Храм Христовог гроба и Васкрсења, Јерусалим

Studia z Dziejów Rosji i Europy Środkowo-Wschodniej, 2021

The article lays out the history of a Catholic church in Temir-Khan-Shura (present-day Buynaksk), Dagestan, built in the fi rst half of the nineteenth century by Catholic soldiers, mainly of Polish origin, serving in the tsarist army. Th e author relies primarily on the archival materials stored in the Central State Archive of the Republic of Dagestan in Makhachkala and on memories of Poles. Th e article also briefl y presents the history of Poles and Catholicism in the Caucasus.

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Between the globalization pressure and the quests for national style in church architecture: New Belgrade orthodox churches", у Cities, nations & regions in planning history, 15

Црква св. ЂорЂа на врби, Његуши кључне ријечи: Село врба, Његуши; Лединац; култ св. Ђорђа; цркве са прислоњеним луковима, Змајевићи; Котор о цркви св. Ђорђа на врби, његушком селу најближем Котору, готово да нема познатих историјских података. Према предању црква је веома стара. Скривену историју споменика у великој мјери одражава и данашњи изглед овог малог али сложеног здања чије фасаде је одавно обухватио преплет дивљих лозица, а околни простор висока трава. у непосредној близини ове црквице су куће, низане у виду двоструке лучне ниске око обрадивог поља у подножју високог брда. Неке од кућа су напуштене и њихова оронулост се преноси на камене подзиде којима су оивичена дворишта, вртови, пут. Складну физиономију села врбе наглашавају склопови појединих домаћинстава са оштрим забатима кућа и помоћних зграда. између њих, постављен дужом осом према пољу, одолијева времену и недовољној бризи, минијатурни једнобродни храм посвећен св. Ђорђу, светитељу ратнику.

2015

Pilgrimage to the Holy Land was a widespread form of active piety among Christian Orthodox believers in the 19th century. Due to the improved transportation networking to the Palestine in the second part of the 19th century, pilgrimage was accessible to all strata of society throughout the Orthodox world. Pilgrims returned homewards with a variety of holy souvenirs, including candles, crosses, fabrics, icons, various painted objects. Among these most representative ones were monumental icons painted on linen, known as Jerualems (Jerusalimia, Proskynetaria, Panagiotafitika). All pilgrims’ painted icons follow a scheme according to which in the centre of the canvas, the Church of the Holy Sepulchre (or the Resurrection) is drawn in section. The church interior is fulfilled with figures that are commemorated within the vast complex of the Holy Sepulchre by separate chapels. Most interesting part depicts Christian Orthodox rituals that are associated with the miraculous Descent of the Holy Fire, celebrated annually during the Easter. At the same time, outside the church walls figures and scenes are presented as images of holy spaces in pilgrimage itineraries. On both sides of the image of the Church of the Holy Sepulchre bust portraits of Christ, the Virgin Mary and Child, are painted, as well as other relevant holy persons or scenes from their lives. It is a common iconographic structure repeated in all the known examples found all over the Orthodox world. To these examples we are adding one painted Jerusalem, found in the Vracevo monastery (Kosovo and Metohija). It was brought from Jerusalem in 1865 by a pious woman Hadji Elka. By detailed analysis, this icon is presented as a simulacrum of Christian history related to the sacral topoi of Jerusalem, and a mnemonic device with devotional character.

Теолошки погледи XLVI, 2013

Го ди на / Vo lu me XLVI Број / Is sue 2/2013, стр. / pp. 467-522. ста ро хри шћан ски Гра ђе вин ски објек ти ни ша и око ли не Ап стракт: У ра ду су об ра ђе ни ста ро хри шћан ски објек ти Ни ша и око ли не, на про сто ру ко ји об у хва та круг преч ни ка око 25 km са цен тром у Ни шу. Реч је оста ци ма цр ка ва, зи да ним гроб ни ца ма ти па хи по ге ум и јед ном мар ти ри ју му. На кон исто ри ја та ис тра жи ва ња и са же тог исто риј ског пре гле да, сле ди по је ди на чан опис ра но хри шћан ских обје ка та, са по да ци ма о њи хо вом по ло жа ју, ар хи тек тон ским и гра ђе вин ским од ли ка ма, де ко ра ци ји, гро бо ви ма и евен ту ал ном по крет ном ма те ри ја лу.

Саборност X, 2016, стр. 159-174.

У раду се доказује да је хришћански храм и персонификација Раја и да је, сходно томе, био опремљен позлаћеним вратима - Златним вратима. Открива се, на основу сачуваног ктиторског модела, да је и црква Св. Тројице деспота Стефана у Ресави имала Златна врата. Такође, златна врата су имале и многе друге велике српске задужбине.

NONSEEN SIDE OF THE “IRON” CHURCH IN ISTANBUL Summary. The study consists of three parts. The first one interprets historical documents for the organization of the work, supervision and financing of the construction of the church “St. Stefan” in Istanbul. The design, the execution and control process are analyzed, as well as the defects. The historical reasons for the accelerated start of corrosion in the steel constructions are presented. The second part examines little known facts about the foundation, which explain the interventions and the decisions in recent time. The analogues of steel constructions in Latvia, Chile, Peru, Costa Rica and the Philippines have been noted. The church is situated among them as a representation during a time of an industrial revolution to construct a temple on unstable ground. The third part studies the conceptual projects, the research and restoration activities of the Bulgarian engineers, chemists and architects in the 70s and 80s of XX century. Keywords: church “St. Stefan” in Istanbul, Rudolph Philipp Waagner factory, steel constructions.

The paper presents never before published data on construction of the Orthodox church of St George in Prnjavor and its iconostasis from 1888. It is established that the church was not built in accordance with the project preserved in the Bosnia and Herzegovina Archive, and that this project was probably intended for the church of the Orthodox Ukrainians in Prnjavor. The paper specifically discusses the iconostasis painter, Teodosije Markovic, who signed the icon of St Nicholas, but was not known as icon painter beforehand. It establishes that Teodosije Markovic was a priest in the Pakrac Diocese in the second part of the 19th century, first in Brod on Sava and later in Daruvar. No other icons of him have been known so far. Iconography and style-wise, his work is close to the work of Arsenije Teodorovic in Pakrac. Teodosije Markovic might have come in touch with the Prnjavor Orthodox Church Community through some of the Prnjavor merchants who developed strong business relationship with Brod and many of them spent some refugee years there in the eve of and during the uprising from 1874 – 1878. Research on the icon painting of Teodosije Markovic presented here should incite to searching for his possible other works that might be preserved as well.