"The Message of Protest”: Artistic Expressions of Punk / Hardcore Subculture Ideas

Author(s): Reda Šatūnienė / Language(s): English / Issue: 1/2008

Nekomerciālā panku / hārdkora subkultūra izveidojās no britu pankiem un amerikāņu hārkora 20. gadsimta septiņdesmito un astoņdesmito gadu mijā. Galvenās panku / hārdkora subkultūras iezīmes iemieso pankroka brīvības, kritiskās domas un vienlīdzības principus. Lietuvā daudzas jauniešu subkultūru paražas ienāca pēc valsts neatkarības atjaunošanas 1990. gadā. Raksts pievērš uzmanību nekomerciālās panku / hārdkora subkultūras idejām un vērtībām, kādas ietvertas lietuviešu trafaretu mākslā. Raksta empīriskais materiāls ir savākts, pateicoties atbilstošai metodoloģijai un kvalitatīvam (etnogrāfiskam) lauka pētījumam, kas veikts 2005.-2007. gadā. Raksta autore secina, ka panku / hārdkora subkultūras idejas - protestēšana pret "Sistēmu", ekonomisko un politisko uzkundzēšanos, patērētājfilozofiju, konformismu un starptautiskajām aliansēm - izpaužas trafaretu mākslā. Tā atklāj globālās un vietējās sociālās, politiskās un ekonomiskās aktualitātes.

"Wandering Stars" by Leonid Zatulovskyi: Traditions and Innovation in the Interpretation of the Symphonic Suite Genre

Author(s): Yuliya Kapliyenko-Iliuk / Language(s): English / Issue: 4/2018

The purpose of the article is to identify the peculiarities of the genre made on the basis of the analysis of the symphonic suite by L. Zatulovskyi and to characterize the features of the works of the Bukovynian composer. Methodology. The methods of historical-cultural, theoretical and genre-style analysis were used, which allowed to reveal traditional and innovative techniques of interpretation of the genre of the symphonic suite. The scientific novelty consists in understanding the development process of the professional musical art of Bukovyna; in revealing features of creative thinking of the composers of the region; in clarifying the principles of orchestral music of the region; in the analysis of music by L. Zatulovskyi, whose work was not explored in contemporary musicology. Conclusions. The orchestral suite "Wandering Stars" concentrates the signs of creative thinking of L. Zatulovskyi, his principles of work, which combine the properties of various fields of music, thereby denoting the formation of polystylistics, where the classical traditions of European and Ukrainian music, folk music creative work and traits of Bukovynian multinational musical culture are interwoven. L. Zatulovskyi’s suite is an example of the scene-genre programme symphonism, where the background of the colourful national environment reveals the relationship between the heroes of the novel by Sholem Aleichem. On the basis of this work by L. Zatulovskyi one can identify the features of his individual creative style. The composer, relying on genre features of folk music, was able to achieve his own originality of writing. L. Zatulovskyi, intertwining the intonation and rhythmic features of the Ukrainian, Bukovynian and Jewish song and dance traditions, enriched the melody of his works and brought it to a new level of interaction with harmony and a tone-key component.

"Музикалната естрада продължава да живее в културната памет на българите"

Интервю с Розмари Стателова за новата й книга 'Естрада и социализъм: проблясъци'

Author(s): Zhana Popova / Language(s): Bulgarian / Issue: 5/2019

Interview with Rosemary Statelova about her new book „Estrada and Socialism: Glimpses“

"Певецът на Бах"

"Певецът на Бах"

Author(s): Valentina Ganeva-Raycheva / Language(s): English,Bulgarian / Issue: 18/2009

100 години професионален оперетен театър в България. Постановъчно-изпълнителски опит и репертоарни тежнения

Author(s): Rumyana Karakostova / Language(s): English,Bulgarian / Issue: 4/2018

This paper intends to sum up, from a contemporary critical perspective, the cultural significance of various periods of the centenary history of Bulgaria’s professional operetta theatre, focusing on the social function, the institutional and aesthetic physiognomy of Sofia-based leading private operetta companies in the interwar period and its only genre-profiled National Musical Theatre as their direct successor, which this season marked its seventieth anniversary. The main problematised assumption is that the marked trends in the repertoire polices, stage and performing practices in the centenary development of operetta art on Bulgaria’s professional stage can only be correctly brought forth on the basis of a scientifically objective, rationalised both by the dynamism of historical events and the respective shifts in the sociocultural paradigm and the topical critical reflection.

12.–13. gadsimta bronzas bļodas ar gravējumiem

Author(s): Elita Grosmane / Language(s): Latvian / Issue: 23/2019

The rich material of bronze items produced by local masters on the territory of medieval Latvia testifies to a high level of metalworking skills. The diversity of artefacts increased during this period, as imported objects were often used as samples for local imitations. Bronze bowls are part of the applied arts that flourished in the course of these two centuries; they are common in various European regions and have caught the interest of art historians not so much due to their form but because of the iconography of their engravings. There was quite a high demand for such bowls and the numbers found continue to grow in excavations, even if their origins and function remain unclear. Another complex issue is that of the relationships between the paradigm-setting centre and periphery because there are no known written sources of the time describing bowl making. However, the high level of bronze processing allows us to assume they could have been made anywhere with a larger concentration of finds. All bowls are made of tin bronze. Their forms are quite similar. They consist of a slightly thickened round base from which thinly forged sidewalls rise up to 5–6 cm, and an upper edge about 1 cm wide. The diameter of bowls is about 20 to 30 cm. These vessels could be either decorated or plain but their classification is based on the content of the interior engravings. The issue of datingAll known artefacts are dated from the second half of the 11th century to the 13th century when bowls were especially popular; they were no longer made after that. It remains dubious whether such bowls already existed in the first half of the 11th century. None of the vessels found so far has any year number allowing for further assumptions. The same can be said of signs suggesting any development. Therefore, the grouping and systematisation of these finds has so far been unsuccessful. Different explanations of the origins and function of bowlsThe origins of bowlmaking are usually related to monasteries where monks became the sole experts and keepers of the classical cultural heritage. Monasteries were probably responsible for iconographic samples while the bowls could be made by town craftsmen; merchants who distributed the ware were townspeople too. In the late 19th century, researchers interpreted these bowls in the context of sacred art, seeing them as either christening bowls or vessels for the collection of donations. The researcher Josepha Weitzmann-Fiedler related the origin of bowls to the ritual of confession and purification of the soul performed by nuns. No less popular is the hypothesis about the bowl as a decorative interior item. The form of the vessel was adaptable to polyfunctional use while the large numbers of finds demonstrate that it was a highly demanded good ending up in various social strata. The latest research emphasise the use of bowls for hand washing. IconographyThe complex iconography of inside engravings derived from both Greco-Roman mythology and Christianity endows bronze bowls with particular value. Winged youth was a common image and the so-called bowls of virtues and vices with Latin inscriptions are also often found. Insight into the local historiography Eastern Baltic bronze bowls became the focus of attention right after the finding of the so-called bowl of Otto the Great discovered in Viljandi (Estonia) in 1886. Jelgava painter and librarian Julius Döring made a drawing of the precious find and published it and historian Hermann von Bruiningk provided an analysis. At the turn of the 19th–20th centuries, art historian Wilhelm Neumann turned his attention to bronze bowls, stating that they had come from Western Germany between Aachen and Cologne. Archaeologist Tatjana Pāvele wrote about bronze bowls 50 years later. She concluded from a broader historical perspective that bronze bowls indicate that “active trading with Western Europe was going on in the 11th–13th century”.Bowls found in Latvia Bowls are largely held in the collections of the Riga History and Navigation Museum and the Latvian National History Museum; in addition, two fragments of bronze bowls from Latvia are in the Museum für Vor- und Frühgeschichte Berlin. Riga is the place where the most impressive and luxurious bowls have been discovered – precious items imported from Europe, featuring high-quality execution of the vessel and its décor. These artefacts could have ended up in Riga in the late 12th or early 13th century when the most active contacts formed with the potential centres of their origin – Lower Saxony and North Rhine-Westphalia. Two bowls are thematically part of the so-called group of vices. The top-quality example features a crowned superbia image in the centre with five surrounding vices – IDOLA–TRIA (idolatry), INVI–DIA (hate, envy), ӿ IR–A ӿ (rage, revenge), LVXV–RIA (luxury) and LIB–IDO (lust). The second bowl can be interpreted as a modified and simplified version of the vices vessel, with the main image of a winged figure – angel – while the inscription has been lost. This piece can be said to exemplify an intermediary phase and was probably made at some workshop near Riga, considering the local craftsmen’s high level of skills. Among the most valuable pieces is a bowl rich in representational elements, featuring a rhythmical procession of knights; this vessel was taken out of Latvia in 1940. A thematically rare example is a bowl with a bird similar to a gryphon. Several bronze bowls have been discovered in Latvia in archaeological excavations: two were found in a burial ground in Liepenes (Krimulda) while one emerged from the Pūteļi graveyard (Turaida), placed at the foot of the deceased together with other valuable items. During restoration, a forged rosette consisting of about 1 mm large dots and lines was discovered on the bowl. Conclusions The total number of bronze bowls found in Latvia so far is eight to nine (some fragments are hard to define): five of them are engraved, four appear to lack engraving, although such a conclusion has emerged due to their fragmentary condition. The bowls are similar with regard to their form but they do not make up a homogenous group. Two bowls found in Riga stand out for their narrative message: the so-called superbia with surrounding vices and the procession of knights; both are thought to be imported. These items belong to high-quality pieces in the context of Latvia but also reflect characteristics typical of mass production. The next group consists of two bowls also found in Riga whose engravings reveal the transformations resulting from the long route of dissemination, pointing towards a peripheral origin. The last group is made up of bowls uncovered in archaeological excavations. It is noteworthy that all four bowls were discovered in the burial grounds of the Liv people near the River Gauja; no such finds have emerged so far in either Latvian or Lithuanian archaeological materials elsewhere.

17. VE 18. YÜZYILDA FLAMAN RESİM SANATINDA AVCILIK NATÜRMORTLARI

Author(s): Onur Karaalioğlu / Language(s): Turkish / Issue: 48/2018

With the enlightenment process triggered by the Renaissance movement in Europe, the rebellions against the feudal system and the dogmatism of the church became widespread with Protestantism and accompanying Kalvinism, and the process of renunciation of church from the worldly affairs was accelerated. While rapidly developing trade in the Netherlands provide the emergence of new rich people, the feudal system gradually left its place to the free market lords. The religious, economic and social changes that shaped the 17th century Holland also influenced the field of art and the artist has been obliged to turn to non-religious issues by strictly forbidding the portrayals of the places of worship where the artists provide for their lives with the portrayal of sacred scenes. While the increase in the number of capital powers who want to embellish their own private space expands the repertoire of the artists, still-lifes that seems like independent of all kinds of intangible judgments has gained a great popularity in the 17th century Holland. The hunting still-lifes that emerges in an environment where the bourgeoisie invests in artisans and traces of the natural beauty of the Netherlands has also turned into a demonstration of social status as a species where the messages take place about wealth and life views of the orderer. The hunting still-lifes which turned into a show of power that threatens its opponents with its rich content, act as a mediator heralding of the salvation of the Hereafter, moving from the attitude of Christianity blessing the richness.

17–18. századi debreceni ötvösmunkák a Nagyváradi Református Egyházmegyében

Author(s): Emőke Szalay / Language(s): Hungarian / Issue: 1/2011

The goldsmith works presented in this study prove that the goldsmiths of Debrecen were of crucial importance within the Reformed Deanery of Nagyvárad in the seventeenth and eighteenth centuries. The Reformed ecclesiastical art thus manifested itself strongly within the secular arts and crafts of the period.

18. Yüzyıl Avrupa Porselenlerinde Osmanlı Figürleri

Author(s): Memduha Candan Güngör / Language(s): Turkish / Issue: 69/2020

The Ottoman Empire's domination in Europe brings along a great appreciation, admiration and respect to the Empire, together with the fear of the Turks. In the 18th century, travelers and traders from Eastern culture acquainted with Turkey and when they came back, the travel books they told about the ethnographic richness and traditions of the east caused a trend called Turquerie to emerge in a short time. With the first production of porcelain in Europe, the artists who discovered the characteristics of the porcelain, made elegant Turkish figures with fine workmanship, under the influence of the Turquerie movement. These figures, which started to be studied in Meissen (the first porcelain factory in Europe), have been inspired by the modelers of other established factories over time. These works, which generally deal with figures about Ottoman sultans, female sultans, and palace life that are examples of culture from past to present are exhibited in private collections, museums and auctions. In this article, after mentioning briefly the Turquerie movement, which is one of the reasons for the emergence of the figures, the porcelain factory, Meissen, where figures are produced most intensely and flawlessly in Europe and its modelers will be mentioned, and examples of Turkish figure production at porcelain factories that are rapidly spreading in Europe will be given. This study aims to underline how the art of ceramics was influenced by the judgements, way of thinking and aesthetics of the society in the context of its relationship with the collective subconscious, through exemplary works. The Turquerie movement, which emerged at the point where the East and the West touch one another, and the porcelain figurines, which are the reflection of Ottoman figures, are the inevitable results of this effect and interest.

2013-2014 YILI EDİRNE YENİ SARAY KAZISI İZNİK VE KÜTAHYA SERAMİKLERİ

Author(s): Hasan Uçar / Language(s): Turkish / Issue: 03/2019

The content of this work consists of the ceramics of İznik and Kütahya which were found in excavation carried out in Edirne Yeni Saray in 2013-2014. This palace began to be built at the end of the first half of 15th century and thereafter it was continuously used by Ottoman sultans. The palace, which started to lose its significance in classical period from 18th century, entered into the process of demolition by means of Ottoman-Russia war. Besides the architectural features of the palace with the excavation works made in different years in Republic Period, the things used in the palace are also endeavoured to be unearthed. The ceramics of İznik and Kütahya from these materials have a crucial position alongside of imported ceramics which were used in the palace. Even though the adornment techniques are the same, these ceramics of which colours and motifs show difference have the characteristics of a document in terms of reflection of pleasure approach of a period of Ottoman. While the blue-white ceramics show the adornment approach of end of 15th century and first half of 16th century, multi-coloured ones reflect the adornment approach of Ottoman entirely in solid-coloured and multi-coloured İznik ceramics. It is possible to see single and multi-coloured dyed style of Kütahya in cups which are most notably form and a couple of part of bowl in Kütahya ceramics. While Chinese influence is observed in some of these samples that are dated as 18th century, some of them shows us the style of ceramists from Kütahya entirely. In this work, it is aimed to determine the position of ceramics of İznik and Kütahya which were found in 2013-2014 within Ottoman ceramics.

21. YÜZYILDA GİYİLEBİLİR SANATIN ÖNCÜ MODA TASARIMCILARI

Author(s): Nursen Geyik Değerli / Language(s): Turkish / Issue: 51/2018

Clothing came out as a result of human being’s struggle to protect himself physically against varying conditions of nature. Wearing took shape by traditions till 16th century and affected by new fashion movements created by mid-class society dominating social events during 17th century. Brit, Charles Frederick Worth (1825-1895), was “the first fashion designer” who changed the rules of tailoring and opened his own fashion house in Paris to sell his designs during 19th century. He claims that “his hand-made belly stitch worths a valuable oil painting” and reflects his signature to his designs those express his passion and art. “Artwear” or “Wearable Art” was first pronounced in 1970’s, and then positioned in fashion and art platforms during 80s. In this article; interactions in between fashion and art, fashion designers influenced by art movements during last century and wearable art works of fashion designers of 21st century are analysed. Fashion designers of 21st century are pushing the boundaries of creativity to generate variety of wearable art designs by binding technology transformation and handcrafting. It is a strong sign and evidence that wearables may be art works and we started to see them in art galleries or exhibitions.

3-тя Залізна стрілецька дивізія армії УНР у 1921 р.: просвітня та культурно-мистецька складова таборового повсякдення вояцтва

Author(s): Igor Volodymyrovych Sribnyak,Gennadij Mykhaylovych Nadtoka / Language(s): Ukrainian / Issue: 3/2018

The purpose of the article is determined by the necessity to analyze educational, cultural and art constituent of the everyday life of the representatives of The 3rd Iron Rifle Division of UNR Army in 1921. The methodology is based on the appliance of problematic, chronological, systematically historical, comparatively retrospective and analytical methods of the implementation of the scientific research. The scientific novelty aims to research complex content of educational, cultural and artistic activity of 3rd division soldiers in Kalisz camp. The authors of the article came to the conclusion that all theatrical and concert amateur events were national in accordance with the content and atmosphere which led to the spiritual consolidation of division soldiers in difficult interned terms.

60 anni di ICE-Agenzia in Polonia. 60 lat ICE – Agencji Promocji i Internacjonalizacji Przedsiębiorstw Włoskich w Polsce

Author(s): Antonino Mafodda / Language(s): Polish,Italian / Publication Year: 0

Bilingual volume published in cooperation with the Embassy of Italy in Poland and with the Italian Institute of Culture to celebrate the centenary of the Italian-Polish diplomatic relations (1919–2019).Texts by the renowned Italian and Polish authors (translated from Italian to Polish or vice versa) are divided into two parts: “Diplomacy, economy, history” and “Art, film, literature, theatre”. Such division allows to follow the Polish-Italian bonds in different fields, from translation and performance of the Italian tragedies on the Polish stages, to cooperation with the FIAT company. There is also reflection on the Polish-Italian relations in the difficult interwar period and during the Second World War. In this context one text has exceptional significance - that of Vincenzo Mario Palmieri, Italian anatomic pathologist and a member of the international commission that examined the Katyń massacre in 1943.The volume not only for the Italophiles but also for all those interested in the history of the 20th century and in the issues of the international relations.

90 години Старозагорска опера и 70 години от одържавяването й

Author(s): Emiliya Zhunich / Language(s): Bulgarian / Issue: 2/2016

90 years ago a group of enthusiasts form an opera ensemble, as it occurs in many other localities. And if after one or two titles everything finishes mainly because of lack of funding, exactly in that consists the heroism of citizens of Stara Zagora: the only amateur ensemble which exists 21 years long, and after that it is nationalized in 1946. The nationalization is a kind of recognition but this leads to shocks. In 1967 lays the beginnings of the annually organized Festival of the Opera and Ballet Arts – a mirror of the achievements in the area of music and performing arts. Because of a conflagration end of 1991 the ensemble left homeless. In 2015 the State Operа Stara Zagora celebrates its 90th anniversary, and on the 1st of April 2016 it is 70 years since its nationalization.

A 18. dinasztia idején épült thébai vályogtégla szentély rekonstrukciós kísérletei

Author(s): Zoltán Imre Fábián / Language(s): Hungarian / Issue: 4/2012

A small mortuary chapel built of mud bricks was exposed in 2008 by the Hungarian Archaeological Mission in Thebes, on the south slope of the el-Khokha hillock. Paintings in a rather good state of preservation as well as several further fragments came to light during the excavation. They represent some characteristic thematic groups typical of 18th Dynasty rock cut mortuary monuments. Especially two groups offer a good chance for the reconstruction and the examination of basic principles of the decoration program, namely, a series of offering bearers and the scenes of beer brewers. On the basis of the reconstruction of painted elements, further conclusions can also be drawn regarding the architectural features of the chapel.

A bolgár ajkú magyarok legnagyobb temploma

A vingai római katolikus templom építészeti tervpályázata

Author(s): Nóra Németh,Katalin Marótzy / Language(s): Hungarian / Issue: X-XI/2016

After the Austro-Hungarian Compromise the state establishment worked as a stable system until World War I. The immovable scheme of the Austro-Hungarian dual monarchy state-system and the economic prosperity induced building operations. The society became more and more civilian thus the architectural competitions, as a phenomena of the free-market economy, spread widely. This process was favoured by the Association of Hungarian Engineers and Architects. Among the architectural competitions the ecclesiastical ones frame a different group. In these cases, the constitutor is not a faceless state organization or a capitalist company but a community who considered its church as an expression of their identity. The city of Vinga which is located near to Arad advertised a competition for designing a new catholic church in 1886. Vinga was founded at the middle of the 18th century when Bulgarian refugees won the right to settle down in the uninhabited territories of Temes County. They preserved their Bulgarian identity thus they regarded themselves as a part of the Hungarian nation, too. Their biggest town Vinga was built with wide roads according to a planned urban structure and they raised a neoclassical Roman Catholic church. The economic prosperity and the growth of the population induced the need for a bigger and representative church at the end of the 19th century and they decided to organize an architectural competition to find the most magnificent plan. In the same time, they were quite tight-fisted, thus this two aspects resulted a knotty situation. The process of the design competition and its criticism was not only published in the local newspaper: the bilingual Vingánska Nárudna Nuvála / Vingai Néplap, but also in the most prominent Hungarian architectural journal: Építési Ipar. As it was ordered the plans were designed in Gothic style. In the Hungarian historicism the neo-Gothic influence came from Viena. The architects, as Imre Steindl, who studied from Friedrich von Schmidt brought this trend to Hungary, and later as teachers propagated this to their students. The Vinga Church Building Comitee found Ottó Szehlo’s – a Steindl-follower’s – neo-Gothic proposal the best but they wanted to reduce the costs. After some complication the construction plans were made by Eduard Reiter, an architect from Timișoara (Temesvár). Examining the original drawings we can follow the alterations, how the concept and the details changed. From the elegant competition design Reiter made a cheaper and a bit provincial church and in some forms it is possible to find his own taste. The Roman Catholic church in Vinga became a huge three-bayed building with a low-keyed crossnave, the white walls and rib vaults are emphasized with a decorative, ornamental painting. The furniture and the altars were made in the same style, giving us a magnificent general impression. The façade with two high towers determines the view of the city up to this day.

A cinóber piros lángja (az ikonfestőktől az ikonszakértőkig)

Author(s): Draginja Ramadanski / Language(s): Hungarian / Issue: 2/2019

George RUZSA: Icon Researchers and Icon Research in the Soviet Union in the First Half of the 20th Century. Sziklatemplom Pálos Fogadóközpont, Budapest, 2018

A Diptych of Spiritual Maladies in Cinema: From Nostalgia (Andrei Tarkovsky) to Melancholy (Lars von Trier)

Author(s): Ruxandra Cesereanu / Language(s): English / Issue: 1/2019

This essay aims to assemble (palimpsestically) the visions of several art creators on melancholia and nostalgia. It also undertakes a brief foray into the history of art and film by reference to several influential names: Andrei Rublev, Gian Lorenzo Bernini, Albrecht Dürer, John Everett Millais, Andrei Tarkovsky and Lars von Trier. Moreover, it examines one of Andrei Rublev’s prominent works, The Holy Trinity, and Dürer’s Melencolia I (1514), a remarkable engraving from a visual and intellectual point of view. In cinema, the option for the visions of two directors (despite their differences of style, ideas and generations) is linked to the core representation of nostalgia and melancholia in Tarkovsky’s film, Nostalgia (1983), adjacent also to The Sacrifice (1986), and in Lars von Trier’s Melancholia (2011). The analysis proposed in this essay resorts to the ancient philosophical conception on melancholy, as well as to the interpretations on this theme provided by modern scholars, such as Sigmund Freud, Fritz Saxl, Erwin Panofsky, and Raymond Klibansky. The same goes for nostalgia, even though this a pre-modern concept.

A fölperzselt táj. Anselm Kieferről

Author(s): Sándor Radnóti / Language(s): Hungarian / Issue: 07/2020

The art of Anselm Kiefer (*1945) can be considered an attempt at the renewal of the landscape and the historical painting. Throughout several of his periods, his work centered around the German tradition. However, it would be wrong to interpret his early works within the framework of the positive process of “working through the past” (Vergangenheitsbewältigung). The virtual occupation of Europe with the Nazi salute is a much more of a cynical provocation, and the painter has confessed that through the work, he was seeking an answer to the question of whether he could have been a fascist. It is a provocation of the silence about the recent past, a provocation of the state which banned the salute by law, a provocation of his parents’ generation’s willing or unwilling commitment to Nazism, and a provocation against his own generation’s New Left activism. The 1970 Heroic Symbols III. stands out among these early works, the quality of which is generally not comparable to his later art. Heroic Symbols III. is related to Caspar David Friedrich’s famous painting Monk by the Sea. Kiefer’s painting also features a tiny figure at the center of a landscape. We must distinguish between the possible intention of the painter and the realized work. In the latter sense, the gesture displayed is not provocative but meaningless. There is no dialogue between society (history) and the nature that is its condition. Xerxes whipped the sea – and that was as pointless as a lone Nazi salute on the beach. The landscape does not respond to the historical challenge.

A Forgotten Manuscript from the Slavonic Collection in the Russian National Library

Един забравен ръкопис от славянската сбирка на Руската национална библиотека

Author(s): Elissaveta Moussakova / Language(s): English,Bulgarian / Issue: 1/2018

Until recently the Gospel manuscript from the Russian National Library in St Petersburg, MS Q.п.І.3, now dated to the mid-14th century, was almost not known. It was found that its teratological headpiece on f. 85r is similar to a headpiece in the Four Gospels NBKM 1356 of about the same period. The compositions, though stemming from a common prototype, differ in their details. Being found in manuscripts of obviously different origin, they bring forth a number of issues such as the attribution of the two South Slavonic Tetraevangelia, their interdependence and relations with manuscripts and centres where the model patterns were used and copied in three 17th-century illuminated Gospels.