Ni{ i Vizantija X

323

,
, XIII ,
. ,
, .1
, .2

(. 1, 2),
III,
1309. 1316. .
XIII .


(. 1, 2). , ,
,
.3
* . 177036
. 177032 ,

.
1 Cf. . , . , . , . , ,
, 1969, 119123; . . , ,
1974, 34; . -, . , , 1999, 43-45.
2 , , , , 182-199; . ,
, 1998, 61, 162-164, 308; V. J. Djuri, La royaut et sacerdoce dans la decoration de ia, in: . , .
, 2000, 123-143; M. Savage, The Interrelationship of Text, Imagery and
Architectural Space in Byzantium. The Example of the Entrance Vestibule of ia Monastery
(Serbia), in: Die kulturhistorische Bedeuting byzantinischer Epigramme, ed. Hrander, A.
Rhoby, Wien 2008, 101-111.
3 , , , , 197; , , 50;
, , 61; etc.

324

. 1) ,
, .

Fif. 1) ia, narthex

east wall, watercolor M.
Valtovi

.4 ,
,
. , ,


.
,
rados(l)av(y) kra(l)y.

,
(. 3).
, . ,
, ,
4 , ,
,
,
. Cf. , , , , 197.

Ni{ i Vizantija X

325

. 2) ,
, .
Fig. 2) ia, narthex east wall,
drawing B. ivkovi

.
, .5
,
.
...., ,
.6
,
.
,
e ,
,
.7
5 XVI
(. , , 19962, 35),
. Cf. ibidem, 120 ( . ).
6 , , 61.
7 Pseudo-Kodinos, Trait des offices, introduction, texte et traduction par J. Verpe-

326

, ,
.8

,

.

,

.9



.

.10

,


. ,

,


XIII .11
,
. 3) , , .



Fig. 3) ia, King Radoslav, photo Belgrade .
National Museum


aux, Paris 1966, 199-203.
8 .
, ,
.
9 . , . ,
, , , , , 1999.
10 . -,
XIII XV , 1994, 121-135.
11 ( , 23, 77.

Ni{ i Vizantija X

327

. 4) , , .

. 5) ,

Fig. 4) Mileeva, Founders composition, drawing B.

ivkovi

Fig. 5) Mileeva, King Stefan

Prvovenani

. ,

,
V . ,

XIII .
XIII

.12
. , ,

(. 4, 5, 14).13
, ,
. ,
III .14 , ,
, , 80-81.
. . ,
, 22 (1992), 13-25; . ,
. (), 3 (1998), 37-50; . ,
1208/9. , in:
, . . , . , .
, - 2002, 184-185, .
14 . , , 11 (1968), 168-170.
12
13

328

.
(, ,
, , .).
, , .15
,
, ,
.

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.


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I
, , . .
,
,
.18
I
. ,
.19
, ,20
. ,

.

.

.21 , ,
15 . , , in:
, . . , . , 2006, 76.
16 , , 82-83.
17 Ibidem.
18 Ibidem, . 14; . . , , 1990, . 4; . ,
. , 1984, 25, 27.
19 . , XIII XIV ,
2 ( 1980), . 1.
20 . , , 5 (1928),
1929, 308 ( ); . ,
, 6 (1970), . 4.
21 ,

Ni{ i Vizantija X

. 6) ,
, .
Fig. 6) Mileeva,
, .

329

. 7) ,
, .

Fig. 7) Mileeva, repainted portraits of Kings Stefan

Prvovenani and Radoslav, drawing D. Todorovi

XIV
.22 ,

.23
,

.
(. 6, 7).24

1233. 1234. ,
1243,
.
,25
.26
.
. Cf. , , . 14, 46, 47.
22 P. Mijovi, Umjetniko blago Crne Gore, Beograd-Titograd 1980, sl. 94 (
); . , . , (II),
15 (1984), . 1, 5, 8; . . , . , . , ,
1990, . 130; etc.
23 . . , ,
in: . , , ,
, . . , 2000, 232-233, . 9, 11.
24 , , 17, 21-2
25 Ibidem, 21
26
(Ibidem), .

330

1233.
.
.
, .27
. ,

.28 ,
,29
30
.31
, .

. ,

.
.

,
. ,
.
, ,
(. 8, 9).32

XIII . ,
XIV .33
.
,
.
27 Ibidem, 21.
28 Ibidem, 22.
.
, , .
,
, .
29 . , , 37 (1998), 87-94.
30 . , .
, 1910, . I, . 4, 5; -, , 104.
31 ( , 81)

, (cf. ,
, . I, . 1, 4, 5; -, , 81-82, 104),

.
32 , , 38, 49, T. VII, . 29, 33, 34; . ,
, , in:
. , 1995, 295, . 16.
33 cf. infra.

Ni{ i Vizantija X

331

. 8) , ,

. 9) : ,

Fig. 8) Pe, Pe, Namanji Family Tree,

King Stefan Prvovenani

Fig. 9) Deani, Namanji Family Tree, King

Stefan Prvovenani

,
. ,
o, , ,
, .34
(. 10).35
,
,
XIV . ,

.
,
, .

(. 5).
34 , , T. III, . 2, 16; , , .
119; . , . , 10 (1974),
62, . 5, . 19; , , 40, . 8; .
, , 2005, 165-166,
. 26.
35 . , . , , 1975, T. II.

332

. 10)

Fig. 10)
The Virgin
of Ljevia
in Prizren,
King Stefan
Prvovenani

. 11) , ,

Fig. 11) Pe, Namanji Family
Tree, King Radoslav

. 12) , ,

Fig. 12) Deani, Namanji Family
Tree, King Radoslav

Ni{ i Vizantija X

333

,
XIV ,
.
,
. ,
.
.
XIV ,
,36
, , ,
XIII .37
,
,
, .
,
(. 11). ,
,
.
, , .
.

(. 12),

.38

XIV .


XIII
. ,
1873. ,
(. 1).39 ,
,
36 , , ,
, XIII , XIV
. Cf. , , , 62.
37 , cf. ,
, 77; , ,
167.
38 , f. . 32 supra.
39
.

( . I 1871-1884, 2006,
76 (. . 4628). ,
.
cf. . , ,
11 (2004), 51.

334

. 13) ,
,
.

Fig. 13) ia, King
Radoslav, photo.
Belgrade National
Museum

.
,
, .
, ,
, .
,

XIII . ,
.
,
(. 4, 5, 14, 15), XIV (.
8, 9, 11, 12).40

40
XIII XIV , f. , , 74.

Ni{ i Vizantija X

335

. 14)
,

Fig. 14)
Mileeva, King
Radoslav

. . ,

XIV .

(.
1, 13).
.41
, ,

. ,

41 . , 76 (. . 4628).

, , ,
(. , , , 1985, 41).

336

, .

. , ,
,
. ,
,
XIV ,
, .
,
XIV .
.
, 1228, ,
(. 7, 14).42
,43
.

.
XIII , ,
(. 15).44
,
,
,
.
, , .
,45 .
. ,

.
,
.46

, .47
42 , , 20, . 11; ,
, . 9.
43 .
, XIV
, .
44 , , 16, . III, . 2, 4.
45 cf. supra.
46
. Cf.
. Collinet-Gurin, Histoire du nimbe des origines aux temps modernes, Paris 1961; A. Ahlqvist, Cristo e limperadore romano: I valori simbolici del nimbo, Acta ad archaeologiam et
artium historiam pertinentia 15 (2001), 207-226.
47 . , , 1960, . 1, 4-6, 12, 15-16; .
, , 1962, 1, 2, 69; I. Spatharakis,

Ni{ i Vizantija X

337

.48

,

.


,
,

.49

.



. 15) ,
.
,
Fig. 15) Studenica, parekklesion of St. Simeon,
,
King Radoslav

, .50

(. 15).51 , ,
,
, ,
?
.52
,
.
.
The Portrait in Byzantine Illuminated Manuscripts, Leiden 1976, figs. 30, 32, 34, 35, 37, 39.
48 . , , 1978, 70-71, . IV-V.
49 Ibidem, 20-22; 68-70, . I-III.
50 , cf.
, , 15-17, . III, . 2-5; . ,
, 38 (2010), 42, . 2-3.
51
.
52 , , T. VII, . 29.

338

,

, .

. ,
XIV ,53

,
.54 ,
XIII . ,
.
,
.
. , ,

,
1332. (. 8).55 ,
XIV e (.
12). ,
, .
.56

.
, ,


.
. ,

. ,
?

, ,
?
.
53 cf. . , . ,
1987, II/8, VIII/6; . . ,
, 1995, . 5, 7, 13.
54 , . , . , , . . 40; , ,
40; . ,
XIV , 5 ( 2006), 11.
55 , a , cf. .
, .
XIV XV , : , .
. , . , . , - 2002, 263.
56 Cf. . ,
?, 46 (2009), 201-227.

Ni{ i Vizantija X

339

,
.

Dragan Vojvodi
POTRAITS OF THE FIRST DONORS ON
THE GROUND FLOOR OF THE IA TOWER
Origin of iconography
On the eastern wall of the ground floor in the multi-storey tower in front of the Church
of the Ascension in ia, are the painted portraits of two members of the Nemanji family,
who were the first to bear the title of king Stefan Prvovenani (the First-Crowned) and his
oldest son Radoslav (Fig. 1, 2). They belong among the paintings dating from the period
of ias renovation (1309-1316). The younger of the two Nemanjis, King Radoslav, was
painted on the left, beside the northern doorjamb, wrapped in a mantle decorated with pearl
circles with two-headed eagles. On his head he wears a domed crown, and his right hand is
raised in a gesture of prayer (Fig. 3). Opposite Radoslav is the presentation of his father, the
founder of ia, King Stefan the First-Crowned. He is dressed exactly like his son and wears
a crown of the same shape. His hands are raised in prayer at his breast. At a first glance,
one already notices a certain inconsistency in the insignia on the described portraits. The
two rulers wear tunics and chlamyses, which also appear on their contemporary portraits
from the third and fourth decade of the 13th century (Fig. 4, 5, 14, 15). The domed crowns
suggest a later practice regarding insignia, at the Serbian court. They correspond to the time
when the Nemanjis adopted Byzantine imperial insignia. However, even at that later time,
no combination of insignia appeared such as the one we find in ia. Based on numerous
monumental portraits from the second half of the 13th and from the 14th century, one may
draw the conclusion that Serbian medieval rulers did not wear a mantle of the chlamys type
over their shoulders when they were wearing a domed crown on their heads. With the domed
crown, they wore only the sakkos and the loros, which was fully in compliance with the court
ceremony of the Palaiologan epoch. Therefore, the question arises as to the origin of the
unusual iconography in the ia portraits.
The faces and hair-styles of Stefan the First-Crowned and Radoslav in ia fully
resemble the portraits of those rulers from the second and third decade of the 13th century
(Fig. 5, 14, 15). Both of them have quite short hair, Stefan has a medium long, broom-like
beard, and Radoslav is beardless (Fig. 13). The faces, like the insignia of those two rulers
on their 14th century presentations, are quite different and they are adjusted to the fashion
and customs of the Palaiologan period (Fig. 8, 9, 11). No doubt, therefore, the painters from
the period of ias reconstruction had before them some old portraits of the first ktetors.
Quite paradoxically, the consistent copying of those earlier models might have also led to the
aforesaid unusual combination of insignia. Namely, after the Serbian rulers began to wear
Byzantine imperial insignia in the third or fourth decade of the 13th century, the portraits of
the Nemanjis in Mileeva (1220-1228) were remodeled. There, domed crowns were added
on their heads in their portraits (Fig. 6, 7). The details of clothing in the lower parts were not
altered so that the chlamys type of mantle remained on the Serbian kings shoulders. It seems
that domed crowns, similarly, were added on in the rulers portraits in some other Nemanji
endowments, among them, ia, as well. Those repainted portraits had fairly little influence
on the presentations of the first Serbian kings in subsequent times (Fig. 10, 11). Taking as a
model the original portraits from ia with crowns that were painted on additionally, later,
the painters of the renovation innovated only certain details they added nimbuses, summarized the inscriptions and adjusted the ornaments on the garments to the taste of their times.

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2012

UBN June 2012