M. Rakocija, Martyrium of the basilica of the martyrs in Niš – reconstruction and function, Studia Academica Šumenensia, vol. 9, Shumen 2022, 287-319 (original) (raw)

M. Rakocija, Martyrium of the basilica of the martyrs in Niš – reconstruction and function, Studia Academica Šumenensia, vol. 9, Shumen 2022, 287-319

M. Rakocija, Martyrium of the basilica of the martyrs in Niš – reconstruction and function, Studia Academica Šumenensia, vol. 9, Shumen 2022, 287-319

The article aims to point out certain difficulties that arise during the iconographical and iconological examination of the painted decoration in several early Christian grave chambers on the territory of the modern day Serbia. The problems that are discussed are related to the uncertainties in determination of the depicted content, as well as to its interpretation. With a brief review of monuments and the pertaining problems, the text offers some of the possible solutions and makes a reference to the theological considerations on which the concept of this grave painting was based on. Burial chambers and tombs mentioned in the text, originate from necropolises of Viminacium (Kostolac), the capital city of the Roman province Moesia Prima, as well as from Naissus (Niš), which was, after Serdica (Sofia), the second largest city in the Roman province Dacia Mediterranea. Today, the interior decoration of those chamber tombs is either partially preserved, in some cases in situ or in the museums available to public view, or is totally destroyed and known only from the old, sketchy reports, drawings and pictures that date from the end of the 19th and the beginning of the 20th сentury. Key words: early Christianity, grave painting, iconography, Serbia

The monastery of St. Chrysogonus in Zadar was one of the most notable Benedictine abbeys on the eastern Adriatic coast. The monastery was first mentioned in the second half of the tenth century, but there is very little knowledge about the earliest (Benedictine) building. The present-day church of St. Chrysogonus, consecrated in the year of 1175, is a monumental three-nave basilica and one of the most significant Romanesque religious monument in the east Adriatic region. One of the aims of the paper is to discuss the problem of the first church and monastery of St. Chrysogonus - therefore special attention will be given to the interpretation of Early Christian and Early Medieval fragments of liturgical furnishings and architectural decoration found in the well-preserved Romanesque monument. Attention will also be focused on the Romanesque church, especially on the interpretation of its architecture and surviving remains of architectural sculpture, and architectural influences that has always been in the center of scientific interest. The purpose of this paper is to improve the existing knowledge of the Benedictine monastery in Zadar, which will contribute to a better understanding of Benedictine (medieval) monuments of the eastern Adriatic coast and the adjacent area.

The apse of St. Demetrios Church in Markova Sušica stands as a profound testament to the intricate interplay of symbolism within the 14th century Serbian architecture. The analysis delves into the specific brickwork patterns, decoding their symbolic meaning. Drawing from the Christian symbolism and theological insights from St. Gregory of Nyssa and St. Basil the Great, the article explores the use of geometric patterns to elevate the mind toward divine contemplation. The article also integrates these symbols into the broader theological context, referencing the Еconomy of Salvation and iconographic representations within the apse. Thus, it is concluded that the apse of St. Demetrios Church emerges as a powerful embodiment of the divine principle, intricately connected to the sacred landscape of Matka. Its rounded form, reminiscent of a womb, symbolizes the nurturing embrace of the Mother of God. The interplay of colors and symbols invites the faithful on a spiritual journey guided by the divine feminine principle, providing a comprehensive exploration of the architectural and symbolic aspects of this medieval Serbian masterpiece.

In the framework of the study of Christian buildings in the ruins of amphitheaters, theaters, stadiums and Roman circuses, becomes appropriate to develop some reflections mainly aimed helping to explain the symbolic dimension acquired by the ludic background in which a far from negligible part of the Christian martyrdoms took place, as outlined on the preserved sources. Although this ludic substrate is not the only factor to be considered, it’s the one that allowed the hagiographers composing stories – some with more historical veracity than others – with architectural settings charged with symbolism, where the victory of the martyrs as “athletes of Christ” was equated to the victory in secular games. All this greatly contributes to explain the subsequent relationship between Christian building and playful architecture occurred from the late 4th and early 5th centuries, and detected in the late antique and early medieval topography of some Roman cities. However, this issue has gone relatively unnoticed for Archeology, and when the two key elements – building and church – appear, with few exceptions, they are considered separately in case of being subjected to some kind of study.