Miodrag Jovanović
PhD (Art History), Belgrade


Journal 3/2007 (Museum of Applied Art), pages 7-12

745.51(497.11)”18/19” 75.050.046(497.11)

Abstract (original language):
Drvorezbarstvo, duborez srpskih ikonostasa novijeg doba po plastičkoj ideji i praksi obrade volumena, bez obzira na to što je izvesno vreme repertoar bio sveden na biomorfne motive, pripada kategoriji skulpture. Zahvaljujući plastici takvog drvorezbarstva, zapravo vajarskog oblikovanja drvenih oltarskih pregrada od XVI do XIX veka, u istoriji srpske skulpture nema cezure u trajanju njenog hiljadugodišnjeg kontinuiteta.

Key words: (original language)
Ikonostas, drvorezbarstvo, gips, skulptura, kontinuitet

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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