Views
5 months ago

Museikon_1_2017

latest publications /

latest publications / actualité éditoriale | 195 Ристо Палигора, Икони од Велушина xvii-xix век, НУ Завод и музеј – Битола, Битола, 2017. [Risto Paligora, The Icons in Velušina, 17 th -19 th centuries, Bitola, NI Bitola Institute and Museum, 2017.] ...Важно место во сликарството од првата половина на xix век во рамките на Пелагониската митрополија му припаѓа на Јован Зограф, творецот на неколку сликани ансамбли. Најстариот авторски запис, тој го оставил врз ѕидното сликарство во храмот Св. Архангел Михаил во Оптичари, во 1838 год. Таму тој се потпишал како Јован Михаил и објаснил, дека се преселил од епирското село Хиониадес во тогаш просперитетната битолска населба Трново. Во втората четвртина на xix век, се потпишал врз ѕидното сликарство на десеттина цркви во битолско и леринско. Во 1848 година, ја насликал манастирската црква Св. Ѓорѓи во Велушина. Во тоа време, за иконостасот на истата црква, оставил неколку иконописни дела (кат. бр. 24 – 25), изведени во неговиот препознатлив стил. Една семејна група на сликари од битолското село Магарево, била многу активна од четвртата деценија на xix век па се до крајот на тоа столетие. Изгледа дека за црквите од Велушина, свои дела оставиле Анастас Зограф, родоначалник на зографската работилница и неговите синови Константин и Димитар Анастасови. Анастас Зограф, носителот на највисоките сликарски вредности во рамките на ова семејство, речиси никогаш не се потпишувал на своите дела. Единствена негова потпишана икона од територијата на Пелагониската митрополија, е онаа со илустрацијата на Акатистот на Богородица, во црквата Св. Благовештение во Прилеп, од 1839 год. Според неговите икони направени за оваа црква компаративно ги идентификувавме иконите во Велушина (кат. бр. 26, 27, 28). Константин, постариот син на Анастас Зограф, има сличен сликарски сензибилитет. Најчесто може да се идентификува според натписите оставени врз ѕидното сликарство каде настапува заедно со својот брат Димитар. Исклучително ретко се потпишувал на иконите. Засега единствен таков пример е една икона од манастирот Трескавец од 1864 год. Сочувани се негови икони во повеќе цркви во Велушина (кат. бр. од 30 до 40). Многу повеќе сигурни податоци имаме за Димитар, кој најчесто се потпишувал со сигнатурата Д(имитар) А(настасов) З(ограф), кат. бр. 47, 48, 49... (p. 16-17) contact: our translation: http://www.muzejbitola.mk/en/contact ...An important place in the paintings of the Metropolitanate of Pelagonia the first half of the 19 th century belongs to the painter Jovan Zograf, the creator of several painting ensembles. The oldest inscription mentioning his name was painted in the temple of the Holy Archangel Michael in the village of Optičari, in 1838. In that temple, he signed his name as Jovan Mihail, stating that he had moved from the district of Epirus (the village Hioniades) to the prosperous settlement of Trnovo. In the second quarter of the 19th century, the same author signed his name in fresco paintings of over ten churches in vicinity of the town of Bitola, and in the district of Lerin (Florina). In 1848, he painted the church of St. George in the village Velušina. During the same period, he painted several icons on the iconostasis in the church (cat no. 24-25), which bear witness to his distinctive manner. He belonged to a family of painters originating from the village Magarevo near Bitola, which was active in the fourth decade of the 19th to the end of century. Various works by Anastas Zograf, the founder of the workshop, are preserved in the church in Velušina, as well as several works by his sons Constantine and Dimitar Atanasov. Anastas Zograf, the painting master of the family, almost never signed his works. His only signed work in the Metropolitanate of Pelagonia is the illustration of the Akathist Hymn in the church of the Annunciation in Prilep from 1839. According to the icons made for this church and by the help of comparative analysis, we identified the icons in the church of Velušina (cat.no. 26, 27, 28). Constantine, the older son of Anastas Zograf, had a similar painting sensibility. He may be easily recognised by the inscription left behind in the frescos he painted together with his brother Dimitar. He likewise rarely signs his icons. The only example is the icon in the monastery of Treskavec from 1864. His works are preserved in the church in Velušina (from cat. no. 30 to 40). More precise data we have on Dimitar who signs his works with the signature D(imitar) A(nastasov) Z(ograf), (cat.no. 47, 48, 49)... (p. 6-7)

196 | The Cross – An Imprint upon the Living Space (exhibition) The exhibition Crucea – element de amprentare a spațiului locuit [The Cross – An Imprint upon the Living Space] opened in the conference hall of the Nicolae Minovici Museum in Bucharest, on July 8, 2017, and could be visited until August 27, 2017. It was the result of a cultural project borne by the ‘Centro’ Association, in partnership with the ‘37’ Association and the Faculty of Urbanism at the ‘Ion Mincu’ University of Architecture and Urbanism. It was financed by the Union of Romanian Architects. The images were taken during three field campaigns in the counties of Prahova, Buzău, Dâmboviţa, Argeş, Vâlcea, and Gorj, prospected between May and August 2016. The mixed research team specialized mainly in ethnology, but it also associated architects, urban designers, art historians, and conservation-restoration experts. The exhibition was planned so that it highlighted a multitude of elements, in order to render out the complexity of various crosses and wayside crosses: an accurate rendering of their iconographic programs, as well as their occasional repainting, their decorative elements, fabric and composition, specific types of degradation, the way in which the objects were staged, the types of writing, the significance of the inscription identification, and the elements of rituality. Exhibition poster. Credits: Cătălin Alexa. Four of the exhibition’s panels. The images and their accompanying texts bore witness of the team’s attempt to track a living phenomenon when documenting old crosses, previously studied. The emphasis was also on raising awareness of the necessity to discuss a new methodology. Classifying crosses and wayside crosses, particularly with respect to the List of Historical Monuments of the Romanian Ministry’s of Culture, may prove to be a difficult job, given the non-uniform nature of this process. There were also various case studies concerning the state of conservation of such cultural heritage items; some of them were classified as monuments, and some were not. The exhibition focused upon several unique crosses, such as the “Wayside Cross from the Grove”, in Tălpăşeşti (Băleşti commune, Gorj county). Unusual situations regarding the elevation of crosses were also mentioned, such as the ones staged along the processional route for the relics of Saint Philotea, in the second half of the nineteenth century. The project team: Monica Bercovici-Ratoiu (coordinator), Laura Toader, Mihaela Hărmănescu, Cătălin Alexa, Luiza Zamora, Lucian Ratoiu, Cosmin Iancu, Andreea Simion.

  • Page 1:

    museikon A Journal of Religious Art

  • Page 4 and 5:

    museikon A Journal of Religious Art

  • Page 8 and 9:

    editorial éditorial Ana Dumitran M

  • Page 10 and 11:

    Editorial / Éditorial | 9 yet agai

  • Page 14 and 15:

    studies études

  • Page 16 and 17:

    The τῶν οὐρανῶν Varian

  • Page 18 and 19:

    The τῶν οὐρανῶν Varian

  • Page 20 and 21:

    Parcelles de mots et de lieux saint

  • Page 22 and 23:

    Parcelles de mots et de lieux saint

  • Page 24 and 25:

    Parcelles de mots et de lieux saint

  • Page 26 and 27:

    New Information on the Dating of th

  • Page 28 and 29:

    New Information on the Dating of th

  • Page 30 and 31:

    New Information on the Dating of th

  • Page 32 and 33:

    New Information on the Dating of th

  • Page 34 and 35:

    New Information on the Dating of th

  • Page 36 and 37:

    New Information on the Dating of th

  • Page 38 and 39:

    New Information on the Dating of th

  • Page 40 and 41:

    New Information on the Dating of th

  • Page 42 and 43:

    New Information on the Dating of th

  • Page 44 and 45:

    New Information on the Dating of th

  • Page 46 and 47:

    La Mère de Dieu, allégorie de la

  • Page 48 and 49:

    La Mère de Dieu, allégorie de la

  • Page 50 and 51:

    La Mère de Dieu, allégorie de la

  • Page 52 and 53:

    La Mère de Dieu, allégorie de la

  • Page 54 and 55:

    The Ἄνωθεν οἱ προφῆ

  • Page 56 and 57:

    55

  • Page 58 and 59:

    Ἄνωθεν οἱ προφῆτα

  • Page 60 and 61:

    Ἄνωθεν οἱ προφῆτα

  • Page 62 and 63:

    61

  • Page 64 and 65:

    Ἄνωθεν οἱ προφῆτα

  • Page 66 and 67:

    Ἄνωθεν οἱ προφῆτα

  • Page 68 and 69:

    Ἄνωθεν οἱ προφῆτα

  • Page 70 and 71:

    André Lecomte du Noüy and the fre

  • Page 72 and 73:

    André Lecomte du Noüy and the fre

  • Page 74 and 75:

    André Lecomte du Noüy and the fre

  • Page 76 and 77:

    André Lecomte du Noüy and the fre

  • Page 78 and 79:

    Pour un corpus des inscriptions gre

  • Page 80 and 81:

    Pour un corpus des inscriptions gre

  • Page 82 and 83:

    Pour un corpus des inscriptions gre

  • Page 84 and 85:

    Pour un corpus des inscriptions gre

  • Page 86 and 87:

    Pour un corpus des inscriptions gre

  • Page 88 and 89:

    Pour un corpus des inscriptions gre

  • Page 90 and 91:

    Pour un corpus des inscriptions gre

  • Page 92 and 93:

    1 Plokhy 2006, p. 193-199. 2 Olar 2

  • Page 94 and 95:

    Pour un corpus des inscriptions gre

  • Page 96 and 97:

    Reconstructing the Image of the Old

  • Page 98 and 99:

    Reconstructing the Image of the Old

  • Page 100 and 101:

    Reconstructing the Image of the Old

  • Page 102 and 103:

    Reconstructing the Image of the Old

  • Page 104 and 105:

    Reconstructing the Image of the Old

  • Page 106 and 107:

    Reconstructing the Image of the Old

  • Page 108 and 109:

    La poudre aux yeux des saints Contr

  • Page 110 and 111:

    La poudre aux yeux des saints : Con

  • Page 112 and 113:

    La poudre aux yeux des saints : Con

  • Page 114 and 115:

    La poudre aux yeux des saints : Con

  • Page 116 and 117:

    La poudre aux yeux des saints : Con

  • Page 118 and 119:

    La poudre aux yeux des saints : Con

  • Page 120 and 121:

    119

  • Page 122 and 123:

    La poudre aux yeux des saints : Con

  • Page 124 and 125:

    Preliminaries to a history of Bucha

  • Page 126 and 127:

    Preliminaries to a history of Bucha

  • Page 128 and 129:

    Preliminaries to a history of Bucha

  • Page 130 and 131:

    Preliminaries to a history of Bucha

  • Page 132 and 133:

    Preliminaries to a history of Bucha

  • Page 134 and 135:

    133

  • Page 136 and 137:

    Preliminaries to a history of Bucha

  • Page 138 and 139:

    Preliminaries to a history of Bucha

  • Page 142 and 143:

    heritage studies patrimoine études

  • Page 144 and 145:

    A Glimpse towards the Inside A dial

  • Page 146 and 147: A Glimpse towards the Inside (inter
  • Page 148 and 149: A Glimpse towards the Inside (inter
  • Page 150 and 151: A Glimpse towards the Inside (inter
  • Page 152 and 153: A Glimpse towards the Inside (inter
  • Page 154 and 155: Codices and Codex Fragments A Hunga
  • Page 156 and 157: Codices and Codex Fragments: A Hung
  • Page 158 and 159: The Christian Museum in Esztergom a
  • Page 160 and 161: The Christian Museum in Esztergom a
  • Page 162 and 163: Mălâncrav / Malmkrog (Laslea, Sib
  • Page 164 and 165: Mălâncrav / Malmkrog (Laslea, Sib
  • Page 166 and 167: Mălâncrav / Malmkrog (Laslea, Sib
  • Page 168 and 169: Mălâncrav / Malmkrog (Laslea, Sib
  • Page 170 and 171: The Icon Exhibition “Kissed again
  • Page 172 and 173: The Icon Exhibition “Kissed again
  • Page 174 and 175: The Icon Exhibition “Kissed again
  • Page 176 and 177: The Icon Exhibition “Kissed again
  • Page 178: The Icon Exhibition “Kissed again
  • Page 182: echoes studies études échos
  • Page 185 and 186: 184 | Les ‘Ateliers Museikon’ :
  • Page 187 and 188: 186 | Riforma e movimenti religiosi
  • Page 189 and 190: 188 | Monumenta linguae Dacoromanor
  • Page 191 and 192: 190 | Confessional Fluidity and the
  • Page 193 and 194: 192
  • Page 195: 194 | latest publications / actuali
  • Page 200 and 201: Summary / Table des matières Ana D
  • Page 204: Ana Dumitran, Vladimir Agrigoroaei,
Etudes de titulature byzantine
raydan fcs final.indd - cefas
La bibliothèque des prédicateurs
2015-nouveau-livret-chretien-magazine
U “STCYP OU. 66 - Ville de Saint Cyprien
Les Saints Ressuscités des Sépulcres
de détails sur les voûtes
ÏMXXQI
La Sainte Bible - Nouveau Testament
Le monde musulman
Revue archéologique
La bibliothque des prdicateurs
Consacré(e)s - Diocèse d'Albi
Accomplis tes promesses, O Dieu - LWF Assembly
Un cri vers le Ciel
Février - The Church of Jesus Christ of Latter-day Saints
download - Partoutdanslemonde.it
Priez Le Rosaire
RCF - Diocèse de Montpellier
Cœur Sacré de Jésus - TFP
La Sainte Bible Ostervald 1996, révision 2008
NDC_135_version_web - Dici