Papers by Nikolovski Darko
ПАТРИМОНИУМ.МК (21), 2023
Апстракт: Од приложените податоци за творештвото на Теодосиј може да се заклучи дека се работи за... more Апстракт: Од приложените податоци за творештвото на Теодосиј може да се заклучи дека се работи за зографска личност која одиграл значајна улога во првата половина на XIX век во Македонија и на Балканот и оставил свој печат и на следните помлади генерации, негови следбеници и соработници. Што се однесува до неговите наследници, кои без конкретни автографски податоци, ќе продолжиме и ние понатаму да ги нарекуваме следбеници на Теодосиј од Велес. Засега нивни иконописни дела, освен во црквата Св. Никола во Башино Село крај Велес и Св. Петка во Галичник, лоцираме во уште две цркви, во црквата Св. Спас во с. Ногаевци во општина Градско и во црквата Св. Атанасиј во с. Војница во општина Чашка, така што се потврдува нивната активност пошироко во Велешкиот регион.
Patrimonium.mk, 2022
Апстракт: Во трудот акцент е ставен на поствизантиското творештво од трите цркви Св. Спас во с. Н... more Апстракт: Во трудот акцент е ставен на поствизантиското творештво од трите цркви Св. Спас во с. Ногаевци, Св. Троица с. Убого и Св. Троица с. Подлес во општината Градско кои во текот на XIX век и подоцна биле обновени, со што се изгубени значаен дел од автентичните содржини. Во оваа прилика се истакнати содржините и нивните специфики кои сведочат за поствизантиското наследство во архитектурата, ѕидното сликарство и иконописот во овие три цркви.
Monumenta, 2021
ДАрко нИколовскИ неколку новИ ПоДАтоЦИ зА ЦрквАтА "св. АтАнАсИј", во село гАброво, гевгелИско dAr... more ДАрко нИколовскИ неколку новИ ПоДАтоЦИ зА ЦрквАтА "св. АтАнАсИј", во село гАброво, гевгелИско dArKo niKolovsKi some new informaTion abouT The church of sT. aThanasius, in The village of gabrovo, gevgelija АнгелИнА ПоПовскА tрИ кАрАктерИстИчнИ ПреслИкИ ПотПИшАнИ оД ДИчо зогрАф AnGelinA PoPovsKA Three characTerisTical overlays signeD by Dičo Zograf НЕКОЛКУ НОВИ ПОДАТОЦИ ЗА ЦРКВАТА "СВ. АТАНАСИЈ", ВО СЕЛО ГАБРОВО, ГЕВГЕЛИСКО Aпстракт Црквата "Св. Атанасиј", во село Габрово е споменик изграден од страна на Андон Доне Китанов во 1851 г., кој по свите специфики не се разликува многу од повеќето споменици од втората половина на XIX век во Гевгелиско-валандовскиот Регион. Она што досега не беше познато за овој споменик е датираното и сигнираното творештво на Димитар Андонов Папарадишки, како во зидното сликарство (1880 г.), така и во иконописното творештво (1882 г.). Треба да се истакне и своерачниот потпис на познатиот зограф Никола Михаилов од 1860 г. Од иконографски аспект портретот на Ѓорѓи Јанински се издвојува со својата појава.
Gorna
Reka:St. Nicholas, village Vrben (1835); church
St. Nicholas, Brodec (1837); St. Nicholas, ... more Gorna
Reka:St. Nicholas, village Vrben (1835); church
St. Nicholas, Brodec (1837); St. Nicholas, village
Belica (1837-39); St. Athanasius, village Ničpur
(1843,1846); St, Archangel Michael, village Krakornica
(1847); St. Demetrius, village Bogdovo (1852);
Holy Dormition, village Nistrovo (undated). During
the same period hađi Anagnost was also engaged in
the region Sliven to paint the icon Holy Virgin of the
Unfading Rose with Saints, DHG- Sliven (1836), and
in the church St. Athanasius in Varna he painted the
icon Holy Virgin Pantovasilisa. In the region Xanthi
(Greece) he was engaged according the icons from
1829,1836 and 1852.
His extensive work activity from the Bulgarian
Black Sea Coast, south to Xanthi (Greece), this enigmatic
painter without an authentic name and origin,
at this moment with new discoveries give some new
destinations where he worked in an intensive and
productive wat, now these are abandoned villages
under the mountain Korab, by the flow of the river
Radika, at the tripoint of present day North Macedonia,
Kosovo and Albania.
Darko NIKOLOVSKI
THE CREATION OF THE PAINTER HAƉI ANAGNOSTI FROM THE FIRST HALF OF
THE 19TH CENTURY AT GORNA REKA, MAVROVO
Summary
Viewing the monuments in the region Gorna Reka
in frames of the National Park Mavrovo, one painters
name has challenged our attention. Namely, on more
iconostasis in the churches in Gorna Reka we found
the autograph hađi Anagnost, as an individual artist,
or working in collaboration mainly heterogeneous
iconostasis screens made by more authors, throughout
different period of times. The painter named himself
as hađi Anagnost and we recognize/ identify the
painter with the signature of his works as διά χειρός
Χ(ατζή) αναγνώστου, he was active Bulgarian Black
Sea Coast and in Xanthi (Greece).
From the presented materials we can conclude that
the painter hađi Anagnost was engaged with work in
the period from 1835 to 1852, in numerous times he
made a production 128 icons for the needs of many
iconostases in the churches in the region of Gorna
Reka:St. Nicholas, village Vrben (1835); church
St. Nicholas, Brodec (1837); St. Nicholas, village
Belica (1837-39); St. Athanasius, village Ničpur (1843,1846); St, Archangel Michael, village Krakornica
(1847); St. Demetrius, village Bogdovo (1852);
Holy Dormition, village Nistrovo (undated). During
the same period hađi Anagnost was also engaged in
the region Sliven to paint the icon Holy Virgin of the
Unfading Rose with Saints, DHG- Sliven (1836), and
in the church St. Athanasius in Varna he painted the
icon Holy Virgin Pantovasilisa. In the region Xanthi
(Greece) he was engaged according the icons from
1829,1836 and 1852.
His extensive work activity from the Bulgarian
Black Sea Coast, south to Xanthi (Greece), this enigmatic
painter without an authentic name and origin,
at this moment with new discoveries give some new
destinations where he worked in an intensive and
productive wat, now these are abandoned villages
under the mountain Korab, by the flow of the river
Radika, at the tripoint of present day North Macedonia,
Kosovo and Albania.
Darko NIKOLOVSKI
SURVEY OF THE ICON PAINTING IN THE REGION OF PRILEP IN THE 18th CENTURY
The ar... more Darko NIKOLOVSKI
SURVEY OF THE ICON PAINTING IN THE REGION OF PRILEP IN THE 18th CENTURY
The artistic activity of the workshop of the painter Margarit-zograph can be determined with great
certainty to the second half of the 18th century, more accurate from 1765 to the year of 1775, when his last
work was found. During this period the painter Margarit had fulfilled the needs of the eparchy of Prilep,
painting Despotic icons for about four iconostasis, as well as other icons, like for the Choros Chandelier, and
icons on canvas. For the present time in the eparchy of Prilep the workshop of the painter Margarit- zograph
can be trailed by the icon paintings. The workshop had worked in the renewal of several iconostasis in the
Monastery Trskavec, the church of St.Demetrius in Varoš, then in the villages Oreovec, Pletvar, Krstec and
Manastir. Outside this circle we can follow his work in the church of St.Demetrius in Bitola, and at last on
Mount Athos in the Chilandar parakklesions dating from the second half of the 18th century.
Key words: Prilep, Margarit, 18th century, Monastery Treskavec.
Darko Nikolovski
ON THE MARGINS OF THE SKOPJE DISTRICT
SUMMARY
On the borders of the Skopje distr... more Darko Nikolovski
ON THE MARGINS OF THE SKOPJE DISTRICT
SUMMARY
On the borders of the Skopje district gravitate to remote villages that hide sacral
monuments, today greatly changed under pressure and the passage of time and the hand
of man. Two churches, Holy Salvation (the church of the Ascension of Christ) in
Krušica and St. George in Blace, with partial remains of a mural, testify to the sacral life
from the post-Byzantine period in the Skopje area. They were renovated/ replicated in
the 19th century and on this occasion we present them in order for them to find their
place at the sacred topography of the Skopje region from the post-Byzantine period.
In the small cemetery church of the Holy Salvation in the village of Krušica, the original
17th century frescoes are preserved only in the altar area: Mother of God
“Platitera” with the young Christ in a chest medallion, the Liturgical service of the
hierarchs to Christ “Lamb of God”, the holy deacons Romanos and Stephanos, the
Annunciation and the Last Supper. According to what is partially preserved in the altar
space from the wall painting, it can be concluded that it is a painting from the first half
of the XVII century, work of a local zograf workshop with artistic values that stick to
the established iconographic patterns from the Kostur-Linotop workshops with the
classical expression from the 16th century.
In the church in the Skopje village Blace, St. George is only preserved in the
altar apse, in the first zone, the original painting from the 17th century is largely
preserved: The Liturgical Service of the Hierarchs. The rest of the painting from the 17th
century was overlaid in the 19th century by the zograf from Veles Petar Nikolov from
the village of Oraovec. The wall painting in the church of St. George in the village
Blace shows a solid painting writing, which, despite the limited amount of preserved
authentic frescos in the temple, we can still express certain findings of it in terms of
chronology and style. Namely, according to the stylistic characteristics, we can place
the wall painting in the second half of the 16th century. The nearby churches in the
villages of Gradovce and Divlje do not give appropriate analogies but indirectly indicate
that painting in Blace moves somewhere between the middle of the 16th and the
beginning of the 17th century.
It should be noted, the work of the zograf Nestor Trajanov from Galičnik who in
1864 participated in the 19th century renovation of part of the wall paintings and the
icons of the iconostases.
Darko NIKOLOVSKI
THE PAINTER DIMITRIJA FROM SKOPJE
Summary
The paper presents the work of a hithe... more Darko NIKOLOVSKI
THE PAINTER DIMITRIJA FROM SKOPJE
Summary
The paper presents the work of a hitherto unknown author from the
second half of the XIX century, who calls himself zograf Dimitrija “from
Skopje state”.
Иконите од црквата Св. Атанасиј во селото Долно Дупени, Преспа, 2020
ПАТРИМОНИУМ.МК, година 13, брoj 18 / 2020 UDK 75.046:271.2(497.773)"11/18" Клучни зборови: црква ... more ПАТРИМОНИУМ.МК, година 13, брoj 18 / 2020 UDK 75.046:271.2(497.773)"11/18" Клучни зборови: црква Св. Атанасиј, Долно Дупени, Преспа, Тодор од Грамоста, зографот Никола од Линотопи Апстракт: Во овој труд се презентираат ико-ните депонирани во црквата Св. Атанасиј во се-лото Долно Дупени во Преспа. Иконите се слика-ни во текот на различни периоди од XVII до XIX век. Посебен интерес предизвикаа натписи во кои се откриваат молитвени и автографски имиња значајни за дефинирање на извориштето на зо-графска работилница од Линотопи активна во црквите во околината на селото Долно Дупени. Во регионот на Долна Преспа, сместено на па-дините на Баба планина и непосредно до езерето расположено е селото Долно Дупени 1 во чиј атар се пронајдени повеќе археолошки локалитети што све-дочат за историскиот континуитет на населбата. 2 Од повеќето изградени светилишта во село-то Долно Дупени и неговата поширока околина 3 нашиот интерес се задржува на фондот на икони депониран во црквата Св. Атанасиј. Според содр-жините на црквата Св. Атанасиј може да се прет-постави дека е најверојатно подигната во XVII век. Датирање се должи на архитектонската типо-логија на храмот, стариот живопис кој се наѕира под пресликата од XIX век и иконите од XVII век депонирани во неа. Црквата Св. Атанасиј се наоѓа околу 2 км над селото Долно Дупени. Во основа е еднокорабна со полукружна апсида на исток и нартекс на за-пад. (сл. 1) На јужната страна е дограден затворен трем. Градена е од кршен камен а покривот е на две води. Внатрешноста на наосот е покриена со ниска дрвена таваница, кон исток е иконостасната преграда, а на западната страна просторот е поде-лен со ниска дрвена преграда со влез во нартексот. (сл. 2) Влезови има во двата простори како и мали прозори на јужната страна во наосот и на северна-та во нартексот. Податоци за обновата од XIX век црпиме од за-чуваниот натпис над јужниот влез во црквата каде е утврдено дека храмот го изградиле ("суградисја") во 1864 година со помош на ктиторот Ристо Мано
Да фи на Ге ра си мо вск а | Да рк о Ни ко ло вск и | Зо ра н Па вл ов Цв ета нк а Ха џи Пе цо ва... more Да фи на Ге ра си мо вск а | Да рк о Ни ко ло вск и | Зо ра н Па вл ов Цв ета нк а Ха џи Пе цо ва | Сн еж ан а Ге ра си мо ва Ма тес ка
Da fin a Ge ras im ov ska | Da rko Ni ko lov ski | Zo ran Pa vlo v Cv eta nk a Ha dzi Pe cov a | ... more Da fin a Ge ras im ov ska | Da rko Ni ko lov ski | Zo ran Pa vlo v Cv eta nk a Ha dzi Pe cov a | Sn eza na Ge ras im ov a Ma tes ka
ПАТРИМОНИУМ.МК, година 12, брoj 17 / 2019 УДК: 726.54:271.2-523.4(497.732)"14/15" Клучни зборови:... more ПАТРИМОНИУМ.МК, година 12, брoj 17 / 2019 УДК: 726.54:271.2-523.4(497.732)"14/15" Клучни зборови: црква Свети Ѓорѓи, с. Ѓузумелци, Свети Николе, 1584 г., ктиторот кир Пројча, поствизантија За сакралната топографија од поствизан-тискиот период во регионот на Свети Николе, во редот на малубројните примери се издвојуваат црквите Св. Никола од селото Буриловци (крајот на XV или почетокот на XVI век) 1 и Свети Ѓорѓи во с. Ѓузумелци (1584 г.) каде што е сочуван ктитор-скиот натпис и воедно портретот на ктиторот на живописот, спахијата Пројча, насликан на за-падниот ѕид со модел на црквата во рацете. 2 И покрај основните информации за хронологијата и ктиторот на црквата Свети Ѓорѓи во с. Ѓузумел-ци, црквата сè уште не е во целост обзнанета, со што би влегла полноправно во регистерот на по-значајните сакрални остварувања во творештво-то на XVI век во Македонија. Од малкуте сведоштва за поствизантиското сакрално творештво на светиниколскиот регион, освен црквите Св. Никола од селото Буриловци (крајот на XV или почетокот на XVI век) и Све-ти Ѓорѓи во с. Ѓузумелци (1584 г.) во историски-те документи на Ќустендилскиот санџак на кој припаѓал светиниколскиот регион во XV/XVI век има сведоштво за Манастир Света Троица во село Мечкуевци, кој бил вклучен во опширниот регис-тар од 1570/73 г. 3 За сакралниот живот на регионот сведочат и неколку храмови од поствизантискиот период, денес сочувани во урнатини како што се примерите во селата Ѓузумелци и Крушица. Свети Ѓорѓи во с. Ѓузумелци (1584 г.) Во селото Ѓузумелци 4 егзистирале два сакрал-ни храма од кои едниот, денес во урнатини, е со фрагментарно сочуван живопис во бочните ниши. 5 (сл. 1, 2) И црквата Св. Ѓорѓи во текот на 1 К. Балабанов, Црква во село Бориловци и црквата во село Дивље, Културно наследство V, Скопје, 1959, 5-14. 2 З. Расолкоска-Николовска, Ктиторски портрети во ѕидното сликарство во Македонија, Цивилизации-те на почвата на Македонија, 2, МАНУ, Скопје, 1995, 209-226. 3 Турски документи за историјата на македонскиот народ. Опширни пописни дефтери од ХVІ век за Кустен-дилскиот санџак. Т. V, Кн. 5, Скопје, 1995, 284; К. Минче-ва, Манастири и манастриска мрежа в кюстендилския санджак през ХV-ХVII век, Studia slavico-byzantina et mediaevalia europensia vol. X, София 2010, 163. 4 Ѓузумелци, претежно христијанско село северо-западно од Штип, во Штипската нахија. Во 1519 г. во селото биле регистрирани само христијани: 127 се-мејства и 1 вдовица, додека во 1528г. за првпат се јаву-ваат и муслимани: 6 семејства и 3 неженети; во 1550 г. бројот на христијаните се покачил на 139 семејства, 23 неженети и 3 вдовици, додека муслиманите спаднале само на 1 семејство; во 1573 г. бројот на христијани-те се покачил на 147 семејства и 112 неженети, а на муслиманите-на 4 семејства и 3 неженети (М. Панов, Енциклопедија на селата во Република Македонија, Скопје 1998, 62) 5 Средновековна црква и некропола во урнатини Црна Црква, се наоѓа на 150 метри североисточно од селото, крај патот што води за селото Горобинци, со димензии од 10х5 м, од која северниот и западниот ѕид се речиси во првобитна состојба. (Д. Коцо, Архео-лошка карта на Република Македонија. МАНУ, Скопје 1996, 350). И после толку години, покрај паднатиот свод, ѕидовите од црквата му пркосат на времето и се држат во елевација. Црквата е ѕидана во основата со монументални делкани камени блокови, додека во гор-ните партии е употребен кршен камен. Правоаголниот порталот на западната страна е изведен од тесани каме-ни блокови, додека за изведба на длабоката патронска нишата над него, покрај каменот за изведба на лакот е употребена тула. Невообичаено за архитектурата на црквата е тоа што во наосот, на западниот ѕид од обете страни на влезот, се вградени длабоки ниши во кои има сочувно фрагментарно ѕидно сликарство. Во конхата на јужната ниша се сочувани обриси на два светитела
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Papers by Nikolovski Darko
Reka:St. Nicholas, village Vrben (1835); church
St. Nicholas, Brodec (1837); St. Nicholas, village
Belica (1837-39); St. Athanasius, village Ničpur
(1843,1846); St, Archangel Michael, village Krakornica
(1847); St. Demetrius, village Bogdovo (1852);
Holy Dormition, village Nistrovo (undated). During
the same period hađi Anagnost was also engaged in
the region Sliven to paint the icon Holy Virgin of the
Unfading Rose with Saints, DHG- Sliven (1836), and
in the church St. Athanasius in Varna he painted the
icon Holy Virgin Pantovasilisa. In the region Xanthi
(Greece) he was engaged according the icons from
1829,1836 and 1852.
His extensive work activity from the Bulgarian
Black Sea Coast, south to Xanthi (Greece), this enigmatic
painter without an authentic name and origin,
at this moment with new discoveries give some new
destinations where he worked in an intensive and
productive wat, now these are abandoned villages
under the mountain Korab, by the flow of the river
Radika, at the tripoint of present day North Macedonia,
Kosovo and Albania.
Darko NIKOLOVSKI
THE CREATION OF THE PAINTER HAƉI ANAGNOSTI FROM THE FIRST HALF OF
THE 19TH CENTURY AT GORNA REKA, MAVROVO
Summary
Viewing the monuments in the region Gorna Reka
in frames of the National Park Mavrovo, one painters
name has challenged our attention. Namely, on more
iconostasis in the churches in Gorna Reka we found
the autograph hađi Anagnost, as an individual artist,
or working in collaboration mainly heterogeneous
iconostasis screens made by more authors, throughout
different period of times. The painter named himself
as hađi Anagnost and we recognize/ identify the
painter with the signature of his works as διά χειρός
Χ(ατζή) αναγνώστου, he was active Bulgarian Black
Sea Coast and in Xanthi (Greece).
From the presented materials we can conclude that
the painter hađi Anagnost was engaged with work in
the period from 1835 to 1852, in numerous times he
made a production 128 icons for the needs of many
iconostases in the churches in the region of Gorna
Reka:St. Nicholas, village Vrben (1835); church
St. Nicholas, Brodec (1837); St. Nicholas, village
Belica (1837-39); St. Athanasius, village Ničpur (1843,1846); St, Archangel Michael, village Krakornica
(1847); St. Demetrius, village Bogdovo (1852);
Holy Dormition, village Nistrovo (undated). During
the same period hađi Anagnost was also engaged in
the region Sliven to paint the icon Holy Virgin of the
Unfading Rose with Saints, DHG- Sliven (1836), and
in the church St. Athanasius in Varna he painted the
icon Holy Virgin Pantovasilisa. In the region Xanthi
(Greece) he was engaged according the icons from
1829,1836 and 1852.
His extensive work activity from the Bulgarian
Black Sea Coast, south to Xanthi (Greece), this enigmatic
painter without an authentic name and origin,
at this moment with new discoveries give some new
destinations where he worked in an intensive and
productive wat, now these are abandoned villages
under the mountain Korab, by the flow of the river
Radika, at the tripoint of present day North Macedonia,
Kosovo and Albania.
SURVEY OF THE ICON PAINTING IN THE REGION OF PRILEP IN THE 18th CENTURY
The artistic activity of the workshop of the painter Margarit-zograph can be determined with great
certainty to the second half of the 18th century, more accurate from 1765 to the year of 1775, when his last
work was found. During this period the painter Margarit had fulfilled the needs of the eparchy of Prilep,
painting Despotic icons for about four iconostasis, as well as other icons, like for the Choros Chandelier, and
icons on canvas. For the present time in the eparchy of Prilep the workshop of the painter Margarit- zograph
can be trailed by the icon paintings. The workshop had worked in the renewal of several iconostasis in the
Monastery Trskavec, the church of St.Demetrius in Varoš, then in the villages Oreovec, Pletvar, Krstec and
Manastir. Outside this circle we can follow his work in the church of St.Demetrius in Bitola, and at last on
Mount Athos in the Chilandar parakklesions dating from the second half of the 18th century.
Key words: Prilep, Margarit, 18th century, Monastery Treskavec.
ON THE MARGINS OF THE SKOPJE DISTRICT
SUMMARY
On the borders of the Skopje district gravitate to remote villages that hide sacral
monuments, today greatly changed under pressure and the passage of time and the hand
of man. Two churches, Holy Salvation (the church of the Ascension of Christ) in
Krušica and St. George in Blace, with partial remains of a mural, testify to the sacral life
from the post-Byzantine period in the Skopje area. They were renovated/ replicated in
the 19th century and on this occasion we present them in order for them to find their
place at the sacred topography of the Skopje region from the post-Byzantine period.
In the small cemetery church of the Holy Salvation in the village of Krušica, the original
17th century frescoes are preserved only in the altar area: Mother of God
“Platitera” with the young Christ in a chest medallion, the Liturgical service of the
hierarchs to Christ “Lamb of God”, the holy deacons Romanos and Stephanos, the
Annunciation and the Last Supper. According to what is partially preserved in the altar
space from the wall painting, it can be concluded that it is a painting from the first half
of the XVII century, work of a local zograf workshop with artistic values that stick to
the established iconographic patterns from the Kostur-Linotop workshops with the
classical expression from the 16th century.
In the church in the Skopje village Blace, St. George is only preserved in the
altar apse, in the first zone, the original painting from the 17th century is largely
preserved: The Liturgical Service of the Hierarchs. The rest of the painting from the 17th
century was overlaid in the 19th century by the zograf from Veles Petar Nikolov from
the village of Oraovec. The wall painting in the church of St. George in the village
Blace shows a solid painting writing, which, despite the limited amount of preserved
authentic frescos in the temple, we can still express certain findings of it in terms of
chronology and style. Namely, according to the stylistic characteristics, we can place
the wall painting in the second half of the 16th century. The nearby churches in the
villages of Gradovce and Divlje do not give appropriate analogies but indirectly indicate
that painting in Blace moves somewhere between the middle of the 16th and the
beginning of the 17th century.
It should be noted, the work of the zograf Nestor Trajanov from Galičnik who in
1864 participated in the 19th century renovation of part of the wall paintings and the
icons of the iconostases.
THE PAINTER DIMITRIJA FROM SKOPJE
Summary
The paper presents the work of a hitherto unknown author from the
second half of the XIX century, who calls himself zograf Dimitrija “from
Skopje state”.
Reka:St. Nicholas, village Vrben (1835); church
St. Nicholas, Brodec (1837); St. Nicholas, village
Belica (1837-39); St. Athanasius, village Ničpur
(1843,1846); St, Archangel Michael, village Krakornica
(1847); St. Demetrius, village Bogdovo (1852);
Holy Dormition, village Nistrovo (undated). During
the same period hađi Anagnost was also engaged in
the region Sliven to paint the icon Holy Virgin of the
Unfading Rose with Saints, DHG- Sliven (1836), and
in the church St. Athanasius in Varna he painted the
icon Holy Virgin Pantovasilisa. In the region Xanthi
(Greece) he was engaged according the icons from
1829,1836 and 1852.
His extensive work activity from the Bulgarian
Black Sea Coast, south to Xanthi (Greece), this enigmatic
painter without an authentic name and origin,
at this moment with new discoveries give some new
destinations where he worked in an intensive and
productive wat, now these are abandoned villages
under the mountain Korab, by the flow of the river
Radika, at the tripoint of present day North Macedonia,
Kosovo and Albania.
Darko NIKOLOVSKI
THE CREATION OF THE PAINTER HAƉI ANAGNOSTI FROM THE FIRST HALF OF
THE 19TH CENTURY AT GORNA REKA, MAVROVO
Summary
Viewing the monuments in the region Gorna Reka
in frames of the National Park Mavrovo, one painters
name has challenged our attention. Namely, on more
iconostasis in the churches in Gorna Reka we found
the autograph hađi Anagnost, as an individual artist,
or working in collaboration mainly heterogeneous
iconostasis screens made by more authors, throughout
different period of times. The painter named himself
as hađi Anagnost and we recognize/ identify the
painter with the signature of his works as διά χειρός
Χ(ατζή) αναγνώστου, he was active Bulgarian Black
Sea Coast and in Xanthi (Greece).
From the presented materials we can conclude that
the painter hađi Anagnost was engaged with work in
the period from 1835 to 1852, in numerous times he
made a production 128 icons for the needs of many
iconostases in the churches in the region of Gorna
Reka:St. Nicholas, village Vrben (1835); church
St. Nicholas, Brodec (1837); St. Nicholas, village
Belica (1837-39); St. Athanasius, village Ničpur (1843,1846); St, Archangel Michael, village Krakornica
(1847); St. Demetrius, village Bogdovo (1852);
Holy Dormition, village Nistrovo (undated). During
the same period hađi Anagnost was also engaged in
the region Sliven to paint the icon Holy Virgin of the
Unfading Rose with Saints, DHG- Sliven (1836), and
in the church St. Athanasius in Varna he painted the
icon Holy Virgin Pantovasilisa. In the region Xanthi
(Greece) he was engaged according the icons from
1829,1836 and 1852.
His extensive work activity from the Bulgarian
Black Sea Coast, south to Xanthi (Greece), this enigmatic
painter without an authentic name and origin,
at this moment with new discoveries give some new
destinations where he worked in an intensive and
productive wat, now these are abandoned villages
under the mountain Korab, by the flow of the river
Radika, at the tripoint of present day North Macedonia,
Kosovo and Albania.
SURVEY OF THE ICON PAINTING IN THE REGION OF PRILEP IN THE 18th CENTURY
The artistic activity of the workshop of the painter Margarit-zograph can be determined with great
certainty to the second half of the 18th century, more accurate from 1765 to the year of 1775, when his last
work was found. During this period the painter Margarit had fulfilled the needs of the eparchy of Prilep,
painting Despotic icons for about four iconostasis, as well as other icons, like for the Choros Chandelier, and
icons on canvas. For the present time in the eparchy of Prilep the workshop of the painter Margarit- zograph
can be trailed by the icon paintings. The workshop had worked in the renewal of several iconostasis in the
Monastery Trskavec, the church of St.Demetrius in Varoš, then in the villages Oreovec, Pletvar, Krstec and
Manastir. Outside this circle we can follow his work in the church of St.Demetrius in Bitola, and at last on
Mount Athos in the Chilandar parakklesions dating from the second half of the 18th century.
Key words: Prilep, Margarit, 18th century, Monastery Treskavec.
ON THE MARGINS OF THE SKOPJE DISTRICT
SUMMARY
On the borders of the Skopje district gravitate to remote villages that hide sacral
monuments, today greatly changed under pressure and the passage of time and the hand
of man. Two churches, Holy Salvation (the church of the Ascension of Christ) in
Krušica and St. George in Blace, with partial remains of a mural, testify to the sacral life
from the post-Byzantine period in the Skopje area. They were renovated/ replicated in
the 19th century and on this occasion we present them in order for them to find their
place at the sacred topography of the Skopje region from the post-Byzantine period.
In the small cemetery church of the Holy Salvation in the village of Krušica, the original
17th century frescoes are preserved only in the altar area: Mother of God
“Platitera” with the young Christ in a chest medallion, the Liturgical service of the
hierarchs to Christ “Lamb of God”, the holy deacons Romanos and Stephanos, the
Annunciation and the Last Supper. According to what is partially preserved in the altar
space from the wall painting, it can be concluded that it is a painting from the first half
of the XVII century, work of a local zograf workshop with artistic values that stick to
the established iconographic patterns from the Kostur-Linotop workshops with the
classical expression from the 16th century.
In the church in the Skopje village Blace, St. George is only preserved in the
altar apse, in the first zone, the original painting from the 17th century is largely
preserved: The Liturgical Service of the Hierarchs. The rest of the painting from the 17th
century was overlaid in the 19th century by the zograf from Veles Petar Nikolov from
the village of Oraovec. The wall painting in the church of St. George in the village
Blace shows a solid painting writing, which, despite the limited amount of preserved
authentic frescos in the temple, we can still express certain findings of it in terms of
chronology and style. Namely, according to the stylistic characteristics, we can place
the wall painting in the second half of the 16th century. The nearby churches in the
villages of Gradovce and Divlje do not give appropriate analogies but indirectly indicate
that painting in Blace moves somewhere between the middle of the 16th and the
beginning of the 17th century.
It should be noted, the work of the zograf Nestor Trajanov from Galičnik who in
1864 participated in the 19th century renovation of part of the wall paintings and the
icons of the iconostases.
THE PAINTER DIMITRIJA FROM SKOPJE
Summary
The paper presents the work of a hitherto unknown author from the
second half of the XIX century, who calls himself zograf Dimitrija “from
Skopje state”.