TY  - JOUR
AU  - Živković, Miloš
AU  - Milanović, Ljubomir
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/16423
AB  - The paper discusses the iconographic program of the frescoes in the south parekklesion of the Church of the Virgin Eleousa at the Veljusa Monastery, the foundation of Manuel, Bishop of Strumitza, built in 1080. It focuses on the figure of St. Niphon or, more specifically, the cult and iconography of this saint, whose representations in art are quite uncommon. It considers several images of St. Niphon in Serbian medieval painting that previous research has failed to take into account. Then, it reexamines the view that this saint was the patron of the chapel, especially the claim that one of his visions was painted in the apse.
AB  - Већ више од шест деценија Црквa Богородице Елеусе у селу Вељуси код Струмице сматра се значајним остварењем византијског градитељства и монументалног живописа XI столећа. Ту цркву, заправо католикон манастира, саградили су, по свој прилици, цариградски мајстори 1080. године, а њен ктитор, који је сахрањен у припрати, био је „монах Манојло, који је постао епископ Тивериопоља“, како је наведено у мермерном натпису постављеном изнад западног улаза у храм. Поред веома особеног, тетраконхалног архитектонског склопа, посебну пажњу истраживача привукле су најстарије фреске цркве у Вељуси, које су, како се данас обично сматра, израђене између 1085. и 1093.
PB  - Београд : Византолошки институт САНУ
T2  - Зборник радова Византолошког института
T1  - Revisiting the Veljusa Frescoes: Notes on the Iconographic Program of the South Parekklesion
T1  - Преиспитивање фресака Вељусе: белешке о иконографском програму јужног параклиса
SP  - 1111
EP  - 1146
VL  - 60
IS  - 2
DO  - 10.2298/ZRVI2360111Z
UR  - https://hdl.handle.net/21.15107/rcub_dais_16423
ER  - 

@article{
author = "Živković, Miloš and Milanović, Ljubomir",
year = "2023",
abstract = "The paper discusses the iconographic program of the frescoes in the south parekklesion of the Church of the Virgin Eleousa at the Veljusa Monastery, the foundation of Manuel, Bishop of Strumitza, built in 1080. It focuses on the figure of St. Niphon or, more specifically, the cult and iconography of this saint, whose representations in art are quite uncommon. It considers several images of St. Niphon in Serbian medieval painting that previous research has failed to take into account. Then, it reexamines the view that this saint was the patron of the chapel, especially the claim that one of his visions was painted in the apse., Већ више од шест деценија Црквa Богородице Елеусе у селу Вељуси код Струмице сматра се значајним остварењем византијског градитељства и монументалног живописа XI столећа. Ту цркву, заправо католикон манастира, саградили су, по свој прилици, цариградски мајстори 1080. године, а њен ктитор, који је сахрањен у припрати, био је „монах Манојло, који је постао епископ Тивериопоља“, како је наведено у мермерном натпису постављеном изнад западног улаза у храм. Поред веома особеног, тетраконхалног архитектонског склопа, посебну пажњу истраживача привукле су најстарије фреске цркве у Вељуси, које су, како се данас обично сматра, израђене између 1085. и 1093.",
publisher = "Београд : Византолошки институт САНУ",
journal = "Зборник радова Византолошког института",
title = "Revisiting the Veljusa Frescoes: Notes on the Iconographic Program of the South Parekklesion, Преиспитивање фресака Вељусе: белешке о иконографском програму јужног параклиса",
pages = "1111-1146",
volume = "60",
number = "2",
doi = "10.2298/ZRVI2360111Z",
url = "https://hdl.handle.net/21.15107/rcub_dais_16423"
}

Živković, M.,& Milanović, L.. (2023). Revisiting the Veljusa Frescoes: Notes on the Iconographic Program of the South Parekklesion. in Зборник радова Византолошког института
Београд : Византолошки институт САНУ., 60(2), 1111-1146.
https://doi.org/10.2298/ZRVI2360111Z
https://hdl.handle.net/21.15107/rcub_dais_16423

Živković M, Milanović L. Revisiting the Veljusa Frescoes: Notes on the Iconographic Program of the South Parekklesion. in Зборник радова Византолошког института. 2023;60(2):1111-1146.
doi:10.2298/ZRVI2360111Z
https://hdl.handle.net/21.15107/rcub_dais_16423 .

Živković, Miloš, Milanović, Ljubomir, "Revisiting the Veljusa Frescoes: Notes on the Iconographic Program of the South Parekklesion" in Зборник радова Византолошког института, 60, no. 2 (2023):1111-1146,
https://doi.org/10.2298/ZRVI2360111Z .,
https://hdl.handle.net/21.15107/rcub_dais_16423 .

TY  - CHAP
AU  - Preradović, Dubravka
AU  - Milanović, Ljubomir
PY  - 2016
UR  - https://dais.sanu.ac.rs/123456789/15696
AB  - By accepting and nurturing the cults of the pan-Christian saints, the Serbs decisively and fully joined the community of Christianised peoples, becoming part of a world united by religion and civilisation. Like other nations, however, following their own inclinations and needs, they chose to revere particular saintly figures from the vast pantheon of saints accepted by all Christendom. And so, in this way, the Serbs shaped their own religious, cultural and national identity over the centuries, maturing as an autonomous community, sensitive to the changes in its surroundings. The distinct and clearly profiled cults of certain saints were almost emblematic in character. And so it happened, for example, that in the late Middle Ages St. Stephan the Protomartyr, whose image was on the obverse of the royal coins and seals, became the epitome of abstract state authority. The rise and development of autochthonous, Serbian saintly cults, to which the following chapter of this book is devoted, would further shape Serbian religious and national identity. The Serbs, more than other peoples in their region, were dedicated to maintaining the cults of both selected pan-Christian and local saints. In this way, by accepting and modifying the civilisational patterns of the East and West, the reliable religious and ideological frames of a unique literature and art were gradually being formed. Yet, this was not the only development. From an unusually respectful, reverent attitude towards the pan-Christian saints, there creatively arose a particular ritual practice, based on one’s own experiences and needs – the Krsna slava – a recognisable cult and ethnologically authentic custom of choosing and celebrating the patron saint of the family, the clan and brotherhood. In Serbian lands, the slava has always been seen as one of the pillars of national religious feeling. With much evidence for support, it is thought that the ritual is deeply rooted in the medieval past and that its initiator was Sava Nemanjić.83 Accordingly, it should be noted that among the Serbian krsne slave celebrated today, the most frequent are those connected with the saints that were especially revered by the Serbs in the Middle Ages – St. Nicholas, St. John the Baptist, the Holy Archangels, St. George, St. Stephan, St. Parascheva, St. Luke, and others.
PB  - Belgrade: Serbian National Committee of Byzantine Studies
PB  - Belgrade : Službeni glasnik
PB  - Belgrade : Instutute for Byzantine Studies SANU
T2  - Sacral art of the Serbian lands in the Middle ages
T1  - Pan-Christian Saints in Serbian Cult Practice and Art
SP  - 103
EP  - 117
UR  - https://hdl.handle.net/21.15107/rcub_dais_15696
ER  - 

@inbook{
author = "Preradović, Dubravka and Milanović, Ljubomir",
year = "2016",
abstract = "By accepting and nurturing the cults of the pan-Christian saints, the Serbs decisively and fully joined the community of Christianised peoples, becoming part of a world united by religion and civilisation. Like other nations, however, following their own inclinations and needs, they chose to revere particular saintly figures from the vast pantheon of saints accepted by all Christendom. And so, in this way, the Serbs shaped their own religious, cultural and national identity over the centuries, maturing as an autonomous community, sensitive to the changes in its surroundings. The distinct and clearly profiled cults of certain saints were almost emblematic in character. And so it happened, for example, that in the late Middle Ages St. Stephan the Protomartyr, whose image was on the obverse of the royal coins and seals, became the epitome of abstract state authority. The rise and development of autochthonous, Serbian saintly cults, to which the following chapter of this book is devoted, would further shape Serbian religious and national identity. The Serbs, more than other peoples in their region, were dedicated to maintaining the cults of both selected pan-Christian and local saints. In this way, by accepting and modifying the civilisational patterns of the East and West, the reliable religious and ideological frames of a unique literature and art were gradually being formed. Yet, this was not the only development. From an unusually respectful, reverent attitude towards the pan-Christian saints, there creatively arose a particular ritual practice, based on one’s own experiences and needs – the Krsna slava – a recognisable cult and ethnologically authentic custom of choosing and celebrating the patron saint of the family, the clan and brotherhood. In Serbian lands, the slava has always been seen as one of the pillars of national religious feeling. With much evidence for support, it is thought that the ritual is deeply rooted in the medieval past and that its initiator was Sava Nemanjić.83 Accordingly, it should be noted that among the Serbian krsne slave celebrated today, the most frequent are those connected with the saints that were especially revered by the Serbs in the Middle Ages – St. Nicholas, St. John the Baptist, the Holy Archangels, St. George, St. Stephan, St. Parascheva, St. Luke, and others.",
publisher = "Belgrade: Serbian National Committee of Byzantine Studies, Belgrade : Službeni glasnik, Belgrade : Instutute for Byzantine Studies SANU",
journal = "Sacral art of the Serbian lands in the Middle ages",
booktitle = "Pan-Christian Saints in Serbian Cult Practice and Art",
pages = "103-117",
url = "https://hdl.handle.net/21.15107/rcub_dais_15696"
}

Preradović, D.,& Milanović, L.. (2016). Pan-Christian Saints in Serbian Cult Practice and Art. in Sacral art of the Serbian lands in the Middle ages
Belgrade: Serbian National Committee of Byzantine Studies., 103-117.
https://hdl.handle.net/21.15107/rcub_dais_15696

Preradović D, Milanović L. Pan-Christian Saints in Serbian Cult Practice and Art. in Sacral art of the Serbian lands in the Middle ages. 2016;:103-117.
https://hdl.handle.net/21.15107/rcub_dais_15696 .

Preradović, Dubravka, Milanović, Ljubomir, "Pan-Christian Saints in Serbian Cult Practice and Art" in Sacral art of the Serbian lands in the Middle ages (2016):103-117,
https://hdl.handle.net/21.15107/rcub_dais_15696 .