Dubravka Preradovic - Institute for Balkan Studies SASA

Dubravka Preradovic - Institute for Balkan Studies SASA
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Dubravka Preradovic
Institute for Balkan Studies SASA
Balkan Studies
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Документи за проучавање Богородичине цркве манастира Градца/ Documents for the study of the Church of the Mother of God at the Gradac Monastery
In this monograph, a rich body of archival and documentary material on the Church of the Virgin i...
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In this monograph, a rich body of archival and documentary material on the Church of the Virgin is presented for the first time—material that has so far remained largely unpublished and unexamined. This valuable corpus is preserved in the collections and holdings of both domestic and international institutions. The book offers a detailed study of documentation produced from the earliest scholarly investigations of Serbian medieval monuments in the 1870s through the late 1960s. By contextualising this unpublished material and adopting a fresh perspective on the documentation of Gradac, the monograph opens new avenues for further research and yields new evidence that contributes to our understanding of the history of heritage protection in this region.
У име науке и домовине. Истраживања средњовековних споменика под окриљем Народног музеја Србије и њихови резултати (1906–1940), Београд: Народни музеј Србије, 2023.
In the Name of Knowledge and the Homeland. Research of Medieval Monuments under the Auspices of t...
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In the Name of Knowledge and the Homeland. Research of Medieval Monuments under the Auspices of the National Museum of Serbia and Its Results (1906–1940)
Between 1907, when Vladimir Petković managed to, besides doing research at Žiča Monastery, take the first photographs of the monastery, laying the ground for the museum’s photo collection of medieval monuments, and 1940, when Branimir Bugarčić, the museum photographer, brought the last snapshots of Dečani Monastery, the National Museum’s experts and associates have researched and photographed over 300 sites. For more than three decades, with some interruptions, this activity unfolded in several stages determined, on the one hand, by the socio-political circumstances of the time and the internal museum policy, on the other.
In 1907, the National Museum launched systematic campaigns to research and photograph medieval architecture and wall paintings. The purpose of this fieldwork was manifold. Monuments had to be documented and their state of repair determined so that plans for their protection and restoration could be made; at the same time, the museum’s holdings were to be expanded by forming a collection of frescoes, original or copies, and sculpture casts. The result of the museum’s first scholarly mission fully matched the planned concept. During fieldwork, photographs and copies of three frescoes were made, and one original fresco was moved to the Museum because it was precariously close to crumbling off the wall. On this occasion, Petković completed his previous research of the Ascension Church at Žiča Monastery and published his results in a series of articles in Starinar, a pioneering effort to offer a scholarly monograph on a medieval church to the local academic community.
In the years after the Great War, the National Museum, in vain, sought a way out of this “deadly limbo”. As Vasić’s attempts to find an at least acceptable solution for housing its reduced and damaged collection –  “but a shadow of what the Museum once was” – proved futile, he resigned from the office of the institution’s director. On 1 September 1919, the guardian of the National Museum became Vladimir Petković. Having assumed office, Petković submitted a draft on the “organization of the Museum and the work on safeguarding antiquities, which would provide the Museum with the needed work force for many tasks in and beyond it,” and at the same, prepared projects intended to elevate the National Museum to the “level of a cultural institution desperately needed in the Kingdom of Serbs, Croats and Slovenes.” Researching Serbian medieval art and forming a medieval collection as a key department in the institution were central concerns in the museum program. From 1920 to 1927, with the funds allocated for field research considerably reduced, efforts to examine, photograph, and publish medieval architecture and wall paintings under the auspices of the National Museum brought together almost all scholars of medieval studies in the country.
Despite a sizeable reduction in the funding of the National Museum in 1927, field research was not suspended. It continued until 1934 with the financial support of the Royal Academy and the University, allowing Petković to focus on systematic research of the Pantokrator Church at Dečani. In this period, many monuments were studied and photographed owing to the efforts of Djurdje Bošković, the museum’s curator, and his advocacy in the Committee for Maintaining and Restoring Churches and Monasteries. By 1935, when Petković’s term as the director of the National Museum ended, the photograph collection included several thousand negatives.
The results of this intense field research were regularly published in academic journals. The Starinar journal, which had gone out of print in 1911, was relaunched in 1922, and most of its articles in the following period were authored by the employees of the National Museum. The 1920s also saw intensive publishing activity at the National Museum. In this period, it launched the series Srpski spomenici (Serbian Monuments, 1922), which included seven books: five monographs (Manastir Ravanica, 1922; Manastir Studenica, 1924; Markov manastir, 1925; Manastir Kalenić, 1926; Manastir Manasija, 1928) and two albums of medieval paintings (La peinture serbe du moyen âge I–II, 1930–1934). From the second volume onward, their publication was financed by the Mihajlo Pupin Fund, which the illustrious scientist had established at the National Museum.
After the founding of the Prince Paul Museum (1935), the relocation to the New Palace, the change of the management, and efforts to expand the collection and present them in a suitable space, the focus, previously on researching monuments, shifted to their photo-documentation. The ambition of the Museum, which now bore the Prince Regent’s name, was to create a big central archive of all relevant monuments in the territory of the Kingdom of Yugoslavia. However, with the exception of a photographing campaign on the Adriatic coast, the main subject continued to be the Serbian medieval heritage. Branimir Bugarčić, the museum photographer at the time, worked alone, and in those few years running up to the breakout of World War II, many new shots were added to the medieval monument photo collection.
Until 1935, the National Museum was essentially seen as a seminar attached to the Department of Archaeology and Art History because its directors also taught at the university; hence, the history of medieval monument research under its auspices reflects the situation in art-historical scholarship in Serbia up to World War II. Being responsible for training new generations of scholars and holding a prominent position at the Museum, Petković was a towering figure in the country’s art-historical studies. In line with his methodology, the primary task of research was collecting and describing evidence. Holding on to the outdated principles of his German mentors, he additionally simplified them, insisting on detailed iconographic descriptions but stopping short of offering an interpretation of the imagery. The founding of the University of Skopje, with new teaching staff which included Radoslav Grujić and Svetozar Radojčić, and the growing number of professional art historians and scholars interested in the history of art, such as the liturgist Lazar Mirković, led to important advances in medieval art research in the 1930s. And yet, it was precisely the evidence collected and published by Vladimir Petković and his associates that allowed the new generation of scholars to write syntheses on art history. An indispensable tool in this endeavor was the photo collection of medieval monuments on glass plates established to “make it much easier to study our monuments of art” and “safeguard these monuments for posterity” – bringing Petković’s initial idea to fruition.
In many ways remarkable, this collection was a reliable starting point for the research presented in this book. The acerbic notes of the scholars who contributed to its formation and numerous archival documents allowed me to reconstruct the place and role of the National Museum in the documenting, research, publication, and preservation of medieval churches and monasteries in a time when an institutional protection and legislation on cultural heritage had yet to be introduced. This work aims to shed light on an important yet often overlooked period in the history of this intuition, which lasted more than three decades and saw the National Museum’s experts go far beyond their professional duties to lay the ground for a critical and scholarly approach to the research of Serbian medieval heritage.
T. Bošnjak, R. D'Amico, D. Preradović, Tesori d’arte italiana dal Museo Nazionale di Belgrado. Pittura italiana dal XIV al XVIII secolo dal Museo Nazionale di Belgrado, Belgrado 2004.
Бошњак Т., Р. д’Амико и Прерадовић, Д., Ризнице италијанске уметности из Народног музеја у Београ...
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Бошњак Т., Р. д’Амико и Прерадовић, Д., Ризнице италијанске уметности из Народног музеја у Београду. Италијанско сликарство од XIV до XVIII века из Народног музеја у Београду, Каталог збирке стране уметности 1
EDITED VOLUMES by Dubravka Preradovic
Editor’s Foreword
Vladimir R. Petković : a founding figure of the institutional and academic realm, ed. D. Preradović, Beograd : SASA, 2024, 8-11
Реч уредника
Владимир Р. Петковић, утемељитељ струке и науке, ур. Д. Прерадовић, Београд: САНУ 2024, 8-11
D. Preradović, Editor's Foreword
Hermylos and Stratonicos, early Christian martyrs of Belgrade, ed. D. Preradović, Beograd: Balkanološki institut Srpske akademije nauka i umetnosti,
, 2022
All of the above has given rise to the need to revisit and systematize the available knowledge ab...
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All of the above has given rise to the need to revisit and systematize the available knowledge about the Belgrade martyrs in a coherent and comprehensive publication.The intention of the contributors to this volume was to use the admittedly scarce textual (historical, hagiographic, and liturgical) and iconographic sources, as well as archeological
evidence, to offer as clear a picture as possible of Christianity in Belgrade
in the period when the deacon Hermylos and his co-martyr Stratonikos fell for the faith, and of their cult and representations in art in the Eastern Christian world, especially medieval Serbia. This monograph on Hermylos and Stratonikos was written in the hope of encouraging new, primarily interdisciplinary research of Early Christian martyrs from the territory of Serbia that will add to the results of our work.
Gabrijel Mije i istraživanja stare srpske arhitekture, katalog izložbe, ed. D. Preradović, Beograd 2019.
by
Dubravka Preradovic
and
Olga Špehar
Gabrijel Mije i istraživanja stare srpske arhitekture, katalog izložbe, ed. D. Preradović
, 2019
Gabriel Millet et l’étude de l’architecture médiévale serbe

Les études de terrain réalisées par...
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Gabriel Millet et l’étude de l’architecture médiévale serbe
Les études de terrain réalisées par Gabriel Millet entre 1905 et 1935 sont examinées essentiellement à partir des documents d’archives
conservés à Paris et à Belgrade et non publiés à ce jour. L’archéologue français avait, en effet, mené une première enquête sur les monuments serbes en 1906 et il fut l’un des premiers scientifiques à explorer le patrimoine architectural des Balkans alors que la région se trouvait encore sous le régime ottoman. Son expédition pionnière en Serbie, au
Kosovo et en Macédoine produisit des effets d’une portée considérable puisque sa contribution la plus éminente à la connaissance de l’art serbe réside dans une synthèse architecturale, intitulée L’ancien art serbe. Les églises et publiée en 1919. Auparavant, Gabriel Millet avait déjà fait connaître ses travaux dans L’histoire de l’art, une somme
encyclopédique conçue par André Michel, et dans une étude plus courte (L’ancien art serbe) parue, en 1917, dans un numéro particulier de la revue L’art et les artistes tout spécialement consacré à la Serbie (La Serbie glorieuse). De la même manière, l’art serbe occupait une place privilégiée dans le programme des cours dispensés par le byzantiniste
français à l’École Pratique des Hautes Études et au Collège de France.
Le voyage inaugural de Gabriel Millet en Serbie a été suivi de quatre autres missions scientifiques au cours desquelles il a étudié les églises et les monastères, non seulement serbes mais également byzantins,
qui émaillaient le territoire de la Serbie, du Kosovo et de la Métohija, du Monténégro et de la Macédoine. Au cours des expéditions de 1924, 1927, 1934 et 1935, il a ainsi rassemblé un matériel conséquent
dans l’intention de rédiger une étude de la peinture médiévale et de compléter son ouvrage initial sur l’ancienne architecture serbe. Pendant toute cette période, son épouse Sophie fut une talentueuse
compagne de voyage, auteure de nombreux dessins et aquarelles reproduisant les fresques et l’architecture. De fait, entre 1906 et 1935, le
couple Millet visita et étudia plus de 80 églises et monastères subsistant dans la région.
Gabriel Millet n’a toutefois pas réussi à finaliser la synthèse qu’il ambitionnait de rédiger sur l’art serbe médiéval. C’est pourquoi le matériel photographique engrangé au cours de tous ces voyages et
partiellement publié à ce jour demeure un outil irremplaçable pour l’étude des monuments serbes à l’époque médiévale.
Papers by Dubravka Preradovic
Antiquarian observations: Артур Еванс о српским средњовековним старинама
Сер Артур Џ. Еванс (1851-1941): „илирска“ трагања и српско питање, ур. Д. Војводић, Београд: САНУ, 2025, 109-142.
Arthur Evans’ writings provide invaluable information about Serbian Medieval Antiquities, even th...
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Arthur Evans’ writings provide invaluable information about Serbian Medieval Antiquities, even though they were by no means central to his research interests. Evans’ insights into churches and works of applied arts were conceived to address various audiences and adapted to different genres – a travelogue, a newspaper article, or a scholarly publication. This article presents Evans’ notes in one place in order to provide a clearer and more comprehensive picture of the British celebrated archaeologist’s contribution towards a better understanding and a more thorough survey of Serbian Medieval heritage. Notwithstanding their brevity, his notes reveal Evans as a learned connoisseur, who was capable of recognizing the essential differences between Byzantine and Serbian art. However,
published material is only a part of what Evans recorded on Serbian Medieval Art. A complete picture, as well as a final assessment of his contribution and understanding of Serbian Medieval heritage will only be possible after a careful examination of Evans’ travel notes, letters, and the collection of artefacts that Evans had amassed during his research of the western parts of the Balkan Peninsula between 1875 and 1883.
Истраживање, документовање и заштита архитектуре и живописа Градца до 1951. године: контекст и резултати/Research, Documentation and Protection of the Architecture and Wall Paintings of the Gradac Monastery until 1951: the Context and the Results
Документи за проучавање Богородичине цркве манастира Градцa
, 2025
This chapter reconstructs the research history of the Church of the Mother of God at the Gradac M...
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This chapter reconstructs the research history of the Church of the Mother of God at the Gradac Monastery—from the earliest notes and field recordings of the 1870s to the publication of the first scholarly monograph on Gradac in 1951. It traces the path by which Queen Jelena’s foundation gradually entered the focus of both Serbian and international scholarship, beginning with the pioneering surveys and drawings by Mihailo Valtrović and Dragutin Milutinović (1875). Their documentation, which also produced what may be considered the first theoretical reconstruction of a medieval sacral building in Serbian historiography, is examined as a formative moment in the making of Gradac as an object of study. The analysis is grounded in a critical reading of heterogeneous source materials—archival photographs, architectural drawings, diaries, and reports—collected and correlated across repositories in Belgrade and Paris. By treating visual and written evidence as complementary, the chapter assembles a coherent documentary “dossier” of the church’s condition before the major reconstruction campaigns, providing a key to interpreting architectural and artistic features that were later altered or lost in situ. A central contribution of the chapter lies in its methodology: the equal consideration of primary documentation and secondary scholarship, combined with a systematic reassessment of earlier interpretationsí. The discussion revisits major scholarly milestones and interpretative frameworks, from brief references in broader syntheses (Petar Pokryškin, 1906; Gabriel Millet, 1908, 1917, 1919) and the article by Kosta J. Jovanović (1918), to the foundational monograph by Đurđe Bošković and Slobodan Nenadović (1951). Placed in sequence, these sources reveal not only changing readings of the monument’s chronology and form, but also the institutional and professional conditions under which documentation and conservation knowledge were produced. By presenting the evidence in a structured and source-critical way, the chapter offers an integrated picture of Gradac’s building phases, damages, and successive reconstructions. At the same time, it frames this trajectory as a case study in the development of conservation practice in Serbia, highlighting the decisive role of documentation as both a historical record and a tool for responsible interpretation.
State of Research of the Serbian Medieval Monuments at the Time of the Internationalization of Byzantine Studies
Le Centenaire des congrès des études byzantines (1924-2024) Le congrès de Bucarest (1924) et l'internationalisation des études byzantines, ed. A. Timotin et M. Mitrea, Bucarest: Société roumaine d'études byzantines (Études byzantines et post-byzantines, nouvelle série, tome VII (XIV)
, 2025
This article examines the evolution of research on Serbian medieval monuments within the broader ...
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This article examines the evolution of research on Serbian medieval monuments within the broader context of the internationalisation of Byzantine studies from the mid-nineteenth century to the interwar period. It traces the pioneering contributions of domestic and foreign scholars -including Mihailo Valtrović, Dragutin Milutinović, Vladimir R. Petković, Nikodim Kondakov, Petr Pokryshkin, Gabriel Millet, and Gheorghe Balș -who laid the foundations for the academic study of Serbian medieval art, with particular emphasis on architecture. The article highlights the growing scholarly interest in Serbian heritage, especially in the context of emerging academic institutions and expanding international collaboration. Special attention is given to the methodological innovations, academic networks, and institutional frameworks that shaped the study of Serbian medieval art during this period, contributing to its recognition within the international field of Byzantine studies.
Scultura marginale medievale serba. Le mensole del fregio ad arcate cieche di Dečani:studio introduttivo
Porti, città e relazioni adriatiche nel nord della Puglia (secoli XIII-XV). Archeologia, arte, storia, a cura di L. Derosa e V. Rivera Magos (Mediterranea, Collana di studi storici 41), Bari
, 2025
This article contributes to the study of medieval “marginal sculpture” in Serbia by offering an i...
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This article contributes to the study of medieval “marginal sculpture” in Serbia by offering an introductory, methodologically grounded analysis of the carved corbels supporting the blind-arcade frieze on the upper façades of the Church of Christ Pantocrator at Dečani (1326/27–1334/35). Building on key scholarship on marginality in medieval art (from the long-dominant skepticism of Émile Mâle to the paradigm shift initiated by Michael Camille and Nurith Kenaan-Kedar), it argues that these outward, liminal images are not merely decorative but form a meaningful visual language situated between the sacred and the profane, the real and the imaginary, and “center” and “margin.” The study situates Dečani within a Serbian "genealogy" that begins with Studenica (late 12th century) and continues through Banjska (early 14th century), while also stressing the practical limits that have shaped scholarship (visibility, scaffolding, and the exceptional value of the 1941 glass-plate photographs). It proposes an initial iconographic typology for Dečani’s vast corpus (over 300 corbels, with more than 170 carved), highlighting zoomorphic and vegetal motifs, portraits reflecting social types, performers, monastic figures, and a previously overlooked Spinario. Ultimately, the article frames Dečani’s corbels as an “encyclopedic” ensemble and a promising entry point for future research on meaning, workshop practice, and stylistic stratification.
Габријел Мије и истраживања Свете Горе под покровитељством Француске школе у Атини, Дванаеста казивања о Светој Гори, ур. О. Крешић, Б. Павловић, Београд: Задужбина Светог манастира Хиландара : Друштво пријатеља Свете Горе Атонске, 2025, 175–199.
Gabriel Millet (1867–1953), the renowned French Byz¬antologist, was one of scholars who significa...
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Gabriel Millet (1867–1953), the renowned French Byz¬antologist, was one of scholars who significantly contributed to the development of Byzantine studies in France at the end of the 19th century. The starting point of his journey to the Byzantian Empire was the French School in Athens, which he joined in 1891. The French School in Athens, founded in 1846, was the first foreign research institution in Greece. Although primarily conceived as a centre dedicated to classical studies, the field of research soon expanded to encompass other eras, among which Byzantine history and monuments found their place. Thus, before Millet joined the School, its members had included Edmond Lebarbier, who conducted research on Pat¬mos and Mount Athos, Jean-Jacques Armingaud, author of a book on the relations between Byzantium and Venice, Louis Petit de Julleville, who began studying churches in Greece in 1863, Charles Blondel, a specialist in Byzantine epigraphy, and the famous Charles Diehl who, while in Greece, devoted him¬self to study of the mosaics of Saint Luke’s in Phocis, among other interests. Charles Bayet and Louis Duchesne, who spent four months on Mount Athos in 1874, also worked under the auspices of the French School.
Soon after arriving in the Hellenic capital, Gabriel Mil¬let expanded his field if interest to include the art of the re¬stored Byzantine Empire, which had not been the subject of research before. In 1894, he began to research the churches in Mystras and on Mount Athos. He returned to Athos in 1898 and during these two expeditions he collected material that became an important part of his doctoral dissertation entitled Recherches sur l’iconographie de l’Évangile aux XIVe, XVe et XVIe siècles, d’après les monuments de Mistra, de la Macédoine et du Mont-Athos (1916). The result of these first studies was the corpus of inscriptions (Recueil des inscriptions chrétiennes de l’Athos), which he compiled in 1904 with Louis Petit and Jules Pargoire.
With financial backing from the French army on the east¬ern front, and the support of the French School in Athens, Ga¬briel Millet was given the opportunity to carry out three sci-entific expeditions to the Holy Mountain, in 1918, 1919 and 1920, for a total of eighteen months, thereby completing his earlier research. He published some of the photographs he had taken at that time in the album of paintings of Mount Athos (1927). The material collected at that time from the treasuries of Mount Athos included an important, pioneering study on liturgical embroidery (Broderies religieuses de style byzantin), with which he laid a solid foundation for further research. Thanks to Millet’s photographs, it was possible to prepare the first volume of documents from the Great Lavra, which inau¬gurated the Archives de l’Athos edition in 1937, within which the diplomatic materials of the monasteries of Mount Athos are published to this day. Finally, the rich collection of recordings made during Millet’s five missions to Mount Athos still offers a wealth of data for new and substantive research on Athos.
Il Calendario del Messale di Cattaro e i santi venerati a Cattaro nel periodo della consacrazione della cattedrale (1166)
Mélanges de l'École française de Rome - Moyen Âge (MEFRM)
, 2024
Recently published critical and anastatic editions of the
twelfth-century codices from Kotor, the...
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Recently published critical and anastatic editions of the
twelfth-century codices from Kotor, the Pontifical and the
Missal, were the motive to reassess cults of saints and relics
venerated in this town in the time of consecration of the
Cathedral of St. Tryphon (1166). The attention is paid primarily
to the calendar of the Missal of Kotor, written for
some Dalmatian benedictine abbey. The analysis of a small
group of liturgical calendars that can be connected to the
one of Kotor showed that during the 11th and the 12th centuries
in Benevento, a group of martyrs of the same names as
the so called “Petilovrijenci” (Andrew, Peter, Lawrence) was
commemorated on July the 7th . They are considered to be the
local saints both by churches of Kotor and Dubrovnik and are
likewise commemorated on July the 7th . Therefore, this text
pose the question of their origin, putting the saints venerated
in the Cathedral of Kotor into context of the relations of Kotor
with the opposite Adriatic coast.
Vladimir R. Petković and the Research in Serbian Medieval Art
Vladimir R. Petković, A Founding Figure of the Institutional and Academic Realm, ed. D. Preradović, Beograd, 119-179.
that he "had prepared a voluminous publication on our medieval art (architecture and sculpture, p...
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that he "had prepared a voluminous publication on our medieval art (architecture and sculpture, painting and minor crafts) that would include around 2,000 illustrations (about one hundred of which are in colour)". 1 The anticipated publication was the result of yearslong systematic intensive research on medieval churches and monasteries, which Petković had initiated upon his arrival at the National Museum. Limited by financial resources and the current borders of the Kingdom of Serbia at the outset of his scholarly mission, Petković managed, between 1907 and the outbreak of the First Balkan War, to study around thirty medieval churches and monasteries and present the relevant research findings to the professional and wider public. Meanwhile, he did not disregard the late medieval heritage during his scholarly excursions. Petković's investigations were pioneering in many respects. In those years, among other things, he uncovered the portraits of Stefan and Lazar Musić in Nova Pavlica (1910) when he removed a thin layer of lime at the place where he expected the founders' portraits would be. This discovery led him to identify this church as the Church of Presentation of the Mother of God that the sons of 'Čelnik' Musa had erected, together with their mother Dragana, the sister of Prince Lazar, and in which all three of them were buried. During the same scholarly excursion, in the White Church of Karan, he was able to interpret the inscription in the founders' composition, and to identify the figure of Georgije Medoš in the sanctuary. For that reason, one of his early papers was on the topic of founder's portraits. 2 One of the results of these early field investigations was a study on the medieval wall painting titled Iconography of Monastery Churches in Serbia. In this study, he aimed to, based on the findings of a month-long scholarly excursion conducted in the spring of 1906, present reliable historical data on the churches, analyze the iconography of certain compositions and figures in different churches, as well as find their literary sources in ecclesiastical poetry. To these early, and for our scholarship Vladimir R. Petković and the Research in Serbian Medieval Art DUBRAVKA PRERADOVIĆ, Institute for Balkan Studies SASA Church of Saint Nicholas, Kuršumlija (DNM А_685) Kalenić, view of the church from the north side (DNM A_0544
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Petković connected the Kalenić church mosaics to those in Constantinople, pioneering research on post-dissolution church architecture.
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Владимир Р. Петковић и истраживања старе српске средњовековне уметности
Владимир Р. Петковић, утемељитељ струке и науке, ур. Д. Прерадовић, Београд Српска академија наука и уметности, 119-179.
Vladimir R. Petković, Academician
Vladimir R. Petković, A Founding Figure of the Institutional and Academic Realm, ed. D. Preradović, Beograd, 90-105.
On 11 November, the news of Petković's inaugural academic speech and his proclamation into an Aca...
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On 11 November, the news of Petković's inaugural academic speech and his proclamation into an Academician was reported by all three daily newspapers of the time: Politika, Vreme and Pravda.
Владимир Р. Петковић, академик
Владимир Р. Петковић, утемељитељ струке и науке, ур. Д. Прерадовић, Београд, 90-105.
8 Дана 11. новембра су о Петковићевој беседи и проглашењу за академика известила сва три оновреме...
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8 Дана 11. новембра су о Петковићевој беседи и проглашењу за академика известила сва три оновремена дневна листа: Политика, Време и Правда. Вла ди ми р Р. Пет ко ви ћ УТЕМЕЉИТЕЉ СТРУКЕ И НАУКЕ Документација Археолошког института у Београду -Записник прве седнице Археолошког института Српске академије наука одржане 12. јуна 1947.
Vladimir R. Petković, A Founding Figure of the Institutional and Academic Realm
Vladimir R. Petković, A Founding Figure of the Institutional and Academic Realm, ed. D. Preradović, Beograd, 13-55.
completed primary education in his native village, as well as in the villages in which his patern...
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completed primary education in his native village, as well as in the villages in which his paternal and maternal grandparents lived, along with their numerous families, in Kušiljevo and Oreovica, respectively. He finished the lower grades of the gymnasium in nearby Svilajnac, and the upper ones in Kragujevac, where he matriculated in 1893. He pursued undergraduate studies at the Department of Philology and History of the Faculty of Philosophy of the Belgrade Great School, where he graduated in 1897, having acquired the knowledge of the classical languages, as well as Russian, French, and German, to which he later added Italian and English. As early as November Vladimir R. Petković, A Founding Figure of the Institutional and Academic Realm DUBRAVKA PRERADOVIĆ, Institute for Balkan Studies SASA Donja Livadica, Church of the Prophet Eliseus (photo credit: Miroslav Lazić) Donja Livadica, Church of the Prophet Eliseus, memorial plaque with the data on erection and consecration of the church (photo credit: Kristina Miloradović)
Владимир Р. Петковић, утемељитељ струке и науке
Владимир Р. Петковић, утемељитељ струке и науке, ур. Д. Прерадовић, Београд 2024, 13-55.
Corbels of the Dečani Monastery Blind Arcade Frieze: Introductory Study (in Serbian)
Зборник Матице српске за ликовне уметности 52
, 2024
The corbels of the blind arcade frieze of the Church of Christ Pantocrator of the Dečani Monaster...
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The corbels of the blind arcade frieze of the Church of Christ Pantocrator of the Dečani Monastery are ofen considered to “represent the highest values of stone sculpture in Dečani and that style in general”. Therefore, even more surprising is that this extraordinary gallery, populated with
human and animal protomes, figures, hybrid beings, and vegetable motifs, has not attracted greater attention from researchers.
This paper presents a methodological framework for studying them in the context of the phenomenon of the so-called marginal sculpture. Well-preserved and accurately dated, Dečani corbels exhibit all the specific characteristics of marginal sculpture – they are a meeting place of the real plant and animal world, and the imaginary world of fantastic and hybrid beings, a meeting place of diferent social categories, and finally, a meeting place of the sacred and profane, in a word, a depiction of the medieval worldview.
The analysis of the iconographic repertoire of the corbels of the blind arcade frieze of Studenica and Banjska monasteries, which preceded Dečani, is also presented in the paper. The iconography of Dečani corbels is systematized according to categories of sculpted figures and motifs.
New identifications of several Dečani corbels are provided, among which the depiction of Spinario, a boy withdrawing a thorn from the sole of his foot, stands out.
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