Саборна црква у Пожаревцу у светлости архивских извора

Abstract

Поред морфолошког развоја пожаревачког саборног храма — како архитектонског уобличавања, тако и опремања његовог ентеријера — који се, захваљујући сачуваним архивским изворима, може хронолошки пратити од настанка до данашњих дана, у раду се открива и унутрашњи живот храма, али и разни субјекти и патронажни механизми који су имали одлучујућу улогу у његовом конституисању. Међутим, ни морфолошки развој храма није сагледан искључиво из перспективе естетике и стила, нити је храм посматран као аутономно артифицијелно дело независно од своје богослужбене намене, већ се он контекстуализује и смешта у одговарајуће црквено-литургијске, друштвено-политичке и културолошке оквире

The text, in the light of the archive sources, chronologically observes the morphological development of the Orthodox Cathedral church in Požarevac while simultaneously revealing the subjects that greatly contributed to its formal structuring. Having been founded and built in 1819 due to the initiative of Prince Miloš, the temple of Požarevac, in accordance with the social, political and cultural changes, has gone through some signiicant transformations over the course of time. herefore, the simple sacral ediice, put up as a one-nave longitudinal building, covered with the two-layered roof, was changed a lot in the mid 19th century with the construction of its belfry, which considerably altered the original architectural concept of the temple. he temple model was taken over from the Karlovci metropolitan model, in the entire Principality of Serbia being best represented by the Orthodox Cathedral church in Belgrade, the Belgrade metropolitan cathedral temple posing at the same time as the desired ideal within the highest ecclesiastical hierarchy as well as with the then political and cultural elite. Although the belfry construction of the Požarevac temple meant the winding up of its architectural formulation, the inal phase of its morphological shaping was the mounting of the representative western stone portal dominated by the neo-Moravian style elements. Just like the architectural concept of this Požarevac temple, the shaping and decoration of its interior design had a similar developing path. Judging by the preserved sources, the interior decoration of Orthodox Cathedral church in Požarevac was originally in agreement with the liturgical and ceremonial service practice and tradition of ornamenting the temples throughout the wider Balkans territory under the jurisdiction of Ecumenical Patriarchate. Nevertheless, the previous interior modelling concept was gradually being abandoned from the ifth decade of the 19th century in order to accept the new ideally constituted one after the current liturgical manuals – applied for the irst time in the Orthodox Cathedral church in Belgrade. Albeit the new concept was basically accepted during the ifth decade, its inal constituting took place only later – by the end of the sixties with the setting up of the new iconostasis, the piece of work made by the painting workshop of Milija and Nikola Marković. he placing of this iconostasis, which formally itted in well with the rest of the church movable assets, signiied that a unique interior structure was established and it has not been considerably changed hitherto.