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

随着修道院教堂的修复工作于2007年完成，教堂恢复了原来的壁画，这些壁画被20^世纪初的新绘画所覆盖<th>。现在，它已经成为研究后拜占庭艺术和文化的主题，通过与其他古迹进行比较，这些古迹是当代的，位于Jasunja及其附近。Gojko Subotic教授（塞尔维亚科学和艺术学院）评论了Jasunja的另一座修道院的重要性，该修道院位于1499年为圣母介绍而奉献的同一座山上。这座教堂的壁画应该与1524年奉献给施洗者圣约翰的较低修道院的壁画同时进行研究。上层的修道院应该也是由Jasunja的下层修道院的Kantakuzenos家族的成员捐赠的。上层的教堂有更接近中世纪风格的旧壁画 ...更多信息 古生物学时代。短短三十年的时间，使文化气候发生了明显的变化，更接近原始主义和民间艺术。教堂上层的壁画也是在西方巴洛克绘画的影响下，表现了创世纪诺亚方舟的构图。这种影响应该是通过18^世纪的印刷品传播到这里<th>的。较低的Jasunja保持更传统和原始。这些情况将与其他当代纪念碑一起研究，如塞尔维亚（伏伊伏丁那）北方的Bodjani修道院教堂（1737年）和阿提卡的Faneromeni修道院（1735年）。这些纪念碑对创世记故事的兴趣应该由文化环境来解释，特别是对北方欧洲新教的同样兴趣。从风格的角度来看，位于Jasunja同一座山另一侧的Veliki Krcimir教堂的绘画应该与壁画一样重要;这似乎是18^世纪同一批画家在雅孙贾创作的唯一例子<th>。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。在18^世纪的绘画在Jasunja及其附近地区<th>也应该从这种可能性进行研究，因为它是由拉扎里德斯在Faneromeni壁画的研究表明，信条的组成来自马丁德沃斯的打印。同样清楚的是，在19^<th>世纪在Vranje的Jasunja的邻居镇，画家迪科克里斯托夫使用印刷的圭多雷尼的组成的图标的圣米迦勒在1859年。这些都显示了西方绘画观念对后拜占庭艺术的强烈影响，它改变了艺术作为永恒（上帝）的表现的观念，转向了对人的表现。《创世纪》的故事，否则，人类故事的犹太主题将适合这种情况。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