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

亚顺贾圣约翰修道院教堂壁画研究

• 批准号: 16401003
• 负责人: SUZUKI Michitaka
• 金额: $ 6.72万
• 依托单位: Okayama University
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (B)
• 财政年份: 2004
• 资助国家: 日本
• 起止时间: 2004 至 2007
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-16401003/
• 关键词: icon; wall painting; post-byzantine; Genesis; Kantakuzenos; Serbia; Baroque; Jewish art; 国際研究者交流; 美術史; 中世史; 壁画; キリスト教; ビザンティン帝国; セルビア・モンテネグロ

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

随着施洗者圣约翰修道院教堂的修复工作于2007年结束，教堂恢复了原来的壁画，这些壁画被20世纪初的新画作覆盖。它现在已经成为研究后拜占庭艺术和文化的主题，与其他当代纪念碑进行比较，这些纪念碑位于Jasunja及其附近。Gojko Subotic教授（塞尔维亚科学与艺术学院）评论了Jasunja另一座修道院的重要性，该修道院位于1499年供奉圣母的同一座山的上部。这座教堂的壁画应该与1524年在下层修道院献给施洗者圣约翰的壁画同时进行研究。上面的寺院也应该是由Kantakuzenos家族的成员捐赠的就像Jasunja的下面的寺院一样。上面的教堂有更古老的壁画，更接近中世纪风格，更接近古生物学时代。短短三十年的时间跨度使文化气候发生了明显的变化，它更接近于原始主义和民间艺术。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世纪的印刷品传播到这里的。较低的Jasunja则更加传统和原始。这些情况将与其他当代纪念碑一起进行研究，比如塞尔维亚北部（伏伊伏丁那）博贾尼修道院教堂（1737年）和阿提卡的法内洛梅尼修道院（1735年）。这些纪念碑对《创世纪》故事的兴趣应该由文化环境来解释，尤其是对北欧新教的同样兴趣。从风格的角度来看，位于亚桑加山另一边的大克里米尔教堂的画应该和墙上的画一样重要；这似乎是18世纪Jasunja的同一画家的唯一例子。后拜占庭绘画对《创世纪》和《旧约》的兴趣与耶稣会士的传教活动有关。18世纪在雅桑贾及其附近的画作也应该从这种可能性来研究，因为对拉扎里季斯在法内洛梅尼的壁画的研究表明，《信条》的构图来自马丁·德·沃斯的版画。同样清楚的是，在19世纪的弗拉涅，邻近的雅桑贾镇，画家迪科·克里斯托夫在1859年使用了圭多·雷尼的版画来创作圣迈克尔的圣像。这些都显示出西方绘画思想对后拜占庭艺术的强烈影响。它将艺术作为永恒（上帝）的表现的观念转变为对人类的表达。创世纪的故事，否则犹太人关于人类故事的主题就会适合这种情况。少

项目成果

バルカンの一隅から

来自巴尔干半岛的一角

• 发表时间: 2004
• 期刊: 民族芸術学会年報 64
• 作者: 永井道子;荒木田美香子;鐸木道剛;Michitaka Suzuki;鐸木道剛;鐸木道剛;Michitaka Suzuki;Michitaka Suzuki;鐸木道剛;鐸木道剛;眞鍋千絵;Chie Manabe;Michitaka Suzuki;鐸木道剛;鐸木道剛;木戸雅子;鐸木道剛;鐸木道剛;Michitaka Suzuki;Michitaka Suzuki;Michitaka Suzuki;Masako Kido;鐸木道剛;鐸木道剛;鐸木道剛;吉松実花
• 通讯作者: 吉松実花

ハンガリーのグレコ・カトリックの巡礼地マーリアポーチ

玛丽亚门廊，匈牙利希腊天主教朝圣地

• 发表时间: 2008
• 期刊: 民族芸術 24
• 作者: 永井道子;荒木田美香子;鐸木道剛
• 通讯作者: 鐸木道剛

イコンと現代美術

偶像和当代艺术

• 发表时间: 2007
• 期刊: 『ロシアイコンと20世紀の作家たち』展カタログ
• 作者: 永井道子;荒木田美香子;鐸木道剛;Michitaka Suzuki;鐸木道剛;鐸木道剛;Michitaka Suzuki;Michitaka Suzuki;鐸木道剛;鐸木道剛
• 通讯作者: 鐸木道剛

From a Corner of Balkan

来自巴尔干的一角

• 发表时间: 2004
• 期刊: The Bulletin of Ethno-Arts 64
• 作者: 永井道子;荒木田美香子;鐸木道剛;Michitaka Suzuki;鐸木道剛;鐸木道剛;Michitaka Suzuki;Michitaka Suzuki;鐸木道剛;鐸木道剛;眞鍋千絵;Chie Manabe;Michitaka Suzuki;鐸木道剛;鐸木道剛;木戸雅子;鐸木道剛;鐸木道剛;Michitaka Suzuki;Michitaka Suzuki;Michitaka Suzuki;Masako Kido;鐸木道剛;鐸木道剛;鐸木道剛;吉松実花;Mika Yoshimatsu
• 通讯作者: Mika Yoshimatsu

Icon and the Modern Art

偶像与现代艺术

• 发表时间: 2007
• 期刊: Russian icons and the Painter of 20^<th> Century
• 作者: 永井道子;荒木田美香子;鐸木道剛;Michitaka Suzuki;鐸木道剛;鐸木道剛;Michitaka Suzuki
• 通讯作者: Michitaka Suzuki