F. Mentényi Klára szerk.: Műemlékvédelmi Szemle 1994/2. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 1994)

MŰHELY - Farbakyné Deklava Lilla: A csobánkai görögkeleti szerb templom

Den Maler der späteren zweiten Ikonostasis charakterisiert eine Doppelheit: er schmückte diesen äußerst traditionellen orientalishcen Einrichtungsgegenstand, dieses liturgische Element mit Ikonen im westlichen (hie und da sich zum Klassizismus neigenden) Barockstil, wobei er die westlichen und östlichen ikonographischen Traditionen vereinigte. Was ihre Qualität anbelangt, ist die Ikonostasis sehr provinziell, sie steht mit ihrem naiven Stil sozusagen außerhalb der Zeit. Lilla DEKLAVA-FARBAKY THE ORTHODOX SERBIAN CHURCH IN CSOBÁNKA The former medieval village on the place of the present Csobánka, named Boron used to be the property of the abbacy of Pilis till the Turkish occupation. The territory, that had become a deserted place during the 150 years of Turkish rule, became inhabited by Serbian settlers following the 1686 year recapture of Buda. They brought their religion and culture with them. From the 18th century on the settlement has been mentionded as the property of the Wattay family, but in 1910 Tibor Teleki had here landed properties. The orthodox church of the village dedicated to the archangel Gabriel is a single-nave building with a semi-circular choir and is east orientated with a tower in the centre of the main facade. It has traces of Baroque architectural elements. Its medieval origin is not sure, and was built in 1746 by Serbian settlers. There is a second building period in its history in the third quarter of the 18th century. The building is resembling to the Serbian orthodox churches in and around Szentendre strictly following traditions. The enlarged church of the second period is similar to the so-called „Pozarevacka" church in Szentendre, although it is much simpler. The furniture of the church is in late Classicist style and is rather simple. In the interior an earlier iconostasis-fragment was built in to the wall dividing the rooms for men and women. This fragment is similar to the form of the same fragment in the „Pozarevacka" church in Szentendre, although it has different proportions. The painter of the later, second iconostasis is characterized by a certain duality: he decorated this traditional eastern furniture and liturgical element with icons painted in the style of western Baroque art mixing with classicist features, combining western and eastern iconographie traditions. As to its quality it is rather provincial, with a naive style that might be characterized as timeless.