Jelena Erdeljan | University of Belgrade (original) (raw)

Uploads

Books by Jelena Erdeljan

The entire life path of king Stefan Uroš II Milutin, his almost four decades long reign, and all ... more The entire life path of king Stefan Uroš II Milutin, his almost four decades long reign, and all his actions lead to this royal endowment, the chosen place of his eternal rest, the monastery of Saint Stephen in Banjska.
In Banjska, king Milutin tied into one all the political, ideological and spiritual strands of his long lasting endeavors to take center stage in political reality not only in Serbia of his age but in the entire Orthodox Balkans still under the leadership of the Christian Roman Emperor in Constantinople, with whom fate had connected the Serbian king from the earliest days of his adulthood and political life, already from the dawn of the 1270s. The idea and intention of king Milutin to raise the monastery of Saint Stephen and the entire complex of Banjska on the location of a ruined ancient church, as noted by the king’s biographer and closest collaborator over the final two decades of his life, the future archbishop Danilo II, represented the jewel in the crown of his long-term and carefully conceived policy of associating himself directly with the founding father of the holy Nemanide family, Stefan Nemanja – Saint Symeon, who not only fortified the positions of his successors in medieval Serbia but lastingly determined its predilection for and belonging to Orthodoxy and the Orthodox world within which, through alliances and family ties, he sought a way of his own and the elevation of the state he lead.
The monastery of the Holy Archdeacon and Protomartyr Stephen in Banjska represented the microcosmos of the world, the life and the overall endeavors of king Milutin. Dedicated to the holy protector of the Nemanide family tree, the monastery of Banjska stood as a symbolic apogee and ending of a circle of an already long-lasting Nemanide holy royal house, the final point of that ideological circle that would be reunited with its beginning, Stefan Nemanja – Saint Symeon and his endowment dedicated to the Virgin, the Theotokos of Studenica, as the image of which, as attested by Danilo II, the new church was conceived and constructed.
The fact that Banjska is the key and crucial representative, a symbol of king Milutin and his true endowment, is attested also by the fact that until the end of the Middle Ages in the Balkans and the major tremors brought on by the ensuing Ottoman conquests, the ktetor of Banjska was known precisely as the king of Banjska, as he was called, among others, by the biographer of despot Stefan Lazarević, Konstantin the Philosopher, who had certainly come across that epithet in the older sources on which he relied when writing his vita of prince Lazar’s son, a feat he finished in 1431.
As one of the most important rulers in Serbian history, and not only of its medieval era, king Milutin was in many ways responsible for changing the course of history of the Serbian state. Over the greater part of his adult life, king Milutin was just one of the part-takers in the act of governing the Serbian state in which the principle of shared, horizontal power was dominant over the exclusive, vertical system that would imply the absolute reign of a single ruler and would, in its entirety, be transferred to a single heir. In the final years of his reign, king Milutin emphasized this last principle publicly, as the principle of his politics, while patiently working on the conditions for its realization, notwithstanding all the vacillation regarding the choice and proclamation of his heir. Thus, king Milutin changed both the course and the nature of the ruling dynasty in Serbia, because power came to rest in the hand of a single ruler and remained, until the very end of the house of Nemanjić, with his direct descendants: his son, king Stefan Dečanski, his grandson, king and emperor Stefan Dušan, and his great grandson, emperor Uroš.
The unity king Milutin achieved with the Byzantine imperial family, and his purposeful and life-long intention to establish a family bond with the leader of the Christian, Orthodox world, in the conceptual sense of the word, stands out as the third great change which his reign introduced to the history of the Serbian and broader Balkan Middle Ages. With the marriage to the emperor’s daughter Simonis, solemnly celebrated not long after Easter, on April 19th, 1299, king Milutin entered the second phase of his reign. This was a time he would actually only just begin with his new, more ambitious politics and his ktetorial activities, thus fortifying his precedence within the Nemanide family and attaining a new, more supreme position, shoulder to shoulder with the Byzantine emperor Andronikos II Palaiologos himself.
The visual turn i.e. the change in the idiom of the visual language of expressing Romanness and the programmatic predilection for the contemporary, dominant idiom of visual Romanness that is apparent in Serbian art of the age of king Milutin, especially following his marriage with the Byzantine porphyrogennita Simonis in 1299, is a change not in the sense of relinquishing “Western” and adopting “Byzantine” models but rather in the sense of it being a more direct and purposefully obvious visual confirmation of the unity of the Serbian king with the ruling Byzantine imperial family. In that context, there are two exceptions in the corpus of Milutin’s endowments, both built and decorated with frescoes around the year 1313-1314. One is the church of SS. Joachim and Anne, the so-called King’s Church (Kraljeva crkva) in the monastery of Studenica and the other the king’s mausoleum, the church of St. Stephen in Banjska.
Both are a visual statement of renovation of an at once both historical and meta-historical visual idiom of Constantinople i.e. Romanness while being, at the same time, two examples of mimesis of the church of the Virgin Evergetis in Studenica, itself a prime example of all things Constantinopolitan.

Death, Illness, Body and Soul in Written and Visual Culture in Byzantium and Late Medieval Balkans, ed. by V. Stanković, Belgrade, 2021

Textual and visual evidence is plentiful for the study of issues related to death and dying in m... more Textual and visual evidence is plentiful for the study of issues related
to death and dying in medieval Serbia. Being a part of the Christian Orthodox Byzantine oikoumene, all rites and rituals pertaining to death, dying, burial and remembrance in medieval Serbia must firstly and necessarily, although not exclusively nor too insistently, be regarded within that context. The particularities and specificities brought on, on the one hand, by the multiculural and multiconfessional affiliation of the population which made up the society of medieval Serbia, and, on the other, by the enduring remnants of Slavic pagan funerary practices
and beliefs particularly among the majority rural Orthodox population should always be kept in mind. This text offers an overview and insight into the sophisticated rhetoric of death and dying in both the written sources and visual material related to funeral art in medieval Serbia that should be the subject of further research.

Eclecticism in Late Medieval Visual Culture at the Crossroads of the Latin, Greek, and Slavic Traditions, Edited by: Maria Alessia Rossi and Alice Isabella Sullivan, de Gruyter 2021., 2021

Acknowledging the framework of the global turn in art history and medieval studies, this essay pr... more Acknowledging the framework of the global turn in art history and medieval studies, this essay presents
one possible way of considering networks of various kinds, woven by families, scholars, church prelates,
artists, and craftsmen, etc. that initiated cultural transfers in Eastern Europe in the early modern period.
The case of the Serbian Branković royal family is examined in this vein as it presents an indicative
example of cross-cultural and transcultural entanglement via familial or dynastic networks, in which
women often play the central role. While the study of cross-cultural entanglement focuses on common
characteristics and tropes shared by various cultures and cultural areas, the study of transcultural
entanglement strives to supersede the notion of culturally isolated spheres by developing an appropriate
methodology that facilitates the micro-historical analysis of intercultural contact and transcultural
entanglements. The lives and ktetorial activities of the last representatives of the noble house of
Branković, Angelina, Đorđe (Maksim), and Jovan, and his daughter, Milica Despina, are presented as
particularly indicative examples. Visual culture produced under their patronage in southern Hungary and
Wallachia combines features of traditional Byzantine and Serbian medieval iconography and visual
identity with elements of early modern art of Central Europe as well as of Italo-Cretan artistic production.

When it comes to the study of visual culture of the three European peninsulas jutting deep into t... more When it comes to the study of visual culture of the three European peninsulas jutting deep into the aquatic expanse of the Mediterranean which constitute, in a manner of speaking, its axial determinants, the (visual) culture of the Balkans is the one least investigated and perceived from the vantage point of its historically proven transculutural interaction and cultural transfer.

Migrations in Visual Art is an edited collection of essays from different fields of humanities an... more Migrations in Visual Art is an edited collection of essays from different fields of humanities and social sciences that addresses the issue of the power and meaning of images and the visual in general in the context of migrations of people, ideas, knowledge, artifacts, art works and symbols through the prism of postcolonial and cultural translation theories, from antiquity to the present. The complex question of migrations in visual art involves far more than just art, all the more so because many fields in the humanities and social sciences have in recent times taken the “pictorial turn”. Moreover, and especially at this point in history, any discussion of the power of images and their role in migrations in visual culture is unavoidably also positioned in the context of current changes in global relations as well as in the growing impact of social media. This issue also opens the question of the de-territorialization of images and how, as Walter Benjamin had already indicated, technical reproduction has moved the artwork from its original context. The topics opened for interdisciplinary discussions at the conference and printed in this volume include the following: West Balkans - Migration and Cultural transfer, Migration as Cross-cultural Communication, Migration of Ideas and Concepts, Migration of Works of Art, and Migration of Symbols.

Culture of remembrance is one of the central matters of our times, characterized by a wide range ... more Culture of remembrance is one of the central matters of our times, characterized by a wide range of memory-related phenomena, such as construction of artificial memories, mass media and production of mass memories or destruction of public memorials. Besides their obvious social and political importance, memories also pertain to the most intimate spheres of our individual lives and identities.

http://www.brill.com/products/book/chosen-places-constructing-new-jerusalems-slavia-orthodoxa

The " return " of the Mediterranean as the major focus of European politics in the period followi... more The " return " of the Mediterranean as the major focus of European politics in the period following the year 1000 has long since been defined by R. W. Southern as a phenomenon of special impact on the making of European culture and civilization of the high Middle Ages and the early modern period. Correct as much as it is a generalization, given from the perspective of Western European centrality and even, one might add, a colonialist methodological approach, this statement does, after all, sum up the essential idea of the Mediterranean as a nexus of networks, connectivity and cross-cultural currents which has defined European culture from the earliest days to the present. The historiography on the Mediterranean and Mediterranean studies is practically as vast as the Mare Nostrum itself. The past decade especially has seen a great expansion in this field of study with a substantial increase in the number of conferences, publications, scholarly journals and even academic positions emerging to reflect growing interest in this field of research. This year marks the 66 th anniversary of publication of Fernand Braudel's seminal study on the Mediterranean and the Mediterranean world in the age of Philip II. For Braudel there is no single Mediterranean. There are many seas connected into one truly vast, complex space in which people operate. Life goes on against the backdrop and within the majestic scenography provided by the sea. People travel, fish, wage war and live among its most diverse aspects and contexts. The sea itself is articulated by its terra ferma and its islands. Life on the littoral is diverse and varied. The less affluent south is colored by religious pluralism; Christianity meets Islam, as well as incursions, both cultural and economic, from the wealthier north. In other words, the Mediterranean cannot be understood regardless of what lies outside it, strictly speaking outside the sea itself. Any rigid dependence on the idea of strictly drawn delineations creates a false image of the actual situation. Just like space, time in the Mediterranean is just as layered. The first level of chronology is geographic time, that is the natural surroundings with its slow, practically invisible changes, its cycles of repetition. Such changes can be slow but they are still unavoidable, they cannot be resisted. The second level includes long term, longue durée, processes of social, economic and cultural history, which evolve through

jelena erdeljan mediteran i drugi svetovi K njiga dr Jelene Erdeljan Mediteran i drugi svetovi. P... more jelena erdeljan mediteran i drugi svetovi K njiga dr Jelene Erdeljan Mediteran i drugi svetovi. Pitanja vizuelne kulture XI -XIII vek predstavlja izvrsni moderni odgovor na pogubno a sve prisutnije usitnjavanje istorijske perspektive savremene humanistike, pokazujući dijahronu povezanost kulturnih tradicija i identiteskih markera duboko utemeljenih u burnu istoriju Mediterana sve do savremenih dana. Prateći puteve kulturnih uticaja i ideja od Svete zemlje preko Sicilije i manastira Klinija do Balkana, Jelena Erdeljan rasvetljava umrežene procese primanja, prihvatanja i preobražaja zajedničkih kulturnih modela, odnosa između recepcije i absorbcije uticaja i ideja i njihovog prilagođavanja stvarnosti, istorijskom kontekstu momenta, u sredinama suštinski obeleže-nim inter-kulturalnošću, od Svete Zemlje preko Sicilije do Balkana, koja svaka za sebe predstavljaju inspirativne mikrokosmose pomešanosti raznovrsnih uticaja i njihovog oblikovanja u jedinstveni mnogoznačni kulturni sadržaj. Jedino kroz uklapanje intenzivnog međusobnog upoređivanja specifičnosti i zajedničkih elemenata u vizuelnoj kulturi ovih regiona u širi istorijski i kulturni kontekst Mediterana može se na pravilan način proučavati i bolje razumeti povezanost posebnosti najsitnijih regionalnih osobitosti sa osnovnim idejnim vrednostima prostora i vremena u kojima su nastali, čineći deo većeg kulturnog mozaika mediteranskog sveta. prof. dr Vlada Stanković Seminar za vizantologiju, Filozofski fakultet, Univerzitet u Beogradu m e d i t e r a n i d r u g i s v e t o v i jelena erdeljan

Papers by Jelena Erdeljan

Engramma, 2023

This article discusses the phenomenon of visual representation of the holy Nemanjić family tree a... more This article discusses the phenomenon of visual representation of the holy Nemanjić family tree and its multiple iconographic variations, including the horizontal and the vertical models, which reflect the theologically grounded royal ideology and its direct relation to that of the Davidic, messianic nature and body of the basileos ton Romaion. Already rooted in the days of the founder of the Nemanjić dynasty, Stefan Nemanja-Saint Simeon, and his sons, Stefan Prvovenčani and Saint Sava the Serbian, in the late 12th and early 13th century, the phenomenon is particularly manifest in the programme of decoration of such churches raised by king Milutin (1282-1321) as the Virgin Ljeviška in Prizren and the church of the Virgin in the monastery of Gračanica. It became even more intense because of Milutin’s marriage to the porphyrogenita Simonis, daughter of emperor Andronicos II, and his thereby achieved oneness – unity – with the Christian Empire of the Romans.

Visual Constructs of Jerusalem, 2014

Kasnovizantijski i postvizantijski Mediteran: Zivotni uslovi i svakodnevica, Zbornik radova sa Naucnog skupa, eds. N. Samardzic, V. Stankovic, Beograd, 2020

Instead of simply offering confirmation of previously upheld concepts of dividedness between the ... more Instead of simply offering confirmation of previously upheld concepts of dividedness between the Abrahamic religious and cultural spheres in the Early Modern era, the experience of Sephardic migrations between the western and eastern Mediterranen, and then back westward over the course of the XVI and XVII centuries, actually supports the more recent theories of regional cohesion in the different parts of the Mediterranean world. Jews from the Iberian Peninsula who had, following their exile in 1492, populated the region of the eastern Mediterranean maintained constant and strong ties with other Jewish and especially Sephardic communities not only in that area but further east, north and west. Connected by religion and a common language, Judeo-Spanish or Ladino, they moved easily and crossed the borders of both the Christian and Islamic states in which they resided and thus formed successful and lasting commercial, rabinic and familial networks. In certain Italian cities with flourishing Sephardic ommunities, like Livorno, they even enjoyed privileges and were allowed not only to develop trade and commerce but also to attend universities, receive degrees and bear arms. Many other Italian cities, even those with far more restictive attitudes towards the Jews, maintained successful and balanced relations with the Ottoman world mostly as a result of the ties and networks of connectivity of their resident Sephardic communities with those in the eastern Mediterranean, in Asia Minor and north Africa. As part of a process which, in a manner of speaking, reflected the convivéncia among the Jews, Christians and Muslims of medieval Iberia, the Sephardic world of the XVI and XVII centuries functioned outside and regardless of strict political borders and demarcations drawn between the Christian and Islamic states of the Mediterranean. Until the very dawn of the modern era, Sephardic Jews functioned as part of a unified and unique and highly mobile network of communities which brought together the eastern Mediterranean region under Ottoman rule with Italy, France, Spain, the Netherlands, Germany and, from there, with the New World on the other side of the Atlantic. Networks of connectivity established in the XVI and XVII centuries began to tear apart with the empancipation and secularization of Jewish culture and identity in Western European cities and the onset of the era of Enlightenment.

Saopštenja XXVII – XXVIII, 1995

Istorijski zapisi, godina LXXXVII, 1-2/2014, 11-21., 2014

Antiquity the transcultural or cross-cultural method be employed as best suited to the actual his... more Antiquity the transcultural or cross-cultural method be employed as best suited to the actual historical processes of fluctuation of people, ideas, goods, images, religious practice and works of art in this area in the periods in question.

Death, Illness, Body and Soul in Written and Visual Culture in Byzantium and Late Medieval Balkans, ed. by V. Stanković, Belgrade, 2021

Eclecticism in Late Medieval Visual Culture at the Crossroads of the Latin, Greek, and Slavic Traditions, Edited by: Maria Alessia Rossi and Alice Isabella Sullivan, de Gruyter 2021., 2021

http://www.brill.com/products/book/chosen-places-constructing-new-jerusalems-slavia-orthodoxa

Engramma, 2023

Visual Constructs of Jerusalem, 2014

Kasnovizantijski i postvizantijski Mediteran: Zivotni uslovi i svakodnevica, Zbornik radova sa Naucnog skupa, eds. N. Samardzic, V. Stankovic, Beograd, 2020

Saopštenja XXVII – XXVIII, 1995

Istorijski zapisi, godina LXXXVII, 1-2/2014, 11-21., 2014

This text presents to the academic public two so-far unpublished pieces from the collection of Co... more This text presents to the academic public two so-far unpublished pieces from the collection of Coptic textiles housed at the Museum of Applied Art in Belgrade. The aim of this text is to identify the motifs represented on them, as well as to propose a possible iconographic and iconological reading of their imagery. Both pieces of Coptic textile presented here display a number of iconographic subjects typical of Late Antique Egypt such as the Dionysiac thiasus and other subjects related to Dionysos – vines, lions, panthers and other animals, as well as the so-called Coptic horseman. They are typical of the visual idiom which survived from the classical period into Late Antique Coptic Egypt and was taking on new meanings in the context of religious and cultural syncretism.

The aim of this text is to draw attention to instances of Marian devotion displayed by members of... more The aim of this text is to draw attention to instances of Marian devotion displayed by members of Serbian royal families in late medieval Balkans, in the period between 12th and 15th century and the days of the Nemanjić and Lazarević dynasties. Particular attention will be assigned to those related by Serbian medieval written sources and, in particular, vitae texts of Serbian rulers. Based on these examples, this text discusses the intertwining of official and private aspects of Marian devotion among members of ruling families in the Balkans and the Byzantine cultural sphere, from Komnenian times on, as well as models of expressing Marian piety which span and bring together both the Western and Eastern Christian devotional practice of the era.

This note on the ktetorship and contribution of women from the Bran ković dynasty to cross-cultu... more This note on the ktetorship and contribution of women from the Bran ković dynasty to cross-cultural connections in late medieval and early modern Balkans is only the initial step of a broader study intended to reassess the visual culture of the Balkans in late medieval and early modern times, especially in view of the concept of premodern globalization characterized by and resulting from a transfer of knowledge, technological change and homogenization of spatial and technological particularities, by the concept of com mon culture and particular individual and collective identities. Whatsmore, a methodological approach in the study of the role of aristocratic women in crosscultural interaction of late medieval and early modern period in the Balkans and the Eastern Mediterranean based on prosopography studies, gender studies, network and visual culture studies could contribute significantly not only to our increased knowledge of female founders in Byzantium and beyond but also to a new perspective on the general nature of visual culture of this period, what is known today in historiography as PostByzantine art. Instead of perceiving it as mostly selfreferential traditionalism keeping the cinders of the past alive for their own sake, it appears that from the above mentioned perspective we could better perceive the power and creative life of imagery and visual culture in general in this period as an essential element of an awareness of living in the present and looking towards a (eschatological) future.

This paper discusses sensory experience in the practice of devotion of two highly venerated icons... more This paper discusses sensory experience in the practice of devotion of two highly venerated icons in medieval and Early Modern Balkans: the mosaic icon of the Virgin Hodegetria from the monastery of Chilandar and the icon of Gospa of Škrpjela (Our Lady of the Reef) from the Bay of Kotor. Although part of two different, albeit historically intertwined and perpetually connected cultural and liturgical spheres, icon veneration in both the Orthodox and the Catholic community of the broader Mediterranean world and the Balkans in medieval and Early Modern times shares the same source. It relies on the traditional Byzantine manner of icon veneration. This is particularly true of highly venerated and often miracle working images of the Mother of God, identity markers of political, social and religious entities, objects of private devotion as well as performative objects around which are centered public rituals of liturgical processions and ephemeral spectacles.

VISUAL CULTURE OF THE BALKANS: STATE OF RESEARCH AND FURTHER DIRECTIONS In recent decades there h... more VISUAL CULTURE OF THE BALKANS: STATE OF RESEARCH
AND FURTHER DIRECTIONS
In recent decades there has been a significant change in
observing art and culture of the Balkans. One of the current issues is
the study of visual culture of the Balkans. While in the Balkan
countries the national historiographies still dominate, it is becoming
quite obvious that the common social, political, artistic and cultural
frameworks influence the creation of all forms of cultural life in
entire Balkans. The Ottoman Empire, in which had lived majority of
Balkan nations; formation of a Yugoslav state, as well as the similarity
of political systems in Southeastern Europe all together have resulted
in establishing a common Balkan culture. In these processes, visual
culture has had a prominent place because it contributed to the
creation of private and collective identity, and represents one of the
most powerful communication tools between different ethnic,
religious and social communities.
Nenad Makuljević
Department of Art History
Faculty of Philosophy
Belgrade University

Jelena Erdeljan - Branka Vranešević Eikōn and magija Solomonov čvor na podnim mozaicima u Herakle... more Jelena Erdeljan - Branka Vranešević
Eikōn and magija
Solomonov čvor na podnim mozaicima u Heraklei Lynkestis

Ovaj rad razmatra ikonografiju i apotropaično značenje i upotrebu motiva Solomonovog čvora u ranobizantskoj umjetnosti. Interes je usmjeren na prikaze ove teme na podnim mozaicima prostorije uz krstionicu Velike bazilike u Heraklei Lynkestis, koji se datiraju u 6. stoljeće. U ovom prostoru namijenjenom katekumenima, Solomonov čvor uokviren je geometrijskim motivima koncentričnih krugova i smješten u polje sastavljeno od kvadrata i krugova. Ovaj rad razmatra mogućnost da se u ovom slučaju spomenuti anikonični motiv može shvatiti kao jedna vrsta ikone očišćenja od grijeha i spasenja obećanog svetom tajnom krštenja dok istovremeno ostaje duboko prožet magičnim svojstvima, koja se pripisuju Solomonovom čvoru ili pečatu, o čemu se piše u magijskim tekstovima koji su u kristijaniziranoj formi bili prisutni tijekom svih stoljeća trajanja bizantske kulture.

Paper presented at the 17th World Congress of Jewish Studies in Jerusalem, Israel, August 2017

Presentation accompanying key note speech at International Conference on Sustainable development ... more Presentation accompanying key note speech at International Conference on Sustainable development of mountain areas - Experiences, challenges and perspectives, Žabljak, September 14-16, 2016, part of the KATUN project

In response to the global turn in art history and medieval studies, " Eclecticism at the Edges " ... more In response to the global turn in art history and medieval studies, " Eclecticism at the Edges " explores the temporal and geographic parameters of the study of medieval art, seeking to challenge the ways in which we think about the medieval artistic production of Eastern Europe. This event will serve as a long-awaited platform to examine, discuss, and focus on the eclectic visual cultures of the Balkan Peninsula and the Carpathian Mountains, the specificities, but also the shared cultural heritage of these regions. It will raise issues of cultural contact, transmission, and appropriation of western medieval and Byzantine artistic and cultural traditions in eastern European centers, and consider how this heritage was deployed to shape notions of identity and visual rhetoric in these regions that formed a cultural landscape beyond medieval, Byzantine, and modern borders.

by Emmanuel Moutafov, Melina Paissidou, Antonio, Enrico Felle, Dragos Gh. Nastasoiu, Angeliki Katsioti, Jelena Erdeljan, Ivan Stevovic, Dimitris Liakos, Aleksandra Kucekovic, VALENTINA CANTONE, Konstantinos Vapheiades, Andromachi Katselaki, Nenad Makuljevic, Ida Toth, Antonis Tsakalos, and Margarita Voulgaropoulou

That is the final program for the 2017 conference, commented with the participants. It contains o... more That is the final program for the 2017 conference, commented with the participants. It contains only the schedule for the Old Art Module.

The Institute of Art Studies, BAS holds its Art Readings colloquia on a yearly basis. Since 2015,... more The Institute of Art Studies, BAS holds its Art Readings colloquia on a yearly basis. Since 2015, the conference has been divided into two modules: Old Art & New Art. This year’s Old Art module titled Heroes/Cults/Saints was occasioned by the 500th anniversary since the dormition of St George the New Martyr of Sofia. It was attended by renowned researchers from Bulgaria, Greece, Romania, Albania and the Republic of Macedonia. The organisers strive to offer a developing annual platform for art historians, archaeologists, musicologists, literary historians and architects from the Balkans, who are exploring arts from Antiquity to the end-nineteenth century.
The next conference, slated to be held in early April 2016, is themed Texts/Inscriptions/Images. Generally, this wording evinces the idea of examining the role of word in arts as well as presenting art itself as a language and correspondingly, as communication.
The expectations of the organisers are to encourage presentation of papers that would come up with texts significant to the development of arts, setting sustainable trends in shaping the tastes both of the artists themselves and the recipients of arts. These could be ancient treatises on painting, architecture, music or manuals containing lessons or notes by particular masters on their creative practices. Recent observations about representations of visual arts of the type of Byzantine ekphraseis are also eligible. In this regard, literary historians, architects, art historians, musicologists and art restorers are expected to present their ideas of the so-called intertextuality, for instance, in their scientific reports.
The papers may trace the relationships between texts and representations, between canon and creative interpretations, accentuating the path of a passage from a manuscript or a book to the painted area or to re-contextualising it in vision. This segment allows epigraphers for presenting the sources of, say, biblical or hymnographic quotes and highlighting the function of the latter in the decoration of churches, commenting on the impact of apocryphal works, bringing to light palaeographic, dialectical specifics of inscriptions on icons, murals, sacred vessels, proposing instruments for epigraphic dating. The presented inscriptions may be in Cyrillic, Greek or Latin letters.
Traditionally, the focus of the papers will be on the Balkans’ historical conditions, but we also encourage studies relating geographically to wider regions. Generalising observations about the existing until the end-nineteenth century relationship between word and work in fine arts, architecture, music; their interaction with other types of languages, including questioning the already established scientific stereotypes as viewed by contemporary intervisuality are also welcomed. And last but not least, recent theoretical observations are expected about the presence of word in visual arts and about the principles of building musical-verbal images.

by Eliezer Papo, Nenad Makuljevic, Jelena Erdeljan, Vuk Dautović, Filip Mitricevic, Milica Božić Marojević, Saša M Brajović, Angelina Bankovic, Haris Dajc, Łukasz Byrski, Jakov Đorđević, Sofija Grandakovska, Aleksandar Kadijevic, Maja Kaninska, Aleksandar Kadijevic, Danijela Stefanovic, Stevan/Daniel Milovanović/Perahya, Draginja Maskareli, Barbara Kristina Murovec, Nataša Mišković, Tijana Zebic-Bjelica, Ana Ciric Pavlovic, David Rotman, Milica Rožman, Svetlana Smolčić, Katja Smid, Isidora Stanković, Danka Spehar, Davor Stipić, Gordana Todoric, Katarzyna Taczyńska, Milena Ulcar, Jovana Tesic, Jagoda Večerina, Krinka Vidakovic-Petrov, Aleksandra Ilijevski, Milena Jokanovic (Gnjatovic), Zeljko Jovanovic, Radosav Mikic, Naomi Kojen, Vera Goseva, and Gordana Gorunović

ABSTRACTS OF PAPERS, INTERNATIONAL CONFERENCE Creating Memories in Early Modern and Modern Art and Literature, 2017

Letopis Matice srpske, 2020

Је ле на Ер де љан, Бал кан и Ме ди те ран. Кул тур ни тран сфер и ви зу ел на кул ту ра у сред њ... more Је ле на Ер де љан, Бал кан и Ме ди те ран. Кул тур ни тран сфер и ви зу ел на кул ту ра у сред њо ве ков но и ра но мо дер но до ба, Ево лу та, Бе о град 2019 Јед на од прет ход них књи га Је ле не Ер де љан, Иза бра на ме ста. Констру и са ње Но вих Је ру са ли ма код пра во слав них Сло ве на (Бе о град 2013, пре вод: Cho sen pla ces: con struc ting new Je ru sa lems in Sla via Ort ho do xa, Brill 2017), на ста ла је као ре зул тат ње них ви ше го ди шњих ис тра жи ва ња Је ру са ли ма као фе но ме на у све три мо но те и стич ке ре ли ги је, али и као из раз ду бо ке лич не ве за но сти за ово, ка ко ка же, са свим по себ но, је дин стве но ме сто ко је кул ту ра, чи ји смо ба шти ни ци, до жи вља ва као сво је ис хо ди ште. У овој књи зи, је дин стве ној и дра го це ној у на шој струч ној ли те ра ту ри, пра ти се иде ја Но вих Је ру са ли ма, ко јих је у сред њо ве ков ној ци ви ли за ци ји би ло ви ше и ко ји су кон стру и са ли свој иден ти тет иза бра них ме ста и ли тур гиј ски, али и сред стви ма ви зу ел не кул ту ре об ли ко ва ли се као сли ка не ба на зе мљи. Пре ма об ја шње њи ма Је ле не Ер де љан, та кви Но ви Је ру са ли ми, са зда ни на прин ци пи ма уста но вље ним и раз ви ја ним у Ца ри гра ду, би ле су пре сто ни це: Ар та, Ве не ци ја, Па риз, а од сло вен ских гра до ва Бе о град, Мо сква и Тр но во.