Sopoćani
43°7′5″N 20°22′26″E / 43.11806°N 20.37389°E
Sopoćani Monastery Сопоћани Манастир Sopoćani Manastir | |
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Црква Свете Тројице Crkva Svete Trojice | |
Years built | 1259 |
Administration | |
Archdiocese | Eparchy of Raška and Prizren |
Europe and North America | |
Cultural Heritage of Serbia | |
Official name | Sopoćani Monastery |
Type | Cultural monument of Exceptional Importance |
Designated | 26 August 1947 |
Reference no. | SK 156 |
Monastery information | |
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Established | 1259–1270 |
Disestablished | 1689 |
Reestablished | 1926 |
Site | |
Public access | Yes |
The Sopoćani Monastery (
History
This section needs additional citations for verification. (December 2015) |
In the 1160s, the Great Zupan Stefan Nemanja consolidated his power on the throne in Raska.[1] Although Nemanja's sons received the title of king and established the church as independent by making it autocephalous, as well as developing the economic system and coined money, the work of Stefan Nemanja remained a great model and an example to be emulated by the younger generations. Sopoćani was an endowment of the Serbian King Stefan Uroš I, son to Stefan the First-Crowned and Nemanja's grandson. It was built in 1260 by King Uroš I Nemanjić as a church which would serve as his burial place, and was extended and renovated in the mid-14th century by his great-grandson Dušan.[2]
The church is dedicated to the
Archbishop
In the 16th century the monks had to temporarily leave the monastery on several occasions due to the Ottoman threat. Finally, during one of the raids in 1689 the Ottoman Turks set fire to the monastery and carried off the lead from the church roof. The brotherhood escaped with some important relics to Kosovo - but did not return to Sopoćani; it remained deserted for over two hundred years, until the 20th century. The church slowly decayed: its vaults caved in, its dome fell down, and the remains of the surrounding buildings were covered with rubble and earth.
Finally, during the 20th century the monastery was restored and today it is settled by a thriving brotherhood of dedicated monks. The fact that most of the Sopoćani frescoes still shine with radiant beauty - surviving more than two centuries of extreme exposure to the elements.
Sopoćani was declared
Art history and influence
The art in Sopoćani was implemented periodically through the years following its completion in 1260. The subjects of the art include Christian Saints, national saints, as well as episcopal and illuminative narratives of Christianity. These narratives follow a left-to-right order of narration, needing to be viewed in a specific order to be understood.[3] The classical art style of the church is largely influenced by late Byzantine art, such as that of the Basilica of San Vitale and other Byzantine churches.[2] Some of the frescoes in the church exemplify a transition of Byzantine art periods, from Komnenian to Palaiologan, as many paintings were completed between 1263 and 1268. The Dormition, with its stately compositions and monumental figures, is an example of this.[4] The period following iconoclasm brought upon a resurgence in these art styles moving forward into the 13th century, at the time of the construction of the monastery. Other motifs seen in the church (such as water-birds and use of specific lotuses) are indicative of influences from early Byzantine art dating to the era of Justinian I, although these influences are less prominently featured in the church.[5]
The implementation of this art can be separated into several distinct periods. In 1263–1268, various paintings, including those of the sons of Stefan Uroš I, Dragutin, and Milutin, were created. In 1331–1346, during the reign of King Stefan Dušan, the church expanded and took on characteristics of a cathedral, expanding the art and decorations seen in the exo-narthex of the church.[6] In 1335–1371, it is presumed that the fresco paintings of the church were completed, evidenced by painting styles seen in other nearby churches. In 1370–1375, the first example of repainting was evidenced in the church, and the copying of Sopoćani works created the Sopoćani style which spread and influenced other church paintings.[7] And in the early 20th century, the art of Sopoćani served as an inspiration for modern Serbian artists.[8]
Art reconstruction
In 1689, various factors contributed to widespread damage through the church. War with the Ottoman Turks led to the desecration of the monastery. In addition, inclement weather and prolonged sun exposure led to damage of much of the art. There were two periods in the early 20th century (1925-1929, and 1949–1958) in which reconstruction campaigns began on a large scale. Notably, the color and clarity of the paintings were restored, but much of the gold-leaf outlines remain difficult to discern in the frescoes of the church.[2]
Notable art and techniques
Paintings
The frescoes in Sopoćani were painted in a similar style to that of Byzantine artists, however the origins of the artists themselves remain unknown.[9] There was a rigid set of steps (setting of plaster, designing with charcoal, application of opsis in various layers, etc.) that were usually followed by these artists. However, there were exceptions to this method, as is the case with the Dormition, which was painted over visible division lines that are usually erased. Some historians believe this to be the result of an oversight on the part of the artist.[10] The Dormition is another example of a late Komnenian fresco, characterized by its use of a rambling narrative linear style.[11] Some of the more prominent frescoes in the church had gold-sheet tesserae applied in their outlines, a decision that was made by Stefan Uroš I to provide a greater sense of visual grandeur.[12]
Iconography
A demand was created for portable icons due to Byzantine influence and the introduction of
Gallery
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Monastery building.
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Detail of the fresco Dormition of the Mother of God from Sopoćani c. 1265
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Detail of the fresco Dormition of the Mother of God.
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Dragutin
Burials
- Stefan Uroš I of Serbia
- Anna Dandolo
- Joanikije I
In popular culture
Sopoćani, two episodes of the
See also
- Studenica
- Žiča
- Mileševa
- Visoki Dečani
- Gračanica
- Nemanjić dynasty
- Danilo's anonymous pupil
- Spatial Cultural-Historical Units of Great Importance
References
- ^ By Their Fruit you will recognize them - Christianization of Serbia in Middle Ages, Perica Speher, 2010.
- ^ a b c Rajković, Mila (1963). Sopoćani. Jugoslavija. pp. 5–6.
- ISBN 81-208-0990-4.
- ^ Kazhdan, Alexander; Talbot, Alice-Mary; Cutler, Anthony; Gregory, Timothy; Sevcenko, Nancy (1991). The Oxford Dictionary of Byzantium. New York: Oxford University Press. p. 1929.
- ISBN 81-208-0990-4.
- ISBN 81-208-0990-4.
- ISBN 81-208-0990-4.
- ISBN 81-208-0990-4.
- ^ Kazhdan, Alexander; Talbot, Alice-Mary; Cutler, Anthony; Gregory, Timothy; Sevcenko, Nancy (1991). The Oxford Dictionary of Byzantium. New York: Oxford University Press. p. 1929.
- ISBN 81-208-0990-4.
- ^ Kazhdan, Alexander; Talbot, Alice-Mary; Cutler, Anthony; Gregory, Timothy; Sevcenko, Nancy (1991). The Oxford Dictionary of Byzantium. New York: Oxford University Press. p. 1929.
- ISBN 81-208-0990-4.
- ^ Schug-Wille, Christa (1969). Art of the Byzantine World. New York: Abrams. p. 210.
- ISBN 81-208-0990-4.
- ISBN 81-208-0990-4.
- ISBN 978-0-19-284211-4.
- YouTube Official channel of RTS
- YouTubeOfficial channel of RTS
- Sopoćani, Vojislav Đurić, Prosveta, Beograd, 1991.