Macedonian school
From the time of Stefan Uroš II Milutin (1282–1321), the style of the Palaiological Renaissance was binding for Serbian architecture and painting . From Byzantine and Bulgarian art centers in Thessaloniki , Ohrid , or Mount Athos, it spreads in particular to the medieval Serbian countries in today's Kosovo and neighboring Macedonia. It was here that the main works of the Macedonian School (named so in 1916 by Gabrielle Millet ) were created, which reached their climax in the monastery church of Gračanica . A stronger accentuation of the structure in the Macedonian school shows the development of an independent Serbian-Byzantine architectural style , which can be fully developed in the buildings of the Morava school in the final period of Byzantine art in Serbia .
architecture
A direct Greek influence can be felt in the architecture of Milutin's buildings through mediation through the architecture in Thessaloniki. However, the height of the buildings erected in Serbia is unknown in Byzantine art of that time. For the first time, five-domed churches are being built in Serbia. Cross- domed churches with five domes are Gračanica (1311–1321), Staro Nagoričane (1317–1318) and Bogorodica Ljeviška (1310–1313). In addition to these main works, there are also simpler churches with only one dome, such as the Church of St. Archangel Michael in Lesnovo but in particular the royal chapel (royal church) in the Studenica monastery . The direct model for Milutin's buildings is the Church of the Apostles in Thessaloniki.
- See also
Architectural similarities to the Bengali temples , which were built around 2 centuries later, are clearly recognizable both in the structure and in the roofs that are pulled down in the corners . However, further investigations have not yet been carried out.
Frescoes
The paleological renaissance found its way into Serbian painting through the two court painters of King Milutin, Michael Astrapas and Eustychios . The moving, detailed figures are more stylized than the monumental paintings of the Raška school . The painters of the Serbian monasteries come from the painting school of Ohrid . The fresco cycle in the Visoki Dečani monastery has a special position . Although the monastery is built in the Apulian Gothic style and belongs to the context of the Raska School, the style and richness of the frescoes can be attributed to the Macedonian school. But they do not reach the quality of the frescoes by Bogorodica Ljeviška , the royal church in Studenica or Gračanica.
Icons
Only a few icons have survived from that period, e.g. B. the five standing icons of the iconostasis in Decani. The long-limbed figures and fine drawings are extremely elegant. The icons that have been preserved in Ohrid are significant . They show a lavish use of gold ground.
gallery
Icons in the Decani Monastery of Tsar Dušan, around 1350
Fresco, early 14th century
Fresco, early 14th century
Fresco, early 14th century
Fresco, early 14th century
Fresco, early 14th century
Fresco, early 14th century
Macedonian School: White Angel of Milesevo, 13th century
Web links
- The white angel of Milesevo . In: Die Zeit , No. 12/1972
- The Macedonean School - Towards a Reconstruction of the Opus (PDF; 854 kB)
literature
- Slobodan Ćurčić: Religious Settings of the Late Byzantine Sphere . In: Byzantium: Faith and Power (1261–1557) , edited by Helen Evans (The Metropolitan Museum of Art, New York, 2004).
- Gabriel Millet: L'ancien art serbe. Les eglises . de Boccard, Paris 1919
Individual evidence
- ^ A b Gerhard Podskalsky : Theological literature of the Middle Ages in Bulgaria and Serbia 815-1459 . Beck, Munich 2000, ISBN 3-406-45024-5
- ^ Gabriel Millet: L'ancien art serbe. Les eglises . de Boccard, Paris 1919.