The Bay of Cattaro (Kotor) School of Icon-Painting 1680–1860
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Relying on post-Byzantine tradition, eleven painters from five generations of the Dimitrijević-Rafailović family, accompanied by Maksim Tujković, painted several thousand icons and several hundred iconostases between the late seventeenth and the second half of the nineteenth century. They worked in major Orthodox Christian monasteries in Montenegro, Kosovo and Metohija, Bosnia and Herzegovina and Dalmatia, but their works can mostly be found in modest village churches in the Bay of Kotor (Cattaro) and on the South Adriatic coast. The decoration of these churches was financially supported by the local population headed by elders. Along with a reconstruction of their biographies and a chronological overview of their major works, this paper seeks to trace stylistic changes in the Bay of Kotor school of icon-painting. While simply varying a thematic repertory established in earlier periods, the painters from the Bay of Kotor were gradually introducing new details and themes adopted from We...stern European Baroque art under indirect influences coming from the monastery of Hilandar, Corfu, Venice and Russia. This process makes this indigenous school of icon-painting, which spanned almost two centuries, comparable to the work of Serbian traditional religious painters (zografs) and illuminators active north of the Sava and Danube rivers after the Great Migration of the Serbs (1690). Despite differences between the two, which resulted from different cultural and historical circumstances in which Serbs lived under Ottoman, Venetian and Habsburg rules, similarities in iconography and style, which were inspired by an urge to counteract proselytic pressures, are considerably more important.
Keywords:
icon-painting / woodcarving / frescoes / Dimitrijević-Rafailović family / Maksim Tujković / Bay of Cattaro (Kotor) / Risan / Morača monasterySource:
Balcanica, 2014, XLV, 187-202Publisher:
- Belgrade : Institute for Balkan Studies, Serbian Academy of Sciences and Arts
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http://www.doiserbia.nb.rs/Article.aspx?id=0350-76531445187Shttps://dais.sanu.ac.rs/123456789/6093
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Балканолошки институт САНУ / Institute for Balkan Studies SASATY - JOUR AU - Stošić, Ljiljana PY - 2014 UR - http://www.doiserbia.nb.rs/Article.aspx?id=0350-76531445187S UR - https://dais.sanu.ac.rs/123456789/6093 AB - Relying on post-Byzantine tradition, eleven painters from five generations of the Dimitrijević-Rafailović family, accompanied by Maksim Tujković, painted several thousand icons and several hundred iconostases between the late seventeenth and the second half of the nineteenth century. They worked in major Orthodox Christian monasteries in Montenegro, Kosovo and Metohija, Bosnia and Herzegovina and Dalmatia, but their works can mostly be found in modest village churches in the Bay of Kotor (Cattaro) and on the South Adriatic coast. The decoration of these churches was financially supported by the local population headed by elders. Along with a reconstruction of their biographies and a chronological overview of their major works, this paper seeks to trace stylistic changes in the Bay of Kotor school of icon-painting. While simply varying a thematic repertory established in earlier periods, the painters from the Bay of Kotor were gradually introducing new details and themes adopted from Western European Baroque art under indirect influences coming from the monastery of Hilandar, Corfu, Venice and Russia. This process makes this indigenous school of icon-painting, which spanned almost two centuries, comparable to the work of Serbian traditional religious painters (zografs) and illuminators active north of the Sava and Danube rivers after the Great Migration of the Serbs (1690). Despite differences between the two, which resulted from different cultural and historical circumstances in which Serbs lived under Ottoman, Venetian and Habsburg rules, similarities in iconography and style, which were inspired by an urge to counteract proselytic pressures, are considerably more important. PB - Belgrade : Institute for Balkan Studies, Serbian Academy of Sciences and Arts T2 - Balcanica T1 - The Bay of Cattaro (Kotor) School of Icon-Painting 1680–1860 SP - 187 EP - 202 IS - XLV DO - 10.2298/BALC1445187S UR - https://hdl.handle.net/21.15107/rcub_dais_6093 ER -
@article{ author = "Stošić, Ljiljana", year = "2014", abstract = "Relying on post-Byzantine tradition, eleven painters from five generations of the Dimitrijević-Rafailović family, accompanied by Maksim Tujković, painted several thousand icons and several hundred iconostases between the late seventeenth and the second half of the nineteenth century. They worked in major Orthodox Christian monasteries in Montenegro, Kosovo and Metohija, Bosnia and Herzegovina and Dalmatia, but their works can mostly be found in modest village churches in the Bay of Kotor (Cattaro) and on the South Adriatic coast. The decoration of these churches was financially supported by the local population headed by elders. Along with a reconstruction of their biographies and a chronological overview of their major works, this paper seeks to trace stylistic changes in the Bay of Kotor school of icon-painting. While simply varying a thematic repertory established in earlier periods, the painters from the Bay of Kotor were gradually introducing new details and themes adopted from Western European Baroque art under indirect influences coming from the monastery of Hilandar, Corfu, Venice and Russia. This process makes this indigenous school of icon-painting, which spanned almost two centuries, comparable to the work of Serbian traditional religious painters (zografs) and illuminators active north of the Sava and Danube rivers after the Great Migration of the Serbs (1690). Despite differences between the two, which resulted from different cultural and historical circumstances in which Serbs lived under Ottoman, Venetian and Habsburg rules, similarities in iconography and style, which were inspired by an urge to counteract proselytic pressures, are considerably more important.", publisher = "Belgrade : Institute for Balkan Studies, Serbian Academy of Sciences and Arts", journal = "Balcanica", title = "The Bay of Cattaro (Kotor) School of Icon-Painting 1680–1860", pages = "187-202", number = "XLV", doi = "10.2298/BALC1445187S", url = "https://hdl.handle.net/21.15107/rcub_dais_6093" }
Stošić, L.. (2014). The Bay of Cattaro (Kotor) School of Icon-Painting 1680–1860. in Balcanica Belgrade : Institute for Balkan Studies, Serbian Academy of Sciences and Arts.(XLV), 187-202. https://doi.org/10.2298/BALC1445187S https://hdl.handle.net/21.15107/rcub_dais_6093
Stošić L. The Bay of Cattaro (Kotor) School of Icon-Painting 1680–1860. in Balcanica. 2014;(XLV):187-202. doi:10.2298/BALC1445187S https://hdl.handle.net/21.15107/rcub_dais_6093 .
Stošić, Ljiljana, "The Bay of Cattaro (Kotor) School of Icon-Painting 1680–1860" in Balcanica, no. XLV (2014):187-202, https://doi.org/10.2298/BALC1445187S ., https://hdl.handle.net/21.15107/rcub_dais_6093 .