ICONOSTAS FROM CHURCH OF THE ST LUKE IN THE KUPINOVO AS A SUBJECT FOR THE STUDY OF PAINTINGS BY JAKOV ORFELIN
Abstract
Starting with the influence of the Golden Epoch of Baroque, which has already been in the west, in Serbia, it has only begun to develop, especially in sacral art. Early Baroque painting did not create a homogeneous group of painters. It developed under the Russian-Ukrainian, South-Balkan and influences that slowly came from the West European centers of art, and new baroque concepts began with the performance of wall painting in newly-established Serbian churches. Further on, the analysis of historical data may reveal the further development of Baroque sacral art, which now has the characteristics of the high Baroque, reflecting a more firm cultural orientation towards Vienna, church and school reforms. Serbian painting of the last decade of the 18th century represented a set of diverse ideas, but basically prevailed the art formulations of the leading master of late baroque eclecticism, Jakov Orfelin, who through his personality and works gave the spiritual imprint to our culture of the epoch of enlightenment. Contemporary interpretations of church painting found a presence in the works of Jakov Orfelin, which, under the influence of enlightenment, interprets old-fashioned and new-knowledge themes in the context of historical painting. It is precisely the iconostasis of the handwriting style of the Church of St. Luke in Kupinovo, which was painted by Jakov Orfelin in the late Baroque manner with extraordinary portrait processing of characters and the finest colored solutions, an example of the new orientation of Serbian 18th-century painting and as such a representative example of the cultural heritage of the epoch a significant segment of Serbian cultural heritage.
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