Отвъд границите – някои бележки за продукцията на чипровския златарски център от средата на ХVII век
Beyond the borders: some notes on the production of Chiprovtsi goldsmith center in the middle of 17th century

Summary/Abstract: Chiprovtsi was among the most important goldsmith centers on the Balkans at the end of 16th century and during 17th century. Its prosperity was based on the rich deposits of metals in the region, the Catholic orientation of considerable part of the population and the active trade of some of the local inhabitants in and outside the Ottoman Empire. The scope of the work of the local goldsmiths encompassed broad spectrum of objects for the needs of the church as well as the typical for this period hemispherical bowls. The craftsmen of Chiprovtsi were famous for their skilful applying of various goldsmith techniques and the quality of execution and as a whole their works were notable with their complex iconographic choices and low relief combined with a specific variation of orientalized floral ornamentation engraved in the backgrounds. During the mentioned period the popularity and interest in the production of Chirpovtsi goldsmith center went beyond the borders of the present Bulgarian territory and even outside the Balkan Peninsula. Some of the craftsmen executed very important orders for the big Serbian monasteries Dečani, Hopovo, Krušedol and Vrdnik. Another group of goldsmiths found a warm reception across the Danube and also received opportunity to express its creativity in silverware for the Wallachian monasteries Bistriţa, Tismana and Snagov. Among these craftsmen stands out the figure of Francesco (Franco) Markanich who in 1642 by order of the Metropolitan of Wallachia Teofil executed gilt silver Gospel cover for the Bistriţa Monastery. The subject of this paper is that work of Markanich as well as two other Gospel precious covers. Probably they were also made by goldsmiths from Chiprovtsi, but in 1656 for the Krušedol Monastery. Some of the characteristics of these book bindings are examined in the context of their ordering, the taste of the donors, current tendencies in the region and also in comparison with other famous examples of Chiprovtsi goldsmith tradition. In more general terms are traced some of the changes in the iconographic program of Gospel precious covers during the Post-Byzantine period.

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