had a privileged position as a state and national institution. This all affected its place in public life, as well as the public control of all the church activities regarding the churches' construction, equipping, painting, and renovation. Thus, the aesthetical criteria, demands, and effects of the cultural and scientific public were a tremendous factor in making church art common during the 19th century. The public had an influence on art development through various forms in the Principality of Serbia, and some of the instruments were both daily and periodical (printed) press. The public's attitude towards the church art was stated in the press and humongously affected the people's consciousness of the Church and church art's significance in relation to the state and nation, as well. Also, the ordering parties' tastes had thus been formed, which also had ...
The activity of Debar zografs on the territory of the Principality and the Kingdom of Serbia has ... more The activity of Debar zografs on the territory of the Principality and the Kingdom of Serbia has not been fully investigated. The knowledge so far indicates of their importance in creating a sacral visual culture during the first half of the 19th century in the Principality of Serbia. Their activity in this territory was made possible by favorable geographical, political and cultural circumstances which included the acceptance and nurturing of the Ottoman-Balkan cultural model, especially during the first rule of Prince Miloš Obrenović (1815-1839). After the church and state reforms that were carried out in the middle of the 19th century in the Principality of Serbia, the work of painters in its central areas was suppressed, but in the border and especially southern areas that joined the territory after the Berlin Congress in 1878 their work can be followed in continuity. Zograf groups (tajfi) who come from the vicinity of Debar on the territory of the Kingdom of Serbia continue to work in its southern areas, around Vranje, Prokuplje, Niš and Bela Palanka. The paper focuses on the activities of hitherto unknown zografs Nikola, Rista and Josif Mojsilović, as well as on the activities of Dičo Zograf, Nestor Trajanov, Avram Dičov, Teofan Isailović Budžaroski, Evstatije pop Dimitrov, Pavle Stojanović, Krsto Dičić and the Dičić brothers. This mapping of the works of Debar zografs is an attempt to create a clearer picture of the role of this zografs current in the development of church art in the Principality and the Kingdom of Serbia during the 19th and early 20th centuries.
Aksentije Janković from Vršac is one of the first artists
of the Neo-Classical affiliation who mo... more Aksentije Janković from Vršac is one of the first artists of the Neo-Classical affiliation who moved to Serbia after the Second Serbian Uprising trying to find his bread and butter there. Having arrived in Serbia in 1824 at the recommendation of Vuk Stefanović Karadžić, in order to do the portraits of Prince Miloš Obrenović and members of his family, he also had intention to work on ecclesiastical painting. Apart from the iconostasis for a church in Požarevac and two icons for a church in Kragujevac, the established cooperation with Prince Miloš did not bring work to the painter in the domain of ecclesiastical painting which he hoped to get. The preserved data show that Janković also wanted to do the iconostasis for a church in Svilajnac, but this commission never took place. Janković’s religious painting that followed the Neo-Classical artistic poetics and a new theological approach to the religious painting did not suit Prince Miloš Obrenović and the church authorities either from the aesthetic or from the dogmatic point of view. Not having the necessary support from the ruling and church circles in Serbia for his work on the ecclesiastical painting, which during the third decade of the 19th century was still dominated by the zograph icono-painting model, Janković did not continue with his work in Serbia. The few works of his created in Serbia have already in part been irrevocably lost, while two icons from the Old Church in Kragujevac are in a very poor state and have been dislocated. For this reason, the goal of this paper is to reconstruct the work of Aksentije Janković in Serbia in order to get an as complete picture as possible about the trends in the ecclesiastical painting that marked the period of the third decade of the 19th century through the contribution of this painter.
Culture-of-Remembrance-Visuality-and-Crisis in the Balkans (17th-20th Century)), 2021
The history of the relics and the cult of St Stephen the First-Crowned, especially the one from t... more The history of the relics and the cult of St Stephen the First-Crowned, especially the one from the late 18th and early 19th century, shows how crises can bring about the development of a cult and visual culture that accompanies these processes. Carefully guarded during the wars, from Kočina Krajina up to the Serbian Revolution, the relics of St Stephen the First-Crowned shared an unfortunate fate with the people and its army. By building the old church-folk tradition with new legends about St Stephen the First-Crowned and his relics, the insurgents gradually created a symbol of freedom and the renewal of Serbian statehood out of the first Serbian king. After the final liberation from the Turks, his relics became the most important national relics of the state. Visual culture had its place in all of these developments of his cult.
У периоду прве владе кнеза Милоша Обреновића (1815-1839), у Кнежевини Србији je подигнут и обновљ... more У периоду прве владе кнеза Милоша Обреновића (1815-1839), у Кнежевини Србији je подигнут и обновљен велики број цркава. Активности везане за подизање и обнављање храмова биле су део државотворне и личне политике кнеза, те су разгранавање парохијске мреже и обезбеђивање градитеља за тај подухват представљали један од императива. Иако на дoсадашњем ступњу истражености сакралног градитељства овог периода за велики број храмова није могуће утврдити ко су били градитељи, захваљујући сачуваној, и у извесној мери публикованој, архивској грађи о многим градитељима постоје сачувани подаци, иако некад непотпуни. Намера је да се овим радом употпуне досадашња знања о сакралном градитељству и градитељима цркава у Србији у периоду од 1815. до 1839. године, идентификовањем одређених историјских оквира који су омогућили појаву и доминацију појединих градитељских струја, са акцентом на најзначајнија градитељска имена и њихове појединачне опусе. У раду се прате различите струје балканских неимара који су доминирали црквеним градитељством у периоду прве владе кнеза Милоша. То су били градитељи из Османског царства, са простора јужног Балкана – Охрида, Битоља, Велеса, Вранеша, Крушева, Цариграда, али и из Босне, углавном из Осата. Међу овим неимарима обрађени су опуси и идентификоване цркве Косте Димовића, Андрије Сотировића, Јање Михајловића, Николе Ђорђевића, Хаџи Николе Живковића, Димитрија Сотировића, Настаса Стефановића, Симе Вироње, Мирослава Буљугије, тајфе Гођевац и локалних мајстора.
Collection of papers of the Faculty of Philosophy of the University of Priština, 2022
During the 19th century, the Orthodox Church in the Principality of Serbia represented a signific... more During the 19th century, the Orthodox Church in the Principality of Serbia represented a significant entity and had a privileged position as a state and national institution. This all affected its place in public life, as well as the public control of all the church activities regarding the churches’ building, equipping, painting, and renovating. Thus, the aesthetical criteria, demands, and effects of the cultural and scientific public were tremendous factor in making church art common during the 19th century. The public had an influence on art development through various forms in the Principality of Serbia, and some of the instruments were both daily and periodical (printed) press. The public’s attitude towards the church art were stated in the press and humongously affected the people’s consciousness of the Church and church art significance in relation to the state and nation, as well. Also, the ordering parties’ taste had thus been formed, which also had an impact on the complex mechanisms of the general church art trends during the 19th century. This kind of practice was present in 19th century Europe and Russia, and from there it was also accepted and developed in Serbia. Despite the fact that the Serbian people had lived in the 19th century in the territory of three states – the Ottoman Empire, the Principality/Kingdom of Serbia, and Austria, the periodical literature and newspapers had been available to the Serbian social and cultural elite at the mentioned territories. Since the press had not been strictly limited by the state boundaries, a wider reading audience had been familiar with the information and attitudes about art presented in both the newspapers and periodical literature, which were printed in Serbia and Austria, as well. The newspapers coming out in the period 1830-1882, such as Šumadinka, Srbske novine, Novine Čitališta beogradskog, Sion, Podunavka, Golubica, Orao, and others, contained different aesthetical attitudes on the church painting and architecture, but also considered various problems on the topics of erecting and painting the churches. The public significance of the works regarding the building and equipping of the churches had been highlighted. Certain models of church architecture and painting had been promoted, along with the individual artists’ works. By reading the daily and periodical press, the reading public had been informed about the church heritage from the past through the reports about medieval churches and some debates on their renovation. Finally, the public of experts promoted, by using the (printed) press, certain advisable behavior models, such as the contribution activities towards the Church which were seen as the ultimate patriotic endeavor.
Spomenica Dva veka Stare crkve u Kragujevcu (1818-2018), Kragujevac, 2018
zografsko slikarstvo 19. veka, akademsko slikarstvo 19. veka, Janja Moler, radionica Janje Molera... more zografsko slikarstvo 19. veka, akademsko slikarstvo 19. veka, Janja Moler, radionica Janje Molera,Ilija Dimitrijević, Dušan Obrenović, Knez Miloš Obrenović, esnafska udruženja, priložnički mehanizam u 19. veku
ACTA HISTORIAE ARTIS SLOVENICA Establishing National Identity in Public Space Public Monuments in Slovenia and Serbia in the Nineteenth Century, 18/1, 2013
Hram Svetih Arhangela Mihaila i Gavrila u selu Kondželju kod Prokuplja, u Topličkom okrugu, podig... more Hram Svetih Arhangela Mihaila i Gavrila u selu Kondželju kod Prokuplja, u Topličkom okrugu, podignut je i ukrašen u periodu od 1893. do 1901. godine. Monumentalno zdanje, izgrađeno u srpsko-vizantijskom stilu, živopisano i opremljeno ikonostasom koji je delo kopaničara Zarije, Zaše Dimitrijevića i zografa Avrama Dičova, predstavlja reprezentativan primer prakse izgradnje i opremanja hramova na novooslobođenim južnim teritorijama Srbije nakon Berlinskog kongresa 1878. godine. Nacionalne pobude vezane za izgradnju hrama, učestvovanje lokalne parohijske zajednice, a potom i celokupnog srpskog naroda u tom poduhvatu, zakonske procedure i okviri poštovani pri izgradnji, ali i negovanje nasleđene tradicije prilikom njegovog ukrašavanja, jasno ukazuju na modele i tokove crkvene umetnosti u južnim krajevima Kraljevine Srbije na prelazu između dva veka. Kako u dosadašnjim istraživanjima ovom hramu nije bila obraćena posebna naučna pažnja u radu se daju osnovni istorijski okviri i podaci vezani za procese njegove gradnje i ukrašavanja.
Истраживање манастира Жиче у 19. веку ослања се на претходне доприносе бројних историографа са по... more Истраживање манастира Жиче у 19. веку ослања се на претходне доприносе бројних историографа са покушајем дефинисања феномена који су обележили 19. век као важно и по моного чему посебно раздобље у вековном трајању овог манастира. Потпуно нову етапу у историји свог постојања Жича доживљава у српској култури 19. века, са формирањем нововековне српске државе. У складу са националном идеологијом и културом историзма, које су обележиле све сфере друштевног, политичког и црквеног живота и деловања у 19. веку, Жича бива препозната као значајан споменик националне прошлости, важна спона средоњвековне са нововековном српском државом и у складу са тим истраживана, обновљена и популаризована у културној и научној јавности оновремене Србије. Њен значај допринео је томе да буде укључивана у важне државне програме током 19. века. Обнова Жиче је посматрана као општепатриотски чин; први је манастир за који је донет Закон о његовој обнови, а даљој популарности је допринела чињеница да су се у њој миропомазали 1889. краљ Александар Обреновић и 1904. краљ Петар I Карађорђевић. Као резултат свих усмерених напора појединаца и државе ка обнови, проучавању и заштити појавио се и повећан садржај различитих визуелних представа манастира. Заснована на обимној литератури, периодици из 19. и с почетка 20. века, као и теренским и архивским истраживањима монографија настоји да предметом свог истраживања употпуни постојећу научну празнину у прошлости манастира Жиче и да допринос познавању укупне културне историје Србије 19. века. Подељена је на три веће, хронолошки конципиране целине са одговарајућим подпоглављима: Манастир Жича у првој половини 19. века, Обнова Жиче средином 19 века и Жича у другој половини 19. века. У првом поглављу представљена је историја манастира у Првом српском устанку, затим, разодбље од Другог српског устанка до обнове средином 19. века, те истраживања Жиче у првој половини 19. века. Средишње поглавље књиге разматра све аспекте обнове манастира средином 19. века, од грађевинских радова на обнови цркве Св. Спаса, преко опремања ентеријера, улогом владике Јоаникија „као обновитеља Жиче“, те оновременим критикама поводом обнове манастира. У трећем поглављу књиге представљени су истраживачи и истраживања Жиче у седмој и осмој деценији 19. века, место Жиче у владарској идеологији и државним и националним програмима до Првог светског рата.
U monografiji je data kratka istorija sela Vreoci kao i detaljna istorija vreočke parohije. Data ... more U monografiji je data kratka istorija sela Vreoci kao i detaljna istorija vreočke parohije. Data je detaljna istorija vreočkih crkvenih hramova kao i njihov detaljni opis uključujući i opis ikonostasa u oba hrama.
In the Principality of Serbia in the 19th century, the Orthodox Church represented a significant ... more In the Principality of Serbia in the 19th century, the Orthodox Church represented a significant entity and had a privileged position as a state and national institution. This all affected its place in public life, as well as the public control of all the church activities regarding the churches' construction, equipping, painting, and renovation. Thus, the aesthetical criteria, demands, and effects of the cultural and scientific public were a tremendous factor in making church art common during the 19th century. The public had an influence on art development through various forms in the Principality of Serbia, and some of the instruments were both daily and periodical (printed) press. The public's attitude towards the church art was stated in the press and humongously affected the people's consciousness of the Church and church art's significance in relation to the state and nation, as well. Also, the ordering parties' tastes had thus been formed, which also had ...
The activity of Debar zografs on the territory of the Principality and the Kingdom of Serbia has ... more The activity of Debar zografs on the territory of the Principality and the Kingdom of Serbia has not been fully investigated. The knowledge so far indicates of their importance in creating a sacral visual culture during the first half of the 19th century in the Principality of Serbia. Their activity in this territory was made possible by favorable geographical, political and cultural circumstances which included the acceptance and nurturing of the Ottoman-Balkan cultural model, especially during the first rule of Prince Miloš Obrenović (1815-1839). After the church and state reforms that were carried out in the middle of the 19th century in the Principality of Serbia, the work of painters in its central areas was suppressed, but in the border and especially southern areas that joined the territory after the Berlin Congress in 1878 their work can be followed in continuity. Zograf groups (tajfi) who come from the vicinity of Debar on the territory of the Kingdom of Serbia continue to work in its southern areas, around Vranje, Prokuplje, Niš and Bela Palanka. The paper focuses on the activities of hitherto unknown zografs Nikola, Rista and Josif Mojsilović, as well as on the activities of Dičo Zograf, Nestor Trajanov, Avram Dičov, Teofan Isailović Budžaroski, Evstatije pop Dimitrov, Pavle Stojanović, Krsto Dičić and the Dičić brothers. This mapping of the works of Debar zografs is an attempt to create a clearer picture of the role of this zografs current in the development of church art in the Principality and the Kingdom of Serbia during the 19th and early 20th centuries.
Aksentije Janković from Vršac is one of the first artists
of the Neo-Classical affiliation who mo... more Aksentije Janković from Vršac is one of the first artists of the Neo-Classical affiliation who moved to Serbia after the Second Serbian Uprising trying to find his bread and butter there. Having arrived in Serbia in 1824 at the recommendation of Vuk Stefanović Karadžić, in order to do the portraits of Prince Miloš Obrenović and members of his family, he also had intention to work on ecclesiastical painting. Apart from the iconostasis for a church in Požarevac and two icons for a church in Kragujevac, the established cooperation with Prince Miloš did not bring work to the painter in the domain of ecclesiastical painting which he hoped to get. The preserved data show that Janković also wanted to do the iconostasis for a church in Svilajnac, but this commission never took place. Janković’s religious painting that followed the Neo-Classical artistic poetics and a new theological approach to the religious painting did not suit Prince Miloš Obrenović and the church authorities either from the aesthetic or from the dogmatic point of view. Not having the necessary support from the ruling and church circles in Serbia for his work on the ecclesiastical painting, which during the third decade of the 19th century was still dominated by the zograph icono-painting model, Janković did not continue with his work in Serbia. The few works of his created in Serbia have already in part been irrevocably lost, while two icons from the Old Church in Kragujevac are in a very poor state and have been dislocated. For this reason, the goal of this paper is to reconstruct the work of Aksentije Janković in Serbia in order to get an as complete picture as possible about the trends in the ecclesiastical painting that marked the period of the third decade of the 19th century through the contribution of this painter.
Culture-of-Remembrance-Visuality-and-Crisis in the Balkans (17th-20th Century)), 2021
The history of the relics and the cult of St Stephen the First-Crowned, especially the one from t... more The history of the relics and the cult of St Stephen the First-Crowned, especially the one from the late 18th and early 19th century, shows how crises can bring about the development of a cult and visual culture that accompanies these processes. Carefully guarded during the wars, from Kočina Krajina up to the Serbian Revolution, the relics of St Stephen the First-Crowned shared an unfortunate fate with the people and its army. By building the old church-folk tradition with new legends about St Stephen the First-Crowned and his relics, the insurgents gradually created a symbol of freedom and the renewal of Serbian statehood out of the first Serbian king. After the final liberation from the Turks, his relics became the most important national relics of the state. Visual culture had its place in all of these developments of his cult.
У периоду прве владе кнеза Милоша Обреновића (1815-1839), у Кнежевини Србији je подигнут и обновљ... more У периоду прве владе кнеза Милоша Обреновића (1815-1839), у Кнежевини Србији je подигнут и обновљен велики број цркава. Активности везане за подизање и обнављање храмова биле су део државотворне и личне политике кнеза, те су разгранавање парохијске мреже и обезбеђивање градитеља за тај подухват представљали један од императива. Иако на дoсадашњем ступњу истражености сакралног градитељства овог периода за велики број храмова није могуће утврдити ко су били градитељи, захваљујући сачуваној, и у извесној мери публикованој, архивској грађи о многим градитељима постоје сачувани подаци, иако некад непотпуни. Намера је да се овим радом употпуне досадашња знања о сакралном градитељству и градитељима цркава у Србији у периоду од 1815. до 1839. године, идентификовањем одређених историјских оквира који су омогућили појаву и доминацију појединих градитељских струја, са акцентом на најзначајнија градитељска имена и њихове појединачне опусе. У раду се прате различите струје балканских неимара који су доминирали црквеним градитељством у периоду прве владе кнеза Милоша. То су били градитељи из Османског царства, са простора јужног Балкана – Охрида, Битоља, Велеса, Вранеша, Крушева, Цариграда, али и из Босне, углавном из Осата. Међу овим неимарима обрађени су опуси и идентификоване цркве Косте Димовића, Андрије Сотировића, Јање Михајловића, Николе Ђорђевића, Хаџи Николе Живковића, Димитрија Сотировића, Настаса Стефановића, Симе Вироње, Мирослава Буљугије, тајфе Гођевац и локалних мајстора.
Collection of papers of the Faculty of Philosophy of the University of Priština, 2022
During the 19th century, the Orthodox Church in the Principality of Serbia represented a signific... more During the 19th century, the Orthodox Church in the Principality of Serbia represented a significant entity and had a privileged position as a state and national institution. This all affected its place in public life, as well as the public control of all the church activities regarding the churches’ building, equipping, painting, and renovating. Thus, the aesthetical criteria, demands, and effects of the cultural and scientific public were tremendous factor in making church art common during the 19th century. The public had an influence on art development through various forms in the Principality of Serbia, and some of the instruments were both daily and periodical (printed) press. The public’s attitude towards the church art were stated in the press and humongously affected the people’s consciousness of the Church and church art significance in relation to the state and nation, as well. Also, the ordering parties’ taste had thus been formed, which also had an impact on the complex mechanisms of the general church art trends during the 19th century. This kind of practice was present in 19th century Europe and Russia, and from there it was also accepted and developed in Serbia. Despite the fact that the Serbian people had lived in the 19th century in the territory of three states – the Ottoman Empire, the Principality/Kingdom of Serbia, and Austria, the periodical literature and newspapers had been available to the Serbian social and cultural elite at the mentioned territories. Since the press had not been strictly limited by the state boundaries, a wider reading audience had been familiar with the information and attitudes about art presented in both the newspapers and periodical literature, which were printed in Serbia and Austria, as well. The newspapers coming out in the period 1830-1882, such as Šumadinka, Srbske novine, Novine Čitališta beogradskog, Sion, Podunavka, Golubica, Orao, and others, contained different aesthetical attitudes on the church painting and architecture, but also considered various problems on the topics of erecting and painting the churches. The public significance of the works regarding the building and equipping of the churches had been highlighted. Certain models of church architecture and painting had been promoted, along with the individual artists’ works. By reading the daily and periodical press, the reading public had been informed about the church heritage from the past through the reports about medieval churches and some debates on their renovation. Finally, the public of experts promoted, by using the (printed) press, certain advisable behavior models, such as the contribution activities towards the Church which were seen as the ultimate patriotic endeavor.
Spomenica Dva veka Stare crkve u Kragujevcu (1818-2018), Kragujevac, 2018
zografsko slikarstvo 19. veka, akademsko slikarstvo 19. veka, Janja Moler, radionica Janje Molera... more zografsko slikarstvo 19. veka, akademsko slikarstvo 19. veka, Janja Moler, radionica Janje Molera,Ilija Dimitrijević, Dušan Obrenović, Knez Miloš Obrenović, esnafska udruženja, priložnički mehanizam u 19. veku
ACTA HISTORIAE ARTIS SLOVENICA Establishing National Identity in Public Space Public Monuments in Slovenia and Serbia in the Nineteenth Century, 18/1, 2013
The Church of the Holy Archangel Michael in Jagodina was erected in 1818 as the endowment of the ... more The Church of the Holy Archangel Michael in Jagodina was erected in 1818 as the endowment of the Serbian Prince Miloš Obrenović, at the end of the former old city. According to the peculiarities of its architecture and its representative interior, it represented a significant sacral building in the period of its creation. As one of the endowment of the Prince Miloš Obrenović it played an important role within his ruling ideology. This church was ment to represent the new political situation emerged from the diplomatic efforts of the Prince after the Second Serbian Uprising against the Ottoman Empire (1815), and on the other hand it represented Princ himself as a "protector and defender" of the Orthodox faith, that is, as a Christian ruler par excellence.
Memorial Church in Gornji Adrovac as a symbol of Serbian-Russian cultural, political, national, a... more Memorial Church in Gornji Adrovac as a symbol of Serbian-Russian cultural, political, national, and artistic ties in the late 19th and early 20th centuries.
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of the Neo-Classical affiliation who moved to Serbia after the
Second Serbian Uprising trying to find his bread and butter
there. Having arrived in Serbia in 1824 at the recommendation
of Vuk Stefanović Karadžić, in order to do the portraits of
Prince Miloš Obrenović and members of his family, he also had
intention to work on ecclesiastical painting. Apart from the
iconostasis for a church in Požarevac and two icons for a
church in Kragujevac, the established cooperation with Prince
Miloš did not bring work to the painter in the domain of ecclesiastical
painting which he hoped to get. The preserved data
show that Janković also wanted to do the iconostasis for a
church in Svilajnac, but this commission never took place.
Janković’s religious painting that followed the Neo-Classical
artistic poetics and a new theological approach to the religious
painting did not suit Prince Miloš Obrenović and the church
authorities either from the aesthetic or from the dogmatic point
of view. Not having the necessary support from the ruling and
church circles in Serbia for his work on the ecclesiastical painting,
which during the third decade of the 19th century was still
dominated by the zograph icono-painting model, Janković did
not continue with his work in Serbia. The few works of his created
in Serbia have already in part been irrevocably lost, while
two icons from the Old Church in Kragujevac are in a very poor
state and have been dislocated. For this reason, the goal of this
paper is to reconstruct the work of Aksentije Janković in Serbia
in order to get an as complete picture as possible about the
trends in the ecclesiastical painting that marked the period of
the third decade of the 19th century through the contribution of
this painter.
of the Neo-Classical affiliation who moved to Serbia after the
Second Serbian Uprising trying to find his bread and butter
there. Having arrived in Serbia in 1824 at the recommendation
of Vuk Stefanović Karadžić, in order to do the portraits of
Prince Miloš Obrenović and members of his family, he also had
intention to work on ecclesiastical painting. Apart from the
iconostasis for a church in Požarevac and two icons for a
church in Kragujevac, the established cooperation with Prince
Miloš did not bring work to the painter in the domain of ecclesiastical
painting which he hoped to get. The preserved data
show that Janković also wanted to do the iconostasis for a
church in Svilajnac, but this commission never took place.
Janković’s religious painting that followed the Neo-Classical
artistic poetics and a new theological approach to the religious
painting did not suit Prince Miloš Obrenović and the church
authorities either from the aesthetic or from the dogmatic point
of view. Not having the necessary support from the ruling and
church circles in Serbia for his work on the ecclesiastical painting,
which during the third decade of the 19th century was still
dominated by the zograph icono-painting model, Janković did
not continue with his work in Serbia. The few works of his created
in Serbia have already in part been irrevocably lost, while
two icons from the Old Church in Kragujevac are in a very poor
state and have been dislocated. For this reason, the goal of this
paper is to reconstruct the work of Aksentije Janković in Serbia
in order to get an as complete picture as possible about the
trends in the ecclesiastical painting that marked the period of
the third decade of the 19th century through the contribution of
this painter.