KTETORS’S COSTUMES IN THE CHURCH OF DONJA KAMENICA

This paper originated with the idea of analyzing a noble male costume of the century on the example of ktetors portraits of a church in Donja Kamenica. In the analyzes so far devoted to the Serbian medieval costume, the names of the donors of the church in Donja Kamenica were seldom given the unknown origin or the possibility of identification, and the granting of a national designation was prevented. As a result, the costumes of Donja Kamnica''s founders were not given a more detailed analysis to classify them in any of the existing groups. The donor act was immortalized by a portrait of the donor, who, for this occasion, was displayed in his most representative clothing, which indicates his social standing, success in the title system, and wealth through the ability to follow current fashion trends. The donors of the church in Donja Kamenica wear clothes that are part of a variety of clothing during the 14th century, with strictly respected canons in the emblem. Kavadion, as one of the most famous men''s dresses, was used here in a seemingly simple way that, and as such, can be found parallels among the portraits of the Balkan lords

III Međunarodna konferencija „Savremeni trendovi i inovacije u tekstilnoj industriji“ 17-18 septembar 2020 Beograd, Srbija KTETORS’S COSTUMES IN THE CHURCH OF DONJA KAMENICA Dragana Frfulanović Šomođi1*, Milena Savić1 (Academy of Vocational Studies South Serbia, Department of Technological Art Studies, Leskovac, Serbia) *E-mail: djolekam@gmail.com _ ABSTRACT: This paper originated with the idea of analyzing a noble male costume of the century on the example of ktetors portraits of a church in Donja Kamenica In the analyzes so far devoted to the Serbian medieval costume, the names of the donors of the church in Donja Kamenica were seldom given the unknown origin or the possibility of identification, and the granting of a national designation was prevented As a result, the costumes of Donja Kamnica's founders were not given a more detailed analysis to classify them in any of the existing groups The donor act was immortalized by a portrait of the donor, who, for this occasion, was displayed in his most representative clothing, which indicates his social standing, success in the title system, and wealth through the ability to follow current fashion trends The donors of the church in Donja Kamenica wear clothes that are part of a variety of clothing during the 14th century, with strictly respected canons in the emblem Kavadion, as one of the most famous men's dresses, was used here in a seemingly simple way that, and as such, can be found parallels among the portraits of the Balkan lords Keywords: Donja Kamenica, ktetor, kavad, clothes, fabric, fashion _ ODEŽDA KTITORA CRKVE U DONJOJ KAMENICI _ APSTRAKT: Rad je nastao sa idejom analize muškog plemićkog kostima XIV veka na primeru ktitorskih portreta crkve u Donjoj Kamenici U dosadašnjim analizama koje su bile posvećene srpkom srednjovekovnom kostimu retki su bili pomeni ktitora crkve u Donjoj Kamenici zbog nepoznatog porekla, odnosno mogućnosti identifikacije, te je davanje nacionalne odrednice bilo onemogućeno Usled toga, kostimi donjokameničkih ktitora nisu dobili detaljniju analizu kojom bi bili svrstani u neku od postojećih grupa Ktitorski čin je bio ovekovečen portretom ktitora, koji je za tu priliku, prikazivan u svojoj najreprezentativnoj odeći, kojom se ujedno mogao i videti njegov društveni stalež, postignuti uspeh u sistemu vlastelinskih titula i bogatstvo kroz mogućnost praćenja aktuelnih modnih trendova Ktitori crkve u Donjoj Kamenici nose odeždu koje su deo raznovrsne ponude u modi odevanja među vlastelom tokom XIV veka, sa strogo poštovanim kanonima u insigniološkom smislu Kavadion, kao jedan od najpoznatijih Savez inženjera i tehničara tekstilaca Srbije III International conference „Contemporary trends and innovations in the textile industry“ 17-18 th September, 2020,Belgrade, Serbia _ muških haljina, ovde je upotrebljen na naizgled jednostavan način kome se, i kao takvom, mogu naći paralele među predstavama balkanske vlastele Ključne reči: Donja Kamenica, ktitor, kavad, odežda, tkanina _ 1.INTRODUCTION The secrecy of a small church in the village of Donja Kamenica, not far from the city of Knjazevac, has become the most significant initiator in the development of additional studies of the numerous segments of this monument that can be discovered by analyzing paintings and architecture The estimated time of the church's growth is in the first half of the fourteenth century, without the possibility of identifying its patrons, that is, the great lords, as well as their lords, under whose immediate authority they were [1] The system of the comparison made the analyzes with the numerous examples, from the Balkan region, of similarities encountered in medieval monuments, from 13th until the end of the 15th century, acknowledging noble family's achievements, including the rulers themselves or their close relatives [2] It is indisputable authenticity in the portrayal of the figures of the ktetor family Hence, it is necessary to pay attention to the clothes of these historical figures, which, as expected, should, by their appearance, reflect the spirit of their time, that is, to reflect the social position and illustrate the extent of their cultural and artistic progress Costumes, that is, clothing and jewelry, can help narrow down the time frame for portraits, i.e., the time of the life of the donor, and also the time of the erection of the church itself Figure 1: Ktetor's composition in the nave, wall painting A profane costume was one way of presenting wealth, power, or position and dignity [3] Each segment of clothing had a meaning and function related to specific titles As such, it was strictly defined in the Byzantine court ceremony, projecting to the surrounding countries that were under its cultural influence [4] The fashion in the medieval Balkans, as well as its canons defined by the title, can be traced through visual representations on 188 Union of engineers and textile technicians of Serbia III Međunarodna konferencija „Savremeni trendovi i inovacije u tekstilnoj industriji“ 17-18 septembar 2020 Beograd, Srbija the ktetor's compositions The preserved portraits, seen as a graphic source in revealing the history of the fashion of medieval court and ruler's costumes, reveal types of men's and women's costumes They show their cut shapes, ways of decorating fabrics, decorative elements in the form of textile or metallic applications with or without obligatory jewelry had the role of badges When it comes to fashion and the canons of dress in the countries of the Byzantine cultural sphere, the dominant influence of Byzantium was expected Then, according to political and social changes, cultural influences from the East or the West, mainly from the territory of Italy, were changing or appearing in greater or lesser intensity, which reflected on fashion and all its segments [6] KTETORS’S PORTRAITS Small in size, the church in Donja Kamenica nevertheless has a significant number of historical portraits carefully arranged through as many as four compositions, which can be classified into two primary groups: ruler and cathedral portraits The ktetors are shown in three pieces through nine figured notions, two of which are in the nave space and one on the first floor of the church These are group or family portraits in horizontal series in the donor or prayer area The essential ktetor's composition is in the nave (Figure 1), on the western wall of the south arm of the cross, which depicts portraits of two adult men and one child between them Of the three, the principal ktetor is identified by the model of the temple he carries in his hands, while the other man is believed to be a closer relative, most likely a brother [7] The lower part of the composition is damaged, so the boy, who would be presumed to be the ktetor’s son, is only seen from the waist up [8] The most striking is the composition on the floor of nartex, which shows the immediate family members: a ktetor, his wife, and two children, a girl, and a boy (Figure 2) All figures are slightly turned towards to the center of painting, looking into the model of the church, held by the founder and his wife At the same time, from above, they are blessed by Christ Pantokrator, painted from a waist up in the segment where the sky should be This group, or rather family composition in a horizontal line, can be found in some of the rulers' and estates' foundation, which would mean that a model has its close parallels Namely, since the 14th century, there has been a tendency for the Balkan lords to be portrayed in their endowments, imitating the ruler's families They are thereby expressing the intention to be classified in the system of the ruler hierarchies [4] 2.1 KTETORS’S CLOTHES In the portrait in the nave, the founder wears a brown-colored dress decorated on the flap and the upper arm with an ocher border along the edges In the middle of the chest and around the neck is lined with fur (Figure 3) Only part of the bottom dress that is visible is parts around the neck and the waist, on the forearms that protruding end at the back The belt that encloses the upper dress is poorly visible due to the damage of the composition in the lower part The overall appearance of the clothes does not give the Savez inženjera i tehničara tekstilaca Srbije III International conference „Contemporary trends and innovations in the textile industry“ 17-18 th September, 2020,Belgrade, Serbia _ impression of high noble dignity, even less sovereign The second founders' clothing seems to be more modest (Figure 4) The simple-purple, light purple dress is enriched with brown fur in the neckline and flap in the middle of the chest The sleeves of his robes end with a spike on the back that is embroidered with embroidery Due to the moderate degree of damage to the fresco, it is possible to get a better look at the belt, made of metal tiles on a leather base Figure 2: Ktetor's composition on upper floor of nartex, wall painting The portrait from the upper floor of nartex completes the appearance of the founders and complements the presence of those mentioned earlier The founder wears a brown dress with a fold in the middle lined with fur along the edges The coat is present on the fold, the lower part of the dress, and the side cuts The only jewelry is a belt, which is made of yellow metal tiles, which indicates the use of gold or, at the very least, gilding Also, the depiction of the boy, that is, the son of the founder, which is more preserved here than the one from the nave, gives a complete picture of the family's appearance The son wears a garment similar to his father's one, with a clear distinction between the upper and the lower dress, but without decorative details, which further emphasized the belt, which in beauty does not lag behind his father's 2.2 COSTUME ANALYSIS From the 14th century, the ktetor business was no longer the privilege of the ruler and his family members, but a growing number of a nobleman Therefore, the established model of displaying a representation of donors with family, that is, participants in raising the endowment, has been consistently applied to all social classes Whether it is a powerful and wealthy lord or a lower and more modest one, the iconographic rules of portraiture have been adhered to without exception Still, the act of painting has become an opportunity for the ktetors to display themselves in their most beautiful and perhaps, at that moment, the wealthiest costume And while the most striking are women's costumes, mainly because of the jewelry that complements the overall look, the men's suit seems, in some cases, more straightforward and less decorated The founders of Donja Kamenica, by their appearance, that is, particular segments of clothing and jewelry aroused attention and gained their place in the official 190 Union of engineers and textile technicians of Serbia III Međunarodna konferencija „Savremeni trendovi i inovacije u tekstilnoj industriji“ 17-18 septembar 2020 Beograd, Srbija historiography and the case when the emphasis was on the depiction of the whole painting of the church For the dress of the principal donor, the Ljubinkovic found an example of comparison in the suit of Oliver's son in St Sofia in Ohrid [9] The fur as a decoration on the suit is found on Milutin's nobles in the illustration of the Christmas anthem in Žiča [10], and the decorative detail in the form of pointed ends on the sleeves corresponds to the clothes of the mayor Brian in the White Church of Karan and George Ostoush Pekpal in Decani [4] When it comes to hairstyles and the fashion of wearing long men's hair, a comparison is made from the time of King Milutin, onwards So, this is a fashion that existed among its own during the mid-fourteenth century [8] Figure 3: Drawing of ktetor's portrait Figure 4: Drawing of portrait of ktetor’s brother On the other hand, Mavrodina's understanding that some elements of men's clothing can be traced back to the end of the 13th century To begin with the Kostur's portrait, but not to forget pictures of Treskavac, Ohrid, Zemen [11], Kalotina, and the ruler's paintings in the London Four Gospels [12], should not be excluded Panajotova paid particular attention to the appearance of the founders of Donja Kamenica She highlights the fur as a luxurious decorative detail on the clothes of both founders It was costly both in the East and the West and was reserved for members of high nobility In this case, she talks about squirrel fur She cites portraits in Ohrid as examples of such clothing decorations: Isaac Duke in St Panteleimon and Oliver's family at St Sofia [6] One of the most striking examples of comparison with the garments of founders of Donja Kamenica is the depiction of relatives of the Bulgarian ruler's family, the despot Jovan Dragushin in Polosko [13] His clothing is almost identical, as the representation of his son Ivan Alexander and despot Constantine in the Four Gospels [12] Founders wear kavadion - kavad type of clothes, which is the most popular form of the top dress among the nobles It is a long dress with a front buckle, clasped around the waist with a belt, tightly strapped to the body and arms, and with a greater or lesser spread in the underside having a cut front or side By its origin, kavad is tied to Middle Eastern nations and then transferred to the Byzantine fashion culture, first as a military piece of equipment As Byzantine art sources show, kavad became accepted as civilian clothing [14], and the presence of this type of dress is also found in the Slovenian Savez inženjera i tehničara tekstilaca Srbije III International conference „Contemporary trends and innovations in the textile industry“ 17-18 th September, 2020,Belgrade, Serbia _ people Kavad's existence is the influence of Byzantium, which is due to the long tradition of wearing this type of clothing in the broader area of the East From the time of the Paleologists, kavad was introduced into Byzantine court official attire [15], as evidenced by the writings of Pseudo-Kodin, and the abundance and form of details indicated the title According to the given model, kavad got the same function in the countries that were under Byzantine cultural influence, and numerous artistic depictions on the fresco decoration of the churches are confirmation of the set norm [16] Figure 5:Drawing of sleeves with spiky endings Figure 6: Drawing of ktetor's composition on upper floor of nartex Ktetors of Donja Kamenica wear gowns that can be classified as kavad according to the general description But we should retain one dose of reservation regards to the division into numerous sub-groups within the primary division into Persian and Caucasian kavad, as made by T Vuleta [16] Analyzing the dress of the principal founder on the portrait from the nave, it seems that it would be a short sleeve kavad, but since the forearm part of the sleeves is in the same ocher tone as the ornamental straps with which the dress is decorated, it would rather be a one-piece dress Due to the damage to the lower part of the painting, it could not be said with certainty whether the dress was cut at the waist and extended from the waist down, and therefore whether it belonged to the Persian or Caucasian type Founder's kavad is lined with ribbons on all edges, on the flap, around the neck, on the shoulders and arms and the sides (Figure 7) According to these elements, it would correspond to the descriptions of the same outfit that we meet with the son of despot John Oliver in Sts Sophia in Ohrid (1347-1350) [9] or despot Constantine (1335-1336) and his son on the Four Gospels [12], but they were equally worn by the nobleman of lower titles, such as the case of Caesar Isaac Duke in the church of St The Panteleimon in Ohrid [17] A particularly striking example is the kavad of nobleman Vlatko's son in Psača [18], whose depiction, due to the better degree of preservation of the composition, allows us to notice a higher number of details on the dress There are decorative strips, buttons, and fur on the fold, thus making a parallel with the kavad of founders of Donja Kamenica There are no vibrant and striking decorative elements on the dress Careful observation shows a spiral band around the neck, that is, on the collar and an olive-green ribbon, which is lined with a band-border along its entire length 192 Union of engineers and textile technicians of Serbia III Međunarodna konferencija „Savremeni trendovi i inovacije u tekstilnoj industriji“ 17-18 septembar 2020 Beograd, Srbija Figure 7: Sheme of ktetor’s costume (nave) – kavad and lower dress The uncommonness in Donja Kamenica founder's kavad is a sleeve with spiky endings that reach up to half the upper part of the fist (Figure 5) At the same time, we encounter examples of straight-cut sleeves that have been embellished with buttons along the entire length of the forearm However, the pointed sleeve's ending has its parallels in the portrait of Mayor Brian from the White Church of Karanska [19] or at the Constantine cathedral in Stanicenje [20] In the picture of the founder of Donja Kamenica, the pointed ends of the sleeves are decorated with densely drawn lines, which would indicate the application of embroidery or perhaps even some type of striping that would give a firm finish to the sleeve It should be noted that the kavad was equally worn by both the lower and higher noblemen It was not crucial whether they were members of the Byzantine or some of the other Balkan states The only drawback in the case of Donja Kamenica's founder kavad is the absence of decorative elements on the fabric Figure 8: Sheme of ktetor’s costume (upper floor of nartex) – kavad and lower dress A better-preserved picture from the upstairs of nartex display reveals more details, though not many The elegance and detail segments that were noticeable on the costume ceremony on the portrait from the nave were absent from the picture from the first floor of nartex (Figure 8) The figure of the founder seems a bit stocky, suggesting a fuller and Savez inženjera i tehničara tekstilaca Srbije III International conference „Contemporary trends and innovations in the textile industry“ 17-18 th September, 2020,Belgrade, Serbia _ perhaps stiffer dress fabric, which is slightly wider in the waist area than the waist down The design of the dress reveals details of a functional nature: two cuts on the side that made it possible to ride a horse, and in this way, it can be compared with the dresses of three donors from Dobrun (1343) and at the Gradoslava tavern in Treskavac [4] There is a noticeable increase in the use of fur along the perimeter of the dress Still, because of the damage to the fresco, it is challenging to find decoration elements in the form of patterns on the fabric, lacing with thread or ribbon, and even cut-in accessories in the form of inlay that would serve to extend the lower part of the dress Given the similarities listed above, it could be concluded that this type of clothing would previously belong to one of the subgroups of Persian kavad Figure 9: Sheme of costume of ktetor’s brother The degree of damage to the fresco is large enough that it is impossible to notice the decorative elements The form of stripes and patterns on the fabric can be perceived only in some segments There is a noticeable button line down the middle of the chest, which alludes to the fact that the kavad is buttoned down the middle, and there are hints of white buttons Živković precisely painted the dress this way, when he was making drawings of frescoes in the Donja Kamenica's Church (Figure 6) [21] However, we should mention K Atanasova's analysis that considers the ktetor's kavad is folded to the side, along his left shoulder, and, as such, goes down the entire length Careful analysis, of the part around the neck of the ktetor's kavad, where the fresco is better preserved, shows that the fur is cut on the left side [22] Also, there is a split fur on the small collar of the lower dress With these elements, it is reasonable to conclude that the kavad could be buckled on the side and get a similar shape that could be compared to the kavad of nearby ktetors form Staničenje or the White Church of Karan It remains doubtful why the author dismissed the decorative elements of fur on the sides in the dressing analysis It is for this reason that we will dwell on the original view that the ktetors's kavad from the first floor is, in the outline, identical to that on the west side of the church, as other researchers have pointed out so far In contrast, the kavad of the founder's brother has a segment that would suggest a different conclusion In a small section below the belt of the brothers kavad, the preserved painting indicates a shape that would resemble the folds of the lower part of 194 Union of engineers and textile technicians of Serbia III Međunarodna konferencija „Savremeni trendovi i inovacije u tekstilnoj industriji“ 17-18 septembar 2020 Beograd, Srbija the kavad.These folds would correspond to the general description of the type of Caucasian kavad - a narrow tight upper with tight sleeves, with a cut at the waist and a bell-shaped lower part, could have had more prominent folds One of the most famous examples is kavad of John Oliver in Lesnovo (1346-1347 and 1349.), with rich embroidery and pearls across the chest and shoulders [23] A unique textile application on shoulders, while the waist section shows a dress cut with a textile belt The underside of a dress has inserts of fabric to resemble bell-shaped In the Donja Kamenica's case, the preserved fragment of the fresco alludes precisely to the form described: the cutting, after which the dress has a greater width due to the folds od fabric The peculiarity of this example is in comparison with the kavad from Lesnov and is reflected in the absence of a narrow waistline It is a more relaxed, freer-fall form, so that the cut and creases are lower than the metal belt, in the hip area Figure 10: Sheme of costume of ktetor’s son - lower dress and kavad The upper part of the ktetor's brother's kavad is simple in shape, tightly strapped to the body and arms, with no decorative elements on the textile in the form of ties or applications The fur is the main and only accessory It goes around the neck and in the fold, with buttons across the chest, as far as the fur reaches, which would allude that the dress was not cut the entire length (Figure 9) Because of all these elements, the most similarities are found with the garments of the donor in Dobrun [4] The system of the lower and top-dresses is visible in the portrait of the founder's son on the composition from the floor upstairs The boy's kavad in the basic form corresponds to his father's, which hasbeen confirmed through numerous examples [5] The kavad is long, with a button line in the middle (Figure 10) It is without stripes and decorative ribbon, a cut on the side, and no fur along the edges The novelty is also reflected in the small black collar and textile strip in the belt area, over which goes the metal belt The white dress below shows itself through sleeves from the elbow down, also pointedly finished with embroidery around the ankles Its a little more modest than the example of founders in the nave As already discussed above, more common examples are straightend sleeves with decorations In the case of the Donja Kamenica founder's examples, the pointed ends are also a kind of bracelet, favoring a visual representation of the inside of the sleeves on the boy's right hand Savez inženjera i tehničara tekstilaca Srbije III International conference „Contemporary trends and innovations in the textile industry“ 17-18 th September, 2020,Belgrade, Serbia _ 2.3 FABRIC AND FUR Parallel to the description of the garment, its decorative and cut details, an equally important part is the question of the fabric of which it is made In the case of ktetor dresses in Donja Kamenica, so far, there has been little consideration on this subject We have been left with no details Mainly because of the simplicity of the textiles displayed and because of the damage to the frescoes Only Panajotova, so far, has paid attention to this segment and very descriptively portrayed the seemingly simple elements on men's clothing [7] The preservation of the frescoes is an essential segment in the study of medieval textiles, more precisely in the knowledge of motifs used for design There is a hold on the type of fabric and the technique when it comes to patterned textiles If the artist was good, then we can easily see the woven and embroidered motifs on the fabric [24] The best example of painted fabric with ornaments is the dress of Anna Maria in Lesnovo [23] and women's portraits in Mali Grad on Prespa [25] It seems that women's dresses have been given more attention when painting, which confirms more significant concern for the appearance of women This is precisely the situation with the garments on the founder's displays: the founder and the daughter wear dresses with patterned textiles, while in men, we are faced with a more straightforward form Figure 11: Drawingof ktetor’s belt (upper floor of nartexFigure 12: Drawing of belt of ktetor’s brother Both of the founders on the composition in the nave are wearing monochrome dresses The upstairs floor of nartex portraits display the whole figure, but due to the damage, one cannot say with certainty whether the textile used to have a pattern Nevertheless, as the motifs of detangling were preserved on the dresses of women's portraits, it would be safer to assume that the textiles on the attire of men were without motives, woven, or embroidered Such a case is no exception and no stranger We have similar examples, but there are certainly more examples of dresses whose textiles are patterned [6] The medieval painting of the Balkans of the Byzantine cultural sphere gives an image of various motifs that were used: geometric, plant, zoomorphic ornaments incorporated into geometric or plant frames with harmonious color relations [24] In this context, it is possible to make analogies with examples of the broader area of Europe and the East and to trace the origin of patterned fabrics The more complex stylization and color processing of textile ornaments was a consequence of the higher artistic level of contemporaries due to economic or political rise, as evidenced by excellent examples of medieval Serbian and Bulgarian lords from the 13th century [17] The question remains, could the absence of ornaments on the ktetor's garments from Donja Kamenica be interpreted through the prism of this conclusion? 196 Union of engineers and textile technicians of Serbia III Međunarodna konferencija „Savremeni trendovi i inovacije u tekstilnoj industriji“ 17-18 septembar 2020 Beograd, Srbija The presence of fur, which is found on the dress of both founders, Panajotova describes as a squirrel's fur or minever (sable), which was very expensive, and considers it appropriate to the high position that the clans occupied [7] Certainly, fur was popular and used in the Middle Ages, but depending on its origin, it could more or less be used It has been noted that many nations used primitive skin jerkin as everyday clothing, but it is also known that more beautiful fur was at a high price and was considered a kind of tribute or tax [17] Medieval Balkan paintings have numerous examples of the use of fur on clothing, primarily along the edges of dresses, borders, cuts, flaps, or around the neck It remains unknown whether the fur was all over the surface of the lower dress or was just sewn around the borders for decoration [6] Figure 13: Drawingof belt of ktetor’s son The symbolism of differently used textiles can be related to the context of the representation of the founder within the founder's compositions from political changes, social ascents, or theological ideas In Jovan Oliver endowment in Lesnovo, he is portrayed twice - as a despot in the parish of the monastery, and then as a part of the royal family It is indisputably noticeable that great attention was paid to the garments in the first portrait Still, in the second portrait, following the higher title, the garments are more abundant in the decoration elements Bulgarian nobleman Kaloyan also shows up twice in his endowment at the Bojan Church, in the parish with his wife, and then in the chapel upstairs Although she wears dresses of the same type, they are different colors, she is portrayed darker on the ground floor and brighter upstairs, which would imply a symbolic replacement of earthly garments for heavenly ones Wrapped in a robe of glory, standing with the composition of the Crucifixion, Kaloyan expresses his desire to have adequate clothing at the time of the Resurrection [26] The gown and textile revealed the degree of success in the system of titles in the earthly authority, but also the tendency to convey the set hierarchy in the spiritual world, to which their jurisdiction recommends them In this context, the Donja Kamenica's founders had specific ideas of separating the foundership based on the title and the presumed hereditary line, represented by the composition in the nave, and the founder's act of his immediate family through the piece from the floor of the parlor However, in no case we encounter a complex combination through the design of clothing and textile decoration, but find almost unreal moderation with a specific dose of elegance From a grave near the church in Stanicenje we can see the evidence that the ceremonial gowns on portraits were equally beautiful in reality [27] Staničenje is geographically relatively close to Donja Kamenica The preserved remains of the dress belonging to the son of the church's founder give new insights into the founder's clothing, which, as a gift Savez inženjera i tehničara tekstilaca Srbije III International conference „Contemporary trends and innovations in the textile industry“ 17-18 th September, 2020,Belgrade, Serbia _ from the Bulgarian emperor, was made in a court workshop This archeological find opened the possibility for new knowledge about the medieval textile, its origins, and the technique of working on it in the narrow context of the imperial workshop of the Bulgarian ruler [20] Therefore, it is also possible to draw parallels between the visual representation of the textiles of the founder, apparently distinguished Bulgarian nobleman of the fourteenth century, and the material evidence, that is, the dresses in which they were buried The suit of the Donja Kamenica founder has its parallels in the garments of regional nobles, which corresponds to the fashion from the middle of the first half of the fourteenth century Comparisons can be made in individual segments such as cut, decoration, or material, and it would be immodest to look for an identical costume as a whole There are noticeable similarities in the tailoring, with the absence decoration, with the garments of high nobility that were closely related to the ruler's family, hints at a model that was imitated and applied as a rule Only a more modest way of decorating the fabric and the tailoring of some pieces suggests that theDonja Kamenica's founder would at best belong to the middle class of the nobility 2.4 JEWELRY The jewelry of the Donja Kamenica founder is more modest The principal founder, his brother and his son, and wear belts, which, in addition to decorative and functional purposes, also had a knightly-symbolic meaning (Figure 11,12,13) Patterns and belts can be observed in three pictures, out of a possible four The shape of the metal tiles, of which the belt was made, all three are different The color and the way the belt falls indicate that the straps are made of leather, as the base material over which the tiles are attached [17] On the front, in the middle of a belt is a clip made of gold or some gilded metal, and on the side is a strap, which adhered to the end of the belt This type of belt was standard and can be found on numerous portraits of a nobleman from the royalty Kaloyan in Bojana (mid-13th century), through the parish of Brian in Karan (1340-1342), despot Oliver in Lesnovo (1346), founder in Dobrun (1343), in Treskavac (1350-60), Psacha (1365-71) [17] The difference is in the shape of the metal decoration of the belt and the way it falls The belt of Donja Kamenica founder is peculiar in its thickness and absence of two ends, but this is a consequence of the material ability of the owner and does not affect the significance in the symbolic-vassal interpretation The jewelry from the cathedral portraits of the church in Donja Kamenica is presented with a lot of finesse, which reflects the painter's dedication to portraits and the need to portray this family as faithfully and beautifully as possible The protectors themselves did their best to look festive, wearing their best clothes, and putting on the most precious jewelry they had Examples of similarities found show that this fashion existed among the nobility of the mid-fourteenth century and that each segment individually has its parallel, that is, the cut, the fabric, and the level of decoration The level of decoration emphasizes the degree of donor's power and the reputation of his family in the hierarchical ladder of the medieval nobility of a state 198 Union of engineers and textile technicians of Serbia III Međunarodna konferencija „Savremeni trendovi i inovacije u tekstilnoj industriji“ 17-18 septembar 2020 Beograd, Srbija CONCLUSION The profane male costume on the portraiture deserves analysis precisely because of its simplicity, which diminished the possibilities of mention in comparison examples From the previous, it is evident that all segments of clothing, from tailoring, decoration to textile, have become established and present in the clothing of the Balkan lords primarily during the fourteenth century and that there are no exceptions The principal founder, as a minor regional nobleman, following his material capabilities and degree of success within the state hierarchy, gave a more than a realistic picture of his clothing More specifically, dressing to solemnly portray yourself and your family members at a crucial moment in highlighting a donor's act The lack of information in the history of his name, the area he ruled, as well as the uncertain identification of his immediate master - the despot Mihailo, son of Tsar Mihailo, only further highlighted the elements available portraits They paint the picture that reveals a landlord with his many members of the family, rich enough to raise an endowment to save the souls of his family, thus presenting the family name to the Lord, and yet modestly dressed not to overemphasize his position in the appointed hierarchy REFERENCES Frfulanović, D (2001) Čija je crkva u Donjoj Kamenci?, Zbornik radova Filozofskog fakulteta, Vol 28-29, pp 299-341 [2] Frfulanović, D (2005) Portreti ktitora u crkvi u Donjoj Kamenici, Vranjski glasnik, Vol 33, pp 135-157 [3] Marjanović, Dušanić S (1994) Vladarske insignije i državna simbolika u Srbiji od XIII XIV veka, Beograd [4] Đorđević, I (1994) Zidno slikarstvo srpske vlastele u doba Nemanjića, Beograd [5] Pavlović, D (2018) Portreti dece u srpskom vlasteoskom slikarstvu u doba Nemanjića, Niš i Vizantija XVI, Simpozijum: Rimski venac pravoslavnog kraljevstva – 800 godina od krunisanja Stefana Prvovenčanog,Niš 3-5 Jun 2017, pp 77-92 [6] Nitić, A (2004) Tkanine i profani kostim u srpskom slikarstvu XIV i prve polovine XV veka, Niš i Vizantija Simpozijum: Vizantijske osnove savremene Evrope, Niš 3-5 Jun 2003, pp.317-334 [7] Panajotova, D (1970) Les portraits des donateurs de Dolna Kamenica, Zbornik radova Vizantološkog instituta, Vol 12, pp 143-156 [8] Ćorović-Ljubinković, M., Ljubinković, R (1950) Crkva u Donjoj Kamenici, Starinar, Vol I, pp 53-86 [9] Grozdanov, C (1980) Ohridsko zidno slikarstvo XIV veka, Beograd-Ohrid [10] Živković, B (1985) Žiča-crteži fresaka, Beograd [11] Мавродинова, Л (1969) Цьрквата в Долна Каменица Стенописи от времето на Михаил Шишман, София [1] Savez inženjera i tehničara tekstilaca Srbije III International conference „Contemporary trends and innovations in the textile industry“ 17-18 th September, 2020,Belgrade, Serbia _ [12] Живкова, Л (1980) Четвероевангелието на цар Иван Александър, София [13] Атанасов, Г (1999) Инсигниите на средновековните български владетели, корони, скиптри, сфери, оръжия, костюми, накити, Плевен [14] Parani, G., M (2003) Reconstructing the Reality of Images Byzantine Material Culture and Religious Iconography (11th-15th centuries), Leiden-Boston [15] Parani, G., M (2007) Cultural Identity and Dress: The Case of Late Byzantine Ceremonial Costume, Jahrbuch der Ősterreichischen Byzantistik, Vol 57, pp 95134 [16] Vuleta, T (2011) “Stade škripa žutijeh kavada“, Zbornik Muzeja primenjene umetnosti, Vol 7, pp 17-30 [17] Kovačević, J (1953) Srednjovekovna nošnja balkanskih Slovena, studija iz istorije srednjovekovne kulture Balkana, Beograd [18] Rasolkoska-Nikolovska, Z (1995) O istorijskim portretima u Psači i vremenu njihovog nastanka, Zograf, Vol 24, pp 39-51 [19] Vojvodić, D (2006-2007) O živopisu Bele crkve karanske i suvremnom slikarstvu Raške, Zograf, Vol 31, pp 135-152 [20] Popović, M., Gabelić, S., Cvetković, B., Popović, B (2005) Crkva Svetog Nikole u Staničenju, Beograd [21] Živković, B (1987) Donja Kamenica-crteži fresaka, Beograd [22] Aтанасова, К Портрети от църквата „Св.Богородица“ в с Долна Каменица (1323-1330г.),(dostupno na: http://badamba.info/BySource/DolnaKamenica.html) [23] Gabelić, S (1998) Manastir Lesnovo, Istorija i slikarstvo, Beograd [24] Stojanović, D (1977) Tkanine, u: Istorija primenjene umetnosti kod Srba, Part I, Srednjovekovna Srbija, Beograd, pp 283-313 [25] Đurić, J., V (1975) Mali Grad-Sv.Atanasije u Kosturu – Borje, Zograf, Vol 6, pp 31-50 [26] Cvetković, B (2015) Textiles and their usage in the medieval Balkans The royal context, in: Clothing the sacred Medieval textiles as fabric, form, and metaphor, ed M Kapustka, W T Woodfin, Berlin, pp 33–52 [27] Nitić, A., Temerinski, Ž (2001) Ostaci odežde cara Ivana Aleksandra iz crkve sv Nikole kod Staničenja, Saopštenja, Vol XXXII-XXXIII, pp 7-25 200 Union of engineers and textile technicians of Serbia ... preserved portraits, seen as a graphic source in revealing the history of the fashion of medieval court and ruler ''s costumes, reveal types of men ''s and women ''s costumes They show their cut shapes,... application on shoulders, while the waist section shows a dress cut with a textile belt The underside of a dress has inserts of fabric to resemble bell-shaped In the Donja Kamenica ''s case, the preserved... comparison in the suit of Oliver ''s son in St Sofia in Ohrid [9] The fur as a decoration on the suit is found on Milutin ''s nobles in the illustration of the Christmas anthem in Žiča [10], and the decorative