Nenad Makuljevic | Filozofski fakultet Beograd (original) (raw)

Papers by Nenad Makuljevic

Umetničko nasleđe srpskog naroda na Kosovu i Metohiji (1690-1839)

The monuments of Christian art in the region of Vidin are understudied. Мost of the extant church... more The monuments of Christian art in the region of Vidin are understudied. Мost of the extant churches in that region have been built in the nineteenth century. In the second half of the eighteenth century, high-class icons by anonymous Athonite icon-painters appeared. Other
icons from Jerusalem-based workshops were donated by worshipers.
Late Russian icons pique researchers’ interest with some replicas of venerated wonderworking icons of the most Holy mother of God kept at churches and museum collections. A great deal of the icons and
part of church murals in the region of Vidin have been painted by masters of the Art School of Triavna.The Wallachians living in
the local villages used to commission painters from Craiova to decorate their churches. Painters of the Art School of Samokov would work in
the region of Vidin rather episodically.А famous icon-painter Dimter Hristov made an iconostasis for the Metropolitan Church of St Demetrios in the 1850s. It was painters of the Art School of Debar that have more often than not worked in the area since the 1860s: Dičo Krstev from Tresonče, later his son Avram and grandson Krsta; Petre Debranec from the same village; Evgenij Pop Kuzmanov from Galičnik, Danail Nestorov from the same village among others. Master builders
from the region of Debar were commissioned for the construction of some of the churches. As the region of Vidin failed to form a local school of painting in its own right, it became a venue for painters
from across the Balkans.

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

One of the characteristics of European artistic practice and visual culture is the expression of ... more One of the characteristics of European artistic
practice and visual culture is the expression of various social,
religious, and political ideas. The visual can be used to
convey the attitude to the society, to propagate different
ideals and create social and political context. The basis for
such usage of art lies in the power of the visual to simultaneously
perceive and shape the reality. Engaged usage of
visual culture has had a very long tradition, and it has always
been adapted to the context in which artworks were
created. At the end of the 19th and the beginning of the 20th
century, apart from the engaged action on behalf of the
church, state, nation and political party, painters and patrons
propagated different ideas on society, religion, international
and inter-confessional relations.

Heilige Landschaften – Heilige Berge. Akten des 8. Internationalen Barocksommerkurses der Stiftung Bibliothek Werner Oechslin (2014)

The "zograph" model of painting from 1830 to 1870 represents a important period of development in... more The "zograph" model of painting from 1830 to 1870 represents a important period of development in sacral Orthodox Christian art in the Ottoman Empire. It was formed as a component part of the church revival from 1830 to 1870 and a unified supra-national cultural model in South East Europe. The "zograph" model of Orthodox Christian painting shows that the region of "European Turkey" did not represent a civilization void, exclusively dominated by an ethnic folkloric culture, but a specific cultural model, conditioned by political, social and religious conditions.

Umetničko nasleđe srpskog naroda na Kosovu i Metohiji (1690-1839)

Heilige Landschaften – Heilige Berge. Akten des 8. Internationalen Barocksommerkurses der Stiftung Bibliothek Werner Oechslin (2014)

Kome i kako su tokom posljednje dvije decenije građeni spomenici u državama regije? Kakve su este... more Kome i kako su tokom posljednje dvije decenije građeni spomenici u državama regije? Kakve su estetske i umjetničke vrijednosti tih spomenika? Šta promoviraju i mogu li biti uzrok netrpeljivosti i novih podjela? Po kojim se kriterijima utvrđuju spomenici od državnog značaja?
U posljednjih 20 godina, širom bivše Jugoslavije izgrađen je rekordan broj novih spomenika. Ukupni troškovi procjenjuju se na stotine miliona eura. Neka istraživanja pokazala su da novoizgrađeni spomenici rijetko promoviraju pomirenje ili etnički univerzalan doživljaj mira, a vrlo često izazivaju napetost među etničkim grupama.
Gosti emisije su: u Sarajevu - prof. dr. Amra Hadžimuhamedović iz Komisije za očuvanje nacionalnih spomenika BiH, u Beogradu - prof. dr. Nenad Makuljević sa Filozofskog fakulteta, te u Skoplju - Siniša Jakov Marušić - novinar Balkanske istraživačke mreže BIRN koji je radio na istraživanju o izgradnji spomenika u regiji.
Uvodnu priču donosi Marko Subotić, a emisiju vodi Anne Marie Ćurčić.

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 Milica Rožman, Tijana Zebic-Bjelica, Milena Ulcar, Nenad Makuljevic, Vuk Nedeljković, Ivana Zenarju Rajovic, Anita Markovic, Julijana Marković, Svetlana Pantic, Teodora Bradić Jovanović, and Ksenija Gavrić

Друга годишња конференција Центра за визуелну културу Балкана и Друштва историчара уметности и ви... more Друга годишња конференција Центра за визуелну културу Балкана и Друштва историчара уметности и визуелне културе новог века, децембар 2018.

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

Beograd u rupi. Rupa u Beogradu, 2021