Ana Kostic
Ana Kostić is an Associate Professor and Research Associate at the University of Belgrade, Faculty of Philosophy, Department of Art History. Her main research areas are Serbian 19th-century art, Balkan visual culture, religious art in Serbia, and the relation between religious art, society, state, and politics. Dr. Kostić received her Ph.D. degree in 2016 from the University of Belgrade, and her Thesis was on the connections between State, Society, and Religious Art in the Principality of Serbia (1830-1882). Since 2021. she is the Director of the Center for Visual Culture of the Balkans, Faculty of Philosophy, University of Belgrade, and since 2017 a member of the professional association Society of Historians of Art and Visual Culture in Modern Times. Since 2018 she is a member of the Council of the Academy for Conservation and Restoration of the Serbian Orthodox Church.
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Milan Obrenović visited Žiča Monastery, one of the oldest Serbian monasteries and an ideologically important destination. In preparation for the king’s arrival the people of Karanovac (later Kraljevo) proposed that his anointing should be performed in Žiča Monastery since it was known as the coronation place of medieval Serbian kings. In this way Žiča Monastery stood out as a traditional Serbian coronation church in the Serbian public sphere at that time. After visiting Žiča Monastery, which was then mostly in ruins, King Milan ordered its complete reconstruction. The king’s initiative related to the reconstruction of Žiča Monastery placed it both within the framework of the ruling ideology and within the framework of the state’s concern for national monuments of the past. The interest in Žiča Monastery as a coronation church, stimulated by Serbia being proclaimed the kingdom, led to the start of a new wave of its scientific study, which was accompanied by extensive visual production, in parallel with the ideas and efforts related to its restoration. The significance that Žiča Monastery was given during the reign of King Milan gained new dimensions with the arrival of King Aleksandar Obrenović to the Serbian throne. Žiča Monastery was chosen as the place for the anointing of the young king which took place in 1889. Since the monastery had not been yet fully reconstructed it needed to be adapted architecturally to receive a large number of visitors during the coronation. The ceremony of the anointing of King Aleksandar was accompanied by an appropriate visual production centered on the depiction of Žiča Monastery, which increased its importance and popularity in Serbian
public life. After Aleksandar’s anointing, the coronation of modern Serbian rulers in the monastery was seen as respect and continuation of the medieval tradition that gave legitimacy to the modern government. After the anointing of King Aleksandar, Žiča Monastery continued to play an important role in his ideological programs. The law on its restoration, passed on January 31, 1896, and signed by the king personally, gives
testimony to this. With this law, the restoration of Žiča Monastery was institutionalized, and in accordance with European practice, taking care of it as an important national monument had become a priority of the state and its ruler. During his lifetime, king Aleksandar Obrenović also gave numerous gifts to Žiča Monastery. Serbian ruler Petar Karađorđević, although, following the tradition established during the time of the last Obrenović, anointed in Žiča Monastery, he did not show much interest in this monastery, which further highlighted the role of King Milan and King Aleksandar Obrenović in the long history of Žiča Monastery.
царства. Одмах након погибије пуковника Рајевског у српској средини отпочео је процес његове меморијализације као хероја бојног поља. Његово тело је сахрањено прво у порти манастира Светог Романа да би убрзо након тога уследио свечани пренос посмртних остатака у отаџбину Русију. Пренос тела пуковника Рајевског из Србије у Русију попримио је државни карактер и био је симбол добрих односа између две државе. Убрзо након чина преноса посмртних остатака Николаја Рајевског у Русију уследила је идеја о подизању спомен-храма на месту погибије у Горњем Адровцу. Иако је иницијатива за подизање спомен-цркве потекла од
његове породице, на сам процес подизања храма утицале су многе околности, као што су унутрашње политичке прилике у држави, смене владара и династија на српском престолу, као и односи у спољној политици Србије и Русије. Поменуте околности утицале су на динамику реализовања идеје спомен-храма у Горњем Адровцу и његово коначно подизање и опремање окончано 1903. године, 25 година након погибије пуковника Рајевског. У тренутку када је подигнута и опремљена, црква је постала симбол добрих културних, политичких и црквених веза две државе, Србије и Русије. Свечаности организоване поводом освећења темеља и завршетка градње цркве подцртавале су управо такав контекст. Потврду добрих односа са руском дипломатијом представљао је и дочек породице Рајевски код краљевског пара Обреновић након полагања камена темељца за цркву. Симбол добрих културних и политичких веза двају народа и држава представљао је и програм зидног сликарства цркве, који је садржао представе изузетно поштованих руских и српских светитеља и кључних догађаја из српске и руске националне историје. Сам процес изградње, опремања и осликавања цркве представљао је добар пример уметничког трансфера. План за храм, као и иконостасна преграда и иконе на њој донети су из Русије. Већи део програма зидног сликарства цркве, који је извео српски уметник Душан Обреновић, заснован је на скицама једног од најцењенијих руских слиkара друге половине XIX века, Виктора Вазњецова.
Архитектура, ентеријер и зидно сликарство спомен-цркве у Горњем Адровцу представљали су тако најсавременији израз руске уметности на тлу Србије и естетски идеал у тадашњој црквеној уметности.
Кључне речи: Николај Николајевич Рајевски; Горњи Адровац; спомен-црква;
црквена уметност; српско-турски ратови.
of the Neo-Classical affiliation who moved to Serbia after the
Second Serbian Uprising trying to find his bread and butter
there. Having arrived in Serbia in 1824 at the recommendation
of Vuk Stefanović Karadžić, in order to do the portraits of
Prince Miloš Obrenović and members of his family, he also had
intention to work on ecclesiastical painting. Apart from the
iconostasis for a church in Požarevac and two icons for a
church in Kragujevac, the established cooperation with Prince
Miloš did not bring work to the painter in the domain of ecclesiastical
painting which he hoped to get. The preserved data
show that Janković also wanted to do the iconostasis for a
church in Svilajnac, but this commission never took place.
Janković’s religious painting that followed the Neo-Classical
artistic poetics and a new theological approach to the religious
painting did not suit Prince Miloš Obrenović and the church
authorities either from the aesthetic or from the dogmatic point
of view. Not having the necessary support from the ruling and
church circles in Serbia for his work on the ecclesiastical painting,
which during the third decade of the 19th century was still
dominated by the zograph icono-painting model, Janković did
not continue with his work in Serbia. The few works of his created
in Serbia have already in part been irrevocably lost, while
two icons from the Old Church in Kragujevac are in a very poor
state and have been dislocated. For this reason, the goal of this
paper is to reconstruct the work of Aksentije Janković in Serbia
in order to get an as complete picture as possible about the
trends in the ecclesiastical painting that marked the period of
the third decade of the 19th century through the contribution of
this painter.
Milan Obrenović visited Žiča Monastery, one of the oldest Serbian monasteries and an ideologically important destination. In preparation for the king’s arrival the people of Karanovac (later Kraljevo) proposed that his anointing should be performed in Žiča Monastery since it was known as the coronation place of medieval Serbian kings. In this way Žiča Monastery stood out as a traditional Serbian coronation church in the Serbian public sphere at that time. After visiting Žiča Monastery, which was then mostly in ruins, King Milan ordered its complete reconstruction. The king’s initiative related to the reconstruction of Žiča Monastery placed it both within the framework of the ruling ideology and within the framework of the state’s concern for national monuments of the past. The interest in Žiča Monastery as a coronation church, stimulated by Serbia being proclaimed the kingdom, led to the start of a new wave of its scientific study, which was accompanied by extensive visual production, in parallel with the ideas and efforts related to its restoration. The significance that Žiča Monastery was given during the reign of King Milan gained new dimensions with the arrival of King Aleksandar Obrenović to the Serbian throne. Žiča Monastery was chosen as the place for the anointing of the young king which took place in 1889. Since the monastery had not been yet fully reconstructed it needed to be adapted architecturally to receive a large number of visitors during the coronation. The ceremony of the anointing of King Aleksandar was accompanied by an appropriate visual production centered on the depiction of Žiča Monastery, which increased its importance and popularity in Serbian
public life. After Aleksandar’s anointing, the coronation of modern Serbian rulers in the monastery was seen as respect and continuation of the medieval tradition that gave legitimacy to the modern government. After the anointing of King Aleksandar, Žiča Monastery continued to play an important role in his ideological programs. The law on its restoration, passed on January 31, 1896, and signed by the king personally, gives
testimony to this. With this law, the restoration of Žiča Monastery was institutionalized, and in accordance with European practice, taking care of it as an important national monument had become a priority of the state and its ruler. During his lifetime, king Aleksandar Obrenović also gave numerous gifts to Žiča Monastery. Serbian ruler Petar Karađorđević, although, following the tradition established during the time of the last Obrenović, anointed in Žiča Monastery, he did not show much interest in this monastery, which further highlighted the role of King Milan and King Aleksandar Obrenović in the long history of Žiča Monastery.
царства. Одмах након погибије пуковника Рајевског у српској средини отпочео је процес његове меморијализације као хероја бојног поља. Његово тело је сахрањено прво у порти манастира Светог Романа да би убрзо након тога уследио свечани пренос посмртних остатака у отаџбину Русију. Пренос тела пуковника Рајевског из Србије у Русију попримио је државни карактер и био је симбол добрих односа између две државе. Убрзо након чина преноса посмртних остатака Николаја Рајевског у Русију уследила је идеја о подизању спомен-храма на месту погибије у Горњем Адровцу. Иако је иницијатива за подизање спомен-цркве потекла од
његове породице, на сам процес подизања храма утицале су многе околности, као што су унутрашње политичке прилике у држави, смене владара и династија на српском престолу, као и односи у спољној политици Србије и Русије. Поменуте околности утицале су на динамику реализовања идеје спомен-храма у Горњем Адровцу и његово коначно подизање и опремање окончано 1903. године, 25 година након погибије пуковника Рајевског. У тренутку када је подигнута и опремљена, црква је постала симбол добрих културних, политичких и црквених веза две државе, Србије и Русије. Свечаности организоване поводом освећења темеља и завршетка градње цркве подцртавале су управо такав контекст. Потврду добрих односа са руском дипломатијом представљао је и дочек породице Рајевски код краљевског пара Обреновић након полагања камена темељца за цркву. Симбол добрих културних и политичких веза двају народа и држава представљао је и програм зидног сликарства цркве, који је садржао представе изузетно поштованих руских и српских светитеља и кључних догађаја из српске и руске националне историје. Сам процес изградње, опремања и осликавања цркве представљао је добар пример уметничког трансфера. План за храм, као и иконостасна преграда и иконе на њој донети су из Русије. Већи део програма зидног сликарства цркве, који је извео српски уметник Душан Обреновић, заснован је на скицама једног од најцењенијих руских слиkара друге половине XIX века, Виктора Вазњецова.
Архитектура, ентеријер и зидно сликарство спомен-цркве у Горњем Адровцу представљали су тако најсавременији израз руске уметности на тлу Србије и естетски идеал у тадашњој црквеној уметности.
Кључне речи: Николај Николајевич Рајевски; Горњи Адровац; спомен-црква;
црквена уметност; српско-турски ратови.
of the Neo-Classical affiliation who moved to Serbia after the
Second Serbian Uprising trying to find his bread and butter
there. Having arrived in Serbia in 1824 at the recommendation
of Vuk Stefanović Karadžić, in order to do the portraits of
Prince Miloš Obrenović and members of his family, he also had
intention to work on ecclesiastical painting. Apart from the
iconostasis for a church in Požarevac and two icons for a
church in Kragujevac, the established cooperation with Prince
Miloš did not bring work to the painter in the domain of ecclesiastical
painting which he hoped to get. The preserved data
show that Janković also wanted to do the iconostasis for a
church in Svilajnac, but this commission never took place.
Janković’s religious painting that followed the Neo-Classical
artistic poetics and a new theological approach to the religious
painting did not suit Prince Miloš Obrenović and the church
authorities either from the aesthetic or from the dogmatic point
of view. Not having the necessary support from the ruling and
church circles in Serbia for his work on the ecclesiastical painting,
which during the third decade of the 19th century was still
dominated by the zograph icono-painting model, Janković did
not continue with his work in Serbia. The few works of his created
in Serbia have already in part been irrevocably lost, while
two icons from the Old Church in Kragujevac are in a very poor
state and have been dislocated. For this reason, the goal of this
paper is to reconstruct the work of Aksentije Janković in Serbia
in order to get an as complete picture as possible about the
trends in the ecclesiastical painting that marked the period of
the third decade of the 19th century through the contribution of
this painter.