UDC 75.

046(495 Athos)

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/ Original scientific paper

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. , , 1993, 77; . ,
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. . , XIV , , 4, 1968, 6876.
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. ,
, : , 1995, 572573, 600602; Ch.
Walter, The warrior saints in Byzantine art and tradition, Aldershot 2003, 133134.
4
, (1295), .
, cf. . , , 1990, 84101 (
1990). 1990, . M. Markovi, The Painter Eutychios Fa
ther of Michel Astrapas and Protomaster of the Frescoes in the Church of the Virgin Peribleptos in Ohrid, ,
38, 2010, 18, 22; idem, .
, , 35, 2011, 136 (. 267).

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1317. cf. . , . , , , 34, 1995, 136.
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cf. . , , , 4, 1938, 153, n. 7;
cf. . , , ,
15, 1957, 122140; , cf. Ch. Walter, St. Demetrius, the Myroblytos of Thessalonica,
: idem, Studies in Byzantine Iconography, London 1977, 167169.
. ( , 124125, n. 212) . (, op. cit., 81, n. 14).
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. , . . , , , 10, 1998, 201217.
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1998, 226; . , , 1998, 353; , cf. W. Taylor Hostet ter, Jr., In the heart of Hilandar. An interactive presentation of
the frescoes in the main church of the Hilandar monastery on Mt. Athos, Beograd 1998 (CD-ROM).
11
, op. cit., 8283.

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12
, cf. . , , 1958;
D. C. Winf ield, Middle and later Byzantine wall painting methods ( comparative study), DOP, 22, 1968, 63139.
13
cf. H. Buchthal, The musterbuch of Wolfenbttel and its position in the art of the thirteenth
century, Wien 1979; R. W. Scheller, Exemplum: Model-book drawings and the practice of artistic transimission in
the middle ages (ca. 900ca. 1450), Amsterdam 1995.
14
G. Millet, Recherches sur liconographie de lvangile aux XIV, XV et XVI sicles daprs les monuments de
Mistra, de la Macdoine et du Mont-Athos, Par is 1916, 32.
15
. -,
, , X/23, 1966, 203218; idem,
, 1967, 230233.

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16
V. J. Djuri, Fresques Medievales a Chilandar, Actes du XIIe congrs international des tudes byzantines,
III, Beog rad 1964, 78.
17
Idem, La peinture de Chilandar a l poque du roi Milutin, , 4, 1978, 3141.
18
, , 270.
19
Ibidem, 271.
20
, , 241.
21
Ibidem, 241242.
22
Idem, . ,
, , XVII/2, 2004, 110112.
23
Idem, . . , :
IV, 2006, 282283.
24
Ibidem, 284, . 3.
25
Ibidem, 285.
26
Ibidem, 287288, . 6, 7.

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Ibidem, 289.
Idem, , ,
44, 2007, 353362.
29
. , ,
1986, 111, 121, 124, 126, 263266 passim; V. J. Djuri, La peinture de Chilandar, 3141.
30
. -, , 213, . 37;
, .
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31
. , , , 1973, 112121.
27

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, 13221323, - .33
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Z. Blai, Tehnika i konzervacija naih fresaka, Skoplje 1958.

L. Brehier, Les vielles eglises serbes. Impressions de voyage dun congressiste, Nova Evropa, XXIV/1, 1931.
H. Buchtal, The musterbuch of Wolfenbttel and its position in the art of the thirteenth century, Wien 1979.
Ch. Walter, St. Demetrius The Myroblytos of Thessalonica, in: Studies in Byzantine Iconography, London 1977.
Ch. Walter, The warrior saints in byzantine art and tradition, Bodmin 2003.
D. C. Winfield, Middle and later Byzantine wall painting methods (A comparative study), Dumbarton Oaks
Papers, XXII, 1968, 63139.
. , , 1990.
. , . , ., 12, 2007, 79100.
V. J. Djuri, Fresques Medievales a Chilandar, Actes du XIIe Congrs Intern. Des Etudes Byzantines, tom. III,
Beograd 1964, 5998.
. . , XIV , , 4, 1968, 6876.
V. J. Djuri, La peinture de Chilandar a l poque du roi Milutin, , 4, 1978, 3141.
S. Kisas, Solunska umetnika porodica Astrapa, Zograf, 5, 1974, 3537.
A. , , , , 15, 1957, 122140.
. , -
, : , 1995, 567626.
. , . . , , , 10, 1998, 201217.
. , , : , . , 1998.
. , . ,
, , XVII/2, 2004, 95112.
. , , :
IV, 2006.
. Markovi, ,
, XLIV, 2007, 353362.

, , 343344 ( ).
, , 105106.
34
Idem, , 293294.
35
, , 105106; idem,
, 291295.
32
33

16

* ...

M. Markovi, The Painter Eutychios Father od Michel Astrapas and Protomaster of the Frescoes in the Church
of the Virgin Peribleptos in Ohrid, , 38, 2010, 934.
. , .
, , 35, 2011, 119143.
G. Millet, La derniere evolution de lart byzantin, : Histoire de lart, depuis les premiers temps chretiens jusqua
nos jours, t. III/2, Paris 1908.
G. Millet, Lecole grecque dans architecture byzantine, Paris 1916.
G. Millet, Recherches sur liconographie de lvangile aux XIV, XV et XVI sicles daprs les monuments de
Mistra, de la Macdoine et du Mont-Athos, Paris 1916.
. -,
, , X/23, 1966, 203218.
. -, , 1967.
. , , ,
1938.
. , , 1973.
. , . , , , XXXIV, 1995.
. , , 1993.
. , , 1998.
. ,
, 1986.
Taylor W. Hostetter, Jr., In the heart of Hilandar. An interactive presentation of the frescoes in the main church
of the Hilandar monastery on Mt. Athos, Beograd 1998 (CD-ROM).
R. W. Scheller, Exemplum: Model book drawings and the practice of artistic transimission in the middle ages
(ca. 900 ca. 1450), Amsterdam 1995.

Dejan orievski
On the Possible Participation of Mihailo Astrapa
in the Painting of the Chilandar Catholicon
Summary
In the Church of St. George in Staro Nagoriino, on the north wall of the naos, there is a grand figure
of the Thessaloniki martyr St. Demetrius Apokaukos. What is interesting about this fresco is that a very
similar one can easily be found in the Church of the Presentation of the Virgin Mary in Chilandar. The
Chilandar figure of the holy warrior, i.e. the contours of its drawing, are a perfect match with the contours
of the fresco drawing in Nagoriino, which had been painted a few years before. A similar thing can be noticed with other frescoes: St. George Gorg from Nagoriino is very close to the image of St. Procopius from
Chilandar, while the fresco of St. Eustatius Plakida is almost identical in both churches. We believe that
such similarities in fresco paintings are possible only if the frescos were painted by the same artist or a very
close associate of his, who possessed the painting charts of figures painted in Nagoriino. The claim that
the studio of Mihailo Astrapa worked in the Serbian monastery in Athos can be justified by some specific
iconographic solutions which are found only in Chilandar and in the churches of King Milutin, where
Astrapas presence has been ascertained. For example, in St. Nikita near Skoplje there are paintings of St.
Simeon Nemanja and St. Sava Srpski as the oldest examples of a special iconographic design made in
Chilandar. In this church there is a damaged scene of the Presentation of Virgin Mary in place where a scene
from Christs miracles and lessons should be, with a similar iconography like in Graanica and Chilandar.
St. Nikita also took over the distribution of the scenes from Chilandar the cycle of Christs messages
after death is found in the altar, and the Passion of Christ and Christs miracles and lessons are painted
under the great feasts. The programme is repeated in the painting of the front side of the east pair of pillars

17

under the dome and there are similarities in the Bishops Liturgy, where there are the same fourteen
priests. Let us also mention the scene of Christs visit to the house of Mary and Martha from Graanica,
Chilandar and St. Nikita, where we find a figure of a woman with a raised hand who talks to Christ and
who is not found in any other medieval monument.
If we accept the participation of Mihailo Astrapa in the painting of the Chilandar catholicon, then we
can ascertain with more precision the time when the frescoes of St. Nikita near Skoplje were painted, i.e.
we can date them back to around 1324, at the time of the rule of Stefan Deanski.

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