Marko Katic | Filozofski fakultet Beograd (original) (raw)

Papers by Marko Katic

Студије визуелне културе Балкана: Зографски кругови, 2018

Зборник радова Зографски кругови, први том научних издања Студије визуелне културе Балкана, посве... more Зборник радова Зографски кругови, први том научних издања Студије визуелне културе Балкана, посвећен је откривању бројних непознатих сликарских и визуелних остварења која су настајала на балканском простору. Зборник је настао у оквиру научног пројекта бр. 177001 Министарства просвете,науке и технолошког развоја Републике Србије.

Наслеђе, XVIII, 2017

У раду се проучава једна од представа на иконографски сложеној јерусалимској икони из 1819. годин... more У раду се проучава једна од представа на иконографски сложеној јерусалимској икони из 1819. године, сачуваној у Цркви Ружи-ци на Калемегдану. На овој представи централна је икона Богородице с Христом, коју Св. ап. Лука представља Богородици. На основу поређења с касније насталим графикама аутор долази до закључка да је реч о представи предања о чудотворној икони из манастира Кико на Кипру. Поменуту икону је насликао Св. ап. Лука, а својим речима ју је Богородица благословила. Ово предање је играло улогу у оправдању култа икона, али и у учвршћивању престижа саме кикоске иконе. На основу времена настанка јеруса-лимске иконе, као и појединих бугарских икона идентичне садржине, јасно је да су графике које су настале касније имале ранију варијанту, чије изворно полазиште може бити једна од икона на иконостасу цркве кикоског манастира. Ова ранија варијанта била је позната у иконописачким радионицама на Балкану и у Палестини у првој половини XIX века.

The paper reviews the scene on the Jerusalem proskynetarion Icon-an iconographically complex pilgrimage icon dating from 1819 and kept in the Rose Church at the Belgrade Fortress. The central part of this scene depicts St Luke Presenting the Icon of the Theotokos to the Virgin Mary. By comparison with more recent graphics, the author concludes that this tradition was related to the miraculous icon from the Kykkos Monastery on Cyprus, which is believed to have been painted by Apostle Luke himself and blessed by the words of the Holy Mother. This legend played its role in justifying the cult of icons in general, but also in strengthening the prestige of the Kykkos Icon itself. Judging by the dates of the Jerusalem proskynetarion from the Ružica (= the Rose) Church and ceratin Bulgarian icons of the same type, it may be concluded that the latter ones had an earlier variant, a model of which could have been one of the icons from the Kykkos Monastery; it is likely that the Balkan and Palestinian workshops of the first half of the 19 th century were aware of this earlier variant.

МАРГИНАЛИЯ. Изкуствоведски четения. Тематичен рецензиран годишник за изкуствознание в два тома 2018.I. - Старо изкуство. Съст. И. Гергова и Е. Мусакова - MARGINALIA. Art Readings. Thematic Peer-reviewed Annual in Art Studies, Volumes I–II 2018.I. Old Art.Еd.by I. Gergova and E. Moussakova, 2019

The paper deals with representations of the Tower of David and the Gate of Jaffa in jerusalimias... more The paper deals with representations of the Tower of David and the Gate of Jaffa in jerusalimias. These representations did put a stress both on details and the buildings as a whole. Some of the scenes feature representations of King David. Different stories are linked to this place, above all those of composing the Psalter there, and David seeing Bathsheba while bathing. The Tower of David was rendered as the thematic and visual entry into the city of Jerusalem. In that way, representations of marginal pictorial importance demonstrate the interaction between the entry and meaning as exemplified by jerusalimias.

Naše starine, XXIII , 2015

Саопштења XLIX - Communications XLIX, 2017

Црква Успења Богородице у Ливну подигнута је 1859. године. Прилозима ливањских верника у њој се ф... more Црква Успења Богородице у Ливну подигнута је 1859. године. Прилозима ливањских верника у њој се формирала збирка икона и црквених сасуда разноврсног порекла и времена настанка, у распону од XV до раног XX века. Уз велике ризике и оштећења збирка је дочекала и данашње доба. У досадашњој науци није много проучавана. По својој уметничкој вредности међу ливањс-ким иконама се издвајају две најстарије иконе, једна са предста-вом Распећа, а друга Богородице са Христом. Икона Богородице са Христом се у стилском погледу одликује палеолошким присту-пом иконописању, али и пунцираним ореолима, те на основу анало-гија може бити сврстана у круг зографа Андреје Рицоса. Икона Распећа је специфична по готичким карактеристикама, пре свега у начину сликања драперија и фигуре Светог Јована. Може се приписати сликару из круга Николе Зафуриса. Ове две иконе очито припадају кругу критског иконописа, а није искључено ни да су пореклом из Венеције. Захваљујући јаким трговачким везама које је Ливно у прошлости имало пре свега са Сплитом, у којима су учешћа имали ливањски Срби, могуће је објаснити откуда ове две иконе у збирци тамошње православне цркве.

The Church of the Assumption of Virgin Mary in Livno was built
in 1859, in the period known as the Tanzimat. It represents an
example of the Mediterranean influence with features of
Neoclassicism and Neo-Renaissance in the Serbian ecclesiastical
architecture in Bosnia. There are also data on the existence of an
older church. Through the donations of the Livno faithful, a collection
was made of icons and church ware of different origin and
time of their make which included a period from the 15th to the
early 20th century. With great risks and damages, the collection has
managed to survive and to date has not been studied much by scientists.
By its artistic value, a group of 15th-17th century Greek
icons stands out among the Livno icons and among them in particular
two oldest icons – one with the depiction of the Crucifixion
and the other showing the Virgin and Christ. The icon of the Virgin
with Christ is characterized by a paleological approach to icon
painting, as well as by punctuated halos, as an element of the
Occidental influence. With its iconographic type, she is the Virgin
Peribleptos. On account of its resemblance to a similar icon of the
Virgin kept in Vatican, which holds a signature of the Greek icon
painter Andrea Rico, and on the basis of other analogies, the icon
may be classified into the circle of the painter’s direct associates.
The Crucifixion icon is specific due to its eclectic style in which
Byzantine and Gothic characteristics mingle. Until now, taking into
consideration the way in which the drapery was painted, it has been
ascribed to the painter Nikolaos Tzafouris. And yet, based on a
detailed observation, as well as on the basis of the characteristics
of the figure of Saint John having an unusual posture, this
Crucifixion icon may be ascribed to some associate or a follower
of his. There is a particularly interesting resemblance between the
figure of Saint John and the figure of the same saint found on a
triptych kept at the National Museum in Warsaw. The Livno icons
of the Virgin Peribleptos and Crucifixion, dated back to the end of
the 15th century or the very beginning of the 16th century, originate
from the Italo-Cretan painting circle; it cannot be ruled out that
they came from Venice. Thanks to the strong trading bonds which
in the past Livno used to have especially with Split, with significant
participation of the Livno Serbs in the business, it is possible to
explain from where these two icons ended up in the collection of
the local Orthodox church

Саопштења XLVIII - Communications XLVIII , 2016

Рад се бави иконом сачуваном у српској православној цркви у Ливну (Босна и Херцеговина), а по нат... more Рад се бави иконом сачуваном у српској православној цркви у Ливну (Босна и Херцеговина), а по натпису насталом у цариградској Галати 1843. године. Икона је интересантан при-мерак барокизованог и италијанизованог иконографског типа Богородица Страсна. Она потврђује пријемчивост таквих поза-падњених ликовних образаца у српској визуелној култури у Босни и Херцеговини у XIX веку. Икона је рад досад непознатог зографа Јована Николића. Он је деловао као иконописац у Галати у кругу вишејезичке православне заједнице, а претпостављено је да је био родом из Боке Которске. Двојезични грчки и српски натпис на икони то потврђује. Икона је уједно документ о везама Ливна са Цариградом током истог раздобља. Претпостављено је да су такве везе најчешће оствариване поморским транспортом Галата-Сплит, на који се настављао стари каравански друм преко Ливна до Сарајева.

At the Serbian Orthodox church of the Assumption of Virgin
Mary in Livno (Bosnia and Herzegovina), there is an icon of the
Virgin Mary with Christ and Sabaoth surrounded by angels carrying
the Instruments of Suffering. The icon bears a bi-lingual
Greek and Serbian inscription which in its Serbian segment says
that the icon was painted by Jovan Nikolić in Galata in 1843. The
icon was done in a Baroque-like and westernized manner, reflected
in the diagonal composition of the image, pastel tones, opposition
of light and dark sections and the use of clouds as an iconographic
detail that separates the heaven from earth. The mutual
relation between the depicted personalities creates a thematic
base: Sabaoth and baby Jesus look at each other, while Virgin
Mary watches with resignation the Holy Table beside her. The
Sabaoth shows to baby Jesus the Instruments of Sufferings carried
by the angels around him letting the latter know what suffering he
is to endure. In terms of its theme and style, the picture comes
from the Catholic counter-Reformation Baroque, with only a few
Orthodox elements: golden halos, outside edge and the inscription
in the bottom. Through its Greek segment of the bi-lingual
inscription, mentioning the Instruments of Suffering, the icon has
been associated with the iconographic type of the Passion Mother
of God. So far an unknown painter, Jovan Nikolić, whose only
known work is this icon and who worked at the Constantinople’s
Galata at the end of the first half of the 19th century, can be recognized
as a Serb. It has been assumed that he originated from the
bay of Boka Kotorska, judging by the number of residents of
Boka and Montenegrins present in the 19th century Constantinople.
Taking into account the maritime connection between the
Constantinople’s Galata and Split, the icon was most probably
taken by a caravan from the Dalmatian town to Livno. There are
data on the stay of Livno merchants in Constantinople during the
19th century. The icon represents an important item of the Serbian
visual culture in Bosnia for which this westernized and Baroque like
form, coming from the Orient, was acceptable.

Пиротски зборник 42, 2017

Рад се бави описом и анализом једне од икона Јерусалима сачуване у Цркви Рождества Христовог у Пи... more Рад се бави описом и анализом једне од икона Јерусалима сачуване у Цркви Рождества Христовог у Пироту. Јужни део Србије се у прошлости одликовао великим бројем хаџија-поклоника Христовом гробу у Јерусалиму. Они су са путовања доносили иконе овог типа као меморију и благослов, а на њима су представљена палестинска света места. У две пиротске цркве сачувано их је неколико примерака. Икона коју овде поближе проучавамо је натписом датирана у 1845. годину, а донео ју је хаџи Игњатије. Централне представе на њој су Црква Светог гроба у Јерусалиму, Страшни суд, Богородица са Христом и Христос Пантократор. Посебно је специфичан тзв. циклус Дрвета часног крста. Икона се одликује једноставном композицијом и живим бојама, а за њу се могу навести директне аналогије у Јерусалимима сачуваним у Београду и у Берковици (Бугарска). Сведочанство је некада јако присутне ходочасничке културе у Пироту, али и до данас неиспитаног иконописа на Блиском Истоку.

The work comprises the description and analysis of the one of the icons of the proskynetaria of Jerusalem which is kept in the Church of the Birth of Christ in Pirot. The southern part of Serbia used to have a
huge number of hajji, pilgrims who made a pilgrimage to the Holy
Sepulcher in Jerusalem. As memory and blessing, they brought back
icons of this kind, representing the sacred places of the Holy Land.
Several examples of these proskynetaria have been kept in two Pirot
churches. The icon which is more closely analysed here dates from 1845
and was brought by Hadzi-Ignjatije. Its central motives are the Church of
the Holy Sepulcher in Jerusalem, The Last Judgement, Mother of God
with Christ and Christ Pantocrator. Most specific is the cycle of the Tree
of the Holly Cross. The icon is characterized by simple composition and
vivid colours and direct analogy to proskynetaria of Jerusalem which are
kept in Belgrade and Berkovica (Bulgaria) can be related to it. It is the
evidence of the once strongly present pilgrimage culture in Pirot, but
also of the Near East 18th and 19th Century icon-painting, which has
been unexplored so far.

Труды Государственного Эрмитажа, LXXXIX - Transactions of The State Hermitage Museum, LXXXIX , 2017

In the Serbian Orthodox Church of St Elias in the town of Busovača there is preserved among other... more In the Serbian Orthodox Church of St Elias in the town of Busovača there is preserved among other icons a painted proskynetarion of Jerusalem from the year 1786. The proskynetarion icons used to be brought by Orthodox pilgrims who were in habit of performing pilgrimages to Jerusalem especially in the period from the seventeenth to the early twentieth centuries. The small town of Busovača had no Orthodox population until the second half of the nineteenth century, and the church was built and consecrated after the Austro-Hungarian occupation, precisely in 1882. This means that the proskynetarion and other icons are earlier than the church. Presumably they were a gift from Sarajevo for the church. This proskynetarion is a typical example
of such icons dating from the eighteenth century, with many analogies among other surviving examples. Its colours are strong, with red predominating. Representation of the city of Jerusalem is the central one on the icon, around which are arranged representations of the
Biblical events situated approximately in the places where they are believed to have happened. Within the walls of Jerusalem the most important is the Church of the Holy Sepulchre in the cross-section. Within it are represented the Anointment, Crucifixion and Resurrection of Christ. The Holy Sepulchre was the main goal of pilgrimage. Outside the walls there are representations of the Church of Nativity in Bethlehem, scenes from the Legend of the Holy Cross and separate representations of the Virgin Mary and Christ. The icon is remarkable for its artistic qualities, as well as for various iconographic sources of its representations. They indicate iconographic sources of different origins. It remains an open question whether these icons were the products of monastic or family workshops. It is clear that they were keepsakes of a pilgrimage, but they partly had also a didactic function. Perhaps unexpectedly, they were also the propaganda pieces of the Jerusalem Patriarchate.

Зборник Матице Српске за ликовне уметности, 45, 2017

Er me niveRumKültürVarlıklarıylaKayse ri/Kayse riwith itsAr me nianandGre ekCul tu ralHe ri ta ge... more Er me niveRumKültürVarlıklarıylaKayse ri/Kayse riwith itsAr me nianandGre ekCul tu ralHe ri ta ge (ed. Al tuğ Yılmaz), Hrant Dink Vakfı Yayınları, İstan bul, 2016.

Зборник Матице Српске за ликовне уметности, 45, 2017

Devotees of Christ’s tomb ‒ the pilgrims ‒ brought home from their pilgrimages, among other thin... more Devotees of Christ’s tomb ‒ the pilgrims ‒ brought home from their pilgrimages, among other things, Jerusalems, paintings painted on canvas showing sacred topography of the Holy Land. The image of the Church of the Holy Sepulchre in Jerusalem is central. This type of paintings has been studied in this paper from morphological, typological and stylistic point of view. These questions have been emphasized, given that Jerusalems, as poorly studied iconography branch, open up many topics. Based on the style and iconography, there have been established a number of major types of Jerusalems, with several sub- or transitional variants. They follow the general directions of development of this type of painting in the Middle East. The first paintings were created in the XVII century and their greater expansion was in the XVIII century, with map-like representations, on which red color dominates. Over time, certain scenes were separated into special frames, and thus was created a new type widely used at the end of the XVIII century, with separate representations of the Virgin to the left and Christ to the right. It is noticeable that the items from this period contain many baroque elements. In the XIX century this variant was further stylistically developed and iconographic forms were changed, following the model of the zograf icon painters. The largest group of paintings originate from the second half of the XIX century, and some researchers classify them as “Jerusalem school” of this type of painting. In the early XX century, the painting of Jerusalems ceased.
Keywords: Jerusalems, typology, Church of the Holy Sepulchre, Virgin, Christ, iconography, style.

У раду се анализирају хаџијске иконе Јерусалими са типолошког, морфолошког и стилског гледишта. Истакнуте су њихове
заједничке особине и на појединачним примерима показано како је кроз иконографске и стилскепромене дошло и до еволуције у типологији хаџијских икона. Током 200 година, колико је трајала
продукцијаове врсте икона, дошло је до врло великих и у извесном смислу чак бурних промена, које су резултирале у шест главних
типова Јерусалима, са много прелазних облика и варијанти.
КЉУЧНЕ РЕЧИ: Јерусалими, типологија, црква Христовог гроба,
Богородица, Христос, иконографија, стил, Света земља, ходочасништво.

Крајина - Krajina, XI, 41-42, 2012

Овде намеравамо представити две иконе зване јерусалим из православне цркве у Илијашу. Оне припада... more Овде намеравамо представити две иконе зване јерусалим из православне цркве у Илијашу. Оне припадају скромнијим радовима у својој врсти, а намера нам је како да са њима упознамо стручну јавност, тако и да преко њих код шире публике створимо свест о постојању овог необичног типа икона.

Book Reviews by Marko Katic

Студије визуелне културе Балкана: Зографски кругови, 2018

Наслеђе, XVIII, 2017

Naše starine, XXIII , 2015

Саопштења XLIX - Communications XLIX, 2017

Саопштења XLVIII - Communications XLVIII , 2016

Пиротски зборник 42, 2017

Труды Государственного Эрмитажа, LXXXIX - Transactions of The State Hermitage Museum, LXXXIX , 2017

Зборник Матице Српске за ликовне уметности, 45, 2017

Крајина - Krajina, XI, 41-42, 2012