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

随着献给圣约翰圣约翰的修道院教堂的修复工作于2007年完成，教堂仍然是原始的墙壁绘画，这些壁画是在20^<th> Century的新画所覆盖的。通过与其他古迹进行比较，它已成为对拜桑汀后艺术和文化的研究主题。该教堂中的壁画应与1524年献给施洗者圣约翰的下层修道院的壁画进行研究。预计上层修道院也将由同一家族Kantakuzenos的成员作为Jasunja的下部修道院捐赠。上教堂的旧墙画更接近中世纪风格……更多的古学家时代。仅三十年的时间跨度使文化气氛发生了明显的改变，并且已经越来越接近原始主义和民间艺术。另外，上教堂还有一幅墙壁画，显示了西方巴洛克式画的影响下的诺亚方舟的组成。这种影响应该通过18^<th>世纪的印刷媒体到达这里。下部Jasunja保持更传统和原始。这种情况将与其他当代纪念碑进行研究，例如塞尔维亚北部（Vojvodina）北部的Bodjani修道院教堂（Vojvodina）和Attica修道院的Faneromeni（1735）。在这些古迹中，对创世纪的故事的兴趣应由文化环境来解释，尤其是从北欧新教的同样兴趣来看，从风格的角度来看，位于Jasunja山上另一侧的Veliki Krcimir教堂的绘画应该很重要，因为墙上应该很重要。这似乎是贾森贾（Jasunja）在18个世纪的同一位画家的唯一例子。对拜占庭后绘画的创世纪和旧约的兴趣与耶稣会士的传教活动有关。贾森贾（Jasunja）及其附近的绘画也应从这种可能性中进行研究，因为拉扎里德斯（Lazarides）对范诺梅尼（Faneromeni）的墙壁绘画的研究表明，信条的组成来自马丁·德·沃斯（Martin de Vos）的印刷品。同样很明显，在19^<th>世纪，在邻居小镇Jasunja的Vranje，画家DiCo Kristov在1859年将Guido Reni的印刷在圣迈克尔的偶像中构成。所有这些都表明了在后旁观艺术中西方绘画的强大影响。它将艺术的思想作为永恒（上帝）的代表性变化为人类的表达。创世纪的故事，否则，在这种情况下，人类故事的犹太人主题将适合。较少的

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

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

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

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

Women Saints in the Byzantine Church Decoration

拜占庭教堂装饰中的女圣徒

• 发表时间: 2005
• 期刊: The Bulletin of the General Institute of Culture Kyoritsu University of Women 11
• 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
• 通讯作者: Masako Kido