The image of power: Triumphal entry of King Petar Karadjordjević and Aleksandar Karadjordjević, heir apparent, in Skopje

Ulazak kralja Petra u Skoplje krajem 1912. godine ključni je događaj Prvog balkanskog rata. Osvajanje Skoplja, nekadašnje prestonice srednjovekovne države Nemanjića, označilo je obnovu zlatno doba srpskog naroda, i začetak nove etape u povesnici srpskog naroda i srpske monarhije. Vizuelna kultura je pomenuti događaj uzdigla na viši, simbolički nivo. Crtež publikovan u listu Ilustrovana ratna kronika za 1913. godinu, predstavio je trijumfalni ulazak kralja Petra u Skoplje. Moćni vladar je prikazan na belom konju u pratnji državnih i vojnih velikodostojnika, čime je i konstruisana nova stvarnost, budući da je vladar u grad ušao kolima i bez prevelike pompe. Kompozicija je konstituisana po podobiju rimskih trijumfa, čime se želeo istaći značaj i moć srpskog kralja. Uskoro je plasirana razglednica sa identičnim motivom, koja je pospešila popularnost događaja. Tako je motiv vladarevog trijumfa postao jedan od najsnažnijih vizuelnih artefakata u medijskom sistemu, kao i važan topos u kolektivnom sećanju na slavni događaj.Late 19 and early 20 century turned out to period of strong promotional activities of Kingdom of Serbia in Old Serbia and Mekedonija. Renovation of the former Serbian glory was associated with the restoration of the Nemanjići medieval state, with Skopje as one of its capitals. The myth city of glory was important ideological topos for two reasons. Medieval empire was declared in Skopje, including Dušan's code, the most important legal / law code of Nemanjić's state. First Balkan War in which Serbia had a leading role began in 1912. The withdrawal of the Ottoman state was inevitable, causing recompound process of Balkan map. Serbian army entered Skopje in late 1912 led by heir apparent, Aleksandar Karadjordjević. A few days later aging King Peter Karadjordjević arrived to the city. King's solemn entry into the city, despite noticeably showiness, was not too pompous and ceremonial. The monarch arrived in town by train, then by car toured key topos in the city. Afterwards, perception of the king entering the city was transformed and substantially changed by visual culture. The Illustrated War Chronicle for the year 1913 published a sketch with the show of triumphal entry of King Peter in Skopje. Modern event was presented as the image of the Roman Adventus presents-similar to imaginary enter of the sovereign to the city. Sovereign is shown on a white horse with his escort at the time of the triumphal entry in Skopje. The image is supposed to highlight the strength and the glory of the monarchy and the power of Serbian weapons, with the aim of permanently storing of the events. After a while, the postcards with the same motif were published and, as an approval and usage of dynastic visual representations for the growing media market