*

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,

UDC 75.041:271.22-788-055.1
75.046.3:75.025.4](497.11 Studenica)1568
DOI 10.2298/ZOG1539065Z

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1568. .
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The study is dedicated to the figures of holy monks in the west
bay of the Church of the Virgin in Studenica, painted during the
restoration of the original murals in 1568. The paper seeks to es-
tablish the identity of some saints who were previously incorrectly
identified, as well as the identity of those who were unobserved
in previous studies. It also discusses to what extent the choice of
holy monks to be depicted was determined by the original icono-
graphic program. The research results confirm the hypothesis that
has for long been present in scholarly literature; according to it,
during the restoration of frescoes in the Studenica katholikon, the
painters largely repeated the original painted program. Neverthe-
less, judging by the example of the holy monks depicted in west
bay, it may be concluded that in some cases they departed from
the original iconographic program. In selecting new saints to be
depicted they must have relied on the Menologion.
Keywords: Studenica monastery, Serbian medieval art, ico-
nography, saint monks, St. Euthymius the New of Thessaloniki

- . 1. ,
( . - . )

Fig. 1. Studenica, southern wall of the western bay
. (after M. anak-Medi and B. Todi)
, -
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(. . 177032), (. 1).1
,
. 1 - cf. . -
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18. 21. 2015. . , 29 (1997) 35, n. 1.
** milos.zivkovic@vi.sanu.ac.rs , 65
 39 (2015) [6590]

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. 6. , . 5.
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. 5.
Fig. 5. St. Euthymius the New

. 7.
( )
Fig. 7. The inscription accompanying the image
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Fig. 8. Patriarchate of Pe, Menologion, St. Euthymius
.24 the New of Thessaloniki

15. .25 -
, , (. 8). -
, . 4. 26
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. , ,
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 :

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,
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 39 (2015) [6590]

. 14. (
)
Fig. 14. The inscription accompanying the image
of St. Palladius (drawing by Marijana Markovi)

. 13.
Fig. 13. St. Palladius
. 15. ,
- , , MS Gr. th. f. 1,
, fol. 26v, (?)
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,
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76 56 Patrich, Sabas, 143; , , 245. , ).
 :

. 17.
Fig. 17. St. John of Rila

,63
, , -
. 16. , , .
Fig. 16. Patriarchate of Pe, narthex, St. Palladius ,
1568.
,
, , -
XVI -
,59 60 .64
.61 , -
, -
- . , ,
. , -
, .
,
-
(. 16).62 , .
,
, -
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. -
. , -
, , , -
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59 E. Cincheza-Buculei, Pictura pronaosului bisericii mnstirii
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 39 (2015) [6590]

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) -
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.
70 (1633) -
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 :

. 20.
Fig. 20. St. Ioakim of Sarandapor

1568,
.
(15. -
) -
(19. )

. 19. , -
.81 , , ,
Fig. 19. Holy Trinity monastery in Pljevlja, St. John of Rila -
, -
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,
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109 , , 90 115 cf. omekovi, Saints
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 39 (2015) [6590]

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119 , , 91 (. 56), 97, 104, . 11.
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, - 120 ,
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88
 :
Depictions of holy monks in the western bay
of the Church of the Virgin in Studenica
Milo ivkovi
The western bay of the Church of the Virgin in Stu-
denica features a number of depictions of holy monks.
Their images continue the series of figures of the most
prominent ascetics Anthony, Euthymius the Great, Ar-
senius, Hilarion, Stephen the New Martyr and others
painted on the side walls and pilasters of the area under
the dome. The figures in the western bay were painted in
1568, during the restoration of frescoes in the Studenica
katholikon. It is, nevertheless, believed that they had occu-
pied the same place in the original fresco decoration. This
assumption is suggested by the fact that they are placed
close to the donors portrait, indicating that the selection
and arrangement of monastic figures, conceived by Stu-
denicas archimandrite, Sava, were intended to celebrate
the monastic figure of Simeon Nemanja. It is assumed,
that the image of the founder of Athonite coenobitic mo-
nasticism, Saint Athanasius the Athonite (Fig. 2), was
placed close to the donors portrait with the idea of estab-
lishing as direct as possible connection with the image of
Simeon Nemanja. There are also grounds to assume that
the figure of Saint John Klimax, on the west wall of the
west bay acts in contact with the image of the founder
of Studenica established on an ideal level. Even the images
of two stylites, Saint Simeon and Saint Alypius, painted
on the southern wall of the bay, on the sides of the niche
housing the founders tomb and his portrait above the
tomb, can be explained using the same interpretive key.
As it has been concisely and effectively observed,
through the selection of saintly figures in the western
bay and their specific arrangement, Sava celebrated his
father not his princely figure, but rather his spiritual
and monastic personality. Convinced of the correctness
of the quoted statement, we will try to study this segment
of Studenicas frescoes in greater detail. In doing this, we
will basically rely on an approach to the understanding of
the painted program in the western bay of the Studenica
church that stems from this statement. This can now be
done by analyzing a number of somewhat overlooked de-
pictions of monks.
The first noteworthy figure is shown on the west side
of the southwestern pilaster, above the aforementioned
figure of Saint Athanasius the Athonite. This is the image
of Saint Theoktistos, one of the founders of the Palestin-
ian tradition of eremitic monasticism (Fig. 3). The most
convincing argument in favour of the hypothesis that, in
1568, the figure of Saint Theoktistos was painted after the
corresponding image painted in 1208/1209 is the pro-
grammatic solution from the katholikon of the Mileeva
monastery. In this church, whose thematic program was
in many aspects devised by Saint Sava, Saint Theoktistos
was given a prominent place. His monumental bust can
be seen in the second tier of frescoes on the east wall of
the narthex, i.e. just above the portraits of Archbishop
Sava and Saint Simeon (Fig. 4).
On the western side of the western bays south
wall, in the second zone, above the figure of Saint Aly-
pius, another monastic figure can be seen. The saint has
not been identified in previous research. Although the
inscription is partially damaged, the name can be easily
read. Based on the inscription, it may be concluded that
this is Saint Euthymius the New (Figs. 57). In all proba-
bility, this is a depiction of Saint Euthymius the New of
Thessaloniki ( 899), one of the earliest Athonite ascetics
known by name. Judging by the results of previous studi-
es, in the Middle Ages, Saint Euthymius the New of Thes-
saloniki was not depicted in any church in the territory
within the Byzantine cultural sphere; his images were not
frequent even in the Post-Byzantine period. In the light
of the mentioned scarcity, the images of Saint Euthymius
the New of Thessaloniki in Serbian churches gain con-
siderable significance. Apart from the illustrations of the
Menologion in the narthex of the Patriarchate of Pe (Fig.
8) and the Church of Saint Nicholas at Pelinovo (Fig. 11),
he is depicted in the katholikon of the monastery of the
Holy Trinity in Pljevlja (Fig. 10). In Studenica, the origi-
nal fresco layer probably did not feature his figure. We
believe that he was first painted during the restoration of
1568. A major role in choosing Saint Euthymius the New
of Thessaloniki to be depicted could have been played by
the church calendar. Namely, very close to this saint, there
is an image of Saint John of Rila (Fig. 17), which also did
not exist on the fresco layer painted in 1208/1209. The
date of the feast dedicated to the Bulgarian ascetic (Oc-
tober 19) is close to the feast of Saint Euthymius the New
(October 15). There are other cases when the painters
of the restored frescoes in the Church of the Virgin re-
lied on the Menologion when filling in the gaps of the
original iconographic program. For example, in addition
to Saint Ephraim and Saint Paul of Thebes, on the north-
ern wall of the area under the dome, they painted a very
rarely depicted saint, Saint Palladius anchorite from the
Antioch region (Fig. 13). In doing this, they seem to have
been guided by the fact that his feast coincided with that
of Saint Ephrem the Syrian (January 28).
The figure painted next to Saint Euthymius the
New, on the eastern side of the lunette in the western bays
89
 39 (2015) [6590]
south wall, also dates from 1568. This is an image of Saint
Euphrosynos the Cook (Fig. 21). Several details lead to
the conclusion that the painters who restored the frescoes
in 1568 are to be credited for his inclusion in the program.
On the other hand, it should be pointed out that, viewed
in a broader programmatic and conceptual context, the
depiction of Saint Euphrosynos the Cook could have been
painted in the same place even in 1208/1209. One should
bear in mind the symbolic role of the saints attributes a
branch with three apples, the paradise fruit mentioned in
the Life of this fool for Christs sake, as an allusion to his
visit to Paradise. The position above Simeon Nemanjas
funerary portrait and next to the scene showing the Three
Marys at the Tomb, which is also above Simeon Nemanjas
portrait, would have been suitable for an image bearing
such an emphatically soteriological and eschatological
iconographic association.
On the west wall of the west bay, the figure of Saint
John Calybites (Hut-Dweller; Figs. 2223) was painted. It
is noteworthy that during the sixteenth-century restora-
tion of the murals, the same saint was also painted on the
south wall of the narthex. The image features the typical
iconographic symbols of the saint, a lavishly decorated
Gospel Book and a cross, which cannot be found on the
saints bust in the naos. It is reasonable to assume that it
was necessary to highlight the iconographic differences
between the two depictions of Saint John Calybites be-
cause one of them had already been painted on the origi-
nal fresco layer. In other words, the iconographic differe-
nces were determined by the original form of the earlier
fresco. We believe that the fresco-icon in the naos was
painted in 1208/1209. Such a conclusion may be support-
ed by an outstanding example in the Serbian painting of
the thirteenth century: the figure of Saint John Calybites
from the naos in Gradac, whose iconographic program
90
was in some very distinctive aspects determined by the
corresponding solutions applied in the oldest Studenica
frescoes.
Apart from Saint John Calybites, there is another
saint who appears twice in the Studenica church dedicat-
ed to the Virgin Evergetis. On a narrow strip of the north-
ern wall next to the northwest pilaster, above the image of
the holy physician Cyrus, there is a considerably damaged
figure of Saint Alexios The Man of God (Fig. 25). An-
other depiction of this monk, a fool for Christs sake, can
be found in the narthex, close to the aforementioned figu-
re of Saint John Calybites. Once again, it is reasonable to
assume that the original iconographic program included
at least one of the two depictions of Saint Alexios. In this
case, too, we believe this was the figure in the naos.
The three holy fools, dealt with in this paper
Euphrosynos the Cook, Alexius The Man of God and
John Calybites were either depicted close to each other
in the churches of the Byzantine world, or their saintly
compatibility based on their folly for Christs sake and
other similarities mentioned in hagiographic writings
was highlighted in some other way. The fact that Saint
Alexios The Man of God is shown right across the fig-
ure of Saint Euphrosynos the Cook is another important
argument supporting the assumption that the latter was
painted in the same place already in 1208/1209. Finally,
the assumption that the images of the two monks were
painted on the original fresco layer leads to the hypothesis
that the third character from the group of similar saints
could have also been depicted in the western bay. In other
words, the hypothesis that the fresco-icon of Saint John
Calybites in the naos was painted on the original fresco
layer is thereby further corroborated.