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PhD (Art History), Belgrade
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SCULPTURES ON WOOD CARVED ICONOSTASES
Journal 3/2007 (Museum of Applied Art), pages 7-12
UDC:
745.51(497.11)18/19
75.050.046(497.11)
Abstract (original language):
??????????????, ??????? ??????? ?????????? ??????? ???? ?? ?????????? ????? ? ?????? ?????? ????????, ??? ?????? ?? ?? ??? ?? ??????? ????? ????????? ??? ?????? ?? ????????? ??????, ??????? ?????????? ?????????. ??????????? ???????? ?????? ??????????????, ??????? ????????? ?????????? ??????? ????????? ???????? ?? XVI ?? XIX ????, ? ???????? ?????? ????????? ???? ?????? ? ??????? ????? ?????????????? ????????????.
Key words: (original language)
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Summary:
It is generally considered that there is a break in history of Serbian sculptural art.
It should be noted though that woodcarving of iconostases in more recent periods developed from the idea of plasticity and practice applied in treating their volume. Almost every craftsman who made altar walls in the 18th and 19th centuries would call himself a sculptor or bildahauer after the German word Bildhauer. A number of iconostases had not been executed in wood but in plaster or even in metal. Long lasting reduction of visual expressions to biomorphic motifs resulted from their theological symbolism and liturgical meaning as is found in icons. This changes the previous wrong belief that conservatism of the Church was the reason for the actually non-existing break in the millennium long history of Serbian sculpture.
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