The problem of representation of intellectuals and artists in the early
modern period has long occupied historians and researchers of various
disciplines. One of the forms of artistic expression of intellectual
self-consciousness was creation of pseudonyms. That was the metaphorical way
of deliberation of individual identity, but also a signifier of cultural
processes that took place between self, creativity and historical context.
Onomastic studies had a long tradition and pre-modern intellectuals very
early accepted idea that name reveals the essence of things and indicates the
character of its wearer. The name was considered as a strong denotative
force, which could affect private or public life of an individual. That was
further confirmed in the manual of Adrien Baillet Auteurs Deguisez Sous Des
Etrangers Noms published in 1690, for all those who wanted to create an
alias. Zaharija Orfelin (1726-1785), as one of the early Serbian
intellectuals and artists of the Enlightenment, also rejected his last name
which remained unknown to date. Only one uncertain explanation was provided
and that by Metropolitan Stefan Stratimirovic which stated that Zaharija?s
last name was ?Stefanovic?, and that he himself invented the pseudonym
?Orfelin?. In the lack of other sources that thesis was accepted, but never
did explain the motives behind the act. That aspect of his artistic
personality remained unsolved, so this paper analyze the individual
circumstances of his life in the context of onomastic and intellectual
history of the early modern period. The invention of pseudonyms was
recognized as a general characteristic of the era, so the comparisons and
analogies of some biographical details are made between him and few other
intellectuals and artists. Signatures that Orfelin put on his pieces are
interpreted in the context of his public representation. From today?s
perspective, it seems that Orfelins? historical figure stayed hidden behind
the personality which was introduced by his chosen name. In that context, the
name change referred to deeper internal changes in matters of his identity
and public role.