TY  - JOUR
AU  - Milanović, Ljubomir
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/16422
AB  - The Church of the Virgin Eleousa in Veljusa was commissioned by the former bishop of Tiberioupolis (Strumica), monk Manuel. In the narthex, under the arcosolium adjacent to the south wall, a brick grave was discovered by archaeologists. According to the finds, the construction of the grave was inseparable from the southern wall, thus indicates that the monk Manuel commissioned a tomb establishing a place of his eternal rest. The original painting executed between 1085 and 1093 is best preserved in the sanctuary along with fragmentary portions in the naos and the south subsidiary chapel. An enthroned Virgin and Child decorates the altar area in the main apsidal conche. Below is the unusual composition of the Officiating bishops. Four church fathers surround the throne, hetoimasia on which are placed a Gospel, a cross, which is flanked by instruments of torture, and the dove of the Holy Spirit. Scholars have explained the unique representation of hetoimasia within the scene of Officiating Bishops through its liturgical symbolism. What has been neglected in the case of Veljusa, however, is the elucidation of another symbolic meaning of the depiction of hetoimasia, namely its soteriological-eschatological role connected with a possible function of the church as a burial place of the monastery founder. This paper will shed a light to the problem of eschatological nature of hetoimasia in the context of the burial place of monk Manuel in Veljusa.
AB  - На основу два натписа уклесаних на мермерним надвратницима, првобитно постављених изнад два главна западна портала, Црква Богородице Елеусе у Вељуси може се прецизно датирати у 1080. годину. Према натпису изнад улазних врата која воде из припрате у наос, њену изградњу је наручио некадашњи епископ Тивериопољски (Струмички), а тада монах Манојло. Сама црква се састоји од три конститутивна елемента који чине јединствену архитектонску структуру. Поред наоса у облику триконхоса, ту су још и припрата и бочна капела са јужне стране наоса. У припрати, испод аркосолијума уз јужни зид, археолози су открили зидани гроб. Према налазима, конструкција гроба је била неодвојива од јужног зида, што указује на то да је гробница највероватније била наручена од стране монаха Манојла у току изграње цркве. Претпоставку да се ради о ктиторском гробу делимично поткрепљују и писани извори, односно сачувани типик манастира.
PB  - Београд : Византолошки институт САНУ
T2  - Зборник радова Византолошког института
T1  - Ever Ready Throne: Reassessing the Role of Hetoimasia in the Church of the Virgin Eleousa in Veljusa
T1  - Приуготовљени престо: преиспитивање улоге хетимасије у Цркви Богородице Елеусе у Вељуси
SP  - 1079
EP  - 1109
VL  - 60
IS  - 2
DO  - 10.2298/ZRVI2360079M
UR  - https://hdl.handle.net/21.15107/rcub_dais_16422
ER  - 

@article{
author = "Milanović, Ljubomir",
year = "2023",
abstract = "The Church of the Virgin Eleousa in Veljusa was commissioned by the former bishop of Tiberioupolis (Strumica), monk Manuel. In the narthex, under the arcosolium adjacent to the south wall, a brick grave was discovered by archaeologists. According to the finds, the construction of the grave was inseparable from the southern wall, thus indicates that the monk Manuel commissioned a tomb establishing a place of his eternal rest. The original painting executed between 1085 and 1093 is best preserved in the sanctuary along with fragmentary portions in the naos and the south subsidiary chapel. An enthroned Virgin and Child decorates the altar area in the main apsidal conche. Below is the unusual composition of the Officiating bishops. Four church fathers surround the throne, hetoimasia on which are placed a Gospel, a cross, which is flanked by instruments of torture, and the dove of the Holy Spirit. Scholars have explained the unique representation of hetoimasia within the scene of Officiating Bishops through its liturgical symbolism. What has been neglected in the case of Veljusa, however, is the elucidation of another symbolic meaning of the depiction of hetoimasia, namely its soteriological-eschatological role connected with a possible function of the church as a burial place of the monastery founder. This paper will shed a light to the problem of eschatological nature of hetoimasia in the context of the burial place of monk Manuel in Veljusa., На основу два натписа уклесаних на мермерним надвратницима, првобитно постављених изнад два главна западна портала, Црква Богородице Елеусе у Вељуси може се прецизно датирати у 1080. годину. Према натпису изнад улазних врата која воде из припрате у наос, њену изградњу је наручио некадашњи епископ Тивериопољски (Струмички), а тада монах Манојло. Сама црква се састоји од три конститутивна елемента који чине јединствену архитектонску структуру. Поред наоса у облику триконхоса, ту су још и припрата и бочна капела са јужне стране наоса. У припрати, испод аркосолијума уз јужни зид, археолози су открили зидани гроб. Према налазима, конструкција гроба је била неодвојива од јужног зида, што указује на то да је гробница највероватније била наручена од стране монаха Манојла у току изграње цркве. Претпоставку да се ради о ктиторском гробу делимично поткрепљују и писани извори, односно сачувани типик манастира.",
publisher = "Београд : Византолошки институт САНУ",
journal = "Зборник радова Византолошког института",
title = "Ever Ready Throne: Reassessing the Role of Hetoimasia in the Church of the Virgin Eleousa in Veljusa, Приуготовљени престо: преиспитивање улоге хетимасије у Цркви Богородице Елеусе у Вељуси",
pages = "1079-1109",
volume = "60",
number = "2",
doi = "10.2298/ZRVI2360079M",
url = "https://hdl.handle.net/21.15107/rcub_dais_16422"
}

Milanović, L.. (2023). Ever Ready Throne: Reassessing the Role of Hetoimasia in the Church of the Virgin Eleousa in Veljusa. in Зборник радова Византолошког института
Београд : Византолошки институт САНУ., 60(2), 1079-1109.
https://doi.org/10.2298/ZRVI2360079M
https://hdl.handle.net/21.15107/rcub_dais_16422

Milanović L. Ever Ready Throne: Reassessing the Role of Hetoimasia in the Church of the Virgin Eleousa in Veljusa. in Зборник радова Византолошког института. 2023;60(2):1079-1109.
doi:10.2298/ZRVI2360079M
https://hdl.handle.net/21.15107/rcub_dais_16422 .

Milanović, Ljubomir, "Ever Ready Throne: Reassessing the Role of Hetoimasia in the Church of the Virgin Eleousa in Veljusa" in Зборник радова Византолошког института, 60, no. 2 (2023):1079-1109,
https://doi.org/10.2298/ZRVI2360079M .,
https://hdl.handle.net/21.15107/rcub_dais_16422 .

TY  - CHAP
AU  - Milanović, Ljubomir
PY  - 2022
UR  - https://dais.sanu.ac.rs/123456789/14315
AB  - The reception of Byzantine art among the South Slavs began with their conversion to Christianity in the ninth century. Bulgaria and Serbia were the largest medieval states, covering most of the territory of the Balkan Peninsula. With the development and strengthening of political power of these kingdoms, more influences from Byzantium penetrated the state administration and society. Art production mostly relied on the patronage of local rulers, nobles, or prelates, who were able to bring the best artists from Byzantine centers or those trained in Byzantine workshops. This resulted in the intermingling of Byzantine traditions and skills and local patrons’ desires for creating artistic programs and objects with political and national content.
PB  - Oxford : Oxford University Press
T2  - The Oxford Handbook of Byzantine Art and Architecture
T1  - South Slavic Lands
SP  - 233
EP  - 249
DO  - 10.1093/oxfordhb/9780190277352.013.49
UR  - https://hdl.handle.net/21.15107/rcub_dais_14315
ER  - 

@inbook{
author = "Milanović, Ljubomir",
year = "2022",
abstract = "The reception of Byzantine art among the South Slavs began with their conversion to Christianity in the ninth century. Bulgaria and Serbia were the largest medieval states, covering most of the territory of the Balkan Peninsula. With the development and strengthening of political power of these kingdoms, more influences from Byzantium penetrated the state administration and society. Art production mostly relied on the patronage of local rulers, nobles, or prelates, who were able to bring the best artists from Byzantine centers or those trained in Byzantine workshops. This resulted in the intermingling of Byzantine traditions and skills and local patrons’ desires for creating artistic programs and objects with political and national content.",
publisher = "Oxford : Oxford University Press",
journal = "The Oxford Handbook of Byzantine Art and Architecture",
booktitle = "South Slavic Lands",
pages = "233-249",
doi = "10.1093/oxfordhb/9780190277352.013.49",
url = "https://hdl.handle.net/21.15107/rcub_dais_14315"
}

Milanović, L.. (2022). South Slavic Lands. in The Oxford Handbook of Byzantine Art and Architecture
Oxford : Oxford University Press., 233-249.
https://doi.org/10.1093/oxfordhb/9780190277352.013.49
https://hdl.handle.net/21.15107/rcub_dais_14315

Milanović L. South Slavic Lands. in The Oxford Handbook of Byzantine Art and Architecture. 2022;:233-249.
doi:10.1093/oxfordhb/9780190277352.013.49
https://hdl.handle.net/21.15107/rcub_dais_14315 .

Milanović, Ljubomir, "South Slavic Lands" in The Oxford Handbook of Byzantine Art and Architecture (2022):233-249,
https://doi.org/10.1093/oxfordhb/9780190277352.013.49 .,
https://hdl.handle.net/21.15107/rcub_dais_14315 .

TY  - CHAP
AU  - Милановић, Љубомир
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/13843
AB  - At the end of the second decade of the twentieth century, the city of Belgrade decided to build a chapel that would provide a space for the saying of prayers for the ill within the larger complex of the State Hospital in Belgrade. According to the proposal, the chapel would be unique in that it was to have four altars, one for each faith: Eastern Orthodox, Catholic, Jewish and Islamic. The city selected Dragomir Tadić (1893-1976) as architect. Undoubtedly driven by the competing challenges of building a chapel for four different religious communities while creating a visually, unified form, Tadić chose a stylistic amalgam of modernism and late neoclassical. Following the war, the communist administration turned its upper part into the city mortuary. In 1989 the chapel was returned to the Serbian Orthodox Church. During the 2000s, the Serbian Orthodox Church and municipal authorities undertook a program of renovation that would involve the integration of Serbo-Byzantine elements into the existing structure. The redesigned building became a hybrid, combining a Byzantine-styled cupola with the pre-existing classical portico. I argue that the renovation of the chapel of Saints Cosmas and Damian and the intention to make the building more easily recognizable as an Eastern Orthodox church, is an example of a revival of the assertion of national identity in architecture and the construction of national history through architecture.
PB  - Bucarest : Académie Roumaine Institut D’Études Sud-Est Européennes Société Roumaine D’Études Byzantines
T2  - Études Byzantines et Post-Byzantines
T1  - Re-animation of Byzantium: the case of the chapel of Saints Cosmas and Damian in Belgrade
SP  - 219
EP  - 237
VL  - III
UR  - https://hdl.handle.net/21.15107/rcub_dais_13843
ER  - 

@inbook{
author = "Милановић, Љубомир",
year = "2021",
abstract = "At the end of the second decade of the twentieth century, the city of Belgrade decided to build a chapel that would provide a space for the saying of prayers for the ill within the larger complex of the State Hospital in Belgrade. According to the proposal, the chapel would be unique in that it was to have four altars, one for each faith: Eastern Orthodox, Catholic, Jewish and Islamic. The city selected Dragomir Tadić (1893-1976) as architect. Undoubtedly driven by the competing challenges of building a chapel for four different religious communities while creating a visually, unified form, Tadić chose a stylistic amalgam of modernism and late neoclassical. Following the war, the communist administration turned its upper part into the city mortuary. In 1989 the chapel was returned to the Serbian Orthodox Church. During the 2000s, the Serbian Orthodox Church and municipal authorities undertook a program of renovation that would involve the integration of Serbo-Byzantine elements into the existing structure. The redesigned building became a hybrid, combining a Byzantine-styled cupola with the pre-existing classical portico. I argue that the renovation of the chapel of Saints Cosmas and Damian and the intention to make the building more easily recognizable as an Eastern Orthodox church, is an example of a revival of the assertion of national identity in architecture and the construction of national history through architecture.",
publisher = "Bucarest : Académie Roumaine Institut D’Études Sud-Est Européennes Société Roumaine D’Études Byzantines",
journal = "Études Byzantines et Post-Byzantines",
booktitle = "Re-animation of Byzantium: the case of the chapel of Saints Cosmas and Damian in Belgrade",
pages = "219-237",
volume = "III",
url = "https://hdl.handle.net/21.15107/rcub_dais_13843"
}

Милановић, Љ.. (2021). Re-animation of Byzantium: the case of the chapel of Saints Cosmas and Damian in Belgrade. in Études Byzantines et Post-Byzantines
Bucarest : Académie Roumaine Institut D’Études Sud-Est Européennes Société Roumaine D’Études Byzantines., III, 219-237.
https://hdl.handle.net/21.15107/rcub_dais_13843

Милановић Љ. Re-animation of Byzantium: the case of the chapel of Saints Cosmas and Damian in Belgrade. in Études Byzantines et Post-Byzantines. 2021;III:219-237.
https://hdl.handle.net/21.15107/rcub_dais_13843 .

Милановић, Љубомир, "Re-animation of Byzantium: the case of the chapel of Saints Cosmas and Damian in Belgrade" in Études Byzantines et Post-Byzantines, III (2021):219-237,
https://hdl.handle.net/21.15107/rcub_dais_13843 .

TY  - CHAP
AU  - Милановић, Љубомир
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/13474
AB  - Much recent literature has focused on distinguishing the icon from mere representations, with some scholars proposing they are best understood as gateways into another world. Historians and theorists of the icon have stressed its status as a liminal object, through which God observes the viewer and by which the viewer gains access to divine presence. The icon’s power is therefore understood not to derive from what is depicted on its pictorial surface, but through its ability to mediate the relation between the human and the sacred. The capacity of the icon to function as a threshold between earthly and heavenly realms is both underscored and problematized in paintings in which icons themselves are figured as discrete objects within historical contexts. Such representations raise the question of how the special status of the icon, of its promise of access to atemporal Being, operates within a purportedly real setting that records specific events and actual sacred ceremonies. This tension between historicizing representation and the essentially atemporal operation of the icon is further complicated when an icon is placed in dialogue with a relic, namely, the body of a dead saint. This is precisely the case in the remarkable thirteenth century fresco painting showing the translatio of the body of St. Simeon Nemanja from Mount Athos to the Studenica monastery in 1207. The fresco depicting the translatio of the body of St. Simeon Nemanja is part of a cycle representing his life, first painted in the chapel dedicated to the saint in the Studenica monastery, and subsequently painted in a similar manner in the Sopoćani and Gradac monasteries. In the fresco, the body of the saint is placed in front of the icon of the Theotokos. She operates here as a type of medatrix, as an intercessor between earthly and divine realms, anticipating the position of St. Simeon Nemanja who, as a saint, will move between these two realms. The icon has been turned toward the saint’s body, directing the Holy Mother’s gaze and beneficence to the dead saint whose head is elevated as if the relic is in the dialogue with Her. The relic of the saint in the frescoes at Studenica, Sopoćani and Gradac takes the position of the viewer of the icon. The saint’s body had an indeterminate status both in the ritual of translatio itself and in representations of the ceremony. Being neither fully alive nor dead it was understood to be in a state of perpetual non-decay and endowed with super-natural powers of healing and protection for the faithful. Being placed within a single depiction effaces ontological difference by showing the icon and the relic in relation to living bodies within a specific historical context. The special status of the icon, as a non-representation that promises access to the divine, and the relic, as a living-dead holy body, are here formally subsumed within an overarching representational schema in relation to an actual, embodied viewer. This paper investigates the complex interplay of modes of representation in relation to the different functions and ontological claims made by the icon and the saintly corporal relic. Their having been brought together within a single representational schema, simultaneously challenges and underscores their respective claims to mediate divine presence and create sacred space.
PB  - London : Routledge
T2  - Icons of Space. Studies in Hierotopy and Iconography
T1  - Encountering Presence: Icon/Relic/Viewer
SP  - 239
EP  - 257
UR  - https://hdl.handle.net/21.15107/rcub_dais_13474
ER  - 

@inbook{
author = "Милановић, Љубомир",
year = "2021",
abstract = "Much recent literature has focused on distinguishing the icon from mere representations, with some scholars proposing they are best understood as gateways into another world. Historians and theorists of the icon have stressed its status as a liminal object, through which God observes the viewer and by which the viewer gains access to divine presence. The icon’s power is therefore understood not to derive from what is depicted on its pictorial surface, but through its ability to mediate the relation between the human and the sacred. The capacity of the icon to function as a threshold between earthly and heavenly realms is both underscored and problematized in paintings in which icons themselves are figured as discrete objects within historical contexts. Such representations raise the question of how the special status of the icon, of its promise of access to atemporal Being, operates within a purportedly real setting that records specific events and actual sacred ceremonies. This tension between historicizing representation and the essentially atemporal operation of the icon is further complicated when an icon is placed in dialogue with a relic, namely, the body of a dead saint. This is precisely the case in the remarkable thirteenth century fresco painting showing the translatio of the body of St. Simeon Nemanja from Mount Athos to the Studenica monastery in 1207. The fresco depicting the translatio of the body of St. Simeon Nemanja is part of a cycle representing his life, first painted in the chapel dedicated to the saint in the Studenica monastery, and subsequently painted in a similar manner in the Sopoćani and Gradac monasteries. In the fresco, the body of the saint is placed in front of the icon of the Theotokos. She operates here as a type of medatrix, as an intercessor between earthly and divine realms, anticipating the position of St. Simeon Nemanja who, as a saint, will move between these two realms. The icon has been turned toward the saint’s body, directing the Holy Mother’s gaze and beneficence to the dead saint whose head is elevated as if the relic is in the dialogue with Her. The relic of the saint in the frescoes at Studenica, Sopoćani and Gradac takes the position of the viewer of the icon. The saint’s body had an indeterminate status both in the ritual of translatio itself and in representations of the ceremony. Being neither fully alive nor dead it was understood to be in a state of perpetual non-decay and endowed with super-natural powers of healing and protection for the faithful. Being placed within a single depiction effaces ontological difference by showing the icon and the relic in relation to living bodies within a specific historical context. The special status of the icon, as a non-representation that promises access to the divine, and the relic, as a living-dead holy body, are here formally subsumed within an overarching representational schema in relation to an actual, embodied viewer. This paper investigates the complex interplay of modes of representation in relation to the different functions and ontological claims made by the icon and the saintly corporal relic. Their having been brought together within a single representational schema, simultaneously challenges and underscores their respective claims to mediate divine presence and create sacred space.",
publisher = "London : Routledge",
journal = "Icons of Space. Studies in Hierotopy and Iconography",
booktitle = "Encountering Presence: Icon/Relic/Viewer",
pages = "239-257",
url = "https://hdl.handle.net/21.15107/rcub_dais_13474"
}

Милановић, Љ.. (2021). Encountering Presence: Icon/Relic/Viewer. in Icons of Space. Studies in Hierotopy and Iconography
London : Routledge., 239-257.
https://hdl.handle.net/21.15107/rcub_dais_13474

Милановић Љ. Encountering Presence: Icon/Relic/Viewer. in Icons of Space. Studies in Hierotopy and Iconography. 2021;:239-257.
https://hdl.handle.net/21.15107/rcub_dais_13474 .

Милановић, Љубомир, "Encountering Presence: Icon/Relic/Viewer" in Icons of Space. Studies in Hierotopy and Iconography (2021):239-257,
https://hdl.handle.net/21.15107/rcub_dais_13474 .

TY  - JOUR
AU  - Милановић, Љубомир
AU  - Пилиповић, Сања
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12907
AB  - Situated in the vicinity of the medieval fortress on the site of the old city cemetery in Smederevo, the Church of the Assumption of the Blessed Virgin represents the only preserved sacral monument from the medieval town of Smederevo. The fortress in Smederevo was built during the reign of Despot Djuradj Branković between 1428-1456, as part of the capital of medieval Serbia. There are no written records that speak of the construction, function or ktetor (founder) of the church. The church is of a small dimension, with a narthex, nave, two conches on its north and south sides, and a polygonal apse. The uneven stone and brick construction technique found on the facade suggests that its builders were interrupted or in a hurry. On the basis of stylistic characteristics, it can certainly be concluded that it belongs to Moravian architecture and was built in the first half of the fifteenth century. What is particularly startling on the church’s west facade is a roman spoil embedded in the upper north part of the wall, next to the main entrance to the church. The spoil consists of an upper part of a roman stele with a gable featuring a representation of Medusa’s head en face with two birds in the corners. With limited evidence concerning the founder of the church and its exact date this paper will try to elucidate one possible reason for embedding the spoil in the church wall in Smederevo. Also, it will discuss the purpose of Medusa in Early Christian and Medieval art. The question that will be asked is was it simply a decorative element, or do it retain its ancient symbolism and meaning.
AB  - Situată în vecinătatea cetăţii medievale pe locul vechiului cimitir din Smederevo, Biserica Adormirea Maicii Domnului reprezintă singurul monument sacru conservat din orașul medieval Smederevo. Cetatea Smederevo a fost construită în timpul domniei despotului Djuradj Branković, între 1428-1456, ca parte a capitalei Serbiei medievale. Nu există date scrise care să vorbească despre construcţia, funcţia sau fondatorul bisericii. Biserica are o dimensiune mică, cu pronaos, naos, două conci pe laturile sale nordice și sudice și o absidă poligonală. Tehnica de construcţie inegală, din piatră și cărămidă, găsită pe faţadă sugerează că constructorii săi au fost întrerupţi sau au făcut-o în grabă. Pe baza caracteristicilor stilistice, se poate concluziona cu siguranţă că aparţine arhitecturii moraviene și a fost construit în prima jumătate a secolului al XVlea. Ceea ce este deosebit de uimitor pe faţada de vest a bisericii este o spolia romană înglobată în partea de nord a zidului, lângă intrarea principală a bisericii.Spolia constă dintr-o parte superioară a unei stele romane cu un fronton cu o reprezentare a capului Meduzei în faţă, cu două păsări în colţuri. Cu dovezi limitate cu privire la fondatorul bisericii și data exactă a acesteia, această lucrare va încerca să elucideze un posibil motiv pentru înglobarea acelei spolia în zidul bisericii din Smederevo. De asemenea, va discuta motivul Meduzei în arta timpurie creștină și medievală. Întrebarea care va fi pusă este dacă aceasta este pur și simplu un element decorativ sau își păstrează simbolismul și semnificaţia antică.
PB  - Iaşi  : Universitatea „Alexandruioan Cuza” Iaşi, Facultatea de istorie. Centrul de studii clasice şi creştine
T2  - Classica et Christiana
T1  - About Face: A Medusal Spoil in the Church of The Assumption of the Blessed Virgin in Smederevo
T1  - Despre chip: o spolia meduză în Biserica Adormirii Maicii Domnului din Smederevo
SP  - 261
EP  - 283
VL  - 16/1
UR  - https://hdl.handle.net/21.15107/rcub_dais_12907
ER  - 

@article{
author = "Милановић, Љубомир and Пилиповић, Сања",
year = "2021",
abstract = "Situated in the vicinity of the medieval fortress on the site of the old city cemetery in Smederevo, the Church of the Assumption of the Blessed Virgin represents the only preserved sacral monument from the medieval town of Smederevo. The fortress in Smederevo was built during the reign of Despot Djuradj Branković between 1428-1456, as part of the capital of medieval Serbia. There are no written records that speak of the construction, function or ktetor (founder) of the church. The church is of a small dimension, with a narthex, nave, two conches on its north and south sides, and a polygonal apse. The uneven stone and brick construction technique found on the facade suggests that its builders were interrupted or in a hurry. On the basis of stylistic characteristics, it can certainly be concluded that it belongs to Moravian architecture and was built in the first half of the fifteenth century. What is particularly startling on the church’s west facade is a roman spoil embedded in the upper north part of the wall, next to the main entrance to the church. The spoil consists of an upper part of a roman stele with a gable featuring a representation of Medusa’s head en face with two birds in the corners. With limited evidence concerning the founder of the church and its exact date this paper will try to elucidate one possible reason for embedding the spoil in the church wall in Smederevo. Also, it will discuss the purpose of Medusa in Early Christian and Medieval art. The question that will be asked is was it simply a decorative element, or do it retain its ancient symbolism and meaning., Situată în vecinătatea cetăţii medievale pe locul vechiului cimitir din Smederevo, Biserica Adormirea Maicii Domnului reprezintă singurul monument sacru conservat din orașul medieval Smederevo. Cetatea Smederevo a fost construită în timpul domniei despotului Djuradj Branković, între 1428-1456, ca parte a capitalei Serbiei medievale. Nu există date scrise care să vorbească despre construcţia, funcţia sau fondatorul bisericii. Biserica are o dimensiune mică, cu pronaos, naos, două conci pe laturile sale nordice și sudice și o absidă poligonală. Tehnica de construcţie inegală, din piatră și cărămidă, găsită pe faţadă sugerează că constructorii săi au fost întrerupţi sau au făcut-o în grabă. Pe baza caracteristicilor stilistice, se poate concluziona cu siguranţă că aparţine arhitecturii moraviene și a fost construit în prima jumătate a secolului al XVlea. Ceea ce este deosebit de uimitor pe faţada de vest a bisericii este o spolia romană înglobată în partea de nord a zidului, lângă intrarea principală a bisericii.Spolia constă dintr-o parte superioară a unei stele romane cu un fronton cu o reprezentare a capului Meduzei în faţă, cu două păsări în colţuri. Cu dovezi limitate cu privire la fondatorul bisericii și data exactă a acesteia, această lucrare va încerca să elucideze un posibil motiv pentru înglobarea acelei spolia în zidul bisericii din Smederevo. De asemenea, va discuta motivul Meduzei în arta timpurie creștină și medievală. Întrebarea care va fi pusă este dacă aceasta este pur și simplu un element decorativ sau își păstrează simbolismul și semnificaţia antică.",
publisher = "Iaşi  : Universitatea „Alexandruioan Cuza” Iaşi, Facultatea de istorie. Centrul de studii clasice şi creştine",
journal = "Classica et Christiana",
title = "About Face: A Medusal Spoil in the Church of The Assumption of the Blessed Virgin in Smederevo, Despre chip: o spolia meduză în Biserica Adormirii Maicii Domnului din Smederevo",
pages = "261-283",
volume = "16/1",
url = "https://hdl.handle.net/21.15107/rcub_dais_12907"
}

Милановић, Љ.,& Пилиповић, С.. (2021). About Face: A Medusal Spoil in the Church of The Assumption of the Blessed Virgin in Smederevo. in Classica et Christiana
Iaşi  : Universitatea „Alexandruioan Cuza” Iaşi, Facultatea de istorie. Centrul de studii clasice şi creştine., 16/1, 261-283.
https://hdl.handle.net/21.15107/rcub_dais_12907

Милановић Љ, Пилиповић С. About Face: A Medusal Spoil in the Church of The Assumption of the Blessed Virgin in Smederevo. in Classica et Christiana. 2021;16/1:261-283.
https://hdl.handle.net/21.15107/rcub_dais_12907 .

Милановић, Љубомир, Пилиповић, Сања, "About Face: A Medusal Spoil in the Church of The Assumption of the Blessed Virgin in Smederevo" in Classica et Christiana, 16/1 (2021):261-283,
https://hdl.handle.net/21.15107/rcub_dais_12907 .

TY  - CHAP
AU  - Милановић, Љубомир
PY  - 2020
UR  - https://dais.sanu.ac.rs/123456789/10057
AB  - The building program at the Archbishopric of Peć achieved its final form with the projects undertaken by the archbishop Danilo II (1324–1337). To the south of the Virgin Hodegetria, Danilo II added a parekklesion dedicated to St. Nicholas. During the seventeenth century, Patriarch Maximus (1655–1674 died 1680) decided to build a tomb for himself in front of the chapel and also to restore and re-paint it. Unable to replicate the old program, Patriarch Maksim devised his own, unique program, which was executed by the painter Radul. A fresco cycle dedicated to the life and wonders of St. Nicholas, which include scenes of the translatio of his relics from Myra to Bari in 1087, dominates the chapel and its vault. The motif of the ‘translatio’ of St. Nicholas’ relics, either as an individual composition, or as part of a large cycle of his life and miracles, was not a subject found in Serbian or Byzantine medieval art. The so-called illegal translation, or furta sacra, was never recognized by the Byzantine church in Constantinople. For that reason, the date of the translation was not introduced in the church calendar. It would be accepted in Medieval Russia and later in Serbia, but not depicted. Both orthodox churches accepted the date of translation as May 9th / 22th and included it in the liturgical calendar. This paper will elucidate the iconographic development of the translation of the relics of St. Nicholas in Serbian post -Byzantine art under the renewed Patriarchate of Peć. The possible origin of the scene in Serbian art will be discussed, as well as a reason for including the feast of the translation of St. Nicholas’ relics in the calendar of the Serbian Orthodox church.
PB  - Београд : Правни факултет Универзитета Унион у Београду
PB  - Београд : ЈП „Службени гласник“
T2  - ΝΟΜΟΦΥΛΑΞ Зборник радова у част Срђана Шаркића / NOMOPHYLAX Collection of papers in honor of Srđan Šarkić
T1  - Illegal Traffic: The Case of the Translatio of St. Nicholas in Bari
T1  - Илегални транспорт : случај преноса моштију Светог Николе у Бари
SP  - 395
EP  - 422
UR  - https://hdl.handle.net/21.15107/rcub_dais_10057
ER  - 

@inbook{
author = "Милановић, Љубомир",
year = "2020",
abstract = "The building program at the Archbishopric of Peć achieved its final form with the projects undertaken by the archbishop Danilo II (1324–1337). To the south of the Virgin Hodegetria, Danilo II added a parekklesion dedicated to St. Nicholas. During the seventeenth century, Patriarch Maximus (1655–1674 died 1680) decided to build a tomb for himself in front of the chapel and also to restore and re-paint it. Unable to replicate the old program, Patriarch Maksim devised his own, unique program, which was executed by the painter Radul. A fresco cycle dedicated to the life and wonders of St. Nicholas, which include scenes of the translatio of his relics from Myra to Bari in 1087, dominates the chapel and its vault. The motif of the ‘translatio’ of St. Nicholas’ relics, either as an individual composition, or as part of a large cycle of his life and miracles, was not a subject found in Serbian or Byzantine medieval art. The so-called illegal translation, or furta sacra, was never recognized by the Byzantine church in Constantinople. For that reason, the date of the translation was not introduced in the church calendar. It would be accepted in Medieval Russia and later in Serbia, but not depicted. Both orthodox churches accepted the date of translation as May 9th / 22th and included it in the liturgical calendar. This paper will elucidate the iconographic development of the translation of the relics of St. Nicholas in Serbian post -Byzantine art under the renewed Patriarchate of Peć. The possible origin of the scene in Serbian art will be discussed, as well as a reason for including the feast of the translation of St. Nicholas’ relics in the calendar of the Serbian Orthodox church.",
publisher = "Београд : Правни факултет Универзитета Унион у Београду, Београд : ЈП „Службени гласник“",
journal = "ΝΟΜΟΦΥΛΑΞ Зборник радова у част Срђана Шаркића / NOMOPHYLAX Collection of papers in honor of Srđan Šarkić",
booktitle = "Illegal Traffic: The Case of the Translatio of St. Nicholas in Bari, Илегални транспорт : случај преноса моштију Светог Николе у Бари",
pages = "395-422",
url = "https://hdl.handle.net/21.15107/rcub_dais_10057"
}

Милановић, Љ.. (2020). Illegal Traffic: The Case of the Translatio of St. Nicholas in Bari. in ΝΟΜΟΦΥΛΑΞ Зборник радова у част Срђана Шаркића / NOMOPHYLAX Collection of papers in honor of Srđan Šarkić
Београд : Правни факултет Универзитета Унион у Београду., 395-422.
https://hdl.handle.net/21.15107/rcub_dais_10057

Милановић Љ. Illegal Traffic: The Case of the Translatio of St. Nicholas in Bari. in ΝΟΜΟΦΥΛΑΞ Зборник радова у част Срђана Шаркића / NOMOPHYLAX Collection of papers in honor of Srđan Šarkić. 2020;:395-422.
https://hdl.handle.net/21.15107/rcub_dais_10057 .

Милановић, Љубомир, "Illegal Traffic: The Case of the Translatio of St. Nicholas in Bari" in ΝΟΜΟΦΥΛΑΞ Зборник радова у част Срђана Шаркића / NOMOPHYLAX Collection of papers in honor of Srđan Šarkić (2020):395-422,
https://hdl.handle.net/21.15107/rcub_dais_10057 .

TY  - CHAP
AU  - Милановић, Љубомир
PY  - 2020
UR  - https://dais.sanu.ac.rs/123456789/10051
AB  - Medieval representations of the ritual of translatio documented the circulation of relics both within and between medieval cultures. Reliquaries transmuted abject human remains into objects of veneration. Depictions of the ritual of translation charted this movement between the earthly and heavenly realms. Neither fully alive nor dead, the saint’s body was suspended in a state of perpetual non-decay and endowed with super-natural powers of healing and protection for the
faithful. This paper examines the mechanisms by which the ritual of translatio is represented visually as well as the iconographic signs and signifiers that make it recognizable. Based on written and visual sources, this paper explores the development of translatio scenes from late antiquity to the late fourteenth century, covering both Eastern and Western Christianity. This paper also discusses the meaning and role of the saints’ bodies in determining and forming the artistic representations of translatio.
PB  - Београд : Византолошки институт САНУ
T2  - Гласови и слике : облици комуникације на средњевековном Балкану (IV-XVI век) / Voices and Images : modes of communication in the medieval Balkans (IVth-XVIth centuries)
T1  - Визуелна комуникација кроз средњовековне представе преноса моштију (translatio)
T1  - Visual Communication through Medieval Representations of relic Translation (Translatio)
SP  - 381
EP  - 418
VL  - 48
UR  - https://hdl.handle.net/21.15107/rcub_dais_10051
ER  - 

@inbook{
author = "Милановић, Љубомир",
year = "2020",
abstract = "Medieval representations of the ritual of translatio documented the circulation of relics both within and between medieval cultures. Reliquaries transmuted abject human remains into objects of veneration. Depictions of the ritual of translation charted this movement between the earthly and heavenly realms. Neither fully alive nor dead, the saint’s body was suspended in a state of perpetual non-decay and endowed with super-natural powers of healing and protection for the
faithful. This paper examines the mechanisms by which the ritual of translatio is represented visually as well as the iconographic signs and signifiers that make it recognizable. Based on written and visual sources, this paper explores the development of translatio scenes from late antiquity to the late fourteenth century, covering both Eastern and Western Christianity. This paper also discusses the meaning and role of the saints’ bodies in determining and forming the artistic representations of translatio.",
publisher = "Београд : Византолошки институт САНУ",
journal = "Гласови и слике : облици комуникације на средњевековном Балкану (IV-XVI век) / Voices and Images : modes of communication in the medieval Balkans (IVth-XVIth centuries)",
booktitle = "Визуелна комуникација кроз средњовековне представе преноса моштију (translatio), Visual Communication through Medieval Representations of relic Translation (Translatio)",
pages = "381-418",
volume = "48",
url = "https://hdl.handle.net/21.15107/rcub_dais_10051"
}

Милановић, Љ.. (2020). Визуелна комуникација кроз средњовековне представе преноса моштију (translatio). in Гласови и слике : облици комуникације на средњевековном Балкану (IV-XVI век) / Voices and Images : modes of communication in the medieval Balkans (IVth-XVIth centuries)
Београд : Византолошки институт САНУ., 48, 381-418.
https://hdl.handle.net/21.15107/rcub_dais_10051

Милановић Љ. Визуелна комуникација кроз средњовековне представе преноса моштију (translatio). in Гласови и слике : облици комуникације на средњевековном Балкану (IV-XVI век) / Voices and Images : modes of communication in the medieval Balkans (IVth-XVIth centuries). 2020;48:381-418.
https://hdl.handle.net/21.15107/rcub_dais_10051 .

Милановић, Љубомир, "Визуелна комуникација кроз средњовековне представе преноса моштију (translatio)" in Гласови и слике : облици комуникације на средњевековном Балкану (IV-XVI век) / Voices and Images : modes of communication in the medieval Balkans (IVth-XVIth centuries), 48 (2020):381-418,
https://hdl.handle.net/21.15107/rcub_dais_10051 .

TY  - JOUR
AU  - Милановић, Љубомир
AU  - Пилиповић, Сања
PY  - 2020
UR  - https://dais.sanu.ac.rs/123456789/12897
AB  - This paper offers a new iconographic reading of a fragment of a Roman funerary stele. The fragment consists of a pediment with acroteria that was embedded as a piece of spolia in the south wall of the church of the Rukumija monastery. The fragment likely originates from the site of Viminacium, the capital of the province of Upper Moesia. The main part of the pediment was decorated with a relief depicting a Medusa’s head, while the reliefs on its acroteria have been identified by scholars as horsemen. Following an iconographic analysis and comparison with stelai from Viminacium, as well as from Noricum and Pannonia, the figures on the acroteria are interpreted as Dioscuri. Based on this interpretation, the fragment presents an example of funerary iconography that is rare not only in Viminacium and Upper Moesia, but also in the surrounding provinces. The fragment from Rukumija contributes to a better understanding of the iconography of the divine twins as symbols of immortality and thee psychopompe, as well as companions of the deceased in the afterlife. Until now, their representation on the acroteria of Roman funerary stelae was unknown, making the fragment of the stele from Rukumija unique.
PB  - Praha : Centre for Classical Studies at the Institute of Philosophy of the Czech Academy of Sciences
T2  - Eirene. Studia Graeca et Latina
T1  - The Dioscuri in funerary art : an unusual fragment of a stele from Viminacium
T1  - I Dioscuri nell'arte funeraria : insolito frammento della stele da Viminacium
SP  - 299
EP  - 322
VL  - 56
UR  - https://hdl.handle.net/21.15107/rcub_dais_12897
ER  - 

@article{
author = "Милановић, Љубомир and Пилиповић, Сања",
year = "2020",
abstract = "This paper offers a new iconographic reading of a fragment of a Roman funerary stele. The fragment consists of a pediment with acroteria that was embedded as a piece of spolia in the south wall of the church of the Rukumija monastery. The fragment likely originates from the site of Viminacium, the capital of the province of Upper Moesia. The main part of the pediment was decorated with a relief depicting a Medusa’s head, while the reliefs on its acroteria have been identified by scholars as horsemen. Following an iconographic analysis and comparison with stelai from Viminacium, as well as from Noricum and Pannonia, the figures on the acroteria are interpreted as Dioscuri. Based on this interpretation, the fragment presents an example of funerary iconography that is rare not only in Viminacium and Upper Moesia, but also in the surrounding provinces. The fragment from Rukumija contributes to a better understanding of the iconography of the divine twins as symbols of immortality and thee psychopompe, as well as companions of the deceased in the afterlife. Until now, their representation on the acroteria of Roman funerary stelae was unknown, making the fragment of the stele from Rukumija unique.",
publisher = "Praha : Centre for Classical Studies at the Institute of Philosophy of the Czech Academy of Sciences",
journal = "Eirene. Studia Graeca et Latina",
title = "The Dioscuri in funerary art : an unusual fragment of a stele from Viminacium, I Dioscuri nell'arte funeraria : insolito frammento della stele da Viminacium",
pages = "299-322",
volume = "56",
url = "https://hdl.handle.net/21.15107/rcub_dais_12897"
}

Милановић, Љ.,& Пилиповић, С.. (2020). The Dioscuri in funerary art : an unusual fragment of a stele from Viminacium. in Eirene. Studia Graeca et Latina
Praha : Centre for Classical Studies at the Institute of Philosophy of the Czech Academy of Sciences., 56, 299-322.
https://hdl.handle.net/21.15107/rcub_dais_12897

Милановић Љ, Пилиповић С. The Dioscuri in funerary art : an unusual fragment of a stele from Viminacium. in Eirene. Studia Graeca et Latina. 2020;56:299-322.
https://hdl.handle.net/21.15107/rcub_dais_12897 .

Милановић, Љубомир, Пилиповић, Сања, "The Dioscuri in funerary art : an unusual fragment of a stele from Viminacium" in Eirene. Studia Graeca et Latina, 56 (2020):299-322,
https://hdl.handle.net/21.15107/rcub_dais_12897 .

TY  - CHAP
AU  - Милановић, Љубомир
AU  - Пилиповић, Сања
PY  - 2019
UR  - https://dais.sanu.ac.rs/123456789/12896
AB  - Златни прстен са гемом од вишеслојног опала са представом Пегаза и Белерофонт
пориче потиче из Породина код Алексинца, данас се чува у Народном музеју у Београду. У
раду се истражује приказана тема, и указује се, колико је то могуће, на везу са археолошким
локалитетом „Градиште“ у селу Породин, одакле и потиче ово изузетно дело римског
златарства.
AB  - L’Anello d’oro con la gemma di opalo con figurazioni di Pegaso e Bellerofonte fu rinvenuto a Porodin, vicino ad Aleksinac, mentre oggi è conservato nel Museo Nazionale a Belgrado. L’argomento di questo studio si focalizza sul tema rappresentato, e si tenterà di individuare, per quanto sia possibile, il legame con la località di „Gradište“ nel paese di Porodin, dove è stato rinvenuto questo capolavoro di orefeceria romana.
PB  - Сврљиг : Центар за туризам, културу и спорт
T2  - Етно-културолошки зборник
T1  - Белерофонт кроти Пегаза : златни прстен из Породина код Алексинца
T1  - Bellerofonte che doma Pegaso : anello d’oro da Porodin vicino ad Aleksinac
SP  - 9
EP  - 21
VL  - 22
UR  - https://hdl.handle.net/21.15107/rcub_dais_12896
ER  - 

@inbook{
author = "Милановић, Љубомир and Пилиповић, Сања",
year = "2019",
abstract = "Златни прстен са гемом од вишеслојног опала са представом Пегаза и Белерофонт
пориче потиче из Породина код Алексинца, данас се чува у Народном музеју у Београду. У
раду се истражује приказана тема, и указује се, колико је то могуће, на везу са археолошким
локалитетом „Градиште“ у селу Породин, одакле и потиче ово изузетно дело римског
златарства., L’Anello d’oro con la gemma di opalo con figurazioni di Pegaso e Bellerofonte fu rinvenuto a Porodin, vicino ad Aleksinac, mentre oggi è conservato nel Museo Nazionale a Belgrado. L’argomento di questo studio si focalizza sul tema rappresentato, e si tenterà di individuare, per quanto sia possibile, il legame con la località di „Gradište“ nel paese di Porodin, dove è stato rinvenuto questo capolavoro di orefeceria romana.",
publisher = "Сврљиг : Центар за туризам, културу и спорт",
journal = "Етно-културолошки зборник",
booktitle = "Белерофонт кроти Пегаза : златни прстен из Породина код Алексинца, Bellerofonte che doma Pegaso : anello d’oro da Porodin vicino ad Aleksinac",
pages = "9-21",
volume = "22",
url = "https://hdl.handle.net/21.15107/rcub_dais_12896"
}

Милановић, Љ.,& Пилиповић, С.. (2019). Белерофонт кроти Пегаза : златни прстен из Породина код Алексинца. in Етно-културолошки зборник
Сврљиг : Центар за туризам, културу и спорт., 22, 9-21.
https://hdl.handle.net/21.15107/rcub_dais_12896

Милановић Љ, Пилиповић С. Белерофонт кроти Пегаза : златни прстен из Породина код Алексинца. in Етно-културолошки зборник. 2019;22:9-21.
https://hdl.handle.net/21.15107/rcub_dais_12896 .

Милановић, Љубомир, Пилиповић, Сања, "Белерофонт кроти Пегаза : златни прстен из Породина код Алексинца" in Етно-културолошки зборник, 22 (2019):9-21,
https://hdl.handle.net/21.15107/rcub_dais_12896 .

TY  - CHAP
AU  - Milanović, Ljubomir
PY  - 2018
UR  - https://dais.sanu.ac.rs/123456789/14160
AB  - For medieval viewers, representations of translatio demarcated a liminal space that permitted a mystical exchange between the earthly realm and the heavenly sphere as found on the Trier Ivory. Translatio was a process in which bodies that could no longer move themselves were circulated due to a belief in their being imbued with a divine agency that survived material death. Medieval representations of the ritual of translatio documented the circulation of relics both within and between medieval cultures. Reliquaries themselves functioned as framing devices that transformed abject human remains into vehicles of divine agency. Representations of translatio similarly framed the movement of relics in a manner in which this abject-precious, man-god, dead-living uncertainty is preserved and productively deployed in order to produce an affective response in the viewer. Dating from the sixth century, the Trier Ivory was cut from a single piece of material (13.1X 26.1 cm) and shows a scene of the translation of relics within an elaborate architectural setting. Its composition evokes liminal, underscoring the fluid border between internal and external space, and between presence and absence. The details of the ivory also generate transitional spaces in both primary and multiple, secondary, framing structures. This structure of layered encasement resonates with the progression from microcosm to macrocosm demonstrated by the architectural imagery. The designer has nestled a sequence of spaces one inside the other, moving from the reliquary, to the church, to the courtyard and finally to the city outside the gates, each space sitting inside the other like a series of Russian dolls. I argue that the indeterminate nature of the contents of the reliquary casket being transported in the Trier Ivory - the uncertainty of its containing fragments of a dead material or a living relic - reflects a fundamental problematic of all representations of translatio: An image of an immobile body is visually indistinguishable from a dead one. That no iconographic convention was developed to signify the ambivalent life-in-death status of the relic is telling. The ambivalent status of the relic was a key feature of both the ritual of translatio and its representations. One should not, therefore, view the absence of such a sign as a lack, but rather an indicator that this very ambivalence was an integral part of the efficacy of these sacral objects. This is to argue that this absence of a sign is being used to signify by conveying the indeterminacy that sat at the heart of the translatio ritual itself. Thus, scenes of translatio reproduced in material form, the social experience of these objects and ceremonies themselves: one had to believe, despite a lack of visual evidence, that the contents of the casket or on the bier was a true, immutable substance endowed with supernatural powers and not merely a piece of decaying flesh encased in gold. The liminal framing structures of the Trier Ivory powerfully evoke such an encounter with the dialectics of presence and absence, evidence and belief.
PB  - London : Routledge
T2  - Perceptions of the Body and Sacred Space in Late Antiquity and Byzantium
T1  - Delivering the sacred: Representing Translatio on the Trier Ivory
SP  - 106
EP  - 123
UR  - https://hdl.handle.net/21.15107/rcub_dais_14160
ER  - 

@inbook{
author = "Milanović, Ljubomir",
year = "2018",
abstract = "For medieval viewers, representations of translatio demarcated a liminal space that permitted a mystical exchange between the earthly realm and the heavenly sphere as found on the Trier Ivory. Translatio was a process in which bodies that could no longer move themselves were circulated due to a belief in their being imbued with a divine agency that survived material death. Medieval representations of the ritual of translatio documented the circulation of relics both within and between medieval cultures. Reliquaries themselves functioned as framing devices that transformed abject human remains into vehicles of divine agency. Representations of translatio similarly framed the movement of relics in a manner in which this abject-precious, man-god, dead-living uncertainty is preserved and productively deployed in order to produce an affective response in the viewer. Dating from the sixth century, the Trier Ivory was cut from a single piece of material (13.1X 26.1 cm) and shows a scene of the translation of relics within an elaborate architectural setting. Its composition evokes liminal, underscoring the fluid border between internal and external space, and between presence and absence. The details of the ivory also generate transitional spaces in both primary and multiple, secondary, framing structures. This structure of layered encasement resonates with the progression from microcosm to macrocosm demonstrated by the architectural imagery. The designer has nestled a sequence of spaces one inside the other, moving from the reliquary, to the church, to the courtyard and finally to the city outside the gates, each space sitting inside the other like a series of Russian dolls. I argue that the indeterminate nature of the contents of the reliquary casket being transported in the Trier Ivory - the uncertainty of its containing fragments of a dead material or a living relic - reflects a fundamental problematic of all representations of translatio: An image of an immobile body is visually indistinguishable from a dead one. That no iconographic convention was developed to signify the ambivalent life-in-death status of the relic is telling. The ambivalent status of the relic was a key feature of both the ritual of translatio and its representations. One should not, therefore, view the absence of such a sign as a lack, but rather an indicator that this very ambivalence was an integral part of the efficacy of these sacral objects. This is to argue that this absence of a sign is being used to signify by conveying the indeterminacy that sat at the heart of the translatio ritual itself. Thus, scenes of translatio reproduced in material form, the social experience of these objects and ceremonies themselves: one had to believe, despite a lack of visual evidence, that the contents of the casket or on the bier was a true, immutable substance endowed with supernatural powers and not merely a piece of decaying flesh encased in gold. The liminal framing structures of the Trier Ivory powerfully evoke such an encounter with the dialectics of presence and absence, evidence and belief.",
publisher = "London : Routledge",
journal = "Perceptions of the Body and Sacred Space in Late Antiquity and Byzantium",
booktitle = "Delivering the sacred: Representing Translatio on the Trier Ivory",
pages = "106-123",
url = "https://hdl.handle.net/21.15107/rcub_dais_14160"
}

Milanović, L.. (2018). Delivering the sacred: Representing Translatio on the Trier Ivory. in Perceptions of the Body and Sacred Space in Late Antiquity and Byzantium
London : Routledge., 106-123.
https://hdl.handle.net/21.15107/rcub_dais_14160

Milanović L. Delivering the sacred: Representing Translatio on the Trier Ivory. in Perceptions of the Body and Sacred Space in Late Antiquity and Byzantium. 2018;:106-123.
https://hdl.handle.net/21.15107/rcub_dais_14160 .

Milanović, Ljubomir, "Delivering the sacred: Representing Translatio on the Trier Ivory" in Perceptions of the Body and Sacred Space in Late Antiquity and Byzantium (2018):106-123,
https://hdl.handle.net/21.15107/rcub_dais_14160 .

TY  - JOUR
AU  - Lupis, Vinicije
AU  - Milanović, Ljubomir
PY  - 2018
UR  - https://dais.sanu.ac.rs/123456789/11568
AB  - У Цркви Светог Николе у Жакули у Жупи дубровачкој чува се византијски
литијски крст. Досадашња истраживања су га датовала између 6. и 10. века. Крст је
пронађен на локалитету Цркве Светог Ђурђа, која, највероватније, потиче из периода
између 10. и 12. века, као и некропола око цркве, са траговима ранијих укопавања.
Крст је капљичастог типа, са натписима који прослављају Светог архистратига Миха-
ила и помињу чудо у Хони. Рад се бави новим, прецизнијим датовањем самог крста,
као и утврђивањем његовог могућег порекла и функције.
AB  - A Byzantine processional cross is preserved in the church of St. Nicholas in Žakula in
Župa dubrovačka. Past research has dated the cross between the 6th and 10th centuries. This
artifact was found at the archeological site of St. George’s church, which was most likely constructed between the 10th–12th centuries. The cross is of a tear-shaped type and bears inscriptions that invoke the name of Archistrategos Michael and refer to his Miracle at Chonae. This paper aims to give a new, more precise date for the cross, as well as determining its possible
origin and function.
PB  - Београд : Византолошки институт САНУ
T2  - Зборник радова Византолошког института 55
T1  - Византијски литијски крст из Жупе Дубровачке / The Byzantine processional cross from Župa Dubrovačka
SP  - 107
EP  - 126
VL  - 55
DO  - 10.2298/ZRVI1855107L
UR  - https://hdl.handle.net/21.15107/rcub_dais_11568
ER  - 

@article{
author = "Lupis, Vinicije and Milanović, Ljubomir",
year = "2018",
abstract = "У Цркви Светог Николе у Жакули у Жупи дубровачкој чува се византијски
литијски крст. Досадашња истраживања су га датовала између 6. и 10. века. Крст је
пронађен на локалитету Цркве Светог Ђурђа, која, највероватније, потиче из периода
између 10. и 12. века, као и некропола око цркве, са траговима ранијих укопавања.
Крст је капљичастог типа, са натписима који прослављају Светог архистратига Миха-
ила и помињу чудо у Хони. Рад се бави новим, прецизнијим датовањем самог крста,
као и утврђивањем његовог могућег порекла и функције., A Byzantine processional cross is preserved in the church of St. Nicholas in Žakula in
Župa dubrovačka. Past research has dated the cross between the 6th and 10th centuries. This
artifact was found at the archeological site of St. George’s church, which was most likely constructed between the 10th–12th centuries. The cross is of a tear-shaped type and bears inscriptions that invoke the name of Archistrategos Michael and refer to his Miracle at Chonae. This paper aims to give a new, more precise date for the cross, as well as determining its possible
origin and function.",
publisher = "Београд : Византолошки институт САНУ",
journal = "Зборник радова Византолошког института 55",
title = "Византијски литијски крст из Жупе Дубровачке / The Byzantine processional cross from Župa Dubrovačka",
pages = "107-126",
volume = "55",
doi = "10.2298/ZRVI1855107L",
url = "https://hdl.handle.net/21.15107/rcub_dais_11568"
}

Lupis, V.,& Milanović, L.. (2018). Византијски литијски крст из Жупе Дубровачке / The Byzantine processional cross from Župa Dubrovačka. in Зборник радова Византолошког института 55
Београд : Византолошки институт САНУ., 55, 107-126.
https://doi.org/10.2298/ZRVI1855107L
https://hdl.handle.net/21.15107/rcub_dais_11568

Lupis V, Milanović L. Византијски литијски крст из Жупе Дубровачке / The Byzantine processional cross from Župa Dubrovačka. in Зборник радова Византолошког института 55. 2018;55:107-126.
doi:10.2298/ZRVI1855107L
https://hdl.handle.net/21.15107/rcub_dais_11568 .

Lupis, Vinicije, Milanović, Ljubomir, "Византијски литијски крст из Жупе Дубровачке / The Byzantine processional cross from Župa Dubrovačka" in Зборник радова Византолошког института 55, 55 (2018):107-126,
https://doi.org/10.2298/ZRVI1855107L .,
https://hdl.handle.net/21.15107/rcub_dais_11568 .

TY  - JOUR
AU  - Krsmanović, Bojana
AU  - Milanović, Ljubomir
PY  - 2017
UR  - https://dais.sanu.ac.rs/123456789/9219
AB  - The paper discusses twelve visual depictions that in all likelihood represent St. Ignatios of Constantinople and were created between the ninth and the thirteenth century. Most of these depictions show Patriarch Ignatios beardless, which reflects the fact that he was a eunuch of the ἐκτομίας category. The paper analyzes two iconographical elements distinctive of his portraits: beardlessness and youthful appearance. It concludes that, on the one hand, the artists who painted the beardless portraits of Ignatios strove to depict the saint as realistically as possible; while, on the other hand, his beardless and youthful appearance also had a metaphorical
meaning and served to highlight the chastity and purity of the eunuch saint.
PB  - Београд : Филозофски факултет- Институт за историју уметности
T2  - Зограф
T1  - Beards that matter. Visual representations of Patriarch Ignatios in Byzantine art
SP  - 25
EP  - 36
VL  - 41
DO  - 10.2298/ZOG1741025K
UR  - https://hdl.handle.net/21.15107/rcub_dais_9219
ER  - 

@article{
author = "Krsmanović, Bojana and Milanović, Ljubomir",
year = "2017",
abstract = "The paper discusses twelve visual depictions that in all likelihood represent St. Ignatios of Constantinople and were created between the ninth and the thirteenth century. Most of these depictions show Patriarch Ignatios beardless, which reflects the fact that he was a eunuch of the ἐκτομίας category. The paper analyzes two iconographical elements distinctive of his portraits: beardlessness and youthful appearance. It concludes that, on the one hand, the artists who painted the beardless portraits of Ignatios strove to depict the saint as realistically as possible; while, on the other hand, his beardless and youthful appearance also had a metaphorical
meaning and served to highlight the chastity and purity of the eunuch saint.",
publisher = "Београд : Филозофски факултет- Институт за историју уметности",
journal = "Зограф",
title = "Beards that matter. Visual representations of Patriarch Ignatios in Byzantine art",
pages = "25-36",
volume = "41",
doi = "10.2298/ZOG1741025K",
url = "https://hdl.handle.net/21.15107/rcub_dais_9219"
}

Krsmanović, B.,& Milanović, L.. (2017). Beards that matter. Visual representations of Patriarch Ignatios in Byzantine art. in Зограф
Београд : Филозофски факултет- Институт за историју уметности., 41, 25-36.
https://doi.org/10.2298/ZOG1741025K
https://hdl.handle.net/21.15107/rcub_dais_9219

Krsmanović B, Milanović L. Beards that matter. Visual representations of Patriarch Ignatios in Byzantine art. in Зограф. 2017;41:25-36.
doi:10.2298/ZOG1741025K
https://hdl.handle.net/21.15107/rcub_dais_9219 .

Krsmanović, Bojana, Milanović, Ljubomir, "Beards that matter. Visual representations of Patriarch Ignatios in Byzantine art" in Зограф, 41 (2017):25-36,
https://doi.org/10.2298/ZOG1741025K .,
https://hdl.handle.net/21.15107/rcub_dais_9219 .

TY  - CHAP
AU  - Milanović, Ljubomir
PY  - 2015
UR  - https://dais.sanu.ac.rs/123456789/14381
AB  - The diptych from the Hilandar monastery is embellished with the twenty-four miniatures painted on parchment with the same number of scenes from Christ’s life all placed in exquisite decorated frames. Scholars date the diptych to the last quarter of the thirteenth century to the beginning of the fourteenth century, associating it with King Milutin and locate its origin in a Venetian workshop. The two scenes of the Chairete and the Incredulity of Thomas in the diptych belong to a post-Resurrection cycle and are based on the gospel account that explicitly refers to a tangible and human Christ. The aim of this paper is to address the multivalent meaning - iconographic, liturgical, and theological – of these two post-Resurrection scenes. Both exhibit iconography that emphasizes touch as providing ultimate proof of Christ’s dual nature and His bodily Resurrection. Their iconography of touch will be explored in the context of the diptych’s decoration and materiality.
AB  - У ризници манастира Хиландара чува се диптих чије тачно порекло и датум израде нису сасвим разјашњени. Већина историчара претпоставља да је диптих настао у Венецији и повезују га са периодом владавине краља Милутина или неког из владарске династије Немањића. Диптих је богато украшен представама двадесет и четири сценe из Христовог живота и страдања. Поред дванаест великих празника, изузев Успењa Богородице, ту су још представљене сцене Христових посмртних јављања којих има укупно четири. Две сцене из овог циклуса, Христово јављање мироносицама и Неверовање Томино заснивају се на тексту јеванђеља који експлицитно наглашава Христово телесно васкрснуће и прве физичке контакте после васкрснућа. Рад се бави проучавањем иконографских, литургијских и теолошких аспеката композиција Христовог јављања мироносицама и Неверовања Томиног у контексту диптиха и његове богате декорације. Посебан акценат је на материјалности и инсистирању на додиру у сврху прихватања истине, тј. потврде обећаног спасења људи у Христу од греха и смрти.
PB  - Београд : Византолошки институт САНУ
PB  - Београд : Задужбина светог манастира Хиландара
T2  - ΠΕΡΙΒΟΛΟΣ
T1  - Illuminating touch: Post-resurrection scenes on the diptych from the Hilandar monastery
T1  - Додир просветљења: сцене Христових посмртних јављања на Хиландарском диптиху
SP  - 189
EP  - 205
VL  - 44/1
UR  - https://hdl.handle.net/21.15107/rcub_dais_14381
ER  - 

@inbook{
author = "Milanović, Ljubomir",
year = "2015",
abstract = "The diptych from the Hilandar monastery is embellished with the twenty-four miniatures painted on parchment with the same number of scenes from Christ’s life all placed in exquisite decorated frames. Scholars date the diptych to the last quarter of the thirteenth century to the beginning of the fourteenth century, associating it with King Milutin and locate its origin in a Venetian workshop. The two scenes of the Chairete and the Incredulity of Thomas in the diptych belong to a post-Resurrection cycle and are based on the gospel account that explicitly refers to a tangible and human Christ. The aim of this paper is to address the multivalent meaning - iconographic, liturgical, and theological – of these two post-Resurrection scenes. Both exhibit iconography that emphasizes touch as providing ultimate proof of Christ’s dual nature and His bodily Resurrection. Their iconography of touch will be explored in the context of the diptych’s decoration and materiality., У ризници манастира Хиландара чува се диптих чије тачно порекло и датум израде нису сасвим разјашњени. Већина историчара претпоставља да је диптих настао у Венецији и повезују га са периодом владавине краља Милутина или неког из владарске династије Немањића. Диптих је богато украшен представама двадесет и четири сценe из Христовог живота и страдања. Поред дванаест великих празника, изузев Успењa Богородице, ту су још представљене сцене Христових посмртних јављања којих има укупно четири. Две сцене из овог циклуса, Христово јављање мироносицама и Неверовање Томино заснивају се на тексту јеванђеља који експлицитно наглашава Христово телесно васкрснуће и прве физичке контакте после васкрснућа. Рад се бави проучавањем иконографских, литургијских и теолошких аспеката композиција Христовог јављања мироносицама и Неверовања Томиног у контексту диптиха и његове богате декорације. Посебан акценат је на материјалности и инсистирању на додиру у сврху прихватања истине, тј. потврде обећаног спасења људи у Христу од греха и смрти.",
publisher = "Београд : Византолошки институт САНУ, Београд : Задужбина светог манастира Хиландара",
journal = "ΠΕΡΙΒΟΛΟΣ",
booktitle = "Illuminating touch: Post-resurrection scenes on the diptych from the Hilandar monastery, Додир просветљења: сцене Христових посмртних јављања на Хиландарском диптиху",
pages = "189-205",
volume = "44/1",
url = "https://hdl.handle.net/21.15107/rcub_dais_14381"
}

Milanović, L.. (2015). Illuminating touch: Post-resurrection scenes on the diptych from the Hilandar monastery. in ΠΕΡΙΒΟΛΟΣ
Београд : Византолошки институт САНУ., 44/1, 189-205.
https://hdl.handle.net/21.15107/rcub_dais_14381

Milanović L. Illuminating touch: Post-resurrection scenes on the diptych from the Hilandar monastery. in ΠΕΡΙΒΟΛΟΣ. 2015;44/1:189-205.
https://hdl.handle.net/21.15107/rcub_dais_14381 .

Milanović, Ljubomir, "Illuminating touch: Post-resurrection scenes on the diptych from the Hilandar monastery" in ΠΕΡΙΒΟΛΟΣ, 44/1 (2015):189-205,
https://hdl.handle.net/21.15107/rcub_dais_14381 .

TY  - JOUR
AU  - Milanović, Ljubomir
PY  - 2013
UR  - https://dais.sanu.ac.rs/123456789/7209
AB  - The katholikon of the Hosios Loukas monastery, built around the fi rst quarter of the eleventh century, has a narthex with a mosaic decoration on its west side. The Incredulity of Thomas is included amongst the scenes of the Passion. This paper examines the iconographic, liturgical, and dogmatic roles of the Incredulity within the context of the overall program and the liminal space of the narthex. This monumental representation evidences how depictions of the Incredulity engaged with changing beliefs concerning the senses and faith. In particular, I focus on the implications of the believer’s bi-directional movement through the narthex on entering and exiting the church. Iconographically, the representation of a door behind Christ and His wound are understood as symbolic conformation of His divine nature and a marker of the path believers should follow to attain salvation. As a confi rmation of Christ’s dual nature, the Incredulity of Thomas is read in relation to funerary and Eucharistic contexts as relating to the narthex of Hosios Loukas.
AB  - Рад се бави проучавањем иконографских, литургијских и догматских аспеката композиције Неверовања Томиног у оквиру припрате католикона манастира Хосиос Лукас као транзиционалног или лиминалног простора, и у контексту остале мозаичке декорације припрате. Посебно се сагледава однос слике и посматрача у постиконокластичком периоду, када се више пажње посвећује управо емоционалном карактеру слике и емпатичкој реакцији на исту. Због недостатка типика цркве и друге релевантне документације, тешко је одредити ритуалну намену припрате у католикону манастира Хосиос Лукас. На основу типика других манастира једанаестог и дванаестог века може се извести закључак да су вероватно било обреда фунерарног карактера или повезани са ритуалом Освећења воде. Представа Христа Пантократора изнад централних врата, која из припрате воде у наос цркве, има есхатолошку симболику, како на улазу у сам храм, тако и приликом напуштања.
PB  - Београд : Византолошки институт САНУ
T2  - Зборник радова Византолошког института САНУ
T1  - On the threshold of certainty: The Incredulity of Thomas in the narthex of the katholikon of the Hosios Loukas Monastery
T1  - На прагу извесности: Представа Неверства Томиног у припрати католикона Манастира Хосиос Лукас
SP  - 367
EP  - 388
VL  - 50
IS  - 1
DO  - 10.2298/ZRVI1350367M
UR  - https://hdl.handle.net/21.15107/rcub_dais_7209
ER  - 

@article{
author = "Milanović, Ljubomir",
year = "2013",
abstract = "The katholikon of the Hosios Loukas monastery, built around the fi rst quarter of the eleventh century, has a narthex with a mosaic decoration on its west side. The Incredulity of Thomas is included amongst the scenes of the Passion. This paper examines the iconographic, liturgical, and dogmatic roles of the Incredulity within the context of the overall program and the liminal space of the narthex. This monumental representation evidences how depictions of the Incredulity engaged with changing beliefs concerning the senses and faith. In particular, I focus on the implications of the believer’s bi-directional movement through the narthex on entering and exiting the church. Iconographically, the representation of a door behind Christ and His wound are understood as symbolic conformation of His divine nature and a marker of the path believers should follow to attain salvation. As a confi rmation of Christ’s dual nature, the Incredulity of Thomas is read in relation to funerary and Eucharistic contexts as relating to the narthex of Hosios Loukas., Рад се бави проучавањем иконографских, литургијских и догматских аспеката композиције Неверовања Томиног у оквиру припрате католикона манастира Хосиос Лукас као транзиционалног или лиминалног простора, и у контексту остале мозаичке декорације припрате. Посебно се сагледава однос слике и посматрача у постиконокластичком периоду, када се више пажње посвећује управо емоционалном карактеру слике и емпатичкој реакцији на исту. Због недостатка типика цркве и друге релевантне документације, тешко је одредити ритуалну намену припрате у католикону манастира Хосиос Лукас. На основу типика других манастира једанаестог и дванаестог века може се извести закључак да су вероватно било обреда фунерарног карактера или повезани са ритуалом Освећења воде. Представа Христа Пантократора изнад централних врата, која из припрате воде у наос цркве, има есхатолошку симболику, како на улазу у сам храм, тако и приликом напуштања.",
publisher = "Београд : Византолошки институт САНУ",
journal = "Зборник радова Византолошког института САНУ",
title = "On the threshold of certainty: The Incredulity of Thomas in the narthex of the katholikon of the Hosios Loukas Monastery, На прагу извесности: Представа Неверства Томиног у припрати католикона Манастира Хосиос Лукас",
pages = "367-388",
volume = "50",
number = "1",
doi = "10.2298/ZRVI1350367M",
url = "https://hdl.handle.net/21.15107/rcub_dais_7209"
}

Milanović, L.. (2013). On the threshold of certainty: The Incredulity of Thomas in the narthex of the katholikon of the Hosios Loukas Monastery. in Зборник радова Византолошког института САНУ
Београд : Византолошки институт САНУ., 50(1), 367-388.
https://doi.org/10.2298/ZRVI1350367M
https://hdl.handle.net/21.15107/rcub_dais_7209

Milanović L. On the threshold of certainty: The Incredulity of Thomas in the narthex of the katholikon of the Hosios Loukas Monastery. in Зборник радова Византолошког института САНУ. 2013;50(1):367-388.
doi:10.2298/ZRVI1350367M
https://hdl.handle.net/21.15107/rcub_dais_7209 .

Milanović, Ljubomir, "On the threshold of certainty: The Incredulity of Thomas in the narthex of the katholikon of the Hosios Loukas Monastery" in Зборник радова Византолошког института САНУ, 50, no. 1 (2013):367-388,
https://doi.org/10.2298/ZRVI1350367M .,
https://hdl.handle.net/21.15107/rcub_dais_7209 .