F. Mentényi Klára szerk.: Műemlékvédelmi Szemle 1995/1-2. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 1995)

MŰHELY - Lángi József - D. Mezey Alice: Beszámoló a türjei volt premontrei prépostsági templomban feltárt Szent László-legenda falképciklusról

József LÁNGI - Alice MEZEY-DEBRECZENI PRELIMINARY REPORT ON THE WALL PAINTING CYCLE REPRESENTING THE ST. LADISLAS-LEGEND IN THE FORMER PREMONSTRATENSIAN PROVOSTAL CHURCH OF TÜRJE The parish church of the village of Tűrje, consecrated to the Feast of the Annunciation is hiding almost untouched the Premonstratensian provostal church founded by the outstanding courtier of King Andrew II and his son, Béla TV, the ban Dénes of the Tűrje line. While the interior of the church is authentically recalling the first half of the 13th century form, on the surface of the walls paintings of several stylistic periods can be traced. The investigation of restoration examining the layers of plaster and paintings has revealed from all the eight centuries of the church's existence wall paintings of good quality. From among the very important is the cycle of wall paintings representing scenes from the life of king St. Ladislas made in the first period of painting the church. The topic was widely spread in the territory of the historical Hungary in the 14-15th centuries. Following the paintings of Ócsa and Tereske, this is the third place where is monastic church was the topic represented, beside village parish churches of mostly border territories. The scenes of the legend began - on the basis of the details - on the southern aisle wall in a 173 cm wide band at the arch of the apse and lasted till the second vaulting. In the starting scene the leaving of the fortress of Nagyvárad can be recognized with the battle and the chase in one scene, followed by the wrestling and the rest. At this latter the upper corner of the frame, as the closing of the scenes could be uncovered, but it might be more probable on the basis of the fragments that the representation was reaching over the frame of the lower third of the scene made of wide yellow and red narrow black stripes. The scenes are divided by trees with waving foliage, and these also serve as backgrounds. The forms have brownish-red contours, the colours are scarcely expressing tones. St. Ladislas is mounting a white horse, the Kun warrior a reddish-brown one. It is characteristic that St. Ladislas is represented with a closed helmet and crown on his head, but without a nimbus.