ДИМИТРИЈЕ МАРИНКОВИЋ
архитекта, Завод за заштиту споменика културе, Панчево

УНУТРАШЊЕ УРЕЂЕЊЕ ПАРАКЛИСА СВЕТИХ ЧЕТРДЕСЕТОРИЦЕ МУЧЕНИКА У ВЛАДИЧАНСКОМ ДВОРУ У КРАЉЕВУ
TNE INTERIOR DESIGN OF FORTY MARTYRS OF SEBASTE PAREKKLESION IN TNE BISHOP PALACE IN KRALJEVO

Зборник 6/2010 (Музеј примењене уметности), страна 103-113

УДК:
726.591(497.11)

Апстракт:
Основни мотив овог текста садржан је у покушају да се пре свега укаже на историјско и типолошко порекло облика олтарске преграде, богословске утицаје и разлоге који су утицали на одабир њеног модела за савремен пример. Кроз дескриптивну методу изнете су њене особености које се тичу порекла облика, и његовог транспоновања из истог или различитог ликовног миљеа у савремени објекат. Подробно је објашњено уобличавање архитектонских елемената расветљаваљем компоновања геометрије примењених облика и њихових међусобних односа, који су носиоци ликовног језика аутора. Описни поступак спроведен је и приликом објашњавања ликовног решења пода и архитектуре стуба, као и порекла и обележја узора за уобличавање њихових појединости.

Кључне речи:
параклис, савремени литургијски мобилијар, сакрални ентеријер, олтарска преграда, портал, проскинитар, циборијум, капител, под, стуб

Summary:
The construction of the Bishop Palace in Кraljevo was competed in 2009. The Parekklesion of the church is dedicated to Forty Martyrs оf Sebastopolis. Тhе Parekklesion decoration demanded designing altar barrier, floor and column lining. This decoration was entrusted to the architect Dimitrije Lj. Marinković.
In 2009 stone altar barrier with proskinitarions was installed in the area between east piers supporting the dome and between piers and sidewalls. The applied architectural соnсерt of horizontal and vertical division is based on the models of low stone altar barriers with side proskinitarions dating back to the time when Raška School churches were build. Application of proskinitarions with consoles is determined by iconographic nature of the altar barrier. Although this altar barrier conceptually imitates older types, the applied system of decoration and proliferation is unique. The composite capital is the most complex and the most prominent element that got the special attention during the construction process. Тhematic соntеnt of artistic treatment of parapet surfaces was determined by an attempt to transfer an old motif from the rich stavrography heritage of Serbian tombstone marks with apotropaic characteristics.
Architectonics of the altar barrier with proskinitarion derive from older models of that type. Within the freedom of interpretation of historical decorative elements and their interrelationships, one could read and interpret author's efforts for transformation and improvement of certain architectural features of the older types of altar barriers. With its shape of emphasized verticalness, the altar barrier with its slender proskinitarions is an attempt to imitate rather than conform to already existing elongation of the parekklesion. With these proportions, it is more а type than а model, and it creates а unique geometrical-compositional example. The undertaken proliferation at certain places of the altar barrier is the result of partially first hand takeover of certain elements from architectural heritage which was found and established in the past. The language of painting that is used in shaping the most important architectural elements such as the composite capital and transpositions of crosslike relief decorations in parapets emphasize the creative expression of the designer.
Artistic formulation of the floor should emphasize the importance of parekklesion. It is done as unison of art languages transposed from sacral and national ethnographic art heritage. Certain details have elements that are used as а sign of decorative unison of designed interior elements and liturgy furniture that developed from а uniformed expression of the author.
This example of а sacral space decoration represents an attempt to find а program solution that will be in harmony with space and its worship purposes. Above all it is an example of how author researches historical sources and models, and interprets historical-artistic fundus relationship, and tradition in contemporary and ecclesiastical applied art.

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