Between exceptionalism and tradition: Pictures of the council and the Last Supper and the dedication of the church in Sopoćani

The paper examines a part of the iconographic program in narthex representative church, endowed by Serbian king Uroš I and dedicated to Holy Trinity. With its layout, is linked central field wall above entrance nave bears characteristics focal point corresponding whole. It includes thematic segment with group representations that, based on today's knowledge painted material, can be classified as novelties exceptional solutions. cycle Ecumenical Councils, attached depiction council, Last Supper, core group, are viewed from an angle which they were not illuminated before. unusual selection scenes unique composition become clearer when one considers scenes' place line that connects three important 'points' Sopoćani's spatial programmatic structure west-east axis. 'council wall', Supper 'heart' communicates topographically, visually semantically representation Pentecost, signalled 'identity holy place' original 'face' building Sopoćani (altered later painting), at narthex. Moreover, equally multiple (topographical, visual, semantic) correlation themes mark sanctuary around opening leading into it. Apart repeated this time position apse, apart typological Trinity, situated eastern half south choir's vault, apse particularly relevant for observations about parallelism special complementarity This unity consisting 'liturgical' variant (i.e., Communion Apostles) two Appearance Risen Christ Apostles, identified theme Sending out Apostles-all same register-as well Officiating Church Fathers register below, their coevals also archbishops Church, positioned immediately below rendering Apostolic Mission. resulting findings present study existence connection repertoire dedication church reception kind starting process envisaging shaping whole multi-layered meaning. As it appears, conventional framework was consciously chosen used 'undercover' additional, daring allusions.