Ljubica Vinulovic

Carigrad kao centar romejskog kulturnog kruga bio je mesto odakle su se širili kulturni uticaji na Balkan i Mediteran. Takav je slučaj bio i sa manastirskim tipicima i organizacijom manastirskog života i svakodnevice monaha. Evergetidski tipik bio je model za tipike pisane za carigradske manastire i za manastire u srednjovekovnoj Srbiji koja je kao balkanska zemlja bila deo mediterantskog kulturnog kruga. Najveći broj tipika carigradskih ženskih manastira sačuvan je iz kasnovizantijskog perioda. Tipik manastira Bogorodice Sigurne Nade čiji su autori Teodora Sinadena i njena ćerka Eufrosina nastao je u prvoj polovini 14. veka. Teodora je osnovala sestrinstvo od 30 monahinja, čija je svakodnevica bila oblikovana pravilima tipika. One su bile podeljene u dve grupe, horske sestre na čelu sa glavnom monahinjom vršile su svakodnevne službe, dok je druga grupa odabrana za fizičke poslove u manastiru. Glavna monahinja bila je zadužena za obrazovanje iskušenica koje su pripremane za monaški postrig, ali i za obrazovanje mlađih horskih sestara. Deo svakodnevice svih monahinja bila je privatna i zajednička molitva. One su se tokom privatnih molitvi u svojim kelijama molile kako za svoje spasenje tako i za spasenje duše ktitorke. Svakodnevica monahinja ovog carigradskog manastira i njegov tipik odabrani su kao primer na osnovu kojeg se može zaključiti kako su funkcionisali manastiri u Srbiji koja je bila deo mediteranskog kulturnog kruga. Metodi studija mreža konektivnosti korišćeni su u ovom radu.

The main preoccupation of this article is private piety and ktetorship of Byzantine empress Irene Doukaina. She was the wife of a Byzantine emperor Alexios I Komnenos and mother of John II Komnenos. At the beginning of the twelfth century Irene together with her husband Alexios founded a double monastery dedicated to the Theotokos Kecharitomene (Full of Grace) and to the Christ Philantropos (Man-Loving). Today, this complex no longer exists, it was destroyed probably during the reign of Latins in Constantinople and we know about it based on the preserved typikon of the Theotokos Kecharitomene. It was located in the tenth district of Constantinople where all Comnenian monasteries were grouped, between the aqueduct of Valence in the south and the Blachernae palace in the north. This monastery comlex was the first real common endowments of the Komnenian ruling couple and it was founded as the final resting place of Irene and Alexios. In early twelfth century in Constantinople some changes happened when it comes to devotion to the saints.  Members of the royal family had a special personal relationship with the saints through which the emperor and empress see themselves as a parallel earthly reflection of Christ and the Mother of God. The first ruling couple who saw themselves as the counterpart of Christ and the Mother of God, were Emperor Alexios I and Empress Irina Duka. This new, more personal relationship with Christ and the Mother of God is reflected in the visual culture through the model of double endowment and the consecration of the churches. Alexios’ monastery dedicated to the Christ Philantropos was male monastery and Irene’s monastery dedicated to the Theotokos Kecharitomene was female monastery. During the reign of Alexios and Irene for the first time in the Byzantine history the protective role of the Mother of God was so obviously bound exclusively to the female members of the imperial family. The monastery was refuge for the female members of the ruling house, the princesses born in purple and aristocrats women who wanted to join the sorority. The monastery of the Theotokos Kecharitomene, was expresion of Irina’s personal piety and a votive gift for Theotokos who was her personal protector and an intercessor during the Last Judgement. Irina established the model of the relationship between the Mother of God and the empresses and princesses, which would later be followed throughout the Komnenian period.

Ktitorski portret predstavlja jedno od osnovnih prava ktitora koja su propisana dokumentom koji reguliše to pravo, najčešće tipikom određene zadužbine.  Tokom srednjeg veka ktitori su slikani u okviru svojih zadužbina najčešće iznad mesta večnog počinka. Ktitorski portret je istovremeno predstavljao i votivni i funerarni portret koji je funkcionisao u svesti posmatrača kao memorija na preminulog. Ovi portreti komunicirali su sa ostatkom prostora naročito sa zidnim slikarstva i zajedno sa njim činili su sakralnu topografiju crkve u okviru koje je funkcionisao portret ktitora. Tokom XIV veka ktitorske kompozicije dobijaju još složeniju političku konotaciju. One prenose pozicije ktitora u hijerarhiji hrišćanske porodice naroda, ali i ličnu pobožnost i vezivanje za Hrista, Bogorodicu ili određenog svetitelja kojima se ktitori obraćaju da im budu predstojnici na putu ličnog spasenja i spasenja članova njihove porodice. Ove ikonografske promene ktitorskih kompozicija na teritoriji srednjovekovne Srbije najpre se javljaju na portretima kneginje Milice u manastiru Ljubostinji i Ravanici koji su i centralna tema ovog rada. Dok je portret ktitorke u Veluću pratio stariji model ktitorskog portreta, Miličini portreti bili su model za ktitorske kompozicije žena kao što su portreti ktitorki u Rudenici i Kaleniću o kojima će takođe biti reči u ovom radu.

This paper focuses predominantly on poems and votive gifts of the
nun Jefimija which are linked to her life. All of her known gifts, such as the diptych
from the Hilandar monastery engraved with the poem Lament for the infant
Uglješa, the icon from Poganovo, the katapetasma for the Imperial doors in the
Hilandar monastery, the shroud for the relics of the prince Lazar with an embroidered
poem Praise to Prince Lazar and the epitaphion from Putna monastery,
have been preserved today. Her poems engraved or embroidered on her votive
gifts inspired by the works of Symeon Metaphrastes, Symeon the New Theologian
and Nicholas Mys tikos represent unique expression of the maternal pain and
human tragedy which shaped the visual culture and literature of the medieval
Serbia. Each of them was also created as Jefimija’s votive gift, primarily to the
Mother of God, but also to Christ and Prince Lazar who are her intercessors and
protectors at the Last Judgment.

The main preoccupation of this paper will be iconographical analysis of depictions of the Miracle of Latomos, and the way in which this scene migrated from Greece to Bulgaria and Serbia. Firstly, we will discuss the historical background of the Miracle of Latomos and its composition, which is very specific in Byzantine art. Given the fact that it is depicted only three times in Byzantine art, in the mosaic in the apse of the church of Hosios David in Thessaloniki, in the mural painting in the ossuary in Bachkovo monastery in Bulgaria and in the double-sided icon from Poganovo, it has aroused great interest among art historians. The mosaic from Ho-sios David was discovered in 1927, and since then to (up until) the cleaning of the Icon from Poganovo in 1959, the composition of the Miracle of Latomos has had various, interpretations. We will try to explain how this composition has changed its iconography over the centuries and also discuss the question of patronage of the Icon from Poganovo. We will use the iconographic method and try to prove that this composition in all three cases has eschatological character.