Studer-Karlen, Manuela 2018 The aim of this article is to analyze the representation of the Last Judgment in five royal church foundations of medieval Serbia dating from the 13th and 14th century under the powerful dynasty of the Nemanjia, and to contribute to its interpretation by bringing into focus the meaningful visualization of “the righteous” and “the condemned”. Although the treatment of the composition is in keeping with Byzantine images of the Last Judgment, the representations in the Serbian churches demonstrate a great deal of flexibility in depicting the righteous and the condemned. Depending on donors and audiences, the composition includes different motives. Not only the concrete hopes for the hereafter are integrated, but also actuality, propaganda and self-presentation are communicated. application/pdf https://folia.unifr.ch/global/documents/308088 https://folia.unifr.ch/documents/308088/files/Studer_GutUndB_se_2018.pdf ger info:eu-repo/semantics/openAccess License undefined Iconographica. Rivista di iconografia medievale e moderna. - 2018, vol. 17, p. 47-65 Jugement dernier Justice (philosophie) Condamnés à mort Nemanjitch (dynastie) Art serbe Art médiéval Art byzantin Last Judgment the righteous the condemned medieval Serbian church programs Nemanic´Dynasty info:eu-repo/classification/udc/7 Gut und Böse in den Weltgerichtsbildern der royalen Kirchenstiftungen des mittelserbischen Reiches http://purl.org/coar/resource_type/c_6501