DIMITRIJE MARINKOVIĆ
arhitekta, Zavod za zaštitu spomenika kulture, Pančevo

UNUTRAŠNJE UREĐENJE PARAKLISA SVETIH ČETRDESETORICE MUČENIKA U VLADIČANSKOM DVORU U KRALJEVU
TNE INTERIOR DESIGN OF FORTY MARTYRS OF SEBASTE PAREKKLESION IN TNE BISHOP PALACE IN KRALJEVO

Zbornik 6/2010 (Muzej primenjene umetnosti), strana 103-113

UDK:
726.591(497.11)

Apstrakt:
Osnovni motiv ovog teksta sadržan je u pokušaju da se pre svega ukaže na istorijsko i tipološko poreklo oblika oltarske pregrade, bogoslovske uticaje i razloge koji su uticali na odabir njenog modela za savremen primer. Kroz deskriptivnu metodu iznete su njene osobenosti koje se tiču porekla oblika, i njegovog transponovanja iz istog ili različitog likovnog miljea u savremeni objekat. Podrobno je objašnjeno uobličavanje arhitektonskih elemenata rasvetljavaljem komponovanja geometrije primenjenih oblika i njihovih međusobnih odnosa, koji su nosioci likovnog jezika autora. Opisni postupak sproveden je i prilikom objašnjavanja likovnog rešenja poda i arhitekture stuba, kao i porekla i obeležja uzora za uobličavanje njihovih pojedinosti.

Ključne reči:
paraklis, savremeni liturgijski mobilijar, sakralni enterijer, oltarska pregrada, portal, proskinitar, ciborijum, kapitel, pod, stub

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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