A Study of the Wall Painting in the Church of Saint John Monastery in Jasunja

随着2007年圣约翰浸礼会修道院教堂的修复工作完成，教堂恢复了20世纪初新画中覆盖的原始壁画。它现在已经成为后拜占庭时代艺术和文化的研究主题，通过与其他当代古迹的比较，这些古迹位于加苏尼亚及其附近地区。Gojko Subotic教授(塞尔维亚科学与艺术学院)指出了加苏尼亚另一座修道院的重要性，这座修道院位于1499年供奉圣母的同一座山的上方。这座教堂的壁画应该与1524年献给圣约翰的下层修道院的壁画同时进行研究。上修道院应该也是由与加顺寺下修道院相同的家族成员Kantakuzenos捐赠的。上教堂有更古老的壁画，更接近中世纪风格的…更多的是古生物学时代。短短三十年的时间跨度，使文化氛围发生了明显的变化，向原始主义和民间艺术靠拢。此外，上层教堂还有一幅壁画，展示了受西方巴洛克绘画影响的《创世纪》中诺亚方舟的构图。这种影响应该是通过18世纪的版画媒介到达这里的。下层的Jasunja保持了更传统和原始的状态。这种情况将与其他当代纪念碑一起研究，如塞尔维亚北部(伏伊伏丁那)Bodjani修道院教堂(1737年)和阿提卡Faneromei修道院(1735年)。这些古迹对创世纪故事的兴趣应该由文化背景来解释，特别是对北欧新教的兴趣从风格的角度来看，位于同一座山另一边的Veliki Krcimir教堂的绘画应该和壁画一样重要；这似乎是18世纪同一批画家在Jasunja唯一的例子。对后拜占庭绘画的创世纪和旧约的兴趣与耶稣会的传教活动有关。18世纪加苏尼亚及其附近地区的绘画也应从这一可能性出发进行研究，因为拉撒里季斯对法内洛梅尼壁画的研究表明，信条的构图来自马丁·德·沃斯的版画。同样清楚的是，在19世纪，在邻近的贾苏尼亚的Vranje，画家迪科·克里斯托夫在1859年使用Guido Reni的版画创作了圣米迦勒的肖像。这些都显示了西方绘画思想在后拜占庭艺术中的强烈影响。它改变了艺术作为永恒(上帝)的代表的观念，变成了对人类的表达。创世纪的故事，否则人类故事中的犹太人主题就会适合这种情况。较少

As the restoration work in the monastery church dedicated to Saint John the Baptist was finished in 2007, the church has regained the original wall paintings which were covered under the new painting of early 20^<th> century. It has now become a subject of research upon post-byzantine art and culture by comparisons with other monuments, which are contemporary and situated around Jasunja and its vicinity.Professor Gojko Subotic (Serbian Academy of Science and Art) remarks the importance of the other monastery in Jasunja which is situated in the upper place of the same hill consecrated in 1499 to the Presentation of the Virgin. The wall painting in this church should be researched in the same time with the one in the lower monastery dedicated in 1524 to Saint John the Baptist. The upper monastery is supposed to be donated also by the member of the same family Kantakuzenos as the lower monastery in Jasunja.The upper church has the older wall painting which is nearer to the medieval style … More of the Paleologian age. The span of time of only three decades made the apparent change of cultural climate and it has become nearer to primitivism and folk art. Also the upper church has a wall painting which shows the composition of Noah's Ark from Genesis under the influence from the Western Baroque painting. This influence should have arrived here through the media of prints of 18^<th> Century. The lower Jasunja stayed more traditional and primitive. The circumstances are to be researched with other contemporary monuments like the one in the monastery Church in Bodjani (1737) in the northern part of Serbia (Vojvodina) and the monastery Faneromeni (1735) in Attica. The interest in the story of Genesis in these monuments should be explained by the cultural circumstances, especially by the same interest in Protestantism in Northern Europe From the stylistic point of view, the painting in the church in Veliki Krcimir which is situated on the other side of the same hill of Jasunja should be important as the wall painting ; this seems to be the sole example by the same painters in Jasunja in 18^<th> century.The interest in Genesis and Old Testament in Post-Byzantine painting is related to the missionary activity of the Jesuits. The painting in Jasunja and its vicinity in 18^<th> century should be researched also from this possibility as it is shown by the research of the wall painting in Faneromeni by Lazarides that the composition of Credo came from the print by Martin de Vos. It is also clear that in 19^<th> century in Vranje the neighbor town of Jasunja, the painter Dico Kristov used the print of Guido Reni for the composition of the icon of Saint Michael in 1859. All these show the strong influence of Western idea of painting in the Post-Byzantine art. It changes the idea of art as a representation of the Eternity (God) to the expression of human beings. The Story of Genesis, otherwise the Jew theme of the story of human beings would be suited in this circumstance. Less