Prékopa Ágnes (szerk.): Ars Decorativa 30. (Budapest, 2016)
Szilveszter TERDIK: “Athonite” Miniature Carvings at the Museum of Applied Arts
NOTES 1 Milovanovic, Dusán: Treasures of Chilandar Monastery. Study Collection I. Belgrade, 2008, (hereafter: Milovanovic 2008), p. 42. 2 Accounts written by visitors to the Holy Mountain in the late 17th and early 18th centuries describe how the monks occupied themselves carving wood: Ballian, Anna: ‘Post-Byzantine and other small art works.’ In: The Holy and Great Monastery of Vatopaidi. Tradition - History -Art II. Mount Athos, 1998, (hereafter: Ballian 1998), p. 507. 3 A small, diptych encolpion can be found in Chelandari Monastery, donated between 1368 and 1371 by Despina (Lady) Jelena, in memory of her deceased son. Inside the silver frame, which is decorated with jewels, there are two boxwood carvings, and the engraved dedication is inscribed on the outside of the frame. Radojkovic, Bojana: Les objets sculptés d'art mineur en Serbie ancienne. Belgrade, 1977, (hereafter: Radojkovic 1977), pp. 25-28. The carvings on the diptych are now believed to be from the seventeenth century: Karakatsanis, Athanasios (ed.): Treasures of Mount Athos. Thessaloniki, 1997 (hereafter: Karakatsanis 1997), pp. 349-351; Radojkovic, Bojana: ‘The Treasury.’ In: Subotic, Gojka (ed.): Hilandar Monastery. Belgrade, 1998, p. 340. A fragmentary wooden cross in the Museum of Applied Arts, Belgrade is dated to between the 14th and 16th centuries: Milovanovic 2008, cat. 74. 4 The date can be read on the metal frame of the cross. The style of the carving is reminiscent of wood carvings. Beneath the scene of the Crucifixion is the name Symeon, presumably the name of the monk who made the carving. Ballian 1998, p. 513, fig. 457. 5 Pontani, Anna: ‘Croci lignee d’altare postbizantine conservate in Italia e in Austria.’ In: Jahrbuch der Österreichischen Byzantinistik 46 (1996). Vienna, pp. 379-421. Bernabö, Massimo: ‘Nota iconografica sulle scene del Vecchio Testamento nelle croci lignee post-bizantine di Sant’Oreste e di Firenze.’ In : Jahrbuch der Österreichischen Byzantinistik 47 (1997). Vienna, pp. 257-272. Elbern, Victor H.: ‘Ein Kreuz des Georgios Laskaris in den Berliner Museen.’ In: Jahrbuch der Berliner Museen 45. Berlin, 2003, pp. 69-70, 75-76. 6 Karakatsanis 1997, pp. 390-391. 7 Kárpáti, László: Miskolc. Magyar Orthodox Egyházi Múzeum. [Hungarian Orthodox Church Museum.] Budapest, 1990, [pp. 6-8]. Idem: ‘Az orthodox templom ikonjai és liturgikus tárgyai.’ [Orthodox church icons and liturgical objects.] In: Dobrossy, István (ed.): A miskolci orthodox templom és sírkertje. [Miskolc Orthodox Church and Graveyard.] Miskolc, 2002, pp. 62-63. 8 Karakatsanis 1997, p. 367. 9 This triptych was probably transported to the Camaldolese monastery in Grosbois together with Rákóczi’s heart, and later became the property of the library in Grenoble. Moravcsik, Gyula: ‘Inscription grecque sur le triptyque de Grenoble. Contribution aux rapports de François II Rákóczi avec le monde grec, à Rodostó.’ In: Moravcsik, Gyula: Studia Byzantina. Budapest, 1967, pp. 419-427. Gerasimos was Metropolitan of Heraklion (now Eregli, Turkey) between 1726 and 1760. 10 In display cabinet 2 of Room II, there were ten crosses (exhibit nos. 33-42), of which 1 piece was a “silver, cast work”, 6 pieces were “silver wire work, with carved wood inlay”, “of which 4 are enamelled”. They date from the 17th—18th centuries, and some have Greek and others Slavic inscriptions. Two belonged to the National Museum (33, 34), 6 belonged to Count Manó Andrássy (36-40, 42), while one came from Mariazell Monastery, see: A magyar történeti ötvösmü-kiállítás lajstroma. [A register of the Hungarian historical fine metalwork exhibition.] Budapest, 1884, p. 22. The National Museum’s so-called Athonite cross was also included in the exhibition: ibid. p. 24, (exhibit no. 49). A more detailed description of this cross - and another similar cross from Ravanica Monastery, which 72
