Raška architectural school

The Serbian - Byzantine style is a compilation of three temporally successive styles of Byzantine art in medieval Serbia in the 12th century and the output of the 16th century. Through architectural fusion of Western and Eastern Roman Byzantine elements the Raška School is featured in the 12th to 13th century. From Byzantine and Bulgarian art centers in Thessaloniki, Ohrid, Mount Athos, the style of the Renaissance Palaiologischen is binding from the time of Stefan Uroš II Milutin ( 1282-1321 ). In particular, but the development of a Serbian -Byzantine style of architecture can be seen in the final period of Byzantine art in Serbia fully develop within the structures of the Morava school by a different treatment of the building in this so-called Macedonian school. To the harmonious, balanced group of churches and monasteries in northern Serbia, with its many new elements include the most innovative and most experimental buildings of the Byzantine architecture.

• 2.1 Architecture
• 2.2 frescoes

• 4.1 Architecture
• 4.2 frescoes
• 4.3 icons

• 5.1 General

• 6.1 Architecture
• 6.2 plastic

Raška School

To Raška School includes the oldest religious buildings in Serbia, with the exception of the built in the 9th century Petrova Crkva is arrested as the Byzantine Classical rotunda under Justinian. To Raška School includes in particular the monastic churches of Studenica, Žiča, Mileševa (monastery), Sopoćani and the monastery Gradac. The artistic center of the Raska school was Raszien, especially near Stari Ras, the ancient capital of Serbia.

Architecture

The churches are designed as cross-shaped basilica with a dome. Original building and model for later start-ups is the Mother of God Church in Studenica. With the exception of the dome structures are built in the Romanesque style. The architectural style is mediated via the Dalmatian coastal towns (especially Dubrovnik and Kotor ) to Serbia.

Frescoes

The frescoes in the churches of Raska School are purely Byzantine work and have amazing level. A characteristic feature is the blue or gold background in Studenica and the emotional representation of the crucifixion of Christ. The representation of the angel at the tomb of Christ in Mileševo ​​and the early Renaissance belonging monumental frescoes and antique- in Sopoćani are held on a green background.

Macedonian school

With the stronger Byzantine artistic influence since the beginning of the 14th century, the architectural center shifted in Kosovo and Macedonia. Here, the major works of the Macedonian School, which reached its climax in the monastery church of Gracanica emerged.

Architecture

A direct Greek influence is evident in the architecture of the buildings Milutin through the mediation of the architecture in Thessaloniki. However, the height urge the buildings that are being built in Serbia, unknown in the former Byzantine art. For the first time five-domed churches be built in Serbia. Cross-domed churches with five domes are Gracanica (1311-1321), Staro Nagoričane ( 1317-18 ) and Bogorodica Ljeviška ( 1310-13 ). In addition to these major works simpler churches with only a dome like the Church of St. Michael the Archangel in Lesnovo but especially the Royal Chapel ( King Church ) in Studenica monastery are mentioned.

Frescoes

The White Angel at the grave of Christ, 1230

Monumental fresco Dormition of the Mother of God, Sopocani, about 1260

Evangelists of the monumental fresco Dormition of the Mother of God

Donors portrait King Church Studenica, 14th century

Iconostasis and wrought iron Choros, King Monastery Dečani ( Raška School ), 1328-1335

Icons in the Decani Monastery of Tsar Dušan, 1350

Donors Portrait Stefan Lazarević, Monastery Manasija ( Morava school ), 1407-1418

The palaiologische Renaissance found by the two court painter to King Milutin, Michael Astrapas and Eustychios, entrance in the Serbian painting. The moving highly detailed action figures are stylized stronger in comparison to the monumental painting of the Raška School. The painters of Serbian monasteries date from the painting school of Ohrid. A special case is the fresco cycle in the Visoki Dečani monastery. Although the monastery is built in the style of Apulian Gothic, and one in the context of the Raska school so the frescoes are to be counted by style and character richness of the Macedonian school but do not reach the quality of the frescoes of Bogorodica Ljeviška the King Church in Studenica or Gracanica.

Icons

Few icons are from the period in particular be five level icons of the iconostasis in Decani. The long-limbed figures and fine drawings are extremely elegant. Important are the icons which are preserved in Ohrid. They show a lavish use of gold background.

Morava school

The last phase of the Serbian art in the Middle Ages, the Morava school is then a service in the Serbian art which, while assuming elements of the Athos monasteries, but a Basic Design new scheme for the construction of churches. As an international style, this Serbian style across national borders effectively ( Moldavian monasteries, Wallachia ).

Architecture

The Dreikonchenanlagen are particularly distinguished by the colored tile decoration of the facade and rich sculptural decoration in low relief technique.

Frescoes

Only with the painting of the Morava school a more realistic representation was restored. The frescoes in Kalenić and Manasija achieve a stylistic finesse and elegance that catches up with the best works of Gothic art. The program in Kalenić and Manasija can be seen as the beginning of the Early Renaissance in painting in Serbia.

Icons

Among the icons of the late 14th and 15th centuries in particular stand out the large-format icons of the monastery Hilandar.