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Svakako jedan od najznačajnijih radova Marićevih iz oblasti likovne umetnosti – sudeći bar po obimu, objavljen je u suton mirnodopskog razdoblja između dva svetska rata, 1939. godine, u dva nastavka, u beogradskom časopisu Srpski književni glasnik, jednom od najuglednijih u to vreme. Rad Marićev se i danas može upotrebiti : za to jemči njegovo proživljeno, na izvorima proučeno iskustvo francuskog slikarstva, potkrepljeno odgovarajućom relevantnom literaturom na tri svetska jezika, te razgovorima sa onovremenim starim majstorima likovne umetnosti. Marić je u ovoj studiji – da se izrazim na slikarski način – sav u linijama, pouzdanim, odsečnim, kadikad uzbudljivim, pa i potresnim.

During the 20th century Djura Jaksic’s painting was a subject of interest and research in the Serbian history of art, which resulted in scientific studies. The last complex reviews were published in 1978. Meanwhile, the knowledge about Djura Jaksic has grown and the methodological research principles have changed, which led us to reassess, analyse and discuss Djura Jaksic’s painting and his ideas from the point of view of the contemporary research of national and European art and visual culture of the 19th century. We also want to try to redefine critical and historiographical analyses of Jaksic’s painting that have been done up till now... Сликарство Ђуре Јакшића је током XX века било предмет интересовања и истраживања српске историје уметности, што је резултирало научним студијама од којих су последњи комплексни осврти објављени 1978. године. У међувремену сазнања о Ђури Јакшићу су се увећала а методолошки принципи истраживања изменили, што нас је подстакло да сликарство Ђуре Јакшића и његове идејне основе преиспитамо, анализирамо и тумачимо с позиције савремених истраживања националне и европске уметности и визуелне културе XIX века, као и да покушамо да редефинишемо досадашње критичке и историографске анализе Јакшићевог сликарства...

Photo monograph showing all the churches in Srem (a district in the Republic of Serbia). A short description with historical data and a link with more complete information (if available), as well as geographic coordinates, are provided with each presented object.

Along with the usual inscription that contains the title of the scene, depictions of the Dormition of Holy Virgin in the art of the Palaiologan period abound in texts inscribed on open books carried by holy bishops or scrolls held by the hymnographers and prophets included in the composition. Inscriptions can also be found in the episodes that sometimes accompany the central representation of the Virgin Mary's death. This paper seeks to compile the most typical examples of such inscriptions, identify their hymnographic and liturgical sources and offer iconographic interpretations.

During June and July 2014, at the site of Zadružni Dom in Skelani, archaeological investigations of the late antique building were carried out, whose rooms were first discovered in the course of archaeological excavations in 2008. The building has a rectangular base, of a northeast-southwest orientation, with the discovered part measuring 20.90 x 30.90 m. What is distinguishable within the asymmetrical base is an entrance, along with eleven rooms, two of which have apses, and a peristyle, i.e. an inner courtyard with a roofed corridor surrounding it which connects all the rooms of the building. During the archaeological excavations, entrance thresholds and extremely well preserved mortar floors with mortar skirting were noted in most rooms, along with traces of fresco painting on the walls and mosaic floors, executed in the opus tesselatum technique, observed in several rooms, the peristyle and the encompassing corridor. The discovered mosaic fragments are decorated with geometric motifs in the form of a swastika, a Solomon’s knot, a square, a rhomboid, overlapping circles, etc. and floral motifs of ivy and petals, as well as a double braid motif. Small but, unfortunately, fragmented pieces of a mosaic with a figural representation were discovered in the central part of the peristyle, while the mosaic in room K was decorated with a motif portraying the winged head of Medusa. Two construction phases were noted, an older and a younger, with the walls, which were two Roman feet wide and built from dressed stone, and the older mortar floor belonging to the older construction phase, and the second, younger construction phase comprising mosaics, fresco painting, the younger mortar floor and two furnaces. Contemplating the planimetry of the building, one gets the impression of the rooms being divided between two parts - public and private, whereby the public part of the building would be located near the main entrance hall and would comprise rooms A, B, C, D and F, with mortar floors and traces of fresco painting on the walls. The other, possibly private, part of the building would include five rooms G, H, I, J and K and the inner courtyard. Rooms I, J and K had floor and wall heating, while rooms G and H had an arched apse and possibly functioned as a reception hall and/or a stibadium. The hallway with mosaics, which flanks the inner courtyard, was most likely roofed. Traces of burning in the north-western corridor testify to the destruction of the building in a fire. Based on the architectural elements and the traces of fresco painting and mosaics in the building at the site of Zadružni Dom in Skelani, it can be deduced that this is a late antique building which can roughly be dated to the period between the end of the 3rd and the mid-4th century AD, and whose lavish decoration implies that it was owned by an affluent resident of Skelani from the aforementioned period.

In this work, the phenomenon of silence in contemporary art is going to be analyzed as a paradigm of music, painting and film in the corespondence with contemporary theories. Silence in contemporary art is not articulated as a negation, absence or nothingness, but as a multidimensional space in which the plantitude of posibillities and future signifiers are mapped. Silence is also a form of language, speech and the way of communication, that by its concepts allows the constitution of the new form of work, the work in progress. Unlike the subordinated status in the traditional art, the silence is equalized with the sound and the image in the 20th and 21st century and whereby, it does not gain only the equality, but also the dominant role in some works. The change of status of work is causaly related to the change of the realtion in the triad consisting of the author, the interpretator and the audience that makes the suppresion of traditional patterns and hierarchies. In the 20th century, the most pronounced and central example of silence is the multimedial work of John Cage and his aesthetics of silence in which the inovative and interdisciplinary approaches in art are incorporated. In painting, the most extreme examples are the monochrome white and black paintings, while film on the other hand combines visual and auditive concept of silence that contributes to build up the characters and the course of action, and thereby form the complex network of meaning. In this work, I am introducing the term pyramidal theory of silence and pyramidal scheme that consequently gathers together all charasteristics and functions of silence and some premises of contemporary theories. I am proving with text The phenomenon of silence in contemporary art, that silence is a form of transdisciplinary and transmedial sign whereby, the silence is not only the accompanist and passive medium in the service of sound, but an equal, independent and very important phenomenon that pushes the boundaries of art and theory. U ovom radu, fenomen tišine u savremenoj umetnosti razmatraće se kao paradigma muzike, slikarstva i filma u korespondenciji sa savremenim teorijama. Tišina u savremenoj umetnosti nije artikulisana u vidu negacije, odsustva i ništavila, već kao multidimenzionalan prostor u kome je mapirano mnoštvo nesagledivih potencijalnosti i budućih označitelja. Tišina je i oblik govora, jezika i način komunikacije, koja svojim konceptima omogućava konstituisanje nove forme otvorenog dela, odnosno dela u pokretu. Za razliku od subordiniranog statusa u tradicionalnoj umetnosti, u 20. i 21. veku tišina se izjednačava sa zvukom i slikom, pri čemu ne stiče samo ravnopravnost, već i dominantnu ulogu u pojedinim delima. Promena statusa dela uzročno-posledično uslovljava i promenu odnosa u trijadi koju čine autor, izvođač i publika, čime se ukidaju ustaljeni tradicionalni obrasci i hijerarhije. Najizraženiji i centralni primer tišine u 20. veku je multimedijalno stvaralaštvo Džona Kejdža (John Cage) i njegova estetika tišine, u koju su inkorporirani inovativni i interdisciplinarni pristupi u umetnosti. U slikarstvu, najekstremniji primeri su monohromatske bele i crne slike, dok film objedinjuje vizuelni i zvučni koncept tišine, koji doprinosi izgradnji likova i toka radnje i tako formira složenu mrežu značenja. U ovom radu uvodim pojmove piramidalne teorije tišine i piramidalnog modela tišine, koji zaokružuju sve karakteristike i funkcije tišine u različitim umetnostima i pojedine premise savremenih teorija. Radom Fenomen tišine u umetnosti dokazujem da je tišina oblik transdisciplinarnog i transmedijskog znaka, pri čemu tišina nije samo pratilac i pasivno sredstvo u službi zvuka i slike, već ravnopravan, samostalan i veoma značajan fenomen koji pomera granice umetnosti i teorije.

The frescoes in the narthex of the Church of the Transfiguration at the Zrze Monastery near Prilep (1368/1369) depict several unusual themes, as well as a very rare iconography. The holy monks painted in the lower zone of frescoes can be interpreted as the three categories of monasticism: anchorites, representatives of coenobitic monasticism and monks who became the bishops and teachers of the Church. The remaining frescoes - an abbreviated cycle of Christ’s Passion with the Anapeson, the Holy Trinity in guise of the Hospitality of Abraham, with a heifer lamenting over a slaughtered calf, and the Communion of Apostles, with Judas heading communion with the wine - were painted under the influence of the liturgy served during Holy Week.

The paper deals with the wall paintings in the Church of St. Nicholas tes Rhodias near Arta. Many scenes and individual figures are identified for the first time, and the majority of inscriptions on the frescoes are deciphered. A significant part of the text consists of a detailed analysis of the iconographic program, with particular emphasis on the iconography and style of certain depictions, which are seldom encountered in Byzantine wall painting, or possess specific features. The findings suggest that the decoration should be dated in the second half of the thirteenth century.

Nakon početnih umetničkih traženja u trećoj deceniji XX veka, u slikarstvu Marka Čelebonovića, jedne od ključnih ličnosti srpske umetnosti XX veka, tokom tridesetih godina nastaje zrela slikarska celina od formativnog značaja za njegov celokupan opus. Koristeći se bogatom istoriografskom građom kao polazišnom osnovom, a podstaknut savremenim metodološkim praksama i interpretacijama, rad analizira poetiku ove slikarske celine kroz njene ključne elemente, sa posebnim akcentom na kontekste koji doprinose njenom potpunijem razumevanju kao reakcije na kompleksne socijalne, političke, kulturne i istorijske promene koje su obeležile vreme u kojem je ona nastajala. Following his artistic beginnings in the third decade of the twentieth century, during 1930s, one of the key figures of the twentieth century Serbian art, Marko Čelebonović, created a mature body of work that had a formative influence on his later art practice. Using a rich historiographical material as a starting point, and motivated by contemporary methodological practices and interpretations, the aim of this study is to analyze the poetics of Čelebonović’s work of the 1930s through its key elements. A special emphasis is given to the contexts that may contribute to its more complete understanding as a reaction to the intricate social, political, cultural and historical changes that have marked the time of its emergence.

У оквир сликаних тема цркве Светог Спаса у Штипу (сл. 1) улази фреска Свете Тројице чија је иконографија необична и, узимајући у обзир период у којем је настала, готово изузетна (сл. 3). Иако је ова фреска у литератури већ одавно поменута и анализирана, што важи и за сликарство цркве у целини, њена специфична појава у сликаном програму цркве омогућава детаљнију анализу значења сликаног програма свода. У раду је реч о симболици фресака у своду храма односно о идејној повезаности представе Свете Тројице и суседних сликаних тема у своду (сл.1а–6). Она се доводи у симболичну везу са представама Христових различитих видова и са мотивом Хетимасије поред које је приказана (сл. 1а–6), а појава Свете Тројице у форми необичног троглавог анђела се у раду оправдава и текстом службе празника Вазнесења којем је црква и посвећена. Despite its small dimensions, the church of Holy Ascension of Christ at Štip, built on the slope of the Kumlak hill above the Bregalnica tributary Otinja, better known as the Church of the Holy Savior, represents an important monument of Serbian medieval art of the last quarter of the 14th century (prior to 1388; fig. 1–6). Holy Savoior’s church is a very carefully built single-naved building covered by a barrel vault (fig. 1). It has been painted on two occasions (in the second half of the 14th century and repainted in 1601). The subject of this paper is the interpretation of the painted decoration in the vault of the church, belonging to the first fresco layer, and especially the symbolic connection existing between the unusual and rare representation of the Winged Holy Trinity in the form of an angel with three faces (fig.3), the Ascension (fig. 2), the Hetoimasia (fig. 4) and different types of Christ figured in the vault (fig. 1a, 2, 5). The barrel vault of the church contains five medallions rendering: Christ in mandorla carried by angels (the upper part of the Ascension; fig. 2), the Holy Trinity (fig.3), The Hetimasia (fig. 4), Christ Emanuel with wings (fig. 5), and the Mother of God Orans (fig. 6). Being marked by an inscription as Jesus Christ, the specific image of the three-faced Holy Trinity emphasizes the second person of the Holy Trinity, whose Incarnation and Ascension in flesh stressed in the service of the Ascension feast. In line with these observations, the representation of the Hetoimasia is interpreted as the image of the Holy Trinity, and it is concluded that different types of Christ allude to consubstantality the persons of the Holy Trinity.