On the trail of the lost frescoes of Zica

Vojvodic, Dragan

doi:10.2298/zog1034071v

Our system is currently under heavy load due to increased usage. We're actively working on upgrades to improve performance. Thank you for your patience.

Zograf

2010

DOI: 10.2298/zog1034071v

|View full text |Cite

On the trail of the lost frescoes of Zica

Dragan Vojvodic

Abstract: This paper, the first in a series with the same name, represents an attempt at studying, on the basis of old research documentation, primarily drawings and photographs, the destroyed parts of the wall painting of Žiča and to check the descriptions and interpretations of previous researchers

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...

Citation Types

Supporting

Mentioning

Contrasting

Year Published

2023

Publication Types

Select...

Article2

Relationship

Self Cite0

Independent2

Authors

Journals

Cited by 2 publications

References 3 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

The Medieval Tradition in the Ideology of the Karađorđević Dynasty

Premović

2023

SHS

View full text Add to dashboard Cite

The Medieval Tradition in the Ideology of the Karađorđević Dynasty

Premović

2023

SHS

View full text Add to dashboard Cite

Iconography of the Baptism scene developed from an older layer of fresco painting from around 1530 in the Gračanica monastery exonarthex

Dimitrijević¹

2023

Zb Filoz fak Priština

View full text Add to dashboard Cite

It is quite certain that the visible frescoes in the exonarthex of the Gračanica Monastery outer narthex do not come from the same period, so their chronological separation and more precise dating are complex. If it is taken into account that it was built in the early thirties of the 14th century, the outer vestibule have been painted after 1330, but those frescoes are not visible today. It was repainted later, during the time of Metropolitan Nicanor around 1530. The scene of the Baptism of Christ (Mt. 3: 13-17, Mk. 1: 9-11, Lk. 3: 21-22, Jn. 1: 29-34) belongs to the time of the Metropolitan Nicanor, and it is located on the eastern wall of the outer chancel, south of the southeastern pilaster. The iconographic analysis of this scene provides an insight into the wide theological education of the painters, as well as a sense of narrative and primarily adherence to good models from the Paleology era. The style of the Gračanica Monastery frescoes, which belong to the period around 1530, was adapted to the program based on tradition. The developed scene of the Baptism of Christ, inspired by the highest role models, emphasizes confidence in composition and performance, expert drawing and fine modelling in combination with an illuminated palette.

show abstract

scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.

Contact Info

hi@scite.ai

10624 S. Eastern Ave., Ste. A-614

Henderson, NV 89052, USA

Blog Terms and Conditions API Terms Privacy Policy Contact Cookie Preferences Do Not Sell or Share My Personal Information

Made with 💙 for researchers

Part of the Research Solutions Family.

On the trail of the lost frescoes of Zica

Cited by 2 publications

References 3 publications

The Medieval Tradition in the Ideology of the Karađorđević Dynasty

The Medieval Tradition in the Ideology of the Karađorđević Dynasty

Iconography of the Baptism scene developed from an older layer of fresco painting from around 1530 in the Gračanica monastery exonarthex

Contact Info

Product

Resources

About