WESTERN INFLUENCES IN MEDIEVAL CHURCH ARCHITECTURE IN SERBIA AND MONTENEGRO-FROM ROMANIC TOWARDS GOTHIC
Western influences were very prominent from the very beginning of the building programme of the church architecture in the medieval Serbia until its decline in the last decades of XIVc. Due to the political and geographical situation of the medieval state, this influence was constantly present over the whole territory of the Serbian medieval state. This influence became even more prominent after the former Zeta state was incorporated into medieval Serbian state together with its population which was predominantly Roman Catholic because of the strong presence of the Benedictine and later Franciscan abbeys which eventually became the promoters of the religion and culture in that region. Despite the ups and downs in the relations with the west, there was a constant attitude towards the west and its climax was during the reign of king Stefan the Firstcrowned(1204-1228).Although the character of the relationships which the Catholic church had with his successors-Radoslav(1228-1233) and Vladislav(1234-1243) is still not completely known, another climax was reached when emperor Uros(1243-1276) married the French princess Helena d’Anjou who eventually became the biggest promoter of the western influences in the medieval Serbia. Thus, the predominant western influence, which is present especially in the funerary church architecture (royal mausoleum), was, without doubt, the clear sign of an (un)official recognition and the respect that the Serbian kings had towards the western church. This can be explained with the fact that in the medieval Serbian state lived a numerous non-orthodox population which had either settled in the medieval Serbia very early, or it was incorporated later in the state with the new territories and their presence obliged the State for the religious tolerance. In order to establish better connections with European states, members of the Serbian royal family married the members of western royal families, and even asked the Pope for the blessing of some marriages. Stephan the Firstcrowned even accepted the Roman Catholic as his religion. It is clear that the Serbian royal family respected the Popes as the leaders to whom the Orthodox Church was actually subordinated, despite the fact that the Serbian church was “pro forme” subordinated to the Niceae and, later, Constantinople patriarchate. The medieval Serbia wanted to be as free as possible from the Byzantine influence, and in a way, it took a role of the stronghold of the west against the Byzantium.
The western artistic influences reached medieval Serbia in three separate ways. The first group of the monuments consists of the royal mausoleum together with some other churches founded by Serbian kings[1] The main church monuments ,the royal mausoleum were usually built as an Romanesque architectural shell covering a locally planned inner core of the church, which was usually built with the use of the Byzantine technicque, but not after an Byzantine plan. The second way of influence came with the foundation of the series of Benedictine and, somewhat later, Franciscan monasteries, which came as a result of the existence of the series of episcopates along the eastern Adriatic coast. The third way of influence followed the arrival of the Saxon miners in the medieval Serbia and the foundation of their mining colonies in Novo Brdo and Stari Trg, where the churches were eventually built.
At the beginning of the building programme, the earliest churches planned as the royal mausolea were modelled as the cruciformed single naved churches with the nartex, vestibules and the lateral chapels[2].This original core eventually will be expanded and enlarged, but its constituents remained present during the whole building history of the Serbian royal mausolea. The outer face of the walls of these internal building was usually fashioned as the truly Romanesque building covered with polished marble(Studenica) or built with the use of local stone and covered with mortar, but again using the romanic architectural style..The earlier churches (Djurdjevi Stupovi near Novi Pazar , Djurdjevi stupovi near Budimlje)[3] had a pair of the steeples at the west side or a single spire in front of the nartex( Zica, Sopocani)[4].Except Studenica mausoleum, the other mausoleums had the simple portals and windows which again were romanic in style. All churches had Romanesque bogenfriese arches under the roof, and their sculpture was romanic in style. Although the exonartex in Studenica includes the first true gothic portal on its west wall ,as well as the ribbed vaults over its interior[5],the first important appearance of the gothic style occurred at the royal mausoleum of the queen Helena D’Anjou in Gradac[6] which can be dated back to the end of the 13 th century or the beginning of the 14 th century as the latest, because it is known that the Queen was buried there in 1314. This is the first of the series of the churches where the Gothic style became prominent. Portals, bogenfriese,and windows,all were modelled with gothic arches. The sculpture was carved in white marble with great skill.. Both the west wall biphora,with a quadrifoil opening in its gable, as well as the apse biphora with a threefoil opening in its gable,are genuine gothic, as well as both the outer and the inner western portal of the church.The latter was architecturally much simpler, but it had an superimposed stucco geison which was also projected to the north and south of the inner portal.This feature was only applied earlier in Sopocani . The dome was octagonal and its windows have the semicircular top. The most prominent gothic features are the counterphores [7] at the east part of the church, whose shape is stepped and actually they are the result of the changes of the project which were done during the building of the church.The plan was typical for the royal mausoleum ,with the lateral chapel and the low transept flanking the central area of the church. Under the roof,the whole church was surrounded by gothic bogenfriese. The complete appearance was one of the gothic chapel surrounded by the modest monastery complex built in typical Bysantine technique with the use of broken stones and brick.Precedent to the series of the multi naved churches was the mausoleum in Sopocani[8] where an outer threenaved building actually incorporated a cruciform core and two pairs of adjacent chapels,all with the exonartex with the spire in front..The next,most important monuments in the series, were built as the true multi-naved basilicas with the fasades dressed with polished stone(onyx and breccia) laid in alternated courses( Decani, St Archangel near Prizren) or in three coloured alternating fields(Banjska).
Banjska[9], which is unfortunately now a badly ruined and even worse reconstructed building is still practically scientifically unknown royal mausoleum,although it was studied on several occasions, but the results remained for the most part unpublished. While the church is now practically inaccessible,the complete scientific documentation is unfortunately in private hands.Architecturally,it was the most important royal mausoleum ever built in Kosovo and Serbia.The church of St Stephen in Banjska was the culmination of the development of the series of the royal mausolea in medieval Serbian state. The monumental church originally had two high towers at the west ,which are now almost completely destroyed. Enough is preserved of the south tower to show that there was a cordone geison which surrounded the west area of the mausoleum including its west wall and the flanking sides of the lateral towers. The nartex of the church was divided in two traveys, the eastern was square and twice larger that the western where a gallery probably connected the towers whose walls were at the same time the side walls of the western travey..As judged by the remains of the ribbed vaults in the nave,both traveys were vaulted with the cruciform vaults. There were three portals at this part of the church[10]. The outer, western portal was simpler than the inner one .Both were romanic and some fragments of the archivaults are still preserved.There are also the photographs of the now lost fragments which give enough evidence for the reconstuction of the original appearance of the portals and their sculpture[11]. The outer portal had two-step profilation with one attached and one free column. The inner was three stepped with two attached and one free column standing on the figure of lion.These figures are fortunately preserved[12].One half of its base was discovered during the restoration work, but it was lost afterwards[13]. In the gable of the inner portal was a relief of Our Lady with baby Christ in her lap, flanked with two kneeling angels. The sculpture of the lunette including the preserved group of Our Lady with the Baby Christ was romanic, as well as the kneeling angels,one of which was discovered in 1931,and which is now also lost and is known only through the contemporary description[14].The arrangement of the western portals was soon repeated in Decani mausoleum[15] where the inner portal is also architecturally richer, but the sculptured lunette is supstituted with a painted one .Apart from these two western portals, there was a simpler portal at the north side of the nartex which had only a simple profilation at the sides. At present the great number of the preserved fragments of the sculpture in Banjska can not be attributed to any particular window or portal, because they are built very high in the recent walls and can not be examined properly[16].The traces preserved at the top of the walls of the nave, as well as the architectural composition of the building itself allows the possibility that the windows of the western travey of the nave were gothic biphoras[17].The proposed reconstuction of the Banjska mausoleum allows the possibility of the alligment of the windows of the north and south wall of the naos and nartex with the windows of the burial chapels.The lateral naves , present in the outer volume of the church, actually comprised the burial chapels, where, under the floor, two separate tombs were discovered in each chapel[18].These chapels,as judged by the architectural composition of the whole mausoleum, most probably were illuminated with the gothic monophoras placed under the byphoras of the naos, and with the monophoras at the west wall of each chapel .The dome of the church is not preserved, but the displaced blocks of the outer part of its walls, as well as some of the preserved bogenfriese consoles[19] give the indication that the dome was modeled as the dome of Decani mausoleum. The Banjska church was the culmination of the long line of the development of the royal mausolea. The “urprojekt”, the church dedicated to The Our lady in Studenica,except for the dome whose design was a link to the Athos architecture [20], was the true romanic church and all the later mausolea were only the variations and experiments in the search for the architecture whose final form was built in Banjska ,Decani and Holy Archangels.The Banjska mausoleum was the only church with the true transept Although the interior still have the earlier architectural conception, the Banjska church from the outside had the appearance of the true Italian three naved basilica. It is quite obvious that the mausoleums in Banjska and Decani,as well as the abbey churches in Ratac[21],St Sergius and Bachus on Bojana[22] and the Cathedral of St Triphun in Kotor[23] together with the Kotor series of churches[24] have the common origin, the Kotor protomagister school and stonemasons workshop whose most prominent member eventually became Fra Vita, protomagister in Kotor. There are many examples which can prove this theory.For an example, it should be noted that the building technique of these churches is very similar, and their architectural details are very close.The few partly preserved windows on Banjska Mausoleum, especially on the transept and south part of the altar show that they were built as the gothic byphora and monophora Although the central altar window is almost completely destroyed, the inner part of the wall show that this window was much higher than any altar triphora in the royal mausolea and ,judged by its proportions,most probably was the gothic triphora. The analogy for this theory is found in the unfinished gothic church of the abbey in Ratac in Montenegro.coast[25] where the preserved window of the crypt has the same profilation as the preserved window of the south transept in Banjska mausoleum.. The internal conception of the Banjska mausoleum was a cruciform naos with the dome on the crossing of naos and transept, again an original architectural core deriving from Studenica mausoleum, but it was supplemented with the burial chapels and the true transept and from the outside it gave the appearance of the Italian 13/14 century three naved basilica with the dome over the crossing of the nave and transept.This allows the possibility of the presence of the rose window on the western front. It is quite obvious that the Banjska church can be attributed to the architectural workshop of Fra Vita, protomagister of Decani mausoleum, which was built little later[26]. The language of the architecture of Decani mausoleum was the same: the fasades were covered with the alternating layers of polished breccia and onyx blocks. The sculpture placed at the portals is romanic,but on the windows is both romanic and gothic[27]. The gothic tendency towards the verticality was fully aplied at the central part of Decani church which is a five naved basilica with a dome over single roof over the entire naos.In Decani mausoleum, the outernmost naves actually takes the place of the burial chapel of the Banjska mausoleum[28].This position of the burial chapels in the outer naves was soon repeated in the Holy Archangels church, where in the lover, side naves were planed tombs,but only Tzar Dusan was buried in the NW corner. The walls of the naos of Decani mausoleum have a series of very high gothic biphoras The nartex and altar parts of the mausoleum are both three naved and are each placed under the single roof. On the main apse , central window is a Romanesque triphora, but its lateral windows are gothic. The dome has a series of gothic biphoras.
To this circle can be added the unfinished basilica “B” in the Franciscan convent at Ratac at Montenegro coast. This is another building founded by the Queen Helena Anjouvine who, apparently was the most important promotor of the western influences in the medieval Serbian kingdom.This church was planned as a true three naved basilica whose outer walls were begun with the use of the alternating courses of the red and white polished stone, but due to the subsequent problems, the basilica was never finished and only the crypt and the lowest parts of the perimeter walls were actually built. The church was built at the steep part of the promontory and the altar area had to be built over the crypt. The central apse was rectangular and the lateral were semicircular. The windows of the crypt are almost identical with the remains of the Banjska windows.If it was ever built, this basilica would be probably the most important monument of the gothic in Montenegro[29].The other important gothic churches were the abbey church of St Serghius and Bachus on the shore of Bojana river which is now , unfortunately, completely destroyed.It was a three naved basilica with the three apses.The naves vere separated with the piers connected with the pointed arches which carried the roof.The pilasters along each facade were connected with the pointed arches and they actually reflected the internal arrangement of the church. The same architectural composition had the St George cathedral in Stari Bar, where only the foundations remain[30], but fortunately the appearance of the church is known from the old drawings and photographs,and the discovered elements of the superstructure give enough evidence for the presence of the gothique portals and windows, as well as ribbed gothic vaults which once covered the church.Another very important monument,still partly preserved, is the monastery church of St Nicholas also in Stari Bar[31].This single naved building was erected around 1288,again as the part of the building program of the queen Helena d’Anjou.The building had four traveys and an accompanying chapel with the bell tower.According to the preserved sculpture fragments as well as the parts of the frescoe decoration it was one of the most important monuments on the Montenegro coast.Very close to its plan, was the second church preceding the unfinished basilica in Ratac abbey, which was also single naved building with four traveys and probably with the square apse too[32]. Recent reseach done during the reconstruction work after the earthquake of 1979, procured the evidence about the original appearance of the cathedral of St Tripun at Kotor, which again, was built as the harmonic mixture of Romanesque and gothic style[33]. The St Triphune cathedral in Kotor is the latest and very important addition in the catalogue of the monumental church architecture of 13/14 century. The original architecture, as well the extent of its preservation, became known only recently during the reconstruction work done after the 1979 earthquake.The work, commenced in 1987, was just recently finished and the results of the research and restoration work are fascinating. The colonnades with the most of their superstructure as well as some of the frecoes placed in the intradoses of the arches , north wall,apses and the east travey vault are all original and many architectural fragments which were discovered during the work gave enough evidence for the reconstruction of the church. Like the other Kotor churches( St Maria, St lucas, St Paul…) St Triphune was built with the use of the alternating courses of red and white stone. The original vaults were heavy, romanic, but the triphoras of the emporas as well as the triphora of the main apse are all early gothic.This, clearly romanogothic church, was later decorated with the bysantine frescoes throughout its interior where a unique blend consisted of romanic ciborium, romanogothic architecture,and bysantine frescoes was created.
It seems that the ideal architectural type for the late mausolea became the basilica. Although the royal family held the orthodoxy as the official religion, it is clear that the kings actually have accepted the western religion as their own.It seems that the state policy was that the orthodox church was subordinated to Vatican.In a way it might be an attempt to reconcile western and eastern churches. Thus it seems that the medieval Serbian state was a part of the western world, its easternmost front against the Bysantine empire, and that the medieval Serbian state had as less as possible byssines with the Bysantine empire.The fact that the royal mausolea were built with the dominant western influence(romanic and later gothic) makes it clear that these mausolea were built as the sign for the recognition for the western church and the sign of great respect . The kings were aware of the delicate position of the state split between Europe and Bysant and the state turned towars the Bysantium only after the death of tzar Dusan, during the decline of the empire that followed. The latest in the series, the mausoleum of tzar Dusan near Prizren is now practically completely destroyed, only the lowest parts of the walls remain[34].More than 1700 various fragments of architectural and sculptural decoration was discovered during the excavations of 1926/27 and the revision of 1961/64, but, unfortunately,a good part of it has since been lost, and the preserved material is now scattered in various museums[35].The church and its remains, as well as the accompanying scientific documentation were subject for an extensive research, but the result of this work was an enforced theoretical reconstruction of a pseudobysantine church which was recently rejected in science[36].Unfortunatly, the ruins and the original documentation from the excavations are now inaccessible, and any further research is very hampered.However, it was possible to produce a newly proposed reconstruction which gives a completely different picture of the monument[37]. From the scarse evidence that survives in situ,and from the data that can be obtained from the scattered material and from the published reports and studies, , it is generally possible to reconstruct a three naved basilica with the dome over the central travey of the nave. The facades of the church were again buit with the use of the alternating courses of polished stone. The portal was richly decorated, but only its base and some fragments remain of its sides and without the further studies,they don’ give enough evidence for the decisive reconstruction of thew shape of the lunette, but the discovered fragments of the statue of Tzar Dusan which was placed in its lunette were clearly gothic[38], what gives the indication for a gothic lunette of the portal. Many preserved fragments, which can be even joined brake-on-brake give the material for the reconstruction of the gothic biphoras placed both on the walls and on the dome[39]. The details of the preserved sculpture are romanogothic in style and the structure of the plan has some similarities with the plans of the series of three naved romanogothic basilicas of the Zeta state, ( St Sergius and Bach,CathedraIs in Bar and in Ulcinj) which were all three naved basilicas built with the use of alternating courses of polished stone, as well with the Decani mausoleum..These basilicas were erected as the part of the building programme of the Benedictine and ,later, Franciscan monastic orders in the province of Praevalis.Unfortunately, these basilicas are now almost completely destroyed, only the foundations remain in Ulcinj and Bar whilst the St Sergius and Bachus church was completely washed off by the Bojana river.However, the cathedral in Bar was still standing at 1880’s just before the destruction in an explosion, and its architecture is fortunately known from the old engravings and photographs[40],as well as the architecture of the abbey church of St Sergius and Bachus, which was also photographed when the church was in relatively good state of preservation.The basic elements are present in all these basilicas: they had four traveys in naos, the naves vere separated by the rectangular piers which carried the vaults(Bar) or wooden roof.All these basilicas were built with the local stone or with the combination with brick;their main naves were much higher and illuminated through the windows placed high in the walls of the central nave. There were no domes erected over the main aisles.The erection of these basilicas is also linked with the Serbian royal family. It is known that the Bojana basilica was a very important foundation of the queen Helena Anjou.A whole series of single naved churches along the Montenegro coast.The most important monumets are the Franciscan church in Stari Bar,The St Catherine’s church also in Stari Bar, Churches in Svac,Danj and Precista Krajinska [41]. Gothic architecture was also prominent in the cathedral churches in Stari Trg and Novo Brdo.The architecture of the cathedral in Stari Trg is very close to the architecture of the tree naved basilicas in Montenegro[42].The main apse is still preserved with the remains of the gothic windows.The church was built wit the extensive use if polished travertine.There were many churches in Novo Brdo.Some of them were excavated.The cathedral in Novo Brdo was also built with the use of multicoloured stone, but it was later hevily altered and its theoretical reconstruction was never published[43].The Sass church in Novo Brdo was a single naved building with a smaller choir where the traces of ciborium were discovered[44].The church was illuminated thru the high gothic windows. The building of these churches can be associated with the presence of the great population of Saxon miners and their families who introduced their religion and their architecture in medieval Serbia
. The general conclusion that can be made out is that the religious communities have lived intermingled together and the official state personified in the royal family cared very much for the relations with the west, and the royal family was related through Marriages with the west.In fact ,the medieval Serbian state was a part of the western civilization, until the empire started to crumble.After the death of Tzar Dusan, followed the period of turbulences and decline.After the death of Dusan’s successor, Uros,the empire was torn apart and new local rulers turned themselves towards the Bysantium as well as the architecture-Tzar Uros was buried in clearly Bysantine mausoleum-Matejic,The military defeats that followed, as well as the age of Turkish domination and almost five centuries of Turkish occupations only gave way to the total turning of the religion to the ortodox fundamentalism.The church turned itself to the Russia.Thus, it is not a surprise that the later religious zealotism came with Turkish rule and heavy Russian influence. The medieval splendour ,the western character of the state and the religious tolerance were lost forever with the consequences which are still more than present.
NOTES
[1] The oldest in the series of the mausoleums actually was the Church of Djurdjevi Stupovi near Novi Pazar, founded by Stephen Nemanja in1168.He was actally buried in the Our Lady’s church in Studenica which was built in1183-1196.The later mausoleums in the series were Žiča, founded by Stephen the Firstkrowned, Milesheva, founded by Vladislav in1234,mausoleum of Rastko,youngest son of Nemanja; Sopocani, foundation of Uroš I,built in 1255,Gradac,foundation of Uros,built around 1300,mausoleum of queen Helena d’Anjou,Banjska,(1313-1315)the mausoleum of king Milutin,Decani, the mausoleum of Stephen Decanski(1327-1335),and the Holy Arhangels, the mausoleum of tzar Dusan, built in 1343-1347.
[2] The best surveys of the genesis of the local architectural type are published in :Deroko(1952) ,Čanak Medic(1986),Nenadovic (1981)
[3] For the architecture of Djurdjevi stupovi near Novi Pazar see in Neskovic(1984)and Canak Medic(1986) with the all earlier literature.About the architecture of the church of Djurdjevi stupovi Nead Budimlja see in: Canak Medic(1986)
[4] For the architecture of Zica and Mileseva see in :Canak Medic(1993) with the results of latest researches published.For the Sopocani consult :Djuric(1992)
[5] Radan Jovin et alli(1989)
[6] Boskovic-Nenadovic(1950),Nenadovic(1967),Markovic-Kandic(1982)
[7] Nenadovic(1967),Markovic-Kandic(1982)
[8] Djuric(1992)
[9] Suput(1989),Boskovic(1938),Korac(1965)
[10] Boskovic(1938)
[11] Photographs were published in Maksimovic(1971)
[12] One is kept in the Museum of Macedonia in Skopje(photo published in Suput(1970), while the other is still built in the later Turkish fortification wall beside the mausoleum.
[13] Photographed by Boskovic in 1938.The base is unfortunately lost and the photograph remains unpublished, as well as the most of the scientific documentation from this and later Boskovic’s and other people’s research.
[14] Look in Boskovic (1941) where he describes the whole incident
[15] Boskovic(1941)
[16] Suput(1970)
[17] The only possible places for the position of the windows in the west travey are the areas over the geison on the north and south wall.
[18] during the amateur excavations in 1915, a royal burial was discovered in the west tomb under the floor of the northern chapel ( the eastern part of the chapell is still unexplored because of the lower part of the mosque tower which is built there)In the southern chapel,two disturbed tombs were discovered during the restoration works(Boskovic,1938).These tombs were misinterpreted in Popovic(1992), where ,judging by the separated tombs under the floor,she wrongly concluded that there were actually two chapels both in north and south, chapels,without any evidence.
[19] There are many preserved consoles of the bogenfriese, which can be divided into several groups, because of their dimensions.The smallest could belong to the dome,as judged by their size,Their dimension do not match any of the yet discovered arcades of the bogenfriese. The consoles as well as the other surviving sculpture discovered until 1970, accompanied with the drawings and photographs are published in Suput(1970).
[20] About the origins of the Studenica Dome, see Radan Jovin(1979)
[21] Detailed survey of the Ratac abbey,is published in Bosković/Korać(1956-1957) as well as in Bosković(1961),Korać(1965)
[22] The last DE VISU report about the St Sergius and Bachus was published in: Mušić(1952).Mušić was the last of the architects to visit the church after the World War II, prior to IB resolution.Korać(1961) only gave the summary of the earlier research done by Ippen,Legrand,Deroko and Musić.
[23] The latest results of the research of the St Triphun Cathedral are for the most part unpublished.Important earlier works are; Stjepcević(1938),
Korac(1967).For the sculpture:Maksimović(1961)About the latest results see: Canak Medic(199_), and the catalogue of the opening excibition of December 2000.
[24] Latest results of the research of the Kotor series of churches are published in Canak Medic(1989)
[25] The complex of the Ratac abbey was heavily damaged during the WW II, but the walls of the unfinished basilica remained undamaged.The photographs published in Boskovic&Korac are mostly from 1931 research mission.
[26] About Fra Vita,his life and work, the best account is given in Korać(1965)
[27] The best photographic and architectural documentation is published in Bosković(1941), especially plates which include the complete architectural and photograph documentation of the architecture,sculpture and painting.
[28] This idea was put forward in Canak Medić (1989b), but with the different interpretation.
[29] Reconstruction of the planned basilica as well as of the whole complex were drawn and published in Bosković&Korać(1956/57)
[30] Bosković(1961)
[31] Bosković (1961),Korać(1965)
[32] Bosković&Korać(1956/1957),Korać(1965)
[33] especially present on the arches of the triphoras of the emporas and on the central apse whose arches are all gothic.The original parts of the eastermost triphoras which were restored at the beginning of the XX century under Austrian rule in the eastern travey, were deliberately altered in order to get an romanic shape(information told by Ms Zorica Cubrović, chief architect of the restoration team, on the opening of the reconstructed cathedral on 2nd December 2000)
[34] About the excavation of the complex, most important publications are Grujić(1928) with the preliminary report of the excavations;Nenadović (1967) with the results of the revision of the excavations and the analysis of the finds and Nenadović(1968) with the survey of the conservation works done in 1961-1965.
[35] Most of the material is now kept in the Museum of Macedonia in Skopje.Unfortunately, parts of it were damaged in the 1963 earthquake.Few fragments are in the National Museum in Belgrade, while some were kept in the reconstructed monastery building IN SITU.Uncertain is the fate of the material which was kept in the Archaeological museum in Prizren.
[36] The Nenadović’s reconstruction was discussed on the conference in 1991.See the discussion by S.Curcić in Savetovanje(1992),p.42-46
[37] An article “Evidence for the new reconstruction of the architecture of the St Archangels mausoleum” by S.Živkov is in print.
[38] Nenadović(1967), pl LIV,315
[39] idem, ill 53,54
[40] Bosković(1961),pl VIII…
[41] Details about the architecture in Korać(1965) and Mušić(1952):
[42] Details on the architecture in: Šuput(1974)
[43] only the annual preliminary excavation reports were published in Starinar: Čerškov(1956/1957), Zdravkovic(19541955a), Zdravkovic(1954/1955b)
,Zdravkovic(1956/1957), Zdravkovic(1958/1959)
[44] conservation report published in Zdravkovic(1956/1957).About the arcjitecture of the church also in Korać(1965)
SAŽETAK
Tijekom čitavog svog trajanja, srpska srednjevjekovna arhitektura bila je pod snažnim zapadnjačkim utjecajem. Smještena na raspeću između istoka i zapada, srednjevjekovna Srbija je bila u delikatnom položaju.Pošto je Srbija uključivala i negdašnju državu Zetu, istovremeno je bila prisutna i velika populacija stanovništva koje je bilo vaspitano u duhu zapadne crkve koja je na istočnoj obali Jadrana osnovala čitav niz benediktinskih i, nešto kasnije , franjevačkih opatija koje su bili centri odakle su se zapadnjački utjecaji širili u unutrašnjost.U umjetnost srednjevjekovne srpske države,prije svega arhitekturu i skulpturu, zapadnjački utjecaji stizali su putem tri glavna umjetnička programa. Najvažniji vid zapadnjačkih utjecaja prisutan je u seriji mauzoleja članova kraljevske obitelji čije su zadužbine, iako su u sebi inkorporirale jedan lokalni arhitektonski tip,lokalnu varijantu romaničke crkve, bile još od vremena gradnje najstarijih spomenika u nizu(Djurdjevi stupovi kraj Novog Pazara, Djurdjevi Stupovi kraj Budimlja) koncipirane kao prave romaničke, i kasnije romanogotičke arhitekture.Praprojekat za kasnije spomenike bila je Bogorodičina crkva u Studenici, koja je,osim bizantinske kupole, bila jasno romanička crkva-mauzolej, izvana sagrađena blokovima poliranog mramora. Naredni spomenici u seriji,Žiča,Mileševa,Sopoćani takođe su bili građeni prema tom lokalnom arhitektonskom tipu, s tim, pošto su građene od običnog kamena, njhove fasade bile su žbukane dok im je arhitektonska koncepcija i dalje ostala romanička.Tijekom vremena je došlo do prilagođavanja tog prvotnog arhitektonskog modela pa su, počevši od Sopoćana, spomenici dobili lažni vanjski oblik trobrodne bazilike unutar koje su bili smješteni svi sadržaji-transept,pastoforije kao i zagrobne kapele.Tek su posljednji spomenici u nizu(Dečani,Sv Arhanđeli) bile stvarne trobrodne bazilike sa kupolom, građene naizmeničnim redovima poliranog kamena.Spomenik koji je prethodio Dečanima, mauzolej u Banjskoj, bio je umjetnicki vrhunac u čitavom nizu mauzoleja,Crkva je imala fasade građene trobojnim kamenom,vanjsku romaničku arhitektonsku kompoziciju trobrodne bazilike sa dva zvonika na zapadu, ponavljajući arhitekturu starih spomenika(Đurđevi stupovi ), dok su njena skulptura, prozori ,svodovi bili jasno gotički.Dečani su bili jasan primjer romanogotičke arhitekture, a gotovo potpuno srušeni mauzolej cara Dušana ,Sv Arhanđeli, takođe je bila, sudeći prema novim studijama, romanogotička trobrodna crkva.Drugi snažan utjecaj dopro je preko Zete, gdje su veoma rano osnivane benediktinske i nešto kasnije franjevačke opatije, od kojih je, nažalost, ostalo veoma malo.Tijekom relativno kratkog vremenskog perioda sagrađeno je više trobrodnih bazilika, od kojih su se isticale Katedrala sv Đorđa u Baru( srušena 1880, poznata sa starih fotografija) katedrala u Ulcinju(veoma slična osnova, postoje temelji),Sv Sergije i Bakh na rijeci Bojani(srušila je rijeka, izgled poznat sa starih fotografija).Sigurno najmonumentalnija bila bi, da je ikada sagrađena, trobrodna bazilika u kompleksu opatije Ratac koja je po tehnici gradnje bila srodna graditeljskoj školi fra Vite Kotoranina.U Ratačkoj opatiji ranije je bila sagrađena jednobrodna gotička crkva koja je bila veoma slična crkvi Sv Georgija u Baru, koja je srušena oko 1880 i čiji je izgled moguće spoznati prije svega zahvaljujući sačuvanim ostacima kao i starim fotografijama.Zapadnjački utjecaju došli su i sa Saksonskim rudarskim kolonijama u Novom Brdu I Starom trgu gde su sagrađene monumentalne crkve. Katedrala u Starom Trgu po svojim karakteristikama veoma je srodna primorskim trobrodnim bazilikama ,a Rimokatolička, tzv»Saška» crkva u Novom Brdu jednobrodnim crkvama u Crnoj Gori.Izvore za arhitekturu svih ovih crkava i mauzoleja treba tražiti u graditeljskoj školi u Kotoru gde je sagrađen čitav niz romaničkih crkava čija je graditeljska tehnika nagovještavala razvoj srednjevjekovne arhitekture u Srbiji. Ovaj niz kulminirao je katedralom Sv Tripuna u Kotoru, koja, iako romanička, već nagovještava dolazak gotike. Objašnjenje za ovakav vidan zapadnjački utjecaj na arhitekturu u srednjevjekovnoj Srbiji treba tražiti prije svega u činjenici da su tijekom vremena ,širenjem srednjevjekovne države, pod njenu vlast potpali teritoriji naseljeni sa pretežno rimokatoličkim pučanstvom, kao i da su se u Srbiju doselile brojne kolonije saških rudara.Budući da su srpski vladari održavali izuzetno bliske odnose sa Svetom stolicom,da su neki od njih i prihvatili rimo- katoličku vjeru kao i da su obiteljski bili povezani sa kraljevskim obiteljima sa zapada,očigledno je da je srednjevjekovna Srbija bila dio zapadnog svijeta, njegova predstraža prema Bizantu.Stoga uopće ne bi trebalo biti čudno da je, iako zvanično potčinjena Nikejskoj i kasnije Konstatinopolskoj patrijaršiji,Srpska pravoslavna crkva istovremeno na poseban način priznavala i Svetu stolicu kao vrh crkvene organizacije.Verska tolerancija i multietničnost koja je postojala u srednjevjekovnoj Srbiji,tijekom turske dominacije, i potom okupacije, postepeno su nestali , i pod očiglednim utjecajem ruskog pravoslavnog fundamentalizma,kome se Srpska pravoslavna crkva okrenula tijekom ropstva, zamijenjeni su vjerskom netolerancijom i fanatizmom koji traje i danas, sa nesagledivim posledicama.
IMPORTANT LITERATURE
Abbreviations
ZRVI =Zbornik radova Vizantoloskog instituta SANU,beograd
GSND=Glasnik skopskog naučnog drustva,Skopje
ZZSK= Zbornik zaštite spomenika kulture,Beograd
VAHD=Vjesnik za arheologiju i historiju dalmatinsku,Split
ZLU = Zbornik za likovne umetnosti,Matica Srpska, Novi sad
ZFF = Zbornik filozofskog fakulteta,Beograd
Bošković (1941) Manastir Dečani, Srpska Kraljevska Akademija,Beograd 1941.
Bošković ( 1938) Pred radom na osiguranju Banjske,StarinarXIII.Beograd1938.
Bošković (1961) Stari Bar, Beograd 1961
Bošković&Korać(1956/1957)Ratac,Starinar VII-VIII,Beograd,39-75
Bošković&Nenadović(1950) Gradac,Beograd, 1950
Čanak Medić,(1986) Arhitektura Nemanjinog doba I, Beograd 1986.
Čanak Medić,(1989a) Arhitektura Nemanjinog doba II,Beograd,1989.
Čanak Medic,(1989b) Uzori i projektantski postupak dečanskog neimara,
Akta simpozija»Dečani i vizantijska umetnost XIV veka,Beograd 1989;159-166
Čanak Medić,(1993) Arhitektura prve polovine XIII veka I,Beograd,1993.
Čanak Medič(1997) Katedrala Sv Tripuna kao odraz umetnickih prilika u Kotoru sredinom XII veka,ZRVI XXXVI,beograd 1997,83-98
Čerškov,(1956/1957) «Saška crkva» kod Novog Brda,Starinar VII-VIII,Beograd 1956/1957,338-340
Deroko(1952) Monumentalna i dekorativna arhitektura u srednjevekovnoj Srbiji,Beograd,1952
Djuric,(1992) Sopocani, Beograd, 1992.
Fiskovic, (1989) Dečani i arhitektura istocnojadranske obale u XIV vijeku;
Akta simpozija»Decani i vizantijska umjetnost XIV vijeka», Beograd 1989;169-182
Grujić, (1928) Iskopavanje manastira Svetih arhanđela kod Prizrena,GSND III,Skopje,1928.,239-274.
Kandić-Marković(1982) Gradac, Beograd,1982.
Korać, (1965) Graditeljska škola pomorja,SANU, Beograd 1965.
Korać, (1961) Crkva Sv Sergija i Baha na Bojani,Starinar XII,Beograd,1961. 35-44
Korać (1967) Prvobitna arhitektonska kompozicija kotorske katedrale.ZLU 3,Novi Sad , 1-30
Korać&Šuput(1997) Arhitektura Vizantijskog sveta, Beograd,1997
Maksimović(1971) Srpska srednjevekovna skulptura, Novi Sad 1971.
Maksimović(1961) Kotorski ciborij i kamena plastika susednih oblasti, Beograd,1961
Mušić,M.(1952) Gradivo za proučevanje srbske srednjoveške arhitekture v okolici Skadra,ZZSK II/1,Beograd 1952,177-186
Nenadović,S(1967a) Dušanova zadužbina, manastir Sv Arhanđela kod Prizrena,Spomenik SANU CXVI,Beograd,1967
Nenadovic,S(1967b) Problemi restauracije gradačke crkve, ZZSK XVIII,Beograd 1967,27-38
Nenadović,S(1968) Konzervacija ruševina manastira Sv Arhandjela kod Prizrena,Starine Kosova i Metohije IV-V,Priština,1968-1971,401-408
Popović(1992) Srpski vladarski grob u srednjem veku, Beograd,1992.
Radan Jovin(1979) Studenica,Saopštenja XII,Beograd 1979.
Radan Jovin(1988) Studenica-Istraživanja,rezultati; Raška Baština 3, Kraljevo,1988,185-205
Radan Jovin et alli(1989) Studenica u svetlosti arheoloških i arhitektonskih istraživanja
Katalog izložbe»Blago manastira Studenice» ,27-68,Beograd 1989.
Stjepčević(1934)Katedrala Sv Tripuna u Kotoru,VAHD 51,Split,1934,prilog 1
Šuput,M.(1970)Plastična dekoracija Banjske,ZLU 6,Novi Sad,1970,37-54
Šuput,M(1974) Crkva u Starom Trgu,ZFF XII/1,Beograd,1974,
Savetovanje(1992) Obnova manastira Sveti Arhanđeli kod Prizrena,Beograd 1992
Zdravković(1954/1955a)Novo Brdo-radovi izvršeni 1952.godine,Starinar V-VI,Beograd 1954/1955,251-264
Zdravković(1954/1955b)Novo Brdo-radovi izvršeni 1954.godine,Starinar V-VI,Beograd 1954/1955) 275-282
Zdravković (1956/1957) iskopavanja na Novom Brdu 1955.Rad na konzervaciji trvrdjave i Saške crkve,Starinar VII-VIII,Beograd 1956/1957,341-348
Zdravković(1958/1959) Arheološko konzervatorski radovi na Novom Brdu u 1957.godini,Starinar IX-X,Beograd,1958/1959,319-322
ABSTRACT
The article deals with the appearance of the western influences,from romanic towards the gothic in the architecture and sculpture in the medieval Serbian state.These influences came with the expansion of the medieval Serbian state with the inclusion of medieval Zeta,where the Roman Chatolic church was predominant, and with the arrival of the German miners who settled in their mining collonies.The Royal family, throught the family relations became linked with the western European states, and some of the Serbian kings even accepted the Roman Catholic as their religion.This resulted with the erection of the series of the royal mausolea which ,with their romanic and ,later ,romanogothic character, present a local variant of the western art .The medieval Serbia, until its decline, was fully integrated as a part of the western world, and its stronghold against the Bysantium.
Western influences were very prominent from the very beginning of the building programme of the church architecture in the medieval Serbia until its decline in the last decades of XIVc. Due to the political and geographical situation of the medieval state, this influence was constantly present over the whole territory of the Serbian medieval state. This influence became even more prominent after the former Zeta state was incorporated into medieval Serbian state together with its population which was predominantly Roman Catholic because of the strong presence of the Benedictine and later Franciscan abbeys which eventually became the promoters of the religion and culture in that region. Despite the ups and downs in the relations with the west, there was a constant attitude towards the west and its climax was during the reign of king Stefan the Firstcrowned(1204-1228).Although the character of the relationships which the Catholic church had with his successors-Radoslav(1228-1233) and Vladislav(1234-1243) is still not completely known, another climax was reached when emperor Uros(1243-1276) married the French princess Helena d’Anjou who eventually became the biggest promoter of the western influences in the medieval Serbia. Thus, the predominant western influence, which is present especially in the funerary church architecture (royal mausoleum), was, without doubt, the clear sign of an (un)official recognition and the respect that the Serbian kings had towards the western church. This can be explained with the fact that in the medieval Serbian state lived a numerous non-orthodox population which had either settled in the medieval Serbia very early, or it was incorporated later in the state with the new territories and their presence obliged the State for the religious tolerance. In order to establish better connections with European states, members of the Serbian royal family married the members of western royal families, and even asked the Pope for the blessing of some marriages. Stephan the Firstcrowned even accepted the Roman Catholic as his religion. It is clear that the Serbian royal family respected the Popes as the leaders to whom the Orthodox Church was actually subordinated, despite the fact that the Serbian church was “pro forme” subordinated to the Niceae and, later, Constantinople patriarchate. The medieval Serbia wanted to be as free as possible from the Byzantine influence, and in a way, it took a role of the stronghold of the west against the Byzantium.
The western artistic influences reached medieval Serbia in three separate ways. The first group of the monuments consists of the royal mausoleum together with some other churches founded by Serbian kings[1] The main church monuments ,the royal mausoleum were usually built as an Romanesque architectural shell covering a locally planned inner core of the church, which was usually built with the use of the Byzantine technicque, but not after an Byzantine plan. The second way of influence came with the foundation of the series of Benedictine and, somewhat later, Franciscan monasteries, which came as a result of the existence of the series of episcopates along the eastern Adriatic coast. The third way of influence followed the arrival of the Saxon miners in the medieval Serbia and the foundation of their mining colonies in Novo Brdo and Stari Trg, where the churches were eventually built.
At the beginning of the building programme, the earliest churches planned as the royal mausolea were modelled as the cruciformed single naved churches with the nartex, vestibules and the lateral chapels[2].This original core eventually will be expanded and enlarged, but its constituents remained present during the whole building history of the Serbian royal mausolea. The outer face of the walls of these internal building was usually fashioned as the truly Romanesque building covered with polished marble(Studenica) or built with the use of local stone and covered with mortar, but again using the romanic architectural style..The earlier churches (Djurdjevi Stupovi near Novi Pazar , Djurdjevi stupovi near Budimlje)[3] had a pair of the steeples at the west side or a single spire in front of the nartex( Zica, Sopocani)[4].Except Studenica mausoleum, the other mausoleums had the simple portals and windows which again were romanic in style. All churches had Romanesque bogenfriese arches under the roof, and their sculpture was romanic in style. Although the exonartex in Studenica includes the first true gothic portal on its west wall ,as well as the ribbed vaults over its interior[5],the first important appearance of the gothic style occurred at the royal mausoleum of the queen Helena D’Anjou in Gradac[6] which can be dated back to the end of the 13 th century or the beginning of the 14 th century as the latest, because it is known that the Queen was buried there in 1314. This is the first of the series of the churches where the Gothic style became prominent. Portals, bogenfriese,and windows,all were modelled with gothic arches. The sculpture was carved in white marble with great skill.. Both the west wall biphora,with a quadrifoil opening in its gable, as well as the apse biphora with a threefoil opening in its gable,are genuine gothic, as well as both the outer and the inner western portal of the church.The latter was architecturally much simpler, but it had an superimposed stucco geison which was also projected to the north and south of the inner portal.This feature was only applied earlier in Sopocani . The dome was octagonal and its windows have the semicircular top. The most prominent gothic features are the counterphores [7] at the east part of the church, whose shape is stepped and actually they are the result of the changes of the project which were done during the building of the church.The plan was typical for the royal mausoleum ,with the lateral chapel and the low transept flanking the central area of the church. Under the roof,the whole church was surrounded by gothic bogenfriese. The complete appearance was one of the gothic chapel surrounded by the modest monastery complex built in typical Bysantine technique with the use of broken stones and brick.Precedent to the series of the multi naved churches was the mausoleum in Sopocani[8] where an outer threenaved building actually incorporated a cruciform core and two pairs of adjacent chapels,all with the exonartex with the spire in front..The next,most important monuments in the series, were built as the true multi-naved basilicas with the fasades dressed with polished stone(onyx and breccia) laid in alternated courses( Decani, St Archangel near Prizren) or in three coloured alternating fields(Banjska).
Banjska[9], which is unfortunately now a badly ruined and even worse reconstructed building is still practically scientifically unknown royal mausoleum,although it was studied on several occasions, but the results remained for the most part unpublished. While the church is now practically inaccessible,the complete scientific documentation is unfortunately in private hands.Architecturally,it was the most important royal mausoleum ever built in Kosovo and Serbia.The church of St Stephen in Banjska was the culmination of the development of the series of the royal mausolea in medieval Serbian state. The monumental church originally had two high towers at the west ,which are now almost completely destroyed. Enough is preserved of the south tower to show that there was a cordone geison which surrounded the west area of the mausoleum including its west wall and the flanking sides of the lateral towers. The nartex of the church was divided in two traveys, the eastern was square and twice larger that the western where a gallery probably connected the towers whose walls were at the same time the side walls of the western travey..As judged by the remains of the ribbed vaults in the nave,both traveys were vaulted with the cruciform vaults. There were three portals at this part of the church[10]. The outer, western portal was simpler than the inner one .Both were romanic and some fragments of the archivaults are still preserved.There are also the photographs of the now lost fragments which give enough evidence for the reconstuction of the original appearance of the portals and their sculpture[11]. The outer portal had two-step profilation with one attached and one free column. The inner was three stepped with two attached and one free column standing on the figure of lion.These figures are fortunately preserved[12].One half of its base was discovered during the restoration work, but it was lost afterwards[13]. In the gable of the inner portal was a relief of Our Lady with baby Christ in her lap, flanked with two kneeling angels. The sculpture of the lunette including the preserved group of Our Lady with the Baby Christ was romanic, as well as the kneeling angels,one of which was discovered in 1931,and which is now also lost and is known only through the contemporary description[14].The arrangement of the western portals was soon repeated in Decani mausoleum[15] where the inner portal is also architecturally richer, but the sculptured lunette is supstituted with a painted one .Apart from these two western portals, there was a simpler portal at the north side of the nartex which had only a simple profilation at the sides. At present the great number of the preserved fragments of the sculpture in Banjska can not be attributed to any particular window or portal, because they are built very high in the recent walls and can not be examined properly[16].The traces preserved at the top of the walls of the nave, as well as the architectural composition of the building itself allows the possibility that the windows of the western travey of the nave were gothic biphoras[17].The proposed reconstuction of the Banjska mausoleum allows the possibility of the alligment of the windows of the north and south wall of the naos and nartex with the windows of the burial chapels.The lateral naves , present in the outer volume of the church, actually comprised the burial chapels, where, under the floor, two separate tombs were discovered in each chapel[18].These chapels,as judged by the architectural composition of the whole mausoleum, most probably were illuminated with the gothic monophoras placed under the byphoras of the naos, and with the monophoras at the west wall of each chapel .The dome of the church is not preserved, but the displaced blocks of the outer part of its walls, as well as some of the preserved bogenfriese consoles[19] give the indication that the dome was modeled as the dome of Decani mausoleum. The Banjska church was the culmination of the long line of the development of the royal mausolea. The “urprojekt”, the church dedicated to The Our lady in Studenica,except for the dome whose design was a link to the Athos architecture [20], was the true romanic church and all the later mausolea were only the variations and experiments in the search for the architecture whose final form was built in Banjska ,Decani and Holy Archangels.The Banjska mausoleum was the only church with the true transept Although the interior still have the earlier architectural conception, the Banjska church from the outside had the appearance of the true Italian three naved basilica. It is quite obvious that the mausoleums in Banjska and Decani,as well as the abbey churches in Ratac[21],St Sergius and Bachus on Bojana[22] and the Cathedral of St Triphun in Kotor[23] together with the Kotor series of churches[24] have the common origin, the Kotor protomagister school and stonemasons workshop whose most prominent member eventually became Fra Vita, protomagister in Kotor. There are many examples which can prove this theory.For an example, it should be noted that the building technique of these churches is very similar, and their architectural details are very close.The few partly preserved windows on Banjska Mausoleum, especially on the transept and south part of the altar show that they were built as the gothic byphora and monophora Although the central altar window is almost completely destroyed, the inner part of the wall show that this window was much higher than any altar triphora in the royal mausolea and ,judged by its proportions,most probably was the gothic triphora. The analogy for this theory is found in the unfinished gothic church of the abbey in Ratac in Montenegro.coast[25] where the preserved window of the crypt has the same profilation as the preserved window of the south transept in Banjska mausoleum.. The internal conception of the Banjska mausoleum was a cruciform naos with the dome on the crossing of naos and transept, again an original architectural core deriving from Studenica mausoleum, but it was supplemented with the burial chapels and the true transept and from the outside it gave the appearance of the Italian 13/14 century three naved basilica with the dome over the crossing of the nave and transept.This allows the possibility of the presence of the rose window on the western front. It is quite obvious that the Banjska church can be attributed to the architectural workshop of Fra Vita, protomagister of Decani mausoleum, which was built little later[26]. The language of the architecture of Decani mausoleum was the same: the fasades were covered with the alternating layers of polished breccia and onyx blocks. The sculpture placed at the portals is romanic,but on the windows is both romanic and gothic[27]. The gothic tendency towards the verticality was fully aplied at the central part of Decani church which is a five naved basilica with a dome over single roof over the entire naos.In Decani mausoleum, the outernmost naves actually takes the place of the burial chapel of the Banjska mausoleum[28].This position of the burial chapels in the outer naves was soon repeated in the Holy Archangels church, where in the lover, side naves were planed tombs,but only Tzar Dusan was buried in the NW corner. The walls of the naos of Decani mausoleum have a series of very high gothic biphoras The nartex and altar parts of the mausoleum are both three naved and are each placed under the single roof. On the main apse , central window is a Romanesque triphora, but its lateral windows are gothic. The dome has a series of gothic biphoras.
To this circle can be added the unfinished basilica “B” in the Franciscan convent at Ratac at Montenegro coast. This is another building founded by the Queen Helena Anjouvine who, apparently was the most important promotor of the western influences in the medieval Serbian kingdom.This church was planned as a true three naved basilica whose outer walls were begun with the use of the alternating courses of the red and white polished stone, but due to the subsequent problems, the basilica was never finished and only the crypt and the lowest parts of the perimeter walls were actually built. The church was built at the steep part of the promontory and the altar area had to be built over the crypt. The central apse was rectangular and the lateral were semicircular. The windows of the crypt are almost identical with the remains of the Banjska windows.If it was ever built, this basilica would be probably the most important monument of the gothic in Montenegro[29].The other important gothic churches were the abbey church of St Serghius and Bachus on the shore of Bojana river which is now , unfortunately, completely destroyed.It was a three naved basilica with the three apses.The naves vere separated with the piers connected with the pointed arches which carried the roof.The pilasters along each facade were connected with the pointed arches and they actually reflected the internal arrangement of the church. The same architectural composition had the St George cathedral in Stari Bar, where only the foundations remain[30], but fortunately the appearance of the church is known from the old drawings and photographs,and the discovered elements of the superstructure give enough evidence for the presence of the gothique portals and windows, as well as ribbed gothic vaults which once covered the church.Another very important monument,still partly preserved, is the monastery church of St Nicholas also in Stari Bar[31].This single naved building was erected around 1288,again as the part of the building program of the queen Helena d’Anjou.The building had four traveys and an accompanying chapel with the bell tower.According to the preserved sculpture fragments as well as the parts of the frescoe decoration it was one of the most important monuments on the Montenegro coast.Very close to its plan, was the second church preceding the unfinished basilica in Ratac abbey, which was also single naved building with four traveys and probably with the square apse too[32]. Recent reseach done during the reconstruction work after the earthquake of 1979, procured the evidence about the original appearance of the cathedral of St Tripun at Kotor, which again, was built as the harmonic mixture of Romanesque and gothic style[33]. The St Triphune cathedral in Kotor is the latest and very important addition in the catalogue of the monumental church architecture of 13/14 century. The original architecture, as well the extent of its preservation, became known only recently during the reconstruction work done after the 1979 earthquake.The work, commenced in 1987, was just recently finished and the results of the research and restoration work are fascinating. The colonnades with the most of their superstructure as well as some of the frecoes placed in the intradoses of the arches , north wall,apses and the east travey vault are all original and many architectural fragments which were discovered during the work gave enough evidence for the reconstruction of the church. Like the other Kotor churches( St Maria, St lucas, St Paul…) St Triphune was built with the use of the alternating courses of red and white stone. The original vaults were heavy, romanic, but the triphoras of the emporas as well as the triphora of the main apse are all early gothic.This, clearly romanogothic church, was later decorated with the bysantine frescoes throughout its interior where a unique blend consisted of romanic ciborium, romanogothic architecture,and bysantine frescoes was created.
It seems that the ideal architectural type for the late mausolea became the basilica. Although the royal family held the orthodoxy as the official religion, it is clear that the kings actually have accepted the western religion as their own.It seems that the state policy was that the orthodox church was subordinated to Vatican.In a way it might be an attempt to reconcile western and eastern churches. Thus it seems that the medieval Serbian state was a part of the western world, its easternmost front against the Bysantine empire, and that the medieval Serbian state had as less as possible byssines with the Bysantine empire.The fact that the royal mausolea were built with the dominant western influence(romanic and later gothic) makes it clear that these mausolea were built as the sign for the recognition for the western church and the sign of great respect . The kings were aware of the delicate position of the state split between Europe and Bysant and the state turned towars the Bysantium only after the death of tzar Dusan, during the decline of the empire that followed. The latest in the series, the mausoleum of tzar Dusan near Prizren is now practically completely destroyed, only the lowest parts of the walls remain[34].More than 1700 various fragments of architectural and sculptural decoration was discovered during the excavations of 1926/27 and the revision of 1961/64, but, unfortunately,a good part of it has since been lost, and the preserved material is now scattered in various museums[35].The church and its remains, as well as the accompanying scientific documentation were subject for an extensive research, but the result of this work was an enforced theoretical reconstruction of a pseudobysantine church which was recently rejected in science[36].Unfortunatly, the ruins and the original documentation from the excavations are now inaccessible, and any further research is very hampered.However, it was possible to produce a newly proposed reconstruction which gives a completely different picture of the monument[37]. From the scarse evidence that survives in situ,and from the data that can be obtained from the scattered material and from the published reports and studies, , it is generally possible to reconstruct a three naved basilica with the dome over the central travey of the nave. The facades of the church were again buit with the use of the alternating courses of polished stone. The portal was richly decorated, but only its base and some fragments remain of its sides and without the further studies,they don’ give enough evidence for the decisive reconstruction of thew shape of the lunette, but the discovered fragments of the statue of Tzar Dusan which was placed in its lunette were clearly gothic[38], what gives the indication for a gothic lunette of the portal. Many preserved fragments, which can be even joined brake-on-brake give the material for the reconstruction of the gothic biphoras placed both on the walls and on the dome[39]. The details of the preserved sculpture are romanogothic in style and the structure of the plan has some similarities with the plans of the series of three naved romanogothic basilicas of the Zeta state, ( St Sergius and Bach,CathedraIs in Bar and in Ulcinj) which were all three naved basilicas built with the use of alternating courses of polished stone, as well with the Decani mausoleum..These basilicas were erected as the part of the building programme of the Benedictine and ,later, Franciscan monastic orders in the province of Praevalis.Unfortunately, these basilicas are now almost completely destroyed, only the foundations remain in Ulcinj and Bar whilst the St Sergius and Bachus church was completely washed off by the Bojana river.However, the cathedral in Bar was still standing at 1880’s just before the destruction in an explosion, and its architecture is fortunately known from the old engravings and photographs[40],as well as the architecture of the abbey church of St Sergius and Bachus, which was also photographed when the church was in relatively good state of preservation.The basic elements are present in all these basilicas: they had four traveys in naos, the naves vere separated by the rectangular piers which carried the vaults(Bar) or wooden roof.All these basilicas were built with the local stone or with the combination with brick;their main naves were much higher and illuminated through the windows placed high in the walls of the central nave. There were no domes erected over the main aisles.The erection of these basilicas is also linked with the Serbian royal family. It is known that the Bojana basilica was a very important foundation of the queen Helena Anjou.A whole series of single naved churches along the Montenegro coast.The most important monumets are the Franciscan church in Stari Bar,The St Catherine’s church also in Stari Bar, Churches in Svac,Danj and Precista Krajinska [41]. Gothic architecture was also prominent in the cathedral churches in Stari Trg and Novo Brdo.The architecture of the cathedral in Stari Trg is very close to the architecture of the tree naved basilicas in Montenegro[42].The main apse is still preserved with the remains of the gothic windows.The church was built wit the extensive use if polished travertine.There were many churches in Novo Brdo.Some of them were excavated.The cathedral in Novo Brdo was also built with the use of multicoloured stone, but it was later hevily altered and its theoretical reconstruction was never published[43].The Sass church in Novo Brdo was a single naved building with a smaller choir where the traces of ciborium were discovered[44].The church was illuminated thru the high gothic windows. The building of these churches can be associated with the presence of the great population of Saxon miners and their families who introduced their religion and their architecture in medieval Serbia
. The general conclusion that can be made out is that the religious communities have lived intermingled together and the official state personified in the royal family cared very much for the relations with the west, and the royal family was related through Marriages with the west.In fact ,the medieval Serbian state was a part of the western civilization, until the empire started to crumble.After the death of Tzar Dusan, followed the period of turbulences and decline.After the death of Dusan’s successor, Uros,the empire was torn apart and new local rulers turned themselves towards the Bysantium as well as the architecture-Tzar Uros was buried in clearly Bysantine mausoleum-Matejic,The military defeats that followed, as well as the age of Turkish domination and almost five centuries of Turkish occupations only gave way to the total turning of the religion to the ortodox fundamentalism.The church turned itself to the Russia.Thus, it is not a surprise that the later religious zealotism came with Turkish rule and heavy Russian influence. The medieval splendour ,the western character of the state and the religious tolerance were lost forever with the consequences which are still more than present.
NOTES
[1] The oldest in the series of the mausoleums actually was the Church of Djurdjevi Stupovi near Novi Pazar, founded by Stephen Nemanja in1168.He was actally buried in the Our Lady’s church in Studenica which was built in1183-1196.The later mausoleums in the series were Žiča, founded by Stephen the Firstkrowned, Milesheva, founded by Vladislav in1234,mausoleum of Rastko,youngest son of Nemanja; Sopocani, foundation of Uroš I,built in 1255,Gradac,foundation of Uros,built around 1300,mausoleum of queen Helena d’Anjou,Banjska,(1313-1315)the mausoleum of king Milutin,Decani, the mausoleum of Stephen Decanski(1327-1335),and the Holy Arhangels, the mausoleum of tzar Dusan, built in 1343-1347.
[2] The best surveys of the genesis of the local architectural type are published in :Deroko(1952) ,Čanak Medic(1986),Nenadovic (1981)
[3] For the architecture of Djurdjevi stupovi near Novi Pazar see in Neskovic(1984)and Canak Medic(1986) with the all earlier literature.About the architecture of the church of Djurdjevi stupovi Nead Budimlja see in: Canak Medic(1986)
[4] For the architecture of Zica and Mileseva see in :Canak Medic(1993) with the results of latest researches published.For the Sopocani consult :Djuric(1992)
[5] Radan Jovin et alli(1989)
[6] Boskovic-Nenadovic(1950),Nenadovic(1967),Markovic-Kandic(1982)
[7] Nenadovic(1967),Markovic-Kandic(1982)
[8] Djuric(1992)
[9] Suput(1989),Boskovic(1938),Korac(1965)
[10] Boskovic(1938)
[11] Photographs were published in Maksimovic(1971)
[12] One is kept in the Museum of Macedonia in Skopje(photo published in Suput(1970), while the other is still built in the later Turkish fortification wall beside the mausoleum.
[13] Photographed by Boskovic in 1938.The base is unfortunately lost and the photograph remains unpublished, as well as the most of the scientific documentation from this and later Boskovic’s and other people’s research.
[14] Look in Boskovic (1941) where he describes the whole incident
[15] Boskovic(1941)
[16] Suput(1970)
[17] The only possible places for the position of the windows in the west travey are the areas over the geison on the north and south wall.
[18] during the amateur excavations in 1915, a royal burial was discovered in the west tomb under the floor of the northern chapel ( the eastern part of the chapell is still unexplored because of the lower part of the mosque tower which is built there)In the southern chapel,two disturbed tombs were discovered during the restoration works(Boskovic,1938).These tombs were misinterpreted in Popovic(1992), where ,judging by the separated tombs under the floor,she wrongly concluded that there were actually two chapels both in north and south, chapels,without any evidence.
[19] There are many preserved consoles of the bogenfriese, which can be divided into several groups, because of their dimensions.The smallest could belong to the dome,as judged by their size,Their dimension do not match any of the yet discovered arcades of the bogenfriese. The consoles as well as the other surviving sculpture discovered until 1970, accompanied with the drawings and photographs are published in Suput(1970).
[20] About the origins of the Studenica Dome, see Radan Jovin(1979)
[21] Detailed survey of the Ratac abbey,is published in Bosković/Korać(1956-1957) as well as in Bosković(1961),Korać(1965)
[22] The last DE VISU report about the St Sergius and Bachus was published in: Mušić(1952).Mušić was the last of the architects to visit the church after the World War II, prior to IB resolution.Korać(1961) only gave the summary of the earlier research done by Ippen,Legrand,Deroko and Musić.
[23] The latest results of the research of the St Triphun Cathedral are for the most part unpublished.Important earlier works are; Stjepcević(1938),
Korac(1967).For the sculpture:Maksimović(1961)About the latest results see: Canak Medic(199_), and the catalogue of the opening excibition of December 2000.
[24] Latest results of the research of the Kotor series of churches are published in Canak Medic(1989)
[25] The complex of the Ratac abbey was heavily damaged during the WW II, but the walls of the unfinished basilica remained undamaged.The photographs published in Boskovic&Korac are mostly from 1931 research mission.
[26] About Fra Vita,his life and work, the best account is given in Korać(1965)
[27] The best photographic and architectural documentation is published in Bosković(1941), especially plates which include the complete architectural and photograph documentation of the architecture,sculpture and painting.
[28] This idea was put forward in Canak Medić (1989b), but with the different interpretation.
[29] Reconstruction of the planned basilica as well as of the whole complex were drawn and published in Bosković&Korać(1956/57)
[30] Bosković(1961)
[31] Bosković (1961),Korać(1965)
[32] Bosković&Korać(1956/1957),Korać(1965)
[33] especially present on the arches of the triphoras of the emporas and on the central apse whose arches are all gothic.The original parts of the eastermost triphoras which were restored at the beginning of the XX century under Austrian rule in the eastern travey, were deliberately altered in order to get an romanic shape(information told by Ms Zorica Cubrović, chief architect of the restoration team, on the opening of the reconstructed cathedral on 2nd December 2000)
[34] About the excavation of the complex, most important publications are Grujić(1928) with the preliminary report of the excavations;Nenadović (1967) with the results of the revision of the excavations and the analysis of the finds and Nenadović(1968) with the survey of the conservation works done in 1961-1965.
[35] Most of the material is now kept in the Museum of Macedonia in Skopje.Unfortunately, parts of it were damaged in the 1963 earthquake.Few fragments are in the National Museum in Belgrade, while some were kept in the reconstructed monastery building IN SITU.Uncertain is the fate of the material which was kept in the Archaeological museum in Prizren.
[36] The Nenadović’s reconstruction was discussed on the conference in 1991.See the discussion by S.Curcić in Savetovanje(1992),p.42-46
[37] An article “Evidence for the new reconstruction of the architecture of the St Archangels mausoleum” by S.Živkov is in print.
[38] Nenadović(1967), pl LIV,315
[39] idem, ill 53,54
[40] Bosković(1961),pl VIII…
[41] Details about the architecture in Korać(1965) and Mušić(1952):
[42] Details on the architecture in: Šuput(1974)
[43] only the annual preliminary excavation reports were published in Starinar: Čerškov(1956/1957), Zdravkovic(19541955a), Zdravkovic(1954/1955b)
,Zdravkovic(1956/1957), Zdravkovic(1958/1959)
[44] conservation report published in Zdravkovic(1956/1957).About the arcjitecture of the church also in Korać(1965)
SAŽETAK
Tijekom čitavog svog trajanja, srpska srednjevjekovna arhitektura bila je pod snažnim zapadnjačkim utjecajem. Smještena na raspeću između istoka i zapada, srednjevjekovna Srbija je bila u delikatnom položaju.Pošto je Srbija uključivala i negdašnju državu Zetu, istovremeno je bila prisutna i velika populacija stanovništva koje je bilo vaspitano u duhu zapadne crkve koja je na istočnoj obali Jadrana osnovala čitav niz benediktinskih i, nešto kasnije , franjevačkih opatija koje su bili centri odakle su se zapadnjački utjecaji širili u unutrašnjost.U umjetnost srednjevjekovne srpske države,prije svega arhitekturu i skulpturu, zapadnjački utjecaji stizali su putem tri glavna umjetnička programa. Najvažniji vid zapadnjačkih utjecaja prisutan je u seriji mauzoleja članova kraljevske obitelji čije su zadužbine, iako su u sebi inkorporirale jedan lokalni arhitektonski tip,lokalnu varijantu romaničke crkve, bile još od vremena gradnje najstarijih spomenika u nizu(Djurdjevi stupovi kraj Novog Pazara, Djurdjevi Stupovi kraj Budimlja) koncipirane kao prave romaničke, i kasnije romanogotičke arhitekture.Praprojekat za kasnije spomenike bila je Bogorodičina crkva u Studenici, koja je,osim bizantinske kupole, bila jasno romanička crkva-mauzolej, izvana sagrađena blokovima poliranog mramora. Naredni spomenici u seriji,Žiča,Mileševa,Sopoćani takođe su bili građeni prema tom lokalnom arhitektonskom tipu, s tim, pošto su građene od običnog kamena, njhove fasade bile su žbukane dok im je arhitektonska koncepcija i dalje ostala romanička.Tijekom vremena je došlo do prilagođavanja tog prvotnog arhitektonskog modela pa su, počevši od Sopoćana, spomenici dobili lažni vanjski oblik trobrodne bazilike unutar koje su bili smješteni svi sadržaji-transept,pastoforije kao i zagrobne kapele.Tek su posljednji spomenici u nizu(Dečani,Sv Arhanđeli) bile stvarne trobrodne bazilike sa kupolom, građene naizmeničnim redovima poliranog kamena.Spomenik koji je prethodio Dečanima, mauzolej u Banjskoj, bio je umjetnicki vrhunac u čitavom nizu mauzoleja,Crkva je imala fasade građene trobojnim kamenom,vanjsku romaničku arhitektonsku kompoziciju trobrodne bazilike sa dva zvonika na zapadu, ponavljajući arhitekturu starih spomenika(Đurđevi stupovi ), dok su njena skulptura, prozori ,svodovi bili jasno gotički.Dečani su bili jasan primjer romanogotičke arhitekture, a gotovo potpuno srušeni mauzolej cara Dušana ,Sv Arhanđeli, takođe je bila, sudeći prema novim studijama, romanogotička trobrodna crkva.Drugi snažan utjecaj dopro je preko Zete, gdje su veoma rano osnivane benediktinske i nešto kasnije franjevačke opatije, od kojih je, nažalost, ostalo veoma malo.Tijekom relativno kratkog vremenskog perioda sagrađeno je više trobrodnih bazilika, od kojih su se isticale Katedrala sv Đorđa u Baru( srušena 1880, poznata sa starih fotografija) katedrala u Ulcinju(veoma slična osnova, postoje temelji),Sv Sergije i Bakh na rijeci Bojani(srušila je rijeka, izgled poznat sa starih fotografija).Sigurno najmonumentalnija bila bi, da je ikada sagrađena, trobrodna bazilika u kompleksu opatije Ratac koja je po tehnici gradnje bila srodna graditeljskoj školi fra Vite Kotoranina.U Ratačkoj opatiji ranije je bila sagrađena jednobrodna gotička crkva koja je bila veoma slična crkvi Sv Georgija u Baru, koja je srušena oko 1880 i čiji je izgled moguće spoznati prije svega zahvaljujući sačuvanim ostacima kao i starim fotografijama.Zapadnjački utjecaju došli su i sa Saksonskim rudarskim kolonijama u Novom Brdu I Starom trgu gde su sagrađene monumentalne crkve. Katedrala u Starom Trgu po svojim karakteristikama veoma je srodna primorskim trobrodnim bazilikama ,a Rimokatolička, tzv»Saška» crkva u Novom Brdu jednobrodnim crkvama u Crnoj Gori.Izvore za arhitekturu svih ovih crkava i mauzoleja treba tražiti u graditeljskoj školi u Kotoru gde je sagrađen čitav niz romaničkih crkava čija je graditeljska tehnika nagovještavala razvoj srednjevjekovne arhitekture u Srbiji. Ovaj niz kulminirao je katedralom Sv Tripuna u Kotoru, koja, iako romanička, već nagovještava dolazak gotike. Objašnjenje za ovakav vidan zapadnjački utjecaj na arhitekturu u srednjevjekovnoj Srbiji treba tražiti prije svega u činjenici da su tijekom vremena ,širenjem srednjevjekovne države, pod njenu vlast potpali teritoriji naseljeni sa pretežno rimokatoličkim pučanstvom, kao i da su se u Srbiju doselile brojne kolonije saških rudara.Budući da su srpski vladari održavali izuzetno bliske odnose sa Svetom stolicom,da su neki od njih i prihvatili rimo- katoličku vjeru kao i da su obiteljski bili povezani sa kraljevskim obiteljima sa zapada,očigledno je da je srednjevjekovna Srbija bila dio zapadnog svijeta, njegova predstraža prema Bizantu.Stoga uopće ne bi trebalo biti čudno da je, iako zvanično potčinjena Nikejskoj i kasnije Konstatinopolskoj patrijaršiji,Srpska pravoslavna crkva istovremeno na poseban način priznavala i Svetu stolicu kao vrh crkvene organizacije.Verska tolerancija i multietničnost koja je postojala u srednjevjekovnoj Srbiji,tijekom turske dominacije, i potom okupacije, postepeno su nestali , i pod očiglednim utjecajem ruskog pravoslavnog fundamentalizma,kome se Srpska pravoslavna crkva okrenula tijekom ropstva, zamijenjeni su vjerskom netolerancijom i fanatizmom koji traje i danas, sa nesagledivim posledicama.
IMPORTANT LITERATURE
Abbreviations
ZRVI =Zbornik radova Vizantoloskog instituta SANU,beograd
GSND=Glasnik skopskog naučnog drustva,Skopje
ZZSK= Zbornik zaštite spomenika kulture,Beograd
VAHD=Vjesnik za arheologiju i historiju dalmatinsku,Split
ZLU = Zbornik za likovne umetnosti,Matica Srpska, Novi sad
ZFF = Zbornik filozofskog fakulteta,Beograd
Bošković (1941) Manastir Dečani, Srpska Kraljevska Akademija,Beograd 1941.
Bošković ( 1938) Pred radom na osiguranju Banjske,StarinarXIII.Beograd1938.
Bošković (1961) Stari Bar, Beograd 1961
Bošković&Korać(1956/1957)Ratac,Starinar VII-VIII,Beograd,39-75
Bošković&Nenadović(1950) Gradac,Beograd, 1950
Čanak Medić,(1986) Arhitektura Nemanjinog doba I, Beograd 1986.
Čanak Medić,(1989a) Arhitektura Nemanjinog doba II,Beograd,1989.
Čanak Medic,(1989b) Uzori i projektantski postupak dečanskog neimara,
Akta simpozija»Dečani i vizantijska umetnost XIV veka,Beograd 1989;159-166
Čanak Medić,(1993) Arhitektura prve polovine XIII veka I,Beograd,1993.
Čanak Medič(1997) Katedrala Sv Tripuna kao odraz umetnickih prilika u Kotoru sredinom XII veka,ZRVI XXXVI,beograd 1997,83-98
Čerškov,(1956/1957) «Saška crkva» kod Novog Brda,Starinar VII-VIII,Beograd 1956/1957,338-340
Deroko(1952) Monumentalna i dekorativna arhitektura u srednjevekovnoj Srbiji,Beograd,1952
Djuric,(1992) Sopocani, Beograd, 1992.
Fiskovic, (1989) Dečani i arhitektura istocnojadranske obale u XIV vijeku;
Akta simpozija»Decani i vizantijska umjetnost XIV vijeka», Beograd 1989;169-182
Grujić, (1928) Iskopavanje manastira Svetih arhanđela kod Prizrena,GSND III,Skopje,1928.,239-274.
Kandić-Marković(1982) Gradac, Beograd,1982.
Korać, (1965) Graditeljska škola pomorja,SANU, Beograd 1965.
Korać, (1961) Crkva Sv Sergija i Baha na Bojani,Starinar XII,Beograd,1961. 35-44
Korać (1967) Prvobitna arhitektonska kompozicija kotorske katedrale.ZLU 3,Novi Sad , 1-30
Korać&Šuput(1997) Arhitektura Vizantijskog sveta, Beograd,1997
Maksimović(1971) Srpska srednjevekovna skulptura, Novi Sad 1971.
Maksimović(1961) Kotorski ciborij i kamena plastika susednih oblasti, Beograd,1961
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ABSTRACT
The article deals with the appearance of the western influences,from romanic towards the gothic in the architecture and sculpture in the medieval Serbian state.These influences came with the expansion of the medieval Serbian state with the inclusion of medieval Zeta,where the Roman Chatolic church was predominant, and with the arrival of the German miners who settled in their mining collonies.The Royal family, throught the family relations became linked with the western European states, and some of the Serbian kings even accepted the Roman Catholic as their religion.This resulted with the erection of the series of the royal mausolea which ,with their romanic and ,later ,romanogothic character, present a local variant of the western art .The medieval Serbia, until its decline, was fully integrated as a part of the western world, and its stronghold against the Bysantium.
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STANISLAV /Staša – Todor/ ŽIVKOV, lažni car Šćepan Mali
STANISLAV /Staša – Todor/ ŽIVKOV, lažni car Šćepan Mali
Primer kako se prazan CV jednog nestručnog neradnika samopopunjava lažima
Ovo je jedna tužna priča o nesrećnoj ljudskoj sudbini
Nezadovoljstvo zbog lične nedovoljne stručnosti i nedovoljnih pravih znanja kod odgovornih i vrednih osoba izaziva potrebu za dodatnim usavršavanjem i vrednim i studioznim radom, što dovodi do rezultata koji su izmedju ostaloga vidljivi i kroz stvarni, istiniti CV, a kod struka koje imaju dodirnih tačaka sa naučnim radom i kroz bogatstvo, i stalno proširenje lične bilbiografije....
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