{"id":34858,"date":"2023-12-20T16:30:57","date_gmt":"2023-12-20T15:30:57","guid":{"rendered":"https:\/\/www.maticasrpska.org.rs\/?page_id=34858"},"modified":"2023-12-28T13:09:17","modified_gmt":"2023-12-28T12:09:17","slug":"zmslu_51","status":"publish","type":"page","link":"https:\/\/www.maticasrpska.org.rs\/en\/zmslu_51\/","title":{"rendered":"\u0417\u0431\u043e\u0440\u043d\u0438\u043a \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435 \u0437\u0430 \u043b\u0438\u043a\u043e\u0432\u043d\u0435 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438 \u0431\u0440\u043e\u0458 51"},"content":{"rendered":"

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C O N T E N T S:<\/h3>\n

\u0427\u041b\u0410\u041d\u0426\u0418, \u0420\u0410\u0421\u041f\u0420\u0410\u0412\u0415, \u041f\u0420\u0418\u041b\u041e\u0417\u0418<\/strong>
ARTICLES, TREATISES, CONTRIBUTIONS<\/strong><\/p>\n<\/ol>\n

  1. B<\/strong>RANKA<\/strong> \u010c. V<\/strong>RANE\u0160EVI\u0106<\/strong>, <\/strong>Iconography of the Parapet Slab From the Church of St. Thomas in Kuti: New Reflections and Possible Interpretations
    \u0411\u0420\u0410\u041d\u041a\u0410 \u0427. \u0412\u0420\u0410\u041d\u0415\u0428\u0415\u0412\u0418\u040b, <\/strong>\u0418\u043a\u043e\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u0458\u0430 \u043f\u0430\u0440\u0430\u043f\u0435\u0442\u043d\u0435 \u043f\u043b\u043e\u0447\u0435 \u0446\u0440\u043a\u0432\u0435 \u0421\u0432. \u0422\u043e\u043c\u0435 \u0443 \u041a\u0443\u0442\u0438\u043c\u0430: \u043d\u043e\u0432\u0430 \u0440\u0430\u0437\u043c\u0438\u0448\u0459\u0430\u045a\u0430 \u0438 \u043c\u043e\u0433\u0443\u045b\u0430 \u0442\u0443\u043c\u0430\u0447\u0435\u045a\u0430<\/span> \"\"<\/a><\/em><\/strong><\/li>\n<\/ol>\n
      \n
    1. \u041e\u041b\u0413\u0410 \u0417. \u0428\u041f\u0415\u0425\u0410\u0420, <\/strong>\u0415\u0432\u0435\u0440\u0433\u0435\u0442\u0438\u0437\u0430\u043c \u0443 \u043a\u0430\u0441\u043d\u043e\u0430\u043d\u0442\u0438\u0447\u043a\u043e\u043c \u0441\u0430\u043a\u0440\u0430\u043b\u043d\u043e\u043c \u0433\u0440\u0430\u0434\u0438\u0442\u0435\u0459\u0441\u0442\u0432\u0443 \u0446\u0435\u043d\u0442\u0440\u0430\u043b\u043d\u043e\u0433 \u0411\u0430\u043b\u043a\u0430\u043d\u0430
      OLGA Z. \u0160PEHAR, <\/strong>Euergetism in Late Antique Sacral Architecture of the Central Balkans       \"\"<\/a><\/em><\/strong>

      <\/span><\/li>\n
    2. OGNJEN LJ. TUTI\u0106, <\/strong>FROM GREGORY THE GREAT TO LEO III: THE KTETOR AND DONOR ACTIVITIES OF THE POPES IN ROME AND THE BASILICAS OF ST. PETER AND SAN PAOLO FUORI LE MURA
      <\/span>\u041e\u0413\u040a\u0415\u041d \u0409. \u0422\u0423\u0422\u0418\u040b, <\/strong>\u041e\u0434 \u0413\u0440\u0438\u0433\u043e\u0440\u0438\u0458\u0430 \u0412\u0435\u043b\u0438\u043a\u043e\u0433 \u0434\u043e \u041b\u0430\u0432\u0430 III: \u041a\u0442\u0438\u0442\u043e\u0440\u0441\u043a\u0430 \u0438 \u0434\u043e\u043d\u0430\u0442\u043e\u0440\u0441\u043a\u0430 \u0434\u0435\u043b\u0430\u0442\u043d\u043e\u0441\u0442 \u043f\u0430\u043f\u0430 \u0443 \u0420\u0438\u043c\u0443 \u0438 \u0431\u0430\u0437\u0438\u043b\u0438\u043a\u0430\u043c\u0430 \u0421\u0432. \u041f\u0435\u0442\u0440\u0430 \u0438 \u0421\u0430\u043d \u041f\u0430\u043e\u043b\u043e \u0424\u0443\u043e\u0440\u0438 \u043b\u0435 \u041c\u0443\u0440\u0430 (\u0421\u0432. \u041f\u0435\u0442\u0440\u0430 \u0438\u0437\u0432\u0430\u043d \u0437\u0438\u0434\u0438\u043d\u0430)       \"\"<\/a><\/em><\/strong>

      <\/span><\/li>\n
    3. \u0410\u041d\u0402\u0415\u041b\u0410 \u0413\u0410\u0412\u0420\u0418\u041b\u041e\u0412\u0418\u040b, <\/strong>\u0421\u0438\u043c\u0431\u043e\u043b\u0438\u043a\u0430 \u0438 \u043a\u043e\u043d\u0442\u0435\u043a\u0441\u0442 \u0441\u0446\u0435\u043d\u0435 \u0414\u0430\u0432\u0438\u0434 \u0443\u0434\u0430\u0440\u0430 \u0443 \u0433\u0443\u0441\u043b\u0435 \u0421\u0430\u0443\u043b\u0443 \u0443 \u041a\u0430\u043f\u0435\u043b\u0438 III \u0443 \u0411\u0430\u0432\u0438\u0442\u0443 \u2013 \u043f\u0440\u0438\u043b\u043e\u0433 \u043f\u0440\u043e\u0443\u0447\u0430\u0432\u0430\u045a\u0443 \u0437\u043d\u0430\u0447\u0435\u045a\u0430 \u0446\u0438\u043a\u043b\u0443\u0441\u0430 \u0414\u0430\u0432\u0438\u0434\u043e\u0432\u043e\u0433 \u0436\u0438\u0432\u043e\u0442\u0430 \u0443 \u0438\u0441\u0442\u043e\u0447\u043d\u043e\u0445\u0440\u0438\u0448\u045b\u0430\u043d\u0441\u043a\u043e\u0458 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438
      <\/span>AN\u0110ELA \u0110. GAVRILOVI\u0106<\/strong>, The Symbolism and Context of the Scene David Playing Harp Before Saul in Chapel III at Bawit \u2013 a Contribution to the Study of the Meaning of the David Cycle in Eastern Christian Art       \"\"<\/a><\/em><\/strong>

      <\/span><\/li>\n
    4. DRAGANA S. PAVLOVI\u0106<\/strong>, The Programmatic Context of the Portraits of Serbian nobility at the Time of the Nemanji\u0107 Dinasty
      <\/span>\u0414\u0420\u0410\u0413\u0410\u041d\u0410 \u0421. \u041f\u0410\u0412\u041b\u041e\u0412\u0418\u040b<\/strong>, \u041f\u0440\u043e\u0433\u0440\u0430\u043c\u0441\u043a\u0438 \u043a\u043e\u043d\u0442\u0435\u043a\u0441\u0442 \u0441\u0440\u043f\u0441\u043a\u043e\u0433 \u0432\u043b\u0430\u0441\u0442\u0435\u043e\u0441\u043a\u043e\u0433 \u043f\u043e\u0440\u0442\u0440\u0435\u0442\u0430 \u0443 \u0434\u043e\u0431\u0430 \u041d\u0435\u043c\u0430\u045a\u0438\u045b\u0430       \"\"<\/a><\/em><\/strong>

      <\/span><\/li>\n
    5. \u041c\u0410\u0420\u0418\u0408\u0410\u041d\u0410 \u0409. \u041c\u0410\u0420\u041a\u041e\u0412\u0418\u040b, <\/strong>\u0426\u0418\u041a\u041b\u0423\u0421 \u041f\u0410\u0422\u0420\u041e\u041d\u0410 \u0423 \u0426\u0420\u041a\u0412\u0418 \u0421\u0412\u0415\u0422\u041e\u0413 \u0402\u041e\u0420\u0402\u0410 \u0423 \u0410\u0408\u0414\u0410\u041d\u041e\u0412\u0426\u0423
      <\/span>MARIJANA LJ. MARKOVI\u0106, <\/strong>The Cycle of Patron Saint in the Church of Saint George in Ajdanovac       \"\"<\/a><\/em><\/strong>

      <\/span><\/li>\n
    6. \u0411\u0420\u0410\u041d\u041a\u041e \u0427\u041e\u041b\u041e\u0412\u0418\u040b, <\/strong>\u0418\u043a\u043e\u043d\u0430 \u0425\u0440\u0438\u0441\u0442\u0430 \u0426\u0430\u0440\u0430 \u0426\u0430\u0440\u0435\u0432\u0430 \u0438 \u0412\u0435\u043b\u0438\u043a\u043e\u0433 \u0410\u0440\u0445\u0438\u0458\u0435\u0440\u0435\u0458\u0430 \u0438\u0437 \u041b\u0430\u0437\u0430\u0440\u0438\u0446\u0435 \u0434\u0458\u0435\u043b\u043e \u0415\u043c\u0430\u043d\u0443\u0435\u043b\u0430 \u041b\u0430\u043c\u043f\u0430\u0440\u0434\u043e\u0441\u0430
      <\/span>BRANKO \u010cOLOVI\u0106, <\/strong>The Icon of Christ the Emperor of Emperors and the Great Archbishop of Lazarica – Work of Emanuel Lampardos<\/span>       \"\"<\/a><\/em><\/strong><\/li>\n<\/ol>\n
        \n
      1. \u0412\u0423\u041a \u0424. \u0414\u0410\u0423\u0422\u041e\u0412\u0418\u040b<\/strong>, \u0423\u043c\u0435\u0442\u043d\u0438\u0447\u043a\u0435 \u043c\u0438\u0433\u0440\u0430\u0446\u0438\u0458\u0435 \u0438 \u0432\u0438\u0437\u0443\u0435\u043b\u043d\u0430 \u043a\u0443\u043b\u0442\u0443\u0440\u0430 \u0408\u0443\u0433\u043e\u0438\u0441\u0442\u043e\u0447\u043d\u0435 \u0415\u0432\u0440\u043e\u043f\u0435: \u043c\u0430\u0458\u0441\u0442\u043e\u0440 \u0422\u043e\u043c\u0430 \u0418\u0441\u0438\u0434\u043e\u0440\u043e\u0432\u0438\u045b \u0438\u0437 \u041a\u0440\u0443\u0448\u0435\u0432\u0430
        VUK F. DAUTOVI\u0106, <\/strong>Art Migrations and Visual Culture of Southeast Europe: Artisan Toma Isidorovi\u0107 from Kru\u0161evo         \"\"<\/a><\/em><\/strong>

        <\/span><\/li>\n
      2. \u0414\u0423\u040a\u0410 \u0414. \u0410\u041d\u0414\u0420\u0418\u040b, \u0421\u0410\u040a\u0410 \u0414. \u041a\u0418\u041f\u0420\u041e\u0421\u041a\u0418<\/strong>, \u041d\u0435\u0440\u0435\u0430\u043b\u0438\u0437\u043e\u0432\u0430\u043d\u0438 \u043f\u0440\u043e\u0458\u0435\u043a\u0430\u0442 \u0440\u043e\u0431\u043d\u0435 \u043a\u0443\u045b\u0435 \u041c\u0438\u0442\u0438\u045b \u043d\u0430 \u0421\u043b\u0430\u0432\u0438\u0458\u0438 (1940)
        <\/span>DUNJA D. ANDRI\u0106, SANJA D. KIPROSKI, <\/strong>Unrealized Project of the \u201cMiti\u0107\u02ee Department Store in Slavija Square (1940)         \"\"<\/a><\/em><\/strong>

        <\/span><\/li>\n
      3. \u0410\u041b\u0415\u041a\u0421\u0410\u041d\u0414\u0410\u0420 \u041a\u0410\u0414\u0418\u0408\u0415\u0412\u0418\u040b<\/strong>, \u0413\u0440\u0430\u0434\u0438\u0442\u0435\u0459 \u0438 \u043d\u0430\u0440\u0443\u0447\u0438\u043b\u0430\u0446 \u0443 \u043d\u043e\u0432\u0438\u0458\u043e\u0458 \u0441\u0440\u043f\u0441\u043a\u043e\u0458 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0438: \u043d\u0435\u0440\u0430\u0441\u0432\u0435\u0442\u0459\u0435\u043d\u0435 \u0441\u043f\u043e\u043d\u0435
        <\/span>ALEKSANDAR KADIJEVI\u0106, <\/strong>Builders and Clients in Newer Serbian Architecture: Unresolved Connections         \"\"<\/a><\/em><\/strong><\/span><\/li>\n<\/ol>\n
          \n
        1. VERICA S. PAVI\u0106EVI\u0106<\/strong>, <\/strong>The Belgrade opus of the architect Nikola Nestorovi\u0107 (1868-1957)
          \u0412\u0415\u0420\u0418\u0426\u0410 \u0421. \u041f\u0410\u0412\u0418\u040b\u0415\u0412\u0418\u040b, <\/strong>\u0411\u0435\u043e\u0433\u0440\u0430\u0434\u0441\u043a\u0438 \u043e\u043f\u0443\u0441 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0435 \u041d\u0438\u043a\u043e\u043b\u0435 \u041d\u0435\u0441\u0442\u043e\u0440\u043e\u0432\u0438\u045b\u0430 (1868-1957)           \"\"<\/a><\/em><\/strong>

          <\/span><\/li>\n
        2. SOFIJA B<\/strong>. <\/strong>JOVANOVI\u0106<\/strong>, <\/strong>OVERVIEW OF THE OPUS OF ARCHITECT ANDREY VASILYEVICH PAPKOV BETWEEN TWO WARS IN KINGDOM OF SCS\/YUGOSLAVIA (1925-1941)
          <\/span>\u0421\u041e\u0424\u0418\u0408\u0410 \u0411. \u0408\u041e\u0412\u0410\u041d\u041e\u0412\u0418\u040b, <\/strong>\u041f\u0440\u0435\u0433\u043b\u0435\u0434 \u0434\u0435\u043b\u0430\u0442\u043d\u043e\u0441\u0442\u0438 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0435 \u0410\u043d\u0434\u0440\u0435\u0458\u0430 \u0412\u0430\u0441\u0438\u0459\u0435\u0432\u0438\u0447\u0430 \u041f\u0430\u043f\u043a\u043e\u0432\u0430 \u0443  K\u0440\u0430\u0459\u0435\u0432\u0438\u043d\u0438 \u0421\u0425\u0421\/\u0408\u0443\u0433\u043e\u0441\u043b\u0430\u0432\u0438\u0458\u0438 \u0438\u0437\u043c\u0435\u0452\u0443 \u0434\u0432\u0430 \u0441\u0432\u0435\u0442\u0441\u043a\u0430 \u0440\u0430\u0442\u0430 (1925\u20131941)           \"\"<\/a><\/em><\/strong><\/span><\/li>\n<\/ol>\n
            \n
          1. \u041c\u0418\u041b\u0418\u0426\u0410 \u0411\u041e\u0416\u0418\u040b \u041c\u0410\u0420\u041e\u0408\u0415\u0412\u0418\u040b, <\/strong>\u0422\u0435\u043e\u0440\u0438\u0458\u0441\u043a\u0430 \u043f\u043e\u043b\u0430\u0437\u0438\u0448\u0442\u0430 \u043c\u0443\u0437\u0435\u0458\u0441\u043a\u0435 \u043a\u043e\u043c\u0443\u043d\u0438\u043a\u0430\u0446\u0438\u0458\u0435
            MILICA BO\u017dI\u0106 MAROJEVI\u0106, <\/strong>Theoretical Bases of Museum Communication             \"\"<\/a><\/em><\/strong>

            <\/span><\/li>\n
          2. \u041b\u0415\u041e\u041d \u041a\u041e\u0408\u0415\u041d, <\/strong>\u041d\u0430\u0434\u0435\u0436\u0434\u0430 \u041f\u0435\u0442\u0440\u043e\u0432\u0438\u045b \u0438 \u0421\u0435\u0437\u0430\u043d: \u0458\u0435\u0434\u0430\u043d \u043d\u0435\u0443\u043e\u0447\u0435\u043d\u0438 \u0443\u0442\u0438\u0446\u0430\u0458
            <\/span>LEON KOJEN, <\/strong>Nade\u017eda Petrovi\u0107 and C\u00e9zanne: an Unnoticed Influence             \"\"<\/a><\/em><\/strong>

            <\/span><\/li>\n
          3. \u041c\u0410\u041a\u0421\u0418\u041c\u0418\u041b\u0418\u0408\u0410\u041d \u0414\u041e\u0420\u041e\u0421\u041b\u041e\u0412\u0410\u0427\u041a\u0418,<\/strong> \u041c\u043e\u0441\u0442\u0430\u0440\u0441\u043a\u043e \u0441\u043f\u043e\u043c\u0435\u043d \u0433\u0440\u043e\u0431\u0459\u0435 \u0443 \u043e\u043f\u0443\u0441\u0443 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0435 \u0411\u043e\u0433\u0434\u0430\u043d\u0430 \u0411\u043e\u0433\u0434\u0430\u043d\u043e\u0432\u0438\u045b\u0430: \u0422\u0435\u0430\u0442\u0440\u043e\u043d \u0438 \u045a\u0435\u0433\u043e\u0432\u0435 \u0440\u043e\u043c\u0430\u043d\u0442\u0438\u0447\u0430\u0440\u0441\u043a\u0435 \u0440\u0435\u043c\u0438\u043d\u0438\u0441\u0446\u0435\u043d\u0446\u0438\u0458\u0435
            <\/span>MAKSIMILIJAN DOROSLOVA\u010cKI<\/strong>, Mostar Memorial Cemetery in the Oeuvre of Architect Bogdan Bogdanovi\u0107 \u2012 The Theatron and Its Romantic Reminiscences<\/span>             \"\"<\/a><\/em><\/strong><\/li>\n<\/ol>\n

            \u041f\u0420\u0418\u041a\u0410\u0417\u0418
            REVIEWS<\/strong><\/p>\n

              \n
            1. \u041c\u0418\u041b\u0415\u041d\u0410 \u0410\u041d\u0422\u041e\u041d\u0418\u0408\u0415\u0412\u0418\u040b, <\/strong>\u0418\u0433\u043e\u0440 \u0411\u043e\u0440\u043e\u0437\u0430\u043d (\u0443\u0440.), \u0415\u0432\u0440\u043e\u043f\u0441\u043a\u0438 \u043e\u043a\u0432\u0438\u0440\u0438 \u0441\u0440\u043f\u0441\u043a\u043e\u0433 \u0441\u0438\u043c\u0431\u043e\u043b\u0438\u0437\u043c\u0430 (\u041d\u043e\u0432\u0438 \u0421\u0430\u0434: \u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0430 \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435; \u0411\u0435\u043e\u0433\u0440\u0430\u0434: \u0418\u043d\u0441\u0442\u0438\u0442\u0443\u0442 \u0437\u0430 \u0438\u0441\u0442\u043e\u0440\u0438\u0458\u0443 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438 \u0424\u0438\u043b\u043e\u0437\u043e\u0444\u0441\u043a\u043e\u0433 \u0444\u0430\u043a\u0443\u043b\u0442\u0435\u0442\u0430, 2021) \"\"<\/a><\/em><\/strong><\/li>\n<\/ol>\n
                \n
              1. \u0408\u041e\u0412\u0410\u041d\u0410 \u041d\u0418\u041a\u041e\u041b\u0418\u040b<\/strong>, \u0418\u0437\u043b\u043e\u0436\u0431\u0430: \u0416\u0438\u0432\u043e\u0442 \u2013 \u0421\u0430\u043d \u2013 \u0421\u043c\u0440\u0442. \u0415\u0432\u0440\u043e\u043f\u0441\u043a\u0438 \u043e\u043a\u0432\u0438\u0440\u0438 \u0441\u0440\u043f\u0441\u043a\u043e\u0433 \u0441\u0438\u043c\u0431\u043e\u043b\u0438\u0437\u043c\u0430 (\u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0430 \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435, 6. \u043d\u043e\u0432\u0435\u043c\u0431\u0430\u0440 2021 \u2013 31. \u0458\u0430\u043d\u0443\u0430\u0440 2022) \"\"<\/a><\/em><\/strong><\/li>\n<\/ol>\n
                  \n
                1. \u0421\u041d\u0415\u0416\u0410\u041d\u0410 \u041c\u0418\u0428\u0418\u040b, <\/strong>\u0422\u0438\u0458\u0430\u043d\u0430 \u041f\u0430\u043b\u043a\u043e\u0432\u0459\u0435\u0432\u0438\u045b \u0411\u0443\u0433\u0430\u0440\u0441\u043a\u0438, \u041f\u043e\u043d\u043e\u0441 \u043d\u0430\u0446\u0438\u0458\u0435. 175 \u0433\u043e\u0434\u0438\u043d\u0430 \u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0435 \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435<\/em>, \u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0430 \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435, \u041d\u043e\u0432\u0438 \u0421\u0430\u0434 2022. \"\"<\/a><\/em><\/strong><\/li>\n<\/ol>\n
                    \n
                  1. \u0418\u0421\u0418\u0414\u041e\u0420\u0410 \u0421\u0410\u0412\u0418\u040b, <\/strong>\u0423\u0440\u043e\u0448 \u041f\u0440\u0435\u0434\u0438\u045b. \u0416\u0438\u0432\u043e\u0442 \u043f\u043e\u0441\u0432\u0435\u045b\u0435\u043d \u043b\u0435\u043f\u043e\u0442\u0438 \u0438 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438, (\u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0430 \u041c\u0430\u0442\u0438\u0446\u0435 \u0441\u0440\u043f\u0441\u043a\u0435, \u041d\u043e\u0432\u0438 \u0421\u0430\u0434, 7. \u043e\u043a\u0442\u043e\u0431\u0430\u0440 2022 \u2013 12. \u0444\u0435\u0431\u0440\u0443\u0430\u0440 2023) \"\"<\/a><\/em><\/strong><\/li>\n<\/ol>\n
                      \n
                    1. \u0414\u0418\u0408\u0410\u041d\u0410 \u041c\u0415\u0422\u041b\u0418\u040b<\/strong>, \u0412\u0435\u0441\u043d\u0430 \u041a\u0440\u0443\u0459\u0430\u0446, \u0411\u0440\u0430\u043d\u043a\u043e \u0412\u0435 \u041f\u043e\u0459\u0430\u043d\u0441\u043a\u0438 (1898\u20121947) (\u0424\u0430\u043a\u0443\u043b\u0442\u0435\u0442 \u043f\u0440\u0438\u043c\u0435\u045a\u0435\u043d\u0438\u0445 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438 \u0411\u0435\u043e\u0433\u0440\u0430\u0434, 2023) \"\"<\/a><\/em><\/strong>

                      <\/li>\n
                    2. \u0411\u041e\u0408\u0410\u041d\u0410 \u0421\u0422\u0415\u0412\u0410\u041d\u041e\u0412\u0418\u040b, <\/strong>\u0418\u0437\u043b\u043e\u0436\u0431\u0430: \u0413\u0440\u0430\u0447\u0430\u043d\u0438\u0446\u0430: \u0441\u0458\u0430\u0458 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438 \u0443 \u0434\u043e\u0431\u0430 \u043a\u0440\u0430\u0459\u0430 \u041c\u0438\u043b\u0443\u0442\u0438\u043d\u0430 (\u0413\u0430\u043b\u0435\u0440\u0438\u0458\u0430 \u0421\u0410\u041d\u0423, 21. \u0434\u0435\u0446\u0435\u043c\u0431\u0430\u0440 2022 \u2013 26. \u0444\u0435\u0431\u0440\u0443\u0430\u0440 2023) \"\"<\/a><\/em><\/strong><\/span><\/li>\n<\/ol>\n

                      \u0418\u041c\u0415\u041d\u0421\u041a\u0418 \u0420\u0415\u0413\u0418\u0421\u0422\u0410\u0420<\/strong>, \"\"<\/a><\/em>
                      \u0413\u0415\u041e\u0413\u0420\u0410\u0424\u0421\u041a\u0418 \u0420\u0415\u0413\u0418\u0421\u0422\u0410\u0420<\/strong>,                       \"\"<\/a><\/em>
                      \u0421\u041f\u0418\u0421\u0410\u041a \u0420\u0415\u0426\u0415\u041d\u0417\u0415\u041d\u0410\u0422\u0410<\/strong>,                       \"\"<\/a><\/em>
                      \u0418\u041c\u041f\u0420\u0415\u0421\u0423\u041c<\/strong>,                       \"\"<\/a><\/em><\/p>\n

                      <\/p>","protected":false},"excerpt":{"rendered":"

                      C O N T E N T S: \u0427\u041b\u0410\u041d\u0426\u0418, \u0420\u0410\u0421\u041f\u0420\u0410\u0412\u0415, \u041f\u0420\u0418\u041b\u041e\u0417\u0418ARTICLES, TREATISES, CONTRIBUTIONS BRANKA \u010c. VRANE\u0160EVI\u0106, Iconography of the Parapet Slab From the Church of St. Thomas in Kuti: New Reflections and Possible Interpretations\u0411\u0420\u0410\u041d\u041a\u0410 \u0427. \u0412\u0420\u0410\u041d\u0415\u0428\u0415\u0412\u0418\u040b, \u0418\u043a\u043e\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u0458\u0430 \u043f\u0430\u0440\u0430\u043f\u0435\u0442\u043d\u0435 \u043f\u043b\u043e\u0447\u0435 \u0446\u0440\u043a\u0432\u0435 \u0421\u0432. \u0422\u043e\u043c\u0435 \u0443 \u041a\u0443\u0442\u0438\u043c\u0430: \u043d\u043e\u0432\u0430 \u0440\u0430\u0437\u043c\u0438\u0448\u0459\u0430\u045a\u0430 \u0438 \u043c\u043e\u0433\u0443\u045b\u0430 \u0442\u0443\u043c\u0430\u0447\u0435\u045a\u0430 \u041e\u041b\u0413\u0410 \u0417. \u0428\u041f\u0415\u0425\u0410\u0420, \u0415\u0432\u0435\u0440\u0433\u0435\u0442\u0438\u0437\u0430\u043c \u0443 \u043a\u0430\u0441\u043d\u043e\u0430\u043d\u0442\u0438\u0447\u043a\u043e\u043c… Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\n\n\n\n\n\n\n\n\n\n\n\n\t\n