(PDF) Sensory Encounters: Decoding the Symbolism of St Nicholas Church in Ljuboten / Senzorična srečanja: dekodiranje simbolike

Academia.edu uses cookies to personalize content, tailor ads and improve the user experience.
By using our site, you agree to our collection of information through the use of cookies.
To learn more, view our
Privacy Policy.
About
Press
Papers
We're Hiring!
Outline
Title
Abstract
Conclusion
Summary
References
All Topics
Art
History of Art, Architecture, and Archaeology
Sensory Encounters: Decoding the Symbolism of St Nicholas Church in Ljuboten / Senzorična srečanja: dekodiranje simbolike cerkve Svetega Nikolaja v Ljubotenu, Studia universitatis hereditati 12 (2), 25-44.
Jasmina S. Ciric
2025, Studia universitatis hereditati 12 (2)
visibility
description
25 pages
Sign up for access to the world's latest research
check
Get notified about relevant papers
check
Save papers to use in your research
check
Join the discussion with peers
check
Track your impact
Abstract
This paper explores the intersection of embodied cognition and sensory encounters within St Nicholas Church in Ljuboten, built in 1337 near Skopje, North Macedonia. The study focuses on the church's ornamental brickwork, particularly the apse's decorations, arguing that these features transcend mere aesthetics to facilitate immersive spirituality. Central to the analysis is the monogram of Demetrius (Dmitar), a key element concealed within the west portal, which highlights the interplay between material culture and spiritual practice. By employing a multidisciplinary approach combining art historical analysis with cognitive science insights, this research examines how the church's physical and ornamental elements engage the senses, enriching the medieval religious experience. The decorative motifs of chess fields, zigzags, and cryptograms serve as cognitive metaphors bridging the sacred and sensory, contributing to a deeper understanding of religious devotion. This paper underscores the role of sensory encounters in medieval spirituality, positioning St. Nicholas Church within the broader Byzantine and Serbian medieval cultural context.
-----------------
Članek raziskuje presečišče utelešenega spoznavanja in čutnih doživetij v cerkvi svetega Nikolaja v Ljubotenu, zgrajeni leta 1337 v bližini Skopja v Severni Makedoniji. Raziskava se osredotoča na okrasno opeko cerkve, zlasti na okrasje apside, in poudarja, da ti elementi presegajo zgolj estetiko ter omogočajo poglobljeno duhovno izkušnjo. Osrednji del analize je monogram Demetrija (Dmitra), ključni motiv, skrit v zahodnem portalu, ki izpostavlja medsebojni vpliv materialne kulture in duhovne prakse. Z multidisciplinarnim pristopom, ki združuje umetnostnozgodovinsko analizo in spoznanja kognitivne znanosti, raziskava preučuje, kako fizični in okrasni elementi cerkve vključujejo čute ter bogatijo srednjeveško versko izkušnjo. Okrasni motivi šahovskih polj, cikcak linij in kriptogramov služijo kot kognitivne metafore, ki povezujejo sveto in čutno ter prispevajo k poglobljenemu razumevanju verske pobožnosti. Prispevek poudarja pomen čutnih izkušenj v srednjeveški duhovnosti in cerkev svetega Nikolaja umešča v širši bizantinski ter srbski srednjeveški kulturni kontekst.
Related papers
HOČEVARICA. ENEOLITSKO KOLIŠČE NA LJUBLJANSKEM BARJU. Ur. ANTON VELUŠČEK RESNIKOV PREKOP, NAJSTAREJŠA KOLIŠČARSKA NASELBINA NA LJUBLJANSKEM BARJU. Ur. ANTON VELUŠČEK
Tihomila Tezak-Gregl
Prilozi Instituta za arheologiju u Zagrebu, 2006
Download free PDF
View PDF
chevron_right
KERAMIČKI NALAZI IZ BIZANTSKE UTVRDE GRADINA NA OTOKU ŽIRJU
Igor Borzić
Ana Karađole
Archaeologia Adriatica, Vol. 14 No. 1, 2020
Višekratno istraživanje prostora ranobizantske utvrde na Žirju, otoku šibenskog arhipelaga, rezultiralo je nalaskom velikih količina pokretnih predmeta među kojima prevladavaju oni keramički. I dok većina predmeta pripada razdoblju funkcioniranja utvrde, dakle Justinijanovoj rekonkvisti iz sredine 6. stoljeća, manji broj njih otpada na predmete ranijih (željeznodobnih, helenističkih i ranocarskih) te kasnijih epoha (srednji i novi vijek), čije se pojavljivanje nastoji objasniti kontinuiranim strateškim značenjem pozicije na kojem utvrda nastaje. Kasnoantički materijal tipološki je detaljno obrađen te se uz određenje njegova datacijskog i ishodišnog okvira utvrdila pojava keramičkih proizvoda iz onodobno glavnih, i svojim proizvodima na istočnom Jadranu uobičajeno prisutnih, središta. To se posebno odnosi na sjevernoafrički i egejsko-istočnomediteranski areal s kojih dolaze fino stolno i kuhinjsko posuđe, svjetiljke te različiti oblici amfora. S druge strane participacija lokalnih radionica u opskrbi ovdje stacioniranih bizantskih vojnika najvjerojatnije se odnosi na prevladavajuće oblike kuhinjske keramike.
Download free PDF
View PDF
chevron_right
Stvaralaštvo Radovana Kragulja: Reinvencija čoveka pod znakom krave
Nevena Martinović
RADOVAN KRAGULJ / RADOVAN KRAGULY, 2024
Download free PDF
View PDF
chevron_right
Zaprimljen: 8. svibnja 2008
Gordana Cerjan-Letica
2016
U posljednje vrijeme u našoj su zemlji zaredale optužbe, protuoptužbe i istraživački (pa i istražni) postupci vezani za (medicinske) znanstvene plagi-jate, što je unijelo osjećaje dubokih frustracija, tje-skobe i agresije u medicinsku akademsku zajednicu koja je uvijek bila primjer profesionalne, istraživač-ke i publicističke izvrsnosti te kolegijalnosti, soli-darnosti i humanosti. Smatramo da je potaknuta (javna) rasprava na Sveučilištu i u medijima vrlo dobra za budućnost hrvatske znanosti, obrazovanja i kulture, ali je vr-lo loše to što se ona vodi s mnogo strasti i površno, a ne na temelju ozbiljnih, cjelovitih teorijskih i em-pirijskih uvida u raširenost i etiologiju toga ozbilj-nog problema. O znanstvenim plagijatima u zapadnim se znan-stvenim zajednicama i medijima raspravlja u sklo-pu diskusije o nečasnom akademskom ponašanju i zakonskim prijestupima znanstvenika kao što su: (a) izmišljanje i falsifi ciranje istraživačkih rezulta-ta, (b) sterilnost, lijenost i nesposobnost z...
Download free PDF
View PDF
chevron_right
Dragan Zajkovski Crkovnata hierarhija na Ohridskata patrijarsija vo vremeto na Samoilovata drzava
Dragan Zajkovski
Association of the Historians of the Republic of Macedonia 2012 Ⱦɪɚɝɚɧ ɁAJKɈȼɋɄɂ ɂɧɫɬɢɬɭɬ ɡɚ ɧɚɰɢɨɧɚɥɧɚ ɢɫɬɨɪɢʁɚɋɤɨɩʁɟ ɐɊɄɈȼɇȺɌȺ ɏɂȿɊȺɊɏɂȳȺ ɇȺ ɈɏɊɂȾɋɄȺɌȺ ɉȺɌɊɂȳȺɊɒɂȳȺ ȼɈ ȼɊȿɆȿɌɈ ɇȺ ɋȺɆɍɂɅɈȼȺɌȺ ȾɊɀȺȼȺ ɋɨɡɞɚɜɚʃɟɬɨ ɧɚ ɋɚɦɭɢɥɨɜɚɬɚ ɞɪɠɚɜɚ ɜɨ 969, ɨɞɧɨɫɧɨ ɜɨ 976 ɝɨɞ., 1 ɦɟɼɭ ɞɪɭɝɨɬɨ, ɩɨɞɪɚɡɛɢɪɚɥɨ ɢ ɨɪɝɚɧɢɡɢɪɚʃɟ ɰɪɤɨɜɟɧ ɠɢɜɨɬ, ɨɞɧɨɫɧɨ ɐɪɤɜɚ. ɉɨɪɚɞɢ ɫɤɭɞɧɨɫɬɚ ɨɞ ɢɡɜɨɪɧɢ ɫɜɟɞɨɲɬɜɚ, ɨɬɫɭɫɬɜɭɜɚɚɬ ɩɪɟɰɢɡɧɢ ɨɞɝɨɜɨɪɢ ɧɚ ɝɨɥɟɦ ɛɪɨʁ ɩɪɚɲɚʃɚ ɩɨɜɪɡɚɧɢ ɫɨ ɧɚʁɪɚɧɚɬɚ ɢɫɬɨɪɢʁɚ ɧɚ ɨɜɚɚ ɰɪɤɨɜɧɚ ɨɪɝɚɧɢɡɚɰɢʁɚ, ɩɨɡɧɚɬɚ ɤɚɤɨ Ɉɯɪɢɞɫɤɚ ɩɚɬɪɢʁɚɪɲɢʁɚ (ɩɨɞɨɰɧɚ ɚɪɯɢɟɩɢɫɤɨɩɢʁɚ). Ɉɬɬɭɤɚ, ɞɟɥ ɨɞ ɧɢɜ ɫè ɭɲɬɟ ɨɫɬɚɧɭɜɚɚɬ ɨɬɜɨɪɟɧɢ ɡɚ ɧɚɭɱɧɚ ɞɢɫɤɭɫɢʁɚ. Ɇɟɼɭ ɧɢɜ ɟ ɩɪɚɲɚʃɟɬɨ ɡɚ ɧɟʁɡɢɧɚɬɚ ɟɪɚɪɯɢʁɚ ɜɨ ɜɪɟɦɟɬɨ ɧɚ ɋɚɦɭɢɥɨɜɚɬɚ ɞɪɠɚɜɚ, ɤɨɟ ɟ ɩɪɟɞɦɟɬ ɧɚ ɧɚɲɢɨɬ ɢɧɬɟɪɟɫ.
Download free PDF
View PDF
chevron_right
DIMENSIO SACRA: За просторните вредности на композицијата во сликаните ансамбли на теоријановото ателје
Elizabeta Dimitrova
PATRIMONIUM.MK 3-4, 5-6
Urednik Darko Nikolovski Редакциски одбор: d-r Elizabeta Dimitrova d-r Ivan K. Zarov d-r Marula Nikolovska Mirjana M. Ma{ni} m-r Jovan Petrov m-r Robert Petkovski Editor Darko Nikolovski Editorial board: d-r Elizabeta Dimitrova d-r Ivan K. Zarov d-r Marula Nikolovska Mirjana M. Ma{ni} m-r Jovan Petrov m-r Robert Petkovski Izdavaweto na ova spisanie go pomogna Ministerstvoto za kultura na R. Makedonija The publishing was supported by The Ministry of Culture of the Republic of Macedonia 3 Skopje 2009 PATRIMONIUM.MK PATRIMONIUM.MK Spisanie za kulturnoto nasledstvo -spomenici, restavracija, muzei -Година 2, бroj 3-4,
Download free PDF
View PDF
chevron_right
hereditati

tudia

universitatis

letnik 12
številka 2
2024
volume 12
number 2
2024

studia universitatis hereditati
Znanstvena revija za raziskave in teorijo kulturne dediščine
Letnik 12, številka 2, 2024 / Volume 12, Number 2, Year 2024
Glavna in odgovorna urednica / Editor-in-chief
Zrinka Mileusnić, Fakulteta za humanistične študije Univerze na Primorskem, Slovenija
Uredniki številke / Guest Editors
Zorana Đorđević, University of Barcelona, Spain
Zrinka Mileusnić, University of Primorska, Slovenia
Jasmina S. Ćirić, University of Kragujevac, Serbia
Xavier Costa Badia, University of Barcelona, Spain
Uredniki / Editors
Irena Lazar, Fakulteta za humanistične študije, Univerza na Primorskem, Slovenija
Alenka Tomaž, Fakulteta za humanistične študije, Univerza na Primorskem, Slovenija
Gregor Pobežin, Fakulteta za humanistične študije, Univerza na Primorskem, Slovenija
Peter Sekloča, Fakulteta za humanistične študije, Univerza na Primorskem, Slovenija
Jadranka Cergol, Fakulteta za humanistične študije, Univerza na Primorskem, Slovenija
Uredniški odbor / Editorial Board
Vesna Bikić (Arheološki institut Beograd, SANU, Srbija), Zdravka Hincak (Filozofski fakultet, Sveučilište u
Zagrebu, Hrvatska), Matej Hriberšek (Filozofska fakulteta, Univerza v Ljubljani, Slovenija), Tea Perinčić (Pomorski
i povijesni muzej Hrvatskog primorja, Hrvatska), Maša Sakara Sučevič (Pokrajinski muzej Koper, Slovenija), Paola
Visentini (Museo Friulano di Storia Naturale, Italia), Mojca Ramšak (Filozofska fakulteta & Fakulteta za kemijo
in kemijsko tehnologijo, Univerza v Ljubljani, Slovenija), Mario Novak (Centar za primijenjenu bioantropologiju
(BIOANT), Institut za antropologiju, Zagreb, Hrvaška), Matija Strlič (Fakulteta za kemijo in kemijsko tehnologijo,
Univerza v Ljubljani, Slovenija, and University College London, Great Britain), Karol Zielinski (Instytut Studiów
Klasycznych, Śródziemnomorskich i Orientalnych, Uniwersytet Wrocławski, Polska), Saša Čaval (Archaeology
Center, School of Humanities and Sciences, University of Stanford, USA , and Inštitut za antropološke in prostorske
študije, ZRC SAZU, Slovenija), Krish Seetah (Department of Anthropology, School of Humanities and Sciences,
University of Stanford, USA), Martina Blečić Kavur (Fakulteta za humanistične študije, Univerza na Primorskem,
Slovenija), Jonatan Vinkler (Fakulteta za humanistične študije, Univerza na Primorskem, Slovenija), Valentina Brečko
Grubar (Fakulteta za humanistične študije, Univerza na Primorskem, Slovenija), Katja Hrobat Virloget (Fakulteta za
humanistične študije, Univerza na Primorskem, Slovenija), Alenka Janko Spreizer (Fakulteta za humanistične študije,
Univerza na Primorskem, Slovenija), Petra Kavrečič (Fakulteta za humanistične študije, Univerza na Primorskem,
Slovenija), Marcello Potocco (Fakulteta za humanistične študije, Univerza na Primorskem, Slovenija), Jana Volk
(Fakulteta za humanistične študije, Univerza na Primorskem, Slovenija)
ISSN 2350-5443 · https://doi.org/10.26493/2350-5443.12(2)
Mednarodni indeksi | Indexing and Abstracting
Anvur · DOAJ · Erih Plus · ROAD · Scopus
Navodila avtorjem ter izjava o etiki in zlorabah pri objavljanju so dostopni na
Guidelines for Authors and Publishing Ethics and Malpractice Statement are available at
Uredništvo | Editorial Office
Studia universitatis hereditati
Fakulteta za humanistične študije | Faculty of Humanities
Univerza na Primorskem | University of Primorska
Titov trg 5, SI-6000 Koper ·
[email protected]
Izdaja | Published by
Založba Univerze na Primorskem | University of Primorska Press
Titov trg 4, SI-6000 Koper · hippocampus.si
Izid je finančno podprla Javna agencija za znanstvenoraziskovalno in inovacijsko dejavnost Republike Slovenije iz sredstev
državnega proračuna iz naslova razpisa za sofinanciranje domačih znanstvenih periodičnih publikacij.
Revija je brezplačna.Izid revije je finančno podprla Javna agencija za raziskovalno dejavnost Republike Slovenije s sredstvi
državnega proračuna iz naslova razpisa za sofinanciranje izdajanja domačih znanstvenih periodičnih publikacij.

hereditati

tudia

universitatis

letnik 12
številka 2
2024
volume 12
number 2
2024

Vsebina
Contents
Contenuti

Zorana Đorđević, Zrinka Mileusnić, Jasmina S. Ćirić, and Xavier Costa Badia
Editorial
Uvodnik
Eva Gjorgjievska

13 From Religious Lauda to Medieval Canzone and Sonnet: Poetry of the Senses in 13th
and 14th Century Italy
Od verskih hvalnic do srednjeveške kancone in soneta: poezija čutov v italiji 13.
in 14. stoletja
Jasmina S. Ćirić

25 Sensory Encounters: Decoding the Symbolism of St Nicholas Church in Ljuboten
Senzorična srečanja: dekodiranje simbolike cerkve Svetega Nikolaja v Ljubotenu
Bojana Beuk
45 Analysis of the Sense Perception in the Fresco Painting of the Dečani Monastery
Analiza čutnega zaznavanja na freski v samostanu Dečani
Zorana Đorđević, Xavier Costa-Badia, Natalia González Vázquez, and Lidia Alvarez Morales

65 Unveiling the Historical Significance of Santa Maria d’À neu: Can Soundscape Studies Illuminate
its Role within the Medieval Ecclesiastical Structure?
Odkrivanje zgodovinskega pomena cerkve Santa Maria d’À neu: ali lahko raziskave zvočne krajine
osvetlijo njeno vlogo v srednjeveški cerkveni strukturi?
Jean-Michel Sourd

85 Perceptions of a ‘Journey to the Past’ in Some Viatical Stories at Mount Athos
Percepcije »potovanja v preteklost« v nekaterih potopisih o gori Atos
Alenka Janko Spreizer

105 Recenzija knjige Mojce Ramšak Antropologija vonja
Review of Anthropology of Smell (Antropologija vonja) by Mojca Ramšak

Sensory Encounters:
Decoding the Symbolism of St Nicholas Church in Ljuboten
Senzorična srečanja:
dekodiranje simbolike cerkve Svetega Nikolaja v Ljubotenu

Abstract
This paper explores the intersection of embodied cognition and sensory encounters within St Nicholas
Church in Ljuboten, built in 1337 near Skopje, North Macedonia. The study focuses on the church’s ornamental brickwork, particularly the apse’s decorations, arguing that these features transcend mere aesthetics to facilitate immersive spirituality. Central to the analysis is the monogram of Demetrius (Dmitar), a key element concealed within the west portal, which highlights the interplay between material
culture and spiritual practice. By employing a multidisciplinary approach combining art historical analysis with cognitive science insights, this research examines how the church’s physical and ornamental elements engage the senses, enriching the medieval religious experience. The decorative motifs of chess
fields, zigzags, and cryptograms serve as cognitive metaphors bridging the sacred and sensory, contributing to a deeper understanding of religious devotion. This paper underscores the role of sensory encounters in medieval spirituality, positioning St. Nicholas Church within the broader Byzantine and
Serbian medieval cultural context.
Keywords: Sensory Engagement, Symbolism, Medieval Church Architecture, Ljuboten.
Izvleček
Članek raziskuje presečišče utelešenega spoznavanja in čutnih doživetij v cerkvi svetega Nikolaja v
Ljubotenu, zgrajeni leta 1337 v bližini Skopja v Severni Makedoniji. Raziskava se osredotoča na okrasno
opeko cerkve, zlasti na okrasje apside, in poudarja, da ti elementi presegajo zgolj estetiko ter omogočajo
poglobljeno duhovno izkušnjo. Osrednji del analize je monogram Demetrija (Dmitra), ključni motiv,
skrit v zahodnem portalu, ki izpostavlja medsebojni vpliv materialne kulture in duhovne prakse. Z multidisciplinarnim pristopom, ki združuje umetnostnozgodovinsko analizo in spoznanja kognitivne znanosti, raziskava preučuje, kako fizični in okrasni elementi cerkve vključujejo čute ter bogatijo srednjeveško versko izkušnjo. Okrasni motivi šahovskih polj, cikcak linij in kriptogramov služijo kot kognitivne
metafore, ki povezujejo sveto in čutno ter prispevajo k poglobljenemu razumevanju verske pobožnosti.
Prispevek poudarja pomen čutnih izkušenj v srednjeveški duhovnosti in cerkev svetega Nikolaja umešča v širši bizantinski ter srbski srednjeveški kulturni kontekst
Ključne besede: čutna izkušnja, simbolika, srednjeveška cerkvena arhitektura, Ljuboten
Introduction
St Nicholas Church in Ljuboten (figs. 1a, 1b), located in present-day North Macedonia, was constructed during the reign of King Stefan Dušan
(r. 1331–1346 as King and 1346–1355 as Tsar). The
ktetorial inscription dates the completion of
the church between September 1, 1336, and Auhttps://doi.org/10.26493/2350-5443.12(2)25-44

gust 31, 1337 (Tatić 1927, 95; Đorđević 1995, 145;
Korać 2003, 109; Radujko 2008, 101). The period marked significant developments in medieval Serbian architecture, with this church standing as a notable example of the era’s artistic and
structural advancements (Korać 2003, 13–14;
Ćirić 2024, 257–273).
© author/authors

25

Jasmina S. Ćirić
University of Kragujevac, Serbia
[email protected]
26
studia univer sitatis her editati, letnik 12 (2024), številk a 2 / volume 12 (2024), number 2

Figure 1a: St. Nicholas Church in Ljuboten, View toward
the Apse (photo Jasmina S. Ćirić)

Figure 2: St. Nicholas Church in Ljuboten, South Façade
(photo Jasmina S. Ćirić)

Medieval church architecture was not solely an expression of aesthetic or symbolic intent; it was designed to engage the worshipper’s
body and senses (Caseau 1999, 101–110; Nelson
2000, 143–168). The rhythmic arrangement of
brick and stone, sculptural details on capitals,
and decorative arches were all meant to guide
the viewer’s eye, stimulate contemplation, and
evoke a deeper spiritual connection (Isar 2004,
215–242). The church’s materiality – its texture,
patterns, and spatial composition interact with
the worshipper’s sense of sight, touch, and movement, creating an embodied spiritual experience
(James 2004, 522–537; Williamson 2013, 1–43;
Debevec 2016; Ćirić 2022, 77–103). In this way,
St Nicholas Church, as many of its contemporaries, served as a space where the physical and metaphysical realms intersected.
The architectural design of St Nicholas Church reveals a sophisticated approach to
construction and decoration. The stone col-

umns, essential for supporting the church’s upper structure, are crafted from well-hewn and
polished monolithic pieces. The bases of these
columns feature an elegant torus profile supported by corners adorned with curled leaf motifs. The capitals are intricately carved, with the
northwest capital exhibiting alternating representations of a ram’s head, an eagle’s body,
and downward-turned leaves alongside a central cross. These symbolic carvings invite both
visual and tactile engagement, drawing worshipper’s attention to its rich iconography and craftsmanship. The alternating forms create a visual
rhythm that mirrors the cyclical nature of liturgical practices, engaging the mind and senses in
spiritual reflection. This sculptural work aligns
with the broader tradition of medieval Serbian art and draws parallels to the sculptural elements found in the Dečani Monastery (Petrov 1963, 259–263; Maksimović 1971, 113; Korać
2003, 112).

27
Figure 3: St. Nicholas Church in Ljuboten, East Façade
Details (photo Jasmina S. Ćirić)

The church’s brickwork demonstrates a methodical approach to decorative detailing. The
façade features rhythmic layering of stone and
brick, with stone layers comprising hewn ashlars and brick layers arranged in a consistent pattern. The emphasis on mortar layers also creates
a harmonious and geometric appearance, which
serves an aesthetic function and contributes to
worshippers’ sensory experience. The brickwork
on the southern façade, for example, features a
chessboard pattern and diagonally placed bricks,
drawing the viewer’s eye in rhythmic, ordered directions (fig. 2).
This pattern not only enhances the visual
complexity but also serves as a cognitive metaphor for Divine order and stability, inviting
a deeper, sensory engagement that reinforces
spiritual reflection (Korać 2003, 113–118; Ćirić
2024, 259).
Particularly noteworthy are decorative
arches on the eastern façade, which are embed-

ded into the walls with a two-step ‘cutting’ effect. The outer arch aligns with the façade
plane, while the inner arch is recessed, creating a visually engaging depth (Korać 2003, 113–
114). This layered arrangement simulates a passage, guiding the eye and body into the church’s
sacred interior. Manipulation of depth in these
arches echoes the spiritual journey from the
earthly to the Divine, emphasizing the sensory dimension of medieval religious architecture
(fig. 3; Taft 1991, 33–34; Gerstel 1999; Ćirić 2016,
311).
The west façade holds significant historical and artistic importance due to its original
painted decoration including a ktetorial portrait of Danica, the church’s patron. While this
portrait is no longer preserved, its existence was
documented and researched in earlier studies
(Radujko 2008, 104). This portrait emphasized
Danica’s role in the church’s construction and
highlighted her devotion to the architectural

Sensory Encounter s: Decoding the Sy mbolism of St Nicholas Church in Ljuboten

Figure 2: St. Nicholas Church in Ljuboten, South Façade
(photo Jasmina S. Ćirić)

28
studia univer sitatis her editati, letnik 12 (2024), številk a 2 / volume 12 (2024), number 2

Figure 4: St . Nicholas Church in Ljuboten, West Façade
of the Church (photo Jasmina S. Ćirić)

project. Positioned near the west portal, it originally drew attention to the church’s central decorative program, symbolizing the merger of individual piety with communal spiritual practice
(Radujko 2000, 171–196).
A detailed architectural analysis of St Nicholas Church in Ljuboten reveals its sophisticated
layout, structural innovations, and decorative elements. These features underscore this edifice’s
artistic and architectural significance and contribute to its sensory and spiritual impact. The
chessboard patterns, layered arches, and intricate
sculptures are not simply decorative – they engage worshippers in a multisensory experience,
blending cognitive reflection with sensory immersion. In doing so, St Nicholas Church becomes the site of embodied spirituality, where
physical space enhances worshippers’ connection to the Divine.

Architectural Analysis of the West Façade
of St Nicholas Church, Ljuboten
The west façade of St Nicholas Church in Ljuboten showcases a harmonious composition of architectural elements that complement the overall design of the building (fig. 4). Dominated by
a large central arch and flanked by two smaller
side arches, the façade is framed by decorative elements, including intricate brickwork patterns
and stone moldings, which create visual interest
and balance.
The primary west entrance to the church is
situated within the central archway. This alignment reinforces the building’s cruciform plan
and accentuates the entrance as a focal point of
spatial and symbolic importance.
Decorative pilasters are flanking side arches – engaged columns that project from the wall.
These pilasters are adorned with elaborate brickwork patterns that complement the overall decorative scheme of the façade. Small windows
above the side arches allow natural light to filter
into the church, contributing to the internal atmosphere and enhancing the sensory experience
of space.
Constructed from a combination of stone
and brick, the southern façade mirrors the material composition of the western façade. The
stonework features carefully cut and polished
blocks, while the brickwork displays a variety of
patterns and textures. This combination of materials creates a rich and visually appealing surface and engages the viewer’s senses, reinforcing
the tactile and visual experience of approaching
the church.
In conclusion, the southern façade of St
Nicholas Church is a well-designed architectural element that enhances the building’s overall
harmony and aesthetic appeal. The central placement of the entrance archway, decorative pilasters and arches, and intricate brickwork all contribute to the visual richness of the façade and
reinforce the church’s cruciform plan. The strategic positioning of the entrance emphasizes its
role as a significant focal point and enhances the

29
Figure 6: Portraits of King Dušan, Queen Helen, and
Their Son Uroš, North Wall of the Church (photo
Jasmina S. Ćirić)

sensory impact experienced by visitors as they
enter the church.
Moreover, the placement of the main entrance within the central archway reflects the
medieval Serbian architectural tradition, where
the main entrance held symbolic significance.
By situating the entrance prominently and centrally, ktetors could assert their authority and
demonstrate their connection to Divine power.
This positioning reinforced the church’s cruciform plan and served as a powerful sensory stimulus, aligning the architectural design with the
building’s spiritual and symbolic aims.

meticulously engraved on the lintel’s inner side,
aligned with an inscription mentioning the city
of Zvečan.
This cross-like symbol is not merely decorative as it serves as a profound invocation: the
name ‘Dmitar’ extends beyond mere identification to become a sensory prayer, with each syllable acting as a plea to the Divine and bridging the human and heavenly realms.1 To utter or
contemplate this name is to engage in a spiritual
act, transforming the air into a vessel of sacred
intercession.
Before entering the church, visitors first encounter spolia – relics from a bygone empire –
positioned outside the portal. As they cross the
threshold, their senses are enveloped by the di-

Sensory Engagement and Embodied
Cognition
The architectural and decorative elements of
St Nicholas Church in Ljuboten exemplify a
sophisticated medieval Serbian artistic tradition and also foster a multisensory experience
that engages embodied cognition and deepens
spiritual involvement. By exploring such elements through lenses of cognitive science, sensory studies, and religious studies, one gains
insight into how the church’s design shapes sensory and spiritual experiences.
Upon entering the sacred space of St Nicholas Church in Ljuboten, visitors are immediately drawn to the monogram of Dmitar (fig. 5),

It is likely that the lintel was originally a spolia, adapted
to fit its current purpose, with the monogram of Dmitar
in Ljuboten serving as a potent symbol of the power struggles within the Serbian nobility—those aligned with King
Stefan Dečanski versus supporters of the young Dušan.
The monogram, resembling the Greek letters ΔΜΤΡ
(Δημητρίου), and its placement below the founder’s inscription suggest different creation dates and methods:
the monogram was carved in relief by removing the stone
mass, while the inscription was incised. The paleographic differences and the distinct carving techniques indicate
that these were not executed simultaneously or by the same
hand. Similar monograms, such as those of St. Demetrius in Thessaloniki, offer comparative insights, appearing in
low relief on ceramics or scratched through the slip coating
of vessels, further connecting this symbol to the saint’s cult
in the region (Ćirić 2024, 264–265).

Sensory Encounter s: Decoding the Sy mbolism of St Nicholas Church in Ljuboten

Figure 5: Monogram of Dmitar, Carved on the Interior
Side of the Architrave of the West Portal (photo
Jasmina S. Ćirić)

30
studia univer sitatis her editati, letnik 12 (2024), številk a 2 / volume 12 (2024), number 2

agonal alignment of Dmitar’s monogram with
the interior vista (Đorđević 1995, 5–10). From
this vantage point, one can view a fresco of the
young King Stefan Dušan at the northern wall
(fig. 6) while the memory of the spolia lingers
from the exterior. This alignment is intentional,
not coincidental, inviting the senses to connect
past and present, royalty and the eternal (Ćirić
2024, 263–266).
The relationship between Dmitar’s monogram, his city of Zvečan, and the figure of
Dušan within the church transcends a mere political statement; it represents a theological dialogue. Dmitar’s name, inscribed on the lintel,
becomes a conduit for Divine petition. As the
name ‘Dmitar’ is voiced within this sacred space,
it serves as a sensory ritual, merging the breath
of the faithful with the light streaming through
the portal (Chariton 1978, 101; Isar 2014, 27–44;
Foltz 2019, 157). This light highlights Dušan’s
image and affirms faith in the Divinely chosen
king (Ćirić 2024, 267).
In contrast, the ktetorial inscription, hidden within the portal and commissioned by
Dmitar’s mother Danica for her son’s salvation,
represents a more intimate gesture of faith. This
quiet prayer, inscribed in stone but felt in spirit, contrasts with the more overt visual pledge;
while taken together, these elements transform
the act of pronouncing ‘Dmitar’ into a tactile
and auditory connection between the Divine
and the worldly.
The church creates a dynamic sensory environment through its architectural features,
including finely detailed columns, elaborate
brickwork, and symbolic portals. The intricate
carvings on columns – featuring motifs of ram
and eagle – and the carefully structured stoneand-brick façade patterns generate visual stimuli that captivate the attention of observers. The
theory of embodied cognition suggests that sensory input significantly influences cognitive processes, which means that the church’s sensory stimuli engage the observer’s perception and
thought processes, shaping their spiritual experience. The visual complexity of the patterns and

forms stimulates one’s mind, fostering heightened awareness of the space and the Divine presence it aims to evoke.
Initially, the church’s west façade featured
the ktetorial portrait of Danica, the founder,
holding an image of the church. Although this
portrait is no longer preserved, historical sources and analyses confirm its existence and original position. Prominently placed on the south
side of the west façade, the portrait emphasized
Danica’s part in the church’s creation and played
a crucial role in the sensory and symbolic experience of those entering the sacred space (Radujko
2008, 105). As visitors pass through west the portal, they experience a transformative moment –
what can be described as the ‘miracle of light’
because natural light streams into the church,
illuminating the Deesis fresco on the northern wall. This light established a visual connection between the ktetor, the sacred figures of the
Deesis, and the portrayal of King Dušan, Queen
Helen, and their son Uroš (Ćirić 2024, 260, note
7).
This interplay of light and architecture was
designed to evoke profound spiritual and sensory experiences. The light symbolizing Divine
grace, being transitioned from the earthly realm,
represents the pious act of Danica to the Divine
figures depicted in the Deesis. King Dušan’s image, situated near the Deesis, highlights his role
as a Divinely chosen ruler, reinforcing his importance within the church’s design and iconography (Radojčić 1934, 57; Đurić 1974, 61; Rasolkoska-Nikolovska 2004, 229). The importance of his
figure is further emphasized by the complex political history surrounding Dušan’s rise to power, particularly his opposition to his father, King
Stefan Uroš III Dečanski (Marjanović-Dušanić
2016, 61–78). The visual and sensory connection
between the ktetor, King Dušan, and the Divine
figures enhanced the perception of Dušan as the
God-chosen ruler – a belief deeply embedded in
the church’s design (Ćirić 2024, 267–269).2

It is important to note that the placement of King Dušan’s
portrait on the northern side across from the northwest
column is by no means arbitrary, as it might seem at first

glance (or as it might be mistakenly assumed to be the only
possible location for the ktetor’s portrait; Đorđević 1994,
146). For comparison, King Uroš II Milutin is also depicted as New Constantine on the northern side across from
the northwest column in the Church of St George in Staro Nagoričino (Cvetković 2023, 667– 692; for Staro Nagoričino cf. 679–680; fig. 7). Literature frequently mentions
that this is not an easily noticeable position; however, this
idea is not coincidental, particularly considering that by
the late 13th and the beginning of 14th century, the concept of the ruler as defender of true faith emerged across
from the column as symbol in architecture. The ruler’s association with this column signifies his role as a pillar of
support for the Church and its teachings. A nearly identical presentation was repeated in the Church of the Virgin of the Black Mount above Mateič. Emperor Dušan is
depicted on a pilaster that slightly protrudes from the rest
of the southern wall’s surface (Dimitrova 2002, 185–186,
and on the Holy warrior saint across the Emperor Dušan
esp. page 197). He is shown directly across the southeast
column, on which one of the holy warriors is depicted. It
is important to mention that all three portraits are always
shown close to the entrance structure. Only in the case of
Ljuboten can we see that the relationship with the western entrance is the same as in Staro Nagoričino (the portrait is to the left of the portal, cf. Ćirić 2023, 122). Only
in Ljuboten is the portrait on the northern side precisely aligned with the axis of the southern portal. When the
doors were originally opened, the light passing through
them would have directly illuminated the portrait of the
king and queen with their son Uroš. The text addressing issues of the portraits in Mateič and the question of patronage, co-authored by Dr. Branislav Cvetković and myself, is
being prepared for the monograph published by Trivent:
Women and Power in the Late Medieval and Early Modern Southeast and Central Europe (1300–1600), edited by
Melina Rokai, Budapest 2025 (Ćirić and Cvetković forthcoming).

31

sensory and spiritual impact. The acoustics, particularly how sound reverberates off the stone
walls and domes, amplify the auditory experience of religious rituals (Đorđević et al. 2019,
192–212). Cognitive science suggests that sound
can evoke emotional or meditative states, facilitating deeper contemplation, especially in sacred
spaces. Echoes of hymns and chants contribute to a heightened sense of the sacred, complementing the visual elements and deepening the
spiritual atmosphere (Pentcheva 2017; Troelsgard 2018, 52–77).
Religious studies emphasize the embodied
nature of religious experience, suggesting that
the sensory environment of sacred spaces is intentionally designed to engage both body and
mind in devotion. The ktetorial portrait of Danica, combined with the strategic play of light and
King Dušan’s likeness, guides the observer’s sensory focus toward the sacred. As it opens to allow light in, the portal symbolically bridges the
earthly realm with the Divine, inviting the beholder into a spiritual journey within the church.
Bearing in mind that the Theotokos with Christ
was depicted on the west façade of Ljuboten, it
is important to recall the Great Lenten Matins, during which the Theotokos is invoked as
the ‘Gate of Heaven,’ opening the gates of mercy, symbolizing her role as the image of Incarnate Logos. The Great Lenten Matins has a distinctive conclusion, namely, after ‘Trisagion’ and
‘Our Father,’ instead of the usual troparion to
the saint, the following is read: ‘In the temple
stood Your glory, I think I stand in heaven, O
Theotokos, Gate of Heaven, open to us the gates
of Your mercy.’ Since she gave birth to Christ,
the medallion, or paraphrase of Psalm 46, ‘God
is in the midst of her,’ is inscribed on her bosom (Mercenier, Mercenier, and Paris, 1947, 132;
Ćirić 2015, 353).
Hence, it is of great importance that the
church’s patroness is positioned right next to the
west portal, with the intercession of Theotokos
with Christ in the lunette (it is obviously intentional that Theotokos with Christ, rather than

Sensory Encounter s: Decoding the Sy mbolism of St Nicholas Church in Ljuboten

From a sensory studies perspective, the interaction between light and sacred imagery engages the visual cortex to deepen the observer’s
experience of the sacred (Pentcheva 2010, 141,
154, 184; Stejskal 2019, 55–66). The architectural manipulation of light and the symbolic placement of figures like Danica and Dušan create
a multisensory environment where the Divine
is both seen and felt. The rhythmic patterns of
brickwork and arches engage the visual sense
while creating a tactile quality, invoking ‘haptic visuality,’ where touch is simulated through
sight (Betancourt 2016, 660–689). This tactile
experience is further enhanced by the textured
mortar layers, reflecting the visual rhythm of the
space.
The auditory dimension of St Nicholas
Church also plays a critical role in shaping its

the patron St Nicholas, is in the lunette, as it was
argued by Radujko 2008, 104, drawing 2).3

studia univer sitatis her editati, letnik 12 (2024), številk a 2 / volume 12 (2024), number 2

32

Regarding the act of repentance and mercy at the doors,
interestingly, several details are recorded in the life of St
Paphnutius, bishop of Upper Thebaid, at the beginning of
the 4th Century. Since this is the only preserved source of
its kind related to the act of repentance at the doors of the
church, we present it here, translated from German in entirety: ‘St Paphnutius, who lived in perfect solitude in the
renowned Scetis Desert, shone with the grace of holiness
as a young monk, and although he was younger than the
others, he was compared to the elders. Thus, it was decided that he should be counted among the elders. When this
became known, envy, which once stirred the souls of his
brothers against Joseph, flared up with its poisonous fire
against him by one of the brethren from Scetis. He intended to tarnish his glory with some stain of shame. Waiting
for the time when Paphnutius would leave his cell to attend the Sunday service in the Church, he secretly entered
his cell and hid his book among the baskets usually woven
there from palm twigs. Then he, too, went to the Church,
pleased with his cunning. After the Sunday service ended,
he publicly complained before the brethren and the holy
Isidore, who was then the presbyter, that his book had disappeared from his cell. This accusation confused everyone. The accuser demanded that all the brethren be held
in the Church and that a few chosen ones be sent to search
all the cells. When three elders, appointed by the presbyter, searched the other cells, they came to Paphnutius’ cell,
where they found the book hidden among the palm baskets, where the envious brother had hidden it. They immediately took it, brought it into the Church, and laid it before everyone. Although, because of the purity of his conscience, Paphnutius was sure he had no part in the sin, he,
as if guilty of theft, submitted himself to the judgment of
the elders, declaring his readiness to accept whatever punishment they would impose and asking them to assign him
a place of repentance. He said nothing in his defense because of his modest humility, fearing that he might also be
condemned for lying in his effort to clear himself of the
stain of theft with words. After the investigation and judgment were completed, he left the Church without despair,
entrusting himself to the judgment of God alone. He began to repent, increasing his prayers with abundant tears,
tripling his fasts, and displaying the greatest humility of
spirit before everyone. After nearly two weeks had passed
in this way, subjecting himself to all bodily and spiritual
penance, he came early in the morning on Saturday and
Sunday to the Church not to receive Holy Communion
but to lie prostrate at the Church doors, humbly begging
for forgiveness. However, unable to endure seeing him continue to humble himself and be humiliated by others, God,
the witness and knower of all that is hidden, forced the
Devil to reveal what the inventor of evil, the thief of his
belongings and slanderer had done without any witnesses.
Thus, the one who had been the advisor of the evil deed
also became its betrayer. The unclean spirit then tormented the miserable brother so greatly and for so long that neither the prayers of the other saints who dwelled there nor
the special grace of Isidore the Presbyter could drive out
the fiercest tormentor, though by the Lord’s mercy he had
been granted power over them, as the possessed would be
healed even before they were brought to his door. This was

Additionally, the smell of incense, commonly used in Orthodox liturgy, adds an olfactory dimension to the sensory environment.
Cognitive science indicates that smell is a powerful trigger for memory and emotional response,
suggesting scents within a church evoke strong
associations with spiritual practice. This olfactory experience, combined with tactile, visual,
and auditory stimuli, creates an integrated sensory experience that deepens the worshipper’s
connection to the sacred (Caseau 2007, 75–92;
Hedrick and Ergin 2015, 333). The church thus
becomes an immersive environment for spiritual
transformation, where architecture, light, and
sensory stimuli converge to evoke a deep connection to the Divine.
The Capital of the Northwest Column
and the Sacred Illumination through
the South Portal
The decorative elements of St Nicholas Church
in Ljuboten not only possess aesthetic value
but also embody profound theological significance. Central to this interplay is the capital at
the northwest corner and the strategic use of
light entering through the south portal, which
together create a harmonious convergence of
spiritual symbolism and sensory experience.
This analysis explores how these elements—the
capital and the light—work in concert to manifest Divine presence and reflect the theological
and political landscape of the time.
Positioned directly in front of the portraits
of King Dušan and Queen Helen, the capital at
the northwest corner (fig. 7) reveals layers of theological meaning through its sculpted symbols:
the cross (at its south side), the ram’s head (at its
southeast corner), the double-headed eagle (at its
eastern corner, directed toward Queen Helen)
and at the southeast corner is sculpted the King’s
scallop. Each of these symbols not only reflects a
because Christ the Lord had reserved that glory for Paphnutius so that the slanderer might be healed by the prayers
of the one against whom he had plotted and received forgiveness for his sin at the doors.’ (Winkelmann 1985, 32–
42).

33
tradition of the Nemanjić dynasty but also expresses broader aspirations of the Serbian state.
Prominently sculpted on the capital, the
cross embodies the fundamental Christian tenets of Christ’s sacrifice and Humanity’s salvation. It is a constant reminder of the Divine
mandate for the rulers it faces, reinforcing their
role as defenders of the Faith. Its proximity to
the portraits of King Dušan and Queen Helen

accentuates their rule as Divinely sanctioned,4
reflecting the Biblical notion that God appoints
all rulers to shepherd their people in righteousness, as attested in passages such as Romans 13:1,
which states: ‘Let every soul be subject to the

King Dušan’s official imagery evolved alongside his expanding authority. As his status shifted from a king to an
emperor, depictions of him became more grandiose and
ceremonious. This intentional visual development underscores the deep connection between power and its representation (Cvetković 2022, 184).

Sensory Encounter s: Decoding the Sy mbolism of St Nicholas Church in Ljuboten

Figure 7: Details of the Northwest Capital of the Column (photo Jasmina S. Ćirić)

34
studia univer sitatis her editati, letnik 12 (2024), številk a 2 / volume 12 (2024), number 2

governing authorities. For there is no authority
except from God, and the authorities that exist
are appointed by God.’
The ram’s head carved into the capital in
Ljuboten is also symbolically rich and deeply
rooted in biblical narrative, reflecting themes of
sacrifice, redemption, and leadership. This imagery draws from the sacrificial story of Abraham and Isaac, as described in Genesis 22:13:
‘Then Abraham lifted his eyes and looked, and
there behind him was a ram caught in a thicket by its horns. So, Abraham went and took the
ram and offered it up for a burnt offering instead
of his son.’ The narrative presents a ram as a substitutionary sacrifice, highlighting Divine providence and the theme of redemption through
sacrifice.
King Dušan, who succeeded his father,
King Stefan Dečanski, might be symbolically linked to this biblical narrative. The carving
of the ram’s head may allude to the complex dynamics between Dušan and his father. Just as the
ram replaced Isaac as a sacrifice, the ram’s presence could metaphorically reflect Dušan’s role in
supplanting his father’s rule, drawing a parallel
to the Old Testament substitution story. Dečanski’s death and Dušan’s subsequent rise to power might mirror the tension and transformation
present in the Abrahamic sacrifice story (Marjanović-Dušanić 1997, 209).
Moreover, the ram’s head being prominently positioned near Dušan’s figure may reveal
metropolitan artistic motifs that Dušan, who
had spent part of his youth in Constantinople,
would have encountered there. Such motifs often symbolize strength and leadership, aligning
with Dušan’s regal imagery and his efforts to establish legitimacy. The ram’s symbolism thus intertwines with both the biblical narrative of Divine provision and the imperial ambitions of
Dušan, reinforcing his role as a ruler shaped by
both Divine and historical forces.
The shell, a symbol rich in religious and
cultural connotations, adds a profound layer of
meaning to the overall composition, particularly in its placement alongside the ram’s head.

While the ram’s head directly evokes the sacrifice of Abraham and Isaac, the shell introduces themes of Divine conception and spiritual rebirth (Jensen 2011, 203; Bogdanović 2017, 279).
Its association with the Virgin Mary and the incarnation of the celestial Logos enhances the
symbolism of this composition (Maguire 2011,
49).
The shell’s origins can also be traced to ancient biblical texts and early Christian writings.
In the Old Testament, specifically in Judges 6:36
and following, Gideon’s fleece was used as a Divine sign. This motif later evolved into broader Marian symbolism through the Physiologus,
a late 2nd-century text. There, the shell is seen
as representing the two testaments of the Bible.
Although this does not directly link the shell to
the Virgin Mary’s conception, it sets the stage for
later theological interpretations.
Early Christian theologians such as Clement of Alexandria in ‘Paidagogus’ II, 63, 5 (Clément of Alexandria in Migne and Le Nourry
1857, 393) adopted the shell as a symbol of the
heavenly Logos’ incarnation. Here, the shell signifies the virginal conception of Christ.5

The idea that readily accessible scallop-shell fossil beds
might have been used as pilgrimage souvenirs during
the medieval period is intriguing. Historical records indicate that various fossils, such as belemnites (often referred to as thunderbolts, Devil’s fingers, or St Peter’s fingers), gryphea (known as the Devil’s toenail), and crinoid
stems (referred to as St Cuthbert’s beads), were interpreted
and valued both in antiquity and medieval times (Mayor
2000; Bassett 1982). It seems plausible that fossilized pecten shells, when readily available, could have been utilized
as pilgrimage tokens, either genuinely or in a more symbolic context. Research from 1970 demonstrated that the
amino acid content of Pecten shells decreases with the age
of the fossil (Akiyama and Wyckoff 1970, 1097). Cf. Hall
(2005). Therefore, exploring whether there is a correlation
between known pilgrimage souvenirs and their geological
origins might be fruitful. Specifically, could pilgrim scallops be identified as fossils, and if so, could they be traced
back to their geological sources? In connection with royal
iconography, this inquiry could reveal interesting insights.
The scallop shell is a prominent symbol associated with pilgrimage and spiritual journeys, aligning with the concept
of divine incarnation. This symbolism ties into the broader theme of sacred journeys and transformation, echoing
the royal and divine imagery found in medieval art and architecture. Exploring the historical use of these shells in
the context of pilgrimage and their representation in religious iconography might deepen our understanding of

35
The shell’s placement in conjunction with
the ram’s head, especially on the portal oriented towards the entrance of the church, resonates
with its more profound theological implications.
The portal itself, often associated with the Virgin Mary as the ‘Door of Salvation,’ echoes the
significance of this symbolism. The Akathystos
their symbolic significance in medieval royal and ecclesiastical contexts.

hymn, a key text in Eastern Christian liturgy, includes the invocation: ‘Rejoice, O Door through
whom the Salvation came into the world,’ highlighting the Virgin Mary’s role as a gateway to
Divine salvation (Klein 2006, 79–99; Bulgakov
2009, 69).
In the context of the west façade, where figures of Christ and the Virgin Mary were prominently depicted, the shell serves as a visual and

Sensory Encounter s: Decoding the Sy mbolism of St Nicholas Church in Ljuboten

Figure 8: Capitals of the Northwest and Southwest Columns, Church of the Virgin of the Black Mountain above
the village of Mateič (Matejče Monastery; photo Jasmina S. Ćirić)

36
studia univer sitatis her editati, letnik 12 (2024), številk a 2 / volume 12 (2024), number 2

Figure 9: Portrait of King Dušan and the Impact of Light, St. Nicholas Church in Ljuboten, North Wall
(photo Jasmina S. Ćirić)

symbolic link. It reinforces the connection between the themes of sacrifice, Divine intervention, and the sacred entrance to salvation. The
shell thus enhances the theological narrative
of the portal, aligning with the broader Christian symbolism of Mary as the mediatrix of Divine grace and gateway to Christ. It is important to note that a similar iconographic solution
was later repeated in the Church of the Virgin of
the Black Mountain above the village of Mateič
(Matejče Monastery). Interestingly, Vojislav Korać observed that ‘In the interior, a striking threearched passage (trivilon) connects the narthex
with the nave. The two powerful, circular columns support cubic capitals adorned with stylized human and animal heads and curved leaves
on the corners. While there are no direct parallels
for these capitals, their treatment resembles those
found in the St Archangel’s Church in Prizren,
dated to the 14th century’ (Korać 2003, 217, fn.14).

Nevertheless, it could be said that the protomagister from Ljuboten or the architect from
his workshop, was possibly engaged in Mateič
as well, as indicated by the sculpting style of the
mentioned motifs (fig. 8).
Specific positioning of motifs on the capitals suggests that both the entrance in Ljuboten
(1336/37) and the Virgin’s Church of the Black
Mountain (before 1355) had a ceremonial function. Significant spaces or buildings (refectory,
abbot’s residence, courtyard, etc.) were probably
located on this side of the church (Korać 2003,
217; cf. 242, figs. 24, 25).
The double-headed eagle, a symbol frequently associated with both the Nemanjić dynasty and the Byzantine Palaiologos dynasty,
represents the unity of spiritual and temporal
authority. Its presence in the capital underscores
the Serbian rulers’ aspiration to reflect the grandeur and legitimacy of the Byzantine Empire.

The Sacred Impact of Light through
the South Portal
Although the south portal of St. Nicholas
Church is now sealed with a brick-and-mortar
wall, its original design played a crucial role in
shaping the church’s sacred and sensory experi6

The literature on natural lighting in Byzantine churches is
extensive. This article aims to provide a summary of this
body of work and offer recommendations for further reading. Notably, Potamianos’ doctoral dissertation (Potamianos 1996) is the key resource for understanding interplay
between natural light and liturgy in Byzantine architecture.

The south portal of the Church of St. Nicholas has undergone considerable changes over time, particularly during
modern restoration efforts. In a photograph published by
architect Žarko M. Tatić, the portal, although visibly damaged, remained part of the original façade and was filled
with stone ashlars. Tatić, who completed the first architectural drawings of the church, documented its deteriorated state (Tatić 1927, 99). The subsequent decision to close
the portal with brick and mortar during later conservation
efforts in 1928 raises concerns about the rationale behind
sealing an entrance that played a crucial role in the church’s
architectural and symbolic framework. Regarding the period of restoration efforts at Ljuboten, only V. R. Petković
provides information, noting that the works were undertaken in 1928 (Petković 1950, 178). This intervention altered the visual and spatial perception of the façade, and
the distinction between the original and new materials remains evident. Such a decision warrants critique regarding
the conservation approach, particularly when it comes to
the preservation of historically significant features like the
south portal, which had an integral role in the sacred and
sensory experience of the church’s space. The photographs,
most likely taken by Jakov Pavelic, were published by Tatić
and are part of the phototheque of the National Museum
in Belgrade. These visual records provide crucial documentation of the church’s ruinous state before the modern interventions.

37

ence.7 In Christian theology, light is a powerful
symbol of Divine presence and enlightenment,
and its interaction with architectural elements
was integral to the church’s design.
Historically, sunlight streaming through
the south portal would have gradually illuminated the capital at the northeast corner, causing
the carvings of the cross, the ram, and the eagle
to shimmer with Divine radiance. This dynamic interplay between light and sculpture would
have transformed these symbols from static images into living conveyors of spiritual meaning.
The light filtering through the portal was perceived as a manifestation of God’s presence, creating a visual link between heaven and earth.
With its sculpted symbols, the capital was
strategically positioned to exploit this natural illumination. As sunlight fell on the capital, it accentuated its intricate details and cast shadows
that highlighted the theological implications
of the symbols. This interaction between light
and stone mirrored the dual nature of existence,
where the material world (stone) is illuminated
by heavenly truth (light). The light’s movement
through the portal deepened the viewer’s experi-

Sensory Encounter s: Decoding the Sy mbolism of St Nicholas Church in Ljuboten

The double-headed eagle can be seen as a manifestation of heavenly kingship, symbolizing the
dual authority of Christ the King, who reigns
both on earth as in the Heavens and, as suggested by the biblical vision of Christ’s universal dominion in Revelation 11:15: ‘The kingdom of this
world has become the kingdom of our Lord and
of His Christ, and He shall reign forever and
ever’ (Androudis 2015, 315–341; Çağaptay 2018,
309–338).
The strategic alignment of these symbols
with the light entering through the south portal further enhances their theological impact.
As light filters through the portal, it illuminates
the capital and the portraits of King Dušan and
Queen Helen, creating a visual and symbolic
connection between earthly rulers and celestial
authority. This interplay of light and symbolism
reinforces the Divine sanction of Dušan’s reign
and the church’s role as a conduit of spiritual illumination and legitimacy (fig. 9; Potamianos
2022, 151–172).6
The capital at the northeast corner of St
Nicholas Church, with its sculpted symbols of
the cross, ram, and double-headed eagle, embodies a rich tapestry of theological and political
symbolism. Through their alignment and interaction with the sacred light from the south portal, these elements collectively affirm the heavenly endorsement of the rulers and the aspiration
to mirror the Byzantine Empire’s spiritual and
temporal grandeur.

38
studia univer sitatis her editati, letnik 12 (2024), številk a 2 / volume 12 (2024), number 2

ence, inviting contemplation of the Divine mysteries represented by the capital’s imagery.
Although the south portal is today covered with brick and mortar, historical evidence
and architectural studies suggest that the original design intended for sunlight to emphasize
key features of the church, including the capital and the portraits of King Dušan and Queen
Helen with their son Uroš. The rulers, bathed in
the same celestial light that would have touched
the capital, were positioned as intermediaries between God and the people, legitimizing their authority through religious iconography and natural light (Korać 2003, 112, 113).
Ljuboten Church’s surfaces are brought to
life by the interplay of light and shadow. The architectural elements are designed to capture and
reflect light in ways that emphasize their ornate details and enhance the spiritual experience of those entering the church. The highland
sun serves as a powerful tool, much like the luminous pigments in illuminated manuscripts,
transforming the building’s interior into a space
where light and shadow contribute to its aesthetic and liturgical significance. Although these vistas are lost today, photographs taken at different
times of the day provide glimpses of the original
perspectives.
Moreover, the original light’s passage
through the south portal could be seen as a metaphor for Divine guidance, casting a path for
the faithful and symbolically anointing the rulers with God’s grace. This spiritual illumination
aligns with theological doctrines that emphasize the transcendent nature of celestial authority and its reflection through the Church and
its rulers. The interplay of light and sacred art
underscored the church’s design as a profound
tool for worship and spiritual reflection, reinforcing the connection between the earthly and
the heavenly (Potamianos 2018, 117; Potamianos
2021, 284–302).
Conclusion
The multisensory experience within St Nicholas
Church in Ljuboten is deeply intertwined with

its architectural features and environmental setting. The church’s location enhances its spiritual
and sensory impact, as it is situated within the
sacred landscape of the Holy Mount of Skoplje
(Skopska Crna Gora). This prominent positioning within a revered natural setting amplifies the
sacred atmosphere and contributes significantly
to the worship experience. The natural environment of the Holy Mount further enhances this
experience, integrating the church’s sensory elements with its sacred setting (Cosgrove and Della Dora 2009; Della Dora 2016, 147–177).8 The

It is important to note that the issue of sacred topography
in Skopje, Kumanovo, and the surrounding areas has not
been thoroughly addressed in historiography. The fact that
endowments were established in a relatively small space
speaks to the repetitive nature of creating sacred spaces on
mountains. To recall, mountains, hills, and highlands—
traditionally associated with topoi from the Holy Scriptures—are often chosen as sites for constructing Christian monasteries and churches. The significance of mountains in Orthodoxy is multifaceted. Their mention in the
Holy Scriptures is historical and metaphorical, and numerous monasteries are located on these elevations. Additionally, mountains often appear in iconographic depictions. Mountains serve as attributes in the names of God
and play a pivotal role in Christian theology. The mountain is where the Lord delivered His sermon, where He
went to pray, where He was transfigured before His disciples, where He was crucified, and from which He ascended into Heaven. In the Holy Scriptures, mountains are also
mentioned in a figurative sense. Ultimately, they are seen
as the place of eschatological significance, symbolizing the
final and future Jerusalem, the Heavenly Kingdom. In the
Book of Ezekiel, it is stated that the Garden of God, the
holy mountain of God, Eden, was located on a mountain
(Ezekiel 28:13-16) and that the ‘trees of Eden’ were situated
on Lebanon (Ezekiel 31:16). This has led some to localize
Eden on Mount Lebanon. Lebanon is a mountain range
in the country of Lebanon, with its highest peak, Qurnat
as Sawda, at 3,088 meters above sea level. In the Book of
Genesis, God and the mountain are mentioned in a common context. Abraham identifies Mount Moriah as God’s
Mountain and ascends it because ‘the Lord will provide’
there. ‘And Abraham called that place: The Lord will provide. So it is said to this day: On the mount of the Lord, it
shall be provided’ (Genesis 22:14). In the Book of Exodus,
the mountain in the wilderness, Horeb (Sinai), is referred
to as the mountain of God (Exodus 3:1; 4:27; 18:5), where
God is located (Exodus 19:3). ‘And the Lord said to Aaron: Go into the wilderness to meet Moses. So he went and
met him on the mountain of God, and kissed him’ (Exodus 4:27). These geographical structures serve as models
for conceptualizing space within theological discourse, as
can be observed in the depiction of the mountainous surroundings of Mount Sinai in the Book of Exodus (Exodus
19-34). Just as Eden is described as on a mountain, in the
Old Testament, the future house of the Lord is also located on a mountain. The prophets Isaiah and Micah provide

descriptions of the topographical characteristics of the
space where the future house of the Lord will be situated,
as a place ‘on the mountain above all mountains and hills’
(Isaiah 2:2-3; Micah 4:1-2). Similar: ‘In the last days, the
mountain of the Lord’s house shall be established on the
top of the mountains and exalted above the hills; and all
nations shall flow to it. Many people shall come and say:
Come, let us go up to the mountain of the Lord, to the
house of the God of Jacob; He will teach us His ways, and
we shall walk in His paths. For out of Zion shall go forth
the law, and the word of the Lord from Jerusalem’ (Isaiah
2:2-3).” This narrative reinforces the theological symbolism of mountains as places of divine encounters and sanctity, embodying the concept of “God-protected spaces” that
resonate deeply in Christian art and architecture. Monasteries and churches on mountains echo the scriptural associations with sacred summits, creating a dialogue between
topography, spirituality, and the sacred history of salvation. For a more detailed interpretation of mountains and
sacred spaces in the Christian tradition, see: Lidov (2009,
8–10). For the idea of creating sacred spaces in Ohrid, see:
Ćirić (2017, 319–329).
Protopresbyter Radoslav Grujić, while serving as the director of the Museum of Southern Serbia in Skopje, was
the only scholar to write extensively about the concept of
Skopje as a sacred space. Citing sources such as Procopius of Caesarea, Grujić argued that Skopje was once a metropolitan city with many churches. He also highlights the
Komnenian dynasty (1084–1185 AD), a period conducive to constructing monasteries throughout the Byzantine Empire. During this time, Byzantine society—from
emperors to peasants—was gripped by extraordinary religious fervor, bordering on mania. As a result, churches and monasteries proliferated across the empire. Grujić
also identifies this area as the domain of the Monastery of
St. George and mentions citations from the writings of St.
Isaiah the Elder, who wrote about the churches near Skopje. It is believed that St. Isaiah may have translated Dionysius the Areopagite and described how the churches appeared to him as akin to paradise, a garden, or a flowerbed
(Grujić 1935, 34, 68, 160).

Acknowledgment
Financial support for this article was provided within
the Agreement on the Transfer of Funds for Financing Scientific Research of Teaching Staff at Accredited
Higher Education Institutions of the Republic of Serbia
in 2024, no. 451-03-65/2024-03/200198.
Summary
The article provides a detailed analysis of the sensory and symbolic dimensions of St. Nicholas Church
in Ljuboten, focusing on its architectural and artistic
elements to uncover the profound theological and political messages embedded within its design. Situated
within the sacred landscape of the Holy Mountain of
Skoplje, the church’s architecture is intricately linked to
its natural environment, enhancing its spiritual and sensory impact. Central to the discussion is the interaction between light and sacred imagery within the church.
The manipulation of light in relation to the church’s architecture is not merely an aesthetic choice but a deliberate design element intended to deepen the observer’s
experience of the divine. The interplay between light
and symbolic figures, such as King Dušan’s and Queen
Helen’s portraits, creates a multisensory environment
where the divine is both seen and felt. This engagement
is further enhanced by the tactile quality of the brickwork and arches, which invoke a ‘haptic visuality,’ where touch is simulated through sight.
The auditory dimension also plays a crucial role.
The church’s acoustics, with sound reverberating off the
stone walls and domes, amplify the experience of religious rituals, contributing to a heightened sense of the
sacred. The echoes of hymns and chants facilitate deeper contemplation and enhance the spiritual atmosphere.
The analysis delves into the religious and historical sym-

39

ly ruler to the celestial realm. This visual alignment allowed visitors to perceive King Dušan
as a transitional figure, bridging the celestial
with the earthly and drawing worshippers into
the spiritual communion with the holy figures
and patrons. Visitors and worshippers in Ljuboten are drawn into a mystical experience, joining with the donor, noblewoman Danica, and
the sacred imagery in an atemporal spiritual
relationship.

Sensory Encounter s: Decoding the Sy mbolism of St Nicholas Church in Ljuboten

church’s location within the sacred landscape of
the Holy Mount of Skoplje adds a profound dimension to this multisensory experience. The
natural setting not only enhances the visual and
tactile aspects of the church but also reinforces
its spiritual significance, offering a deeper connection to the Divine.
In St Nicholas Church, the interplay between light and the sacred environment is critical in devotional practice and performative piety. Light entering through the south portal was
more than a physical phenomenon; it was seen
as a manifestation of Divine presence that united the viewers with theological messages. The
fresco of King Dušan, positioned alongside holy
figures, created a narrative linking the earth-

40
studia univer sitatis her editati, letnik 12 (2024), številk a 2 / volume 12 (2024), number 2

bolism of various architectural elements, including the
capital at the northeast corner of the church. This capital features sculpted symbols such as the cross, ram’s
head, and double-headed eagle. Each symbol reflects
theological and political aspirations. The cross represents Christ’s sacrifice and the divine mandate of rulers, while the ram’s head, linked to the sacrificial story of
Abraham and Isaac, also connects to the ambitions of
King Dušan. The double-headed eagle signifies the unity of spiritual and temporal authority, echoing the grandeur of the Byzantine Empire and the divine kingship
of Christ. Although now sealed, the south portal of the
church initially allowed sunlight to filter through and illuminate these symbols. This interaction of light with
the carvings transformed them into living conveyors of
spiritual meaning, creating a visual link between heaven and earth. The light’s passage through the portal was
perceived as a manifestation of God’s presence, enhancing the theological impact of the church’s design.
Furthermore, the presence of the shell motif, associated with the Virgin Mary and divine conception,
adds another layer of meaning. The shell symbolizes
spiritual rebirth and aligns with Marian themes of salvation. Its placement, in conjunction with the ram’s head,
reinforces the connection between themes of sacrifice
and divine grace. The article concludes by emphasizing
the integral role of the church’s location and design in
shaping the worship experience. The multisensory environment created by the interplay of light, sound, and
symbolism facilitates a deep spiritual connection for
visitors. The church’s architectural features and natural setting create a profound tool for worship and reflection, drawing worshippers into a mystical experience
that bridges the earthly and divine realms.
Povzetek
Članek podrobno analizira čutne in simbolne razsežnosti cerkve svetega Nikolaja v Ljubotenu, pri čemer se
osredotoča na njene arhitekturne in umetniške elemente z namenom razkrivanja globokih teoloških ter političnih sporočil, vgrajenih v njeno zasnovo. Arhitektura
cerkve, ki se nahaja v sveti pokrajini Svete gore pri Skopju, je tesno povezana z naravnim okoljem, kar povečuje
njen duhovni in čutni učinek. Osrednja tema razprave je
interakcija med svetlobo in svetimi podobami v cerkvi.
Upravljanje svetlobe v povezavi z arhitekturo cerkve ni

zgolj estetska izbira, temveč premišljen oblikovalski element, namenjen poglabljanju opazovalčevega doživljanja božanskega. Medsebojni vpliv svetlobe in simbolnih
likov, kot sta portreta kralja Dušana in kraljice Helene,
ustvarja veččutno okolje, v katerem je božansko vidno
in občuteno. To izkušnjo še okrepi otipljivost opeke in
obokov, ki vzbujajo »haptično vizualnost«, pri kateri
je dotik simuliran z vidom. Pomembno vlogo ima tudi
slušna razsežnost. Akustika cerkve, kjer se zvok odbija
od kamnitih zidov in kupol, okrepi doživljanje verskih
obredov in prispeva h globljemu občutku svetosti. Odmevi hvalnic in spevov omogočajo globljo kontemplacijo ter krepijo duhovno vzdušje. Analiza se podrobno
ukvarja z versko in zgodovinsko simboliko različnih arhitekturnih elementov, med drugim s kapitelom na severovzhodnem vogalu cerkve. Ta kapitel vsebuje izklesane simbole, kot so križ, ovnova glava in dvoglavi orel.
Vsak simbol odraža teološke in politične pomene. Križ
predstavlja Kristusovo žrtvovanje in božji mandat vladarjev, ovnova glava, povezana z žrtveno zgodbo o Abrahamu in Izaku, pa je povezana tudi z ambicijami kralja Dušana. Dvoglavi orel označuje enotnost duhovne in
posvetne oblasti, kar odraža veličino bizantinskega cesarstva in Kristusovo božansko kraljevanje. Čeprav je
južni portal cerkve zdaj zapečaten, je prvotno omogočal prodiranje sončne svetlobe, ki je osvetljevala te simbole. Ta interakcija svetlobe z rezbarijami jih je spremenila v žive prenašalce duhovnega pomena in ustvarila
vizualno povezavo med nebom ter zemljo. Prehajanje
svetlobe skozi portal so dojemali kot manifestacijo Božje navzočnosti, kar je okrepilo teološki učinek zasnove
cerkve.
Poleg tega prisotnost motiva školjke, ki je povezan
z Devico Marijo in božjim spočetjem, dodaja še eno raven pomena. Školjka simbolizira duhovni preporod in se
ujema z Marijinimi motivi odrešenja. Njena umestitev
v povezavi z ovnovo glavo krepi povezavo med temami
žrtvovanja in Božje milosti.
Članek se zaključi s poudarkom na ključni vlogi
lokacije in zasnove cerkve pri oblikovanju izkušnje bogoslužja. Veččutno okolje, ki ga ustvarja preplet svetlobe, zvoka in simbolike, obiskovalcem omogoča globoko
duhovno povezanost. Arhitekturne značilnosti cerkve
in njeno naravno okolje ustvarjajo močno orodje za bogoslužje ter razmislek in vernike pritegnejo k mistični izkušnji, ki povezuje zemeljsko in božansko kraljestvo.

41

and D. Ch. Stathakopoulos, 75–92.
Vienna: Österreichische Akademie der
Wissenschaften.
Chariton, I. 1978. The Art of Prayer: An
Orthodox Anthology. Translated by E.
Kadloubovsky and E. M. Palmer. London:
Faber and Faber.
Ćirić, J. 2015. ‘Nekoliko opisa portala u
izvorima Vizantije i srednjovekovne Srbije
(I).’ Patrimonium.MK 8 (13): 345–360.
Ćirić, J. S. 2016. ‘As the Byzantines Saw It:
Sensoria, Sources, Apse, and Brickwork
at the End of the 13th Century.’ In Niš i
Vizantija: zbornik radova 14, edited by M.
Rakočija, 303–312. Niš: University of Niš.
Ćirić, J. S. 2017. ‘Medieval Architecture in
Ohrid and Paradigms of Creation of the
Sacred Spaces: A Few Observations.’ In
Çanakkale Onsekiz Mart Üniversitesi
Balkan ve Ege Uygulama ve Araştırma
Merkezi Uluslararası Balkan Tarihi ve
Kültürü Sempozyumu 6–8 Ekim 2016,
Çanakkale Bildiriler Cilt I, edited by A.
Koyuncu, 319–329. Çanakkale: Çanakkale
Onsekiz Mart University.
Ćirić, J. S. 2022. ‘Brickwork and Façade:
Envisioning the Apse of the Church
of Saint John the Baptist at the Lips
Monastery.’ In Πάντα ῥεῖ: Change in
Thirteenth-Century Byzantine Architecture,
Art, and Material Culture, edited by J.
Albani and I. Christoforaki, 77–102.
Turnhout: Brepols.
Ćirić, J. S. 2023. ‘Unveiling the ‘True Light’:
Brick Cryptograms at St. George Church
in Staro Nagoričino.’ Science International
Journal 2 (4): 119–123.
Ćirić, J. S. 2024. ‘Staging Imperial Aspirations:
Spolia at Ljuboten and the Symbolic Role
of Antiquity.’ In Niš and Byzantium:
Proceedings of the 22nd International
Scientific Conference, edited by M.
Rakocija, 257–273. Niš: University of Niš.
Ćirić, J. S., and B. J. Cvetković. Forthcoming.
‘Empress Helena in Athos, Mateič, and
Serres: From Shared Power to Personal

Sensory Encounter s: Decoding the Sy mbolism of St Nicholas Church in Ljuboten

References
Akiyama, M., and R. W. G. Wyckoff. 1970.
‘The Total Amino Acid Content of Fossil
Pecten Shells.’ Proceedings of the National
Academy of Sciences 67 (3): 1007–1010.
Androudis, P. 2015. ‘Double-Headed Eagles
on Early (11th–12th Century) Medieval
Textiles: Aspects of Their Iconography
and Symbolism.’ In Proceedings of the
International Congress: Niš and Byzantium
XIV, edited by M. Rakocija, 303–312. Niš:
University of Niš.
Bassett, M. G. 1982. Formed Stones: Folklore
and Fossils. Cardiff: National Museum of
Wales.
Betancourt, R. 2016. ‘Tempted to Touch:
Tactility, Ritual, and Mediation in
Byzantine Visuality.’ Speculum 91 (3):
660–689.
Bogdanović, J. 2017. The Framing of Sacred
Space: The Canopy and the Byzantine
Church. New York: Oxford University
Press.
Bulgakov, S. 2009. The Burning Bush: On the
Orthodox Veneration of the Mother of God.
Translated by T. A. Smith. Grand Rapids,
MI: Eerdmans.
Çağaptay, S. 2018. ‘On the Wings of the
Double-Headed Eagle: Spolia in Re and
Appropriation in Medieval Anatolia
and Beyond.’ In Spolia Reincarnated:
Second Life of Spaces, Materials, Objects in
Anatolia from Antiquity to the Ottoman
Period, edited by S. Yalman and I. Jevtić,
185–202. Istanbul: Koç University.
Caseau, B. 1999. ‘Christian Bodies: The Senses
and Early Byzantine Christianity.’ In
Desire and Denial in Byzantium, edited by
L. James, 101–110. Aldershot: Ashgate.
Caseau, B. 2007. ‘Incense and Fragrances:
From House to Church; A Study of
the Introduction of Incense in the
Early Byzantine Christian Churches.’
In Material Culture and Well-being in
Byzantium: (400–1453), edited by M.
Grünbart, E. Kislinger, A. Muthesius,

studia univer sitatis her editati, letnik 12 (2024), številk a 2 / volume 12 (2024), number 2

42

Reign.’ In Women and Power in the Late
Medieval and Early Modern Southeast and
Central Europe (1300–1600), edited by M.
Rokai. Budapest.
Cosgrove, D. E., and V. Della Dora. 2009. High
Places: Cultural Geographies of Mountains,
Ice and Science. London: Tauris.
Cvetković, B. 2022. ‘The Royal Imagery
of Medieval Serbia.’ In Meanings
and Functions of the Ruler’s Image in
the Mediterranean World (11th–15th
Centuries), edited by M. Bacci and M.
Studer-Karlen, 101–120. Leiden: Brill.
Cvetković, B. 2023. ‘Royal Imagery of
King Milutin in Historical Context
Revisited.’ In Holy King Milutin and His
Age: History, Literature, Art: Thematic
Collection of Papers / The International
Scientific Conference ‘King Milutin and
the Palaeologan Age: History, Literature,
Cultural Heritage’, edited by J. S. Ćirić and
S. Ubiparipović, 667–692. Kragujevac:
Kalenić.
Debevec, L. 2016. Toward Sacral Architecture.
Belgrade: Faculty of Orthodox Theology.
Della Dora, V. 2016. Landscape, Nature, and
the Sacred in Byzantium. Cambridge:
Cambridge University Press.
Dimitrova, E. 2002. Manastir Matejče. Skopje:
Centar za kulturno i duhovno nasledstvo
Kalamus.
Đorđević, I. M. 1994. Zidno slikarstvo srpske
vlastele u doba Nemanjića. Belgrade:
Filozofski fakultet
Đorđević, I. M. 1995. ‘Monogram Dmitar u
Ljubotenu.’ Leskovački Zbornik 35:5–10.
Đorđević, Z., D. Novković, and F. Pantelić.
2019. ‘The Ceramic Vessels of Trg:
Acoustic Wall Construction in a Medieval
Serbian Church.’ Change Over Time 9 (2):
192–212.
Đurić, V. J. 1974. Vizantijske freske u Jugoslaviji.
Belgrade: Jugoslavija.
Foltz, B. V. 2019. Byzantine Incursions on
the Borders of Philosophy: Contesting the

Boundaries of Nature, Art, and Religion.
Cham: Springer.
Gerstel, S. E. J. 1999. Beholding the Sacred
Mysteries: Programs of the Byzantine
Sanctuary. Seattle, WA: University of
Washington Press.
Grujić, R. M. 1935. ‘Skopska Mitropolija:
Istorijsko-statistički pregled.’ In Spomenica
srpsko-pravoslavnog Sabornog hrama Svete
Bogorodice u Skoplju, 1835–1935, edited by
S. Jergić, V. S. Radovanović, P. Jovanović,
M. Jovanović, and D. Kapisazović, 50–
65. Skoplje: Srpska Pravoslavna crkvena
opština grada Skoplja.
Hall, M. A. 2005. ‘Were Fossil Scallop Shells
Exploited During the Middle Ages?’
Peregrinations: Journal of Medieval Art
and Architecture 2 (1). https://digital.
kenyon.edu/perejournal/vol2/iss1/8.
Hedrick, T. L., and N. Ergin. 2015. ‘A
Shared Culture of Heavenly Fragrance:
A Comparison of Late Byzantine
and Ottoman Incense Burners and
Censing Practices in Religious Context.’
Dumbarton Oaks Papers 69:331–354.
Isar, N. 2004. ‘“Xopós of Light”: Vision of the
Sacred in Paulus the Silentiary’s Poem
Descriptio S. Sophiae.’ Byzantinische
Forschungen 28:215–242.
Isar, N. 2014. ‘Veiled Word(s): Sacred Silence:
Screening the Mystery in the Byzantine
Altar.’ In Image and Altar 800–1300 AD
(Conference), Copenhagen, Denmark
(2007), edited by P. Grinder-Hansen, 24–
45. Copenhagen: University Press of
Southern Denmark.
James, L. 2004. ‘Sense and Sensibility in
Byzantium.’ Art History 27 (4): 522–537.
Jensen, R. 2011. Living Water: Images, Symbols,
and Settings of Early Christian Baptism.
Leiden: Brill.
Klein, H. A. 2006. ‘Sacred Relics and Imperial
Ceremonies at the Great Palace of
Constantinople.’ BYZAS 5:79–99.
Korać, V. 2003. Spomenici monumentalne
srpske arhitekture XIV veka u Povardarju.

43

Pentcheva, B. V. 2010. The Sensual Icon: Space,
Ritual, and the Senses in Byzantium.
University Park, PA: Pennsylvania
University Press.
Pentcheva, B. V. 2017. Hagia Sophia: Sound,
Space, and Spirit in Byzantium. University
Park, PA: Pennsylvania University Press.
Petković, V. R. 1950. Pregled crkvenih spomenka
kroz povesnicu srpskog naroda. Belgrade:
Naučna knjiga.
Petrov, K. 1963. ‘Dekorativna plastika na
spomenicite od XIV vek.’ Godišen zbornik:
Filozofski fakultet Skopje 15:199–286.
Potamianos, I. 1996. ‘Light into Architecture:
Evocative Aspects of Natural Light as
Related to Liturgy in Byzantine Churches.’
PhD diss., University of Michigan.
Potamianos, I. 2018. ‘Byzantine Church Space:
A Holy Mountain of Light and Shadow.’
In The Hierotopy of Holy Mountains in
Christian Culture, edited by A. Lidov, 79–
102. Moscow: Russian Academy of Arts.
Potamianos, I. 2021. ‘The Handling of Light:
Its Effect on Form and Space in the Greek
Temple and the Byzantine Church.’ In The
Oxford Handbook of Light in Archaeology,
edited by C. Papadopoulos and H. Moyes,
412–430. Oxford Academic.
Potamianos, I. 2022. ‘Space and Light:
Aesthetics of Light in the Byzantine
Church.’ In Natural Light in Medieval
Churches, edited by V. Ivanovici and A. I.
Sullivan, 165–186. Leiden: Brill.
Radojčić, S. 1934. Portreti srpskih vladara u
srednjem veku. Skoplje: Muzej Južne Srbije.
Radujko, M. 2000. ‘Prvo slikarstvo Ljubotena:
Tematika, stil i majstori.’ Patrimonium.
MK 7–8:171–196.
Radujko, M. 2008. ‘Živopis pročelja i linete
južnog ulaza Svetog Nikole u Ljubotenu.’
Zograf 32:101–116.
Rasolkoska-Nikolovska, Z. 2004. ‘Vladetelski
portreti na Ljuboten i vremeto na
slikanjeto na sidnata dekoracija.’ In
Srednovekovnata umetnost vo Makedonija:
Freski i ikoni, edited by Z. Rasolkoska-

Sensory Encounter s: Decoding the Sy mbolism of St Nicholas Church in Ljuboten

Belgrade: Srpska akademija nauka i
umetnosti.
Lidov, A. 2009. ‘New Jerusalems: Transferring
of the Holy Land as Generative Matrix of
Christian Culture.’ In New Jerusalems:
Hierotopy and Iconography of Sacred Spaces,
edited by A. Lidov, 35–55. Moscow: Indrik.
Maguire, H. 2011. ‘Body, Clothing, Metaphor:
The Virgin in Early Byzantine Art.’ In The
Cult of the Mother of God in Byzantium:
Texts and Images, edited by L. Brubaker
and M. Cunningham, 57–75. Farnham:
Ashgate.
Maksimović, J. 1971. Srpska srednjovekovna
skulptura. Novi Sad: Matica srpska.
Marjanović-Dušanić, S. 1997. Vladarska
ideologija Nemanjića: diplomatička studija.
Belgrade: Srpska književna zadruga, Sveti
arhijerejski sinod Srpske pravoslavne crkve,
CLIO.
Marjanović-Dušanić, S. 2016. ‘La Mort et la
Sainteté du Prince Serbe.’ In La Mort du
Prince de l’Antiquité à Nos Jours, edited by
J. Foa, É. Malamut, and C. Zaremba, 95–
110. Aix-en-Provence: Presses universitaires
de Provence.
Mayor, A. 2000. The First Fossil Hunters:
Paleontology in Greek and Roman Times.
Princeton, CA: Princeton University
Press.
Mercenier, F., E. Mercenier, and F. Paris.
1947. La prière des églises de rite byzantin:
L'Office divin, la Liturgie, les sacrements.
Volume 1, Prière des Eglises de rite
byzantin. 2nd ed. Prieure d`Amay-surMeuse: Monastère de Chevetogne.
Migne, J. P., and N. Le Nourry, eds. 1857.
Patrologiae Cursus Completus: Patrologiae
Graecae Tomus IX. Clemens Alexandrinus
– Tomus Secundus. Paris: Garnier Frères.
Nelson, R. S. 2000. ‘To Say and to See:
Ekphrasis and Vision in Byzantium.’
In Visuality before and beyond the
Renaissance: Seeing as Others Saw, edited
by R. S. Nelson, 143–168. Cambridge:
Cambridge University Press.

44
studia univer sitatis her editati, letnik 12 (2024), številk a 2 / volume 12 (2024), number 2

Nikolovska, 45–65. Skopje: Centar za
kulturno i duhovno nasledstvo Kalamus.
Stejskal, A. 2019. ‘Substitution by Image: The
Very Idea.’ The Journal of Aesthetics and
Art Criticism 77 (1): 55–66.
Taft, R. F. 1991. The Byzantine Rite: A Short
History. Collegeville, MN: Liturgical.
Tatić, Ž. M. 1927. ‘Arhitektonski spomenici u
Skopskoj Crnoj Gori. II Ljuboten.’ Glasnik
Skopskog naučnog društva 2:93–108.
Troelsgard, C. 2018. ‘Byzantine Chant
Notation: Written Documents in an
Aural Tradition.’ In Aural Architecture
in Byzantium: Music, Acoustics, and

Ritual, edited by B. V. Pentcheva, 145–160.
London: Routledge.
Williamson, B. 2013. ‘Sensory Experience
in Medieval Devotion: Sound and
Vision, Invisibility and Silence.’
Speculum 88 (1). https://doi.org/10.1017/
S0038713413000523.
Winkelmann, F. 1985. ‘Die Problematik der
Entstehung der Paphnutioslegende.’
In Griechenland-Byzanz-Europa: Ein
Studienband, edited by J. Herrmann, H.
Köpstein, and R. Müller, 215–235. Berlin:
De Gruyter.

Založba Univerze na Primorskem
www.hippocampus.si
issn 2350-5443
References (66)
Akiyama, M., and R. W. G. Wyckoff. 1970. 'The Total Amino Acid Content of Fossil Pecten Shells.' Proceedings of the National Academy of Sciences 67 (3): 1007-1010.
Androudis, P. 2015. 'Double-Headed Eagles on Early (11th-12th Century) Medieval Textiles: Aspects of Their Iconography and Symbolism.' In Proceedings of the International Congress: Niš and Byzantium XIV, edited by M. Rakocija, 303-312. Niš: University of Niš.
Bassett, M. G. 1982. Formed Stones: Folklore and Fossils. Cardiff: National Museum of Wales.
Betancourt, R. 2016. 'Tempted to Touch: Tactility, Ritual, and Mediation in Byzantine Visuality.' Speculum 91 (3): 660-689.
Bogdanović, J. 2017. The Framing of Sacred Space: The Canopy and the Byzantine Church. New York: Oxford University Press.
Bulgakov, S. 2009. The Burning Bush: On the Orthodox Veneration of the Mother of God. Translated by T. A. Smith. Grand Rapids, MI: Eerdmans.
Çağaptay, S. 2018. 'On the Wings of the Double-Headed Eagle: Spolia in Re and Appropriation in Medieval Anatolia and Beyond.' In Spolia Reincarnated: Second Life of Spaces, Materials, Objects in Anatolia from Antiquity to the Ottoman Period, edited by S. Yalman and I. Jevtić, 185-202. Istanbul: Koç University.
Caseau, B. 1999. 'Christian Bodies: The Senses and Early Byzantine Christianity.' In Desire and Denial in Byzantium, edited by L. James, 101-110. Aldershot: Ashgate.
Caseau, B. 2007. 'Incense and Fragrances: From House to Church; A Study of the Introduction of Incense in the Early Byzantine Christian Churches.' In Material Culture and Well-being in Byzantium: (400-1453), edited by M. Grünbart, E. Kislinger, A. Muthesius, and D. Ch. Stathakopoulos, 75-92. Vienna: Österreichische Akademie der Wissenschaften.
Chariton, I. 1978. The Art of Prayer: An Orthodox Anthology. Translated by E. Kadloubovsky and E. M. Palmer. London: Faber and Faber.
Ćirić, J. 2015. 'Nekoliko opisa portala u izvorima Vizantije i srednjovekovne Srbije (I).' Patrimonium.MK 8 (13): 345-360.
Ćirić, J. S. 2016. 'As the Byzantines Saw It: Sensoria, Sources, Apse, and Brickwork at the End of the 13th Century.' In Niš i Vizantija: zbornik radova 14, edited by M. Rakočija, 303-312. Niš: University of Niš.
Ćirić, J. S. 2017. 'Medieval Architecture in Ohrid and Paradigms of Creation of the Sacred Spaces: A Few Observations.' In Çanakkale Onsekiz Mart Üniversitesi Balkan ve Ege Uygulama ve Araştırma Merkezi Uluslararası Balkan Tarihi ve Kültürü Sempozyumu 6-8 Ekim 2016, Çanakkale Bildiriler Cilt I, edited by A. Koyuncu, 319-329. Çanakkale: Çanakkale Onsekiz Mart University.
Ćirić, J. S. 2022. 'Brickwork and Façade: Envisioning the Apse of the Church of Saint John the Baptist at the Lips Monastery.' In Πάντα ῥεῖ: Change in Thirteenth-Century Byzantine Architecture, Art, and Material Culture, edited by J. Albani and I. Christoforaki, 77-102. Turnhout: Brepols.
Ćirić, J. S. 2023. 'Unveiling the 'True Light': Brick Cryptograms at St. George Church in Staro Nagoričino.' Science International Journal 2 (4): 119-123.
Ćirić, J. S. 2024. 'Staging Imperial Aspirations: Spolia at Ljuboten and the Symbolic Role of Antiquity.' In Niš and Byzantium: Proceedings of the 22nd International Scientific Conference, edited by M. Rakocija, 257-273. Niš: University of Niš.
Ćirić, J. S., and B. J. Cvetković. Forthcoming. 'Empress Helena in Athos, Mateič, and Serres: From Shared Power to Personal Reign.' In Women and Power in the Late Medieval and Early Modern Southeast and Central Europe (1300-1600), edited by M. Rokai. Budapest.
Cosgrove, D. E., and V. Della Dora. 2009. High Places: Cultural Geographies of Mountains, Ice and Science. London: Tauris.
Cvetković, B. 2022. 'The Royal Imagery of Medieval Serbia.' In Meanings and Functions of the Ruler's Image in the Mediterranean World (11th-15th
Centuries), edited by M. Bacci and M. Studer-Karlen, 101-120. Leiden: Brill.
Cvetković, B. 2023. 'Royal Imagery of King Milutin in Historical Context Revisited.' In Holy King Milutin and His Age: History, Literature, Art: Thematic Collection of Papers / The International Scientific Conference 'King Milutin and the Palaeologan Age: History, Literature, Cultural Heritage', edited by J. S. Ćirić and S. Ubiparipović, 667-692. Kragujevac: Kalenić.
Debevec, L. 2016. Toward Sacral Architecture. Belgrade: Faculty of Orthodox Theology.
Della Dora, V. 2016. Landscape, Nature, and the Sacred in Byzantium. Cambridge: Cambridge University Press.
Dimitrova, E. 2002. Manastir Matejče. Skopje: Centar za kulturno i duhovno nasledstvo Kalamus.
Đorđević, I. M. 1994. Zidno slikarstvo srpske vlastele u doba Nemanjića. Belgrade: Filozofski fakultet
Đorđević, I. M. 1995. 'Monogram Dmitar u Ljubotenu.' Leskovački Zbornik 35:5-10.
Đorđević, Z., D. Novković, and F. Pantelić. 2019. 'The Ceramic Vessels of Trg: Acoustic Wall Construction in a Medieval Serbian Church.' Change Over Time 9 (2): 192-212.
Đurić, V. J. 1974. Vizantijske freske u Jugoslaviji. Belgrade: Jugoslavija.
Foltz, B. V. 2019. Byzantine Incursions on the Borders of Philosophy: Contesting the Boundaries of Nature, Art, and Religion. Cham: Springer.
Gerstel, S. E. J. 1999. Beholding the Sacred Mysteries: Programs of the Byzantine Sanctuary. Seattle, WA: University of Washington Press.
Grujić, R. M. 1935. 'Skopska Mitropolija: Istorijsko-statistički pregled.' In Spomenica srpsko-pravoslavnog Sabornog hrama Svete Bogorodice u Skoplju, 1835-1935, edited by S. Jergić, V. S. Radovanović, P. Jovanović, M. Jovanović, and D. Kapisazović, 50- 65. Skoplje: Srpska Pravoslavna crkvena opština grada Skoplja.
Hall, M. A. 2005. 'Were Fossil Scallop Shells Exploited During the Middle Ages?' Peregrinations: Journal of Medieval Art and Architecture 2 (1). https://digital. kenyon.edu/perejournal/vol2/iss1/8.
Hedrick, T. L., and N. Ergin. 2015. 'A Shared Culture of Heavenly Fragrance: A Comparison of Late Byzantine and Ottoman Incense Burners and Censing Practices in Religious Context.' Dumbarton Oaks Papers 69:331-354.
Isar, N. 2004. '"Xopós of Light": Vision of the Sacred in Paulus the Silentiary's Poem Descriptio S. Sophiae.' Byzantinische Forschungen 28:215-242.
Isar, N. 2014. 'Veiled Word(s): Sacred Silence: Screening the Mystery in the Byzantine Altar.' In Image and Altar 800-1300 AD (Conference), Copenhagen, Denmark (2007), edited by P. Grinder-Hansen, 24- 45. Copenhagen: University Press of Southern Denmark.
James, L. 2004. 'Sense and Sensibility in Byzantium.' Art History 27 (4): 522-537.
Jensen, R. 2011. Living Water: Images, Symbols, and Settings of Early Christian Baptism. Leiden: Brill.
Klein, H. A. 2006. 'Sacred Relics and Imperial Ceremonies at the Great Palace of Constantinople.' BYZAS 5:79-99.
Korać, V. 2003. Spomenici monumentalne srpske arhitekture XIV veka u Povardarju. Belgrade: Srpska akademija nauka i umetnosti.
Lidov, A. 2009. 'New Jerusalems: Transferring of the Holy Land as Generative Matrix of Christian Culture.' In New Jerusalems: Hierotopy and Iconography of Sacred Spaces, edited by A. Lidov, 35-55. Moscow: Indrik.
Maguire, H. 2011. 'Body, Clothing, Metaphor: The Virgin in Early Byzantine Art.' In The Cult of the Mother of God in Byzantium: Texts and Images, edited by L. Brubaker and M. Cunningham, 57-75. Farnham: Ashgate.
Maksimović, J. 1971. Srpska srednjovekovna skulptura. Novi Sad: Matica srpska.
Marjanović-Dušanić, S. 1997. Vladarska ideologija Nemanjića: diplomatička studija. Belgrade: Srpska književna zadruga, Sveti arhijerejski sinod Srpske pravoslavne crkve, CLIO.
Marjanović-Dušanić, S. 2016. 'La Mort et la Sainteté du Prince Serbe.' In La Mort du Prince de l' Antiquité à Nos Jours, edited by J. Foa, É. Malamut, and C. Zaremba, 95- 110. Aix-en-Provence: Presses universitaires de Provence.
Mayor, A. 2000. The First Fossil Hunters: Paleontology in Greek and Roman Times. Princeton, CA: Princeton University Press.
Mercenier, F., E. Mercenier, and F. Paris. 1947. La prière des églises de rite byzantin: L'Office divin, la Liturgie, les sacrements. Volume 1, Prière des Eglises de rite byzantin. 2nd ed. Prieure d`Amay-sur- Meuse: Monastère de Chevetogne.
Migne, J. P., and N. Le Nourry, eds. 1857. Patrologiae Cursus Completus: Patrologiae Graecae Tomus IX. Clemens Alexandrinus -Tomus Secundus. Paris: Garnier Frères.
Nelson, R. S. 2000. 'To Say and to See: Ekphrasis and Vision in Byzantium.' In Visuality before and beyond the Renaissance: Seeing as Others Saw, edited by R. S. Nelson, 143-168. Cambridge: Cambridge University Press.
Pentcheva, B. V. 2010. The Sensual Icon: Space, Ritual, and the Senses in Byzantium. University Park, PA: Pennsylvania University Press.
Pentcheva, B. V. 2017. Hagia Sophia: Sound, Space, and Spirit in Byzantium. University Park, PA: Pennsylvania University Press.
Petković, V. R. 1950. Pregled crkvenih spomenka kroz povesnicu srpskog naroda. Belgrade: Naučna knjiga.
Petrov, K. 1963. 'Dekorativna plastika na spomenicite od XIV vek.' Godišen zbornik: Filozofski fakultet Skopje 15:199-286.
Potamianos, I. 1996. 'Light into Architecture: Evocative Aspects of Natural Light as Related to Liturgy in Byzantine Churches.' PhD diss., University of Michigan.
Potamianos, I. 2018. 'Byzantine Church Space: A Holy Mountain of Light and Shadow.' In The Hierotopy of Holy Mountains in Christian Culture, edited by A. Lidov, 79- 102. Moscow: Russian Academy of Arts.
Potamianos, I. 2021. 'The Handling of Light: Its Effect on Form and Space in the Greek Temple and the Byzantine Church.' In The Oxford Handbook of Light in Archaeology, edited by C. Papadopoulos and H. Moyes, 412-430. Oxford Academic.
Potamianos, I. 2022. 'Space and Light: Aesthetics of Light in the Byzantine Church.' In Natural Light in Medieval Churches, edited by V. Ivanovici and A. I. Sullivan, 165-186. Leiden: Brill.
Radojčić, S. 1934. Portreti srpskih vladara u srednjem veku. Skoplje: Muzej Južne Srbije.
Radujko, M. 2000. 'Prvo slikarstvo Ljubotena: Tematika, stil i majstori.' Patrimonium. MK 7-8:171-196.
Radujko, M. 2008. 'Živopis pročelja i linete južnog ulaza Svetog Nikole u Ljubotenu.' Zograf 32:101-116.
Rasolkoska-Nikolovska, Z. 2004. 'Vladetelski portreti na Ljuboten i vremeto na slikanjeto na sidnata dekoracija.' In Srednovekovnata umetnost vo Makedonija: Freski i ikoni, edited by Z. Rasolkoska- Nikolovska, 45-65. Skopje: Centar za kulturno i duhovno nasledstvo Kalamus.
Stejskal, A. 2019. 'Substitution by Image: The Very Idea.' The Journal of Aesthetics and Art Criticism 77 (1): 55-66.
Taft, R. F. 1991. The Byzantine Rite: A Short History. Collegeville, MN: Liturgical.
Tatić, Ž. M. 1927. 'Arhitektonski spomenici u Skopskoj Crnoj Gori. II Ljuboten.' Glasnik Skopskog naučnog društva 2:93-108.
Troelsgard, C. 2018. 'Byzantine Chant Notation: Written Documents in an Aural Tradition.' In Aural Architecture in Byzantium: Music, Acoustics, and Ritual, edited by B. V. Pentcheva, 145-160. London: Routledge.
Williamson, B. 2013. 'Sensory Experience in Medieval Devotion: Sound and Vision, Invisibility and Silence.' Speculum 88 (1). https://doi.org/10.1017/ S0038713413000523.
Winkelmann, F. 1985. 'Die Problematik der Entstehung der Paphnutioslegende.' In Griechenland-Byzanz-Europa: Ein Studienband, edited by J. Herrmann, H. Köpstein, and R. Müller, 215-235. Berlin: De Gruyter.
Jasmina S. Ciric
University of Kragujevac, Serbia, Faculty Member
Jasmina S. Ćirić obtained her education in Art History from the University of Belgrade Faculty of Philosophy (Department of Art History). Her research primarily delves into the visual cognition and significance of Late Byzantine Art and Architecture, focusing on rites of passage and their liturgical contexts. She demonstrates a keen interest in exploring how ornamentation operates across different materials, serving as a potent visual conduit for conveying intricate theological meanings. More specifically, her endeavours are centred around identifying the potential for 'writing' the body within architectural units through active participation in the Liturgy. This process involves crafting a sort of corporeal "autobiography" or body narrative, where the mechanics of the body and one's lived experiences within them play active roles in the Liturgy of the Faithful.

In the academic realm, she holds diverse editorial roles within prominent journals:

*Editorial Board Member
Yearbook of Moving Image Studies. University of Kiehl (Germany)
Facta Universitatis Series Visual Arts and Music (University of Niš)
NIŠ AND BYZANTIUM
ARTUM: Journal of Students and Teachers of the Department for Art History
HUMANITIES: Scientific Journal, Serbia

*Peer Reviewer:
Cogent Arts & Humanities (Taylor & Francis AS)
ISTRAŽIVANJA Јournal of Historical Researches
Zbornik radova Filozofskog fakulteta u Prištini
Facta Universitatis Series Visual Arts and Music
Athens Journal of History
Architectural Histories: An open-access Journal of the EAHN

*Advisory and Science Board
The Legends Avrupa Tarihi Çalışmaları Dergisi
ArtPATHS, a quarterly peer-reviewed journal based in Zurich

Her scholarly involvement extends further as she serves as a member of the scientific committee at The Izmir Center of the Archaeology of Western Anatolia (EKVAM), focusing on the Archaeology and History of Lydia from the Early Lydian Period to Late Antiquity (8th Cent. B.C. - 5th Cent. A.D.).

She is a member of the Management Committee of the COST ACTION 19131 project, further exemplifying her commitment to advancing academic dialogue and research.

Beyond her academic pursuits, she has contributed to the Erasmus + program as a lecturer at institutions including Justus Liebig University in Giessen, Masaryk University in Brno, Charles University in Prague, and Philips University Marburg.

Furthermore, she dedicates herself to the preservation and study of monuments of culture within the Serbian cultural space in the Balkans, as well as advocating for the rights of Serbs in the diaspora.
Papers
224
Followers
2,741
View all papers from
Jasmina S. Ciric
arrow_forward
Related papers
Dijalog Između Graditeljskog Nasleđa – Proces U Toku
nadja kurtovic folic
Zbornik radova Građevinskog fakulteta, 2015
Proces integracije starog i novog je jedan od najosetljivijih i složenih problema sa kojima se suočavaju ljudi u oblasti zaštite kulturnog nasleđa. Ovo uključuje organizovanje delova (ili elemenata) u jednu celinu (ili strukturu) koja radi harmonično u postizanju zajedničkih ciljeva, odnosno koja uključuje harmoniju između pojedinčnih i opštih oblika. Proces integracije je suština arhitektonskog stvaralaštva, jer još praistorijski čovek se potrudio da uspostavi nešto što je više nego samo dom, a dva sukcesivno podignuta doma već počinju da stvaraju integrativni proces. Tokom istorije, proces integracije starog i novog bio je uglavnom nenametljiv, s obzirom da je sproveđen u dužem vremenskom periodu i nije uvek bilo uvođenja nekih radikalnih kontrasta. Zgrade su nicale jedna za drugom, ali gotovo nikada na identičan način. Međutim, one su bili slične po obliku, materijalima, izgradnji i stilskim karakteristikama. Po pravilu, značajne promene i implementacije novih ideja, koje su se znatno razlikovale od starih-posebno u pogledu stila-nailazile su na otpor većine, ali su prihvatane kada je njihov broj dostizao kritičnu masu, ili kada su javno bile hvaljene od arbitara mode. U brojnim slučajevima, originalni načini gradnje su nastavljeni u periodima potpuno različitih stilskih opredeljenja. Danas je interpretacija integracije starog i novog poprimila oblik vizuelnog diskursa i postoji nekoliko mišljenja koja funkcionišu paralelno, sa varijantama rešenja koja se kreću od kopiranja starih zgrada, onih koje su nestale sa te lokacije ili su se nalazile u okolini, zatim kroz primenu asocijativnog metoda, sve do stvaranja fizičkog kontrast,čime se otvara mogućnost prostornih ekscesa. Ključne reči: graditeljsko nasleđe, proces integracije, asocijativni metod, metod kontrasta, eksces u prostoru. DIJALOG IZMEĐU GRADITELJSKOG NASLEĐA-PROCES U TOKU Rezime: Interpretacija integracije starog i novog poprimila je oblik vizuelnog diskursa i postoji nekoliko mišljenja koja funkcionišu paralelno, sa varijantama rešenja koja se kreću od kopiranja starih zgrada, zatim kroz primenu asocijativnog metoda, sve do stvaranja fizičkog kontrast, čime se otvara mogućnost prostornih ekscesa.
Download free PDF
View PDF
chevron_right
KLESARSKI MJERNI SISTEM I MRAMORNE PLOČE S PRIKAZOM KALVARIJE U ZADRU U DOBA KASNE ANTIKE
Ana Mišković
U radu se obrađuju ulomci više ploča koje su bile sastavni dijelovi liturgijskog namještaja nekog kršćanskog svetišta u Zadru tijekom kasne antike. Budući da su pronađeni u sklopu romaničke rozete zadarske katedrale, pripisuje im se porijeklo iz iste bazilike. Na prednjim stranama ploče su bile ukrašene ikonografskom scenom Kalvarije: u središtu dominira križ tipa crux gemmata uzvišen na stepeničastom postamentu. Pod krakovima su jaganjci, a povrh njih ptice. Središnji prizor je uokviren bordurom vinove loze koja izrasta iz kantarosa. Ulomci su u znanstvenim radovima izazvali oprečne datacije te se mišljenja znanstvenika kreću od kraja 6. i početka 7. st. pa sve do sredine 8. st. Nove argumentacije i saznanja idu u prilog ipak ranijim datacijama.
Download free PDF
View PDF
chevron_right
IZMEĐU REDOVA I SLIKA
Svetislav Milovanović
Vesna Baltezarevic
Informatologia, 2014
Media considerably contribute to the shaping of modern society because they influence the formation and change of public opinion, as well as the adoption of imposed cultural values that are, due to subtle manipulation methods, accepted as "free" formed views. In situations where media methods, based on words and images, fill in the gaps in the real world and provide a surrogate for the economically and culturally impoverished society, the media become a tool that allows control of individuals and groups. Resisting to be overtaken by the crowd mentality, which thinks in accordance with the media imposed pattern, is possible only if we, as a society, engage to educate the recipients of media messages, so they could be able to "defend" themselves from the media-falsified reality. Media education is a prerequisite for critical assessment of social values as well as the values of and the commercialized culture.
Download free PDF
View PDF
chevron_right
Ulomci iz Daruvara u Gradskom muzej u u Bjelovaru — okvir za istraživanje
Marina Vicelja
2005
Bj elot ar, Dan>zazr, sred>rj et] z ekou>za skzclpttcra, sred>zjetj ekot~>za Slat o> rijez, Pa>zo> tija, sred>zj e t deko r >ta zko>>ogra/>Jaz Tbe azctbors a>tal@ze tu'o fr@g»ze>rts o f prest>»ze>bly»tediet'al sczclptzcre, a font ez>zd a colt>»t>zfro»z Dan>z ezr i>z tbe Mr>se>c»z o f tbe Ctty of Bjelot~ar, tnitI> a>zi>zte>rtio>t to proz~ide a >>zaterial, for»zal, bistoricez!, a>zel ico>tograpbic fra»zezt ork for a>z i>z eleptb stz>dg o f tbe pieces. Tbe a>ralysis raises dotcbts about local origi>t a>rcđ tbe age of tbe frag»re>rts, u bieb are»>ost liker of Nortber>z Italia>r (Ve>retia>r) origi >t, a>rd possiblv of a ratber late tlate (copies: J, czs »rav be tl>e case o f so»ze Šl»>liar »zate>ta!s t>z Htc>zga+. Hotuevel, a Pa>z>zo>tta>z o>tgz>t a>ld ez l2 ce>zt>c +' eftItl >tot be at tbis stage co»rpletely rr>led o>lt. Around 1950 the City Museum of Bjelovar was a recipient of two sculpted objects from the Spa at Daruvar. '. Đielovur, Citv hluseum, Font trom Daruv,tr, reliets iArcheotogicat tttuseum oo Zćgfehl
Download free PDF
View PDF
chevron_right
Kritična mesta zaštite nematerijalnog kulturnog nasleđa Srbije
biljana sikimic
Савремена српска фолклористика 11, 2022
Критична места заштите нематеријалног културног наслеђа Србије (Disputed issues of Serbia's intangible cultural heritage protection), Савремена српска фолклористика 11, (С. Ђорђевић Белић, Д. Лајић Михајловић, Б. Сикимић, ур.), Београд - Лозница - Тршић: Удружење фолклориста Србије, Универзитетска библиотека "Светозар Марковић", Центар за културу "Вук Караџић", Научно-образовно културни центар "Вук Караџић", 2022, 277-292.
Download free PDF
View PDF
chevron_right
Related topics
Medieval Architecture
Symbolism (Religion)
Sensory Studies
Explore
Papers
Topics
Features
Mentions
Analytics
PDF Packages
Advanced Search
Search Alerts
Journals
Academia.edu Journals
My submissions
Reviewer Hub
Why publish with us
Testimonials
Company
About
Careers
Press
Content Policy
580 California St., Suite 400
San Francisco, CA, 94104