Properties
| ID | 121509 |
|---|---|
| System Class | Bibliography |
| Bibliography | Book |
| Case Study | Byzantino-Serbian Border Zones in Transition (1282–1355) , Historical Region of Macedonia TIB 16 |
Description
Boško Babiḱ, Materijalnata kultura na Makedonskite Sloveni vo svetlinata na arheološkite istražuvanja vo Prilep. Prilog za istorijata na kulturata na Makedonskiot narod (Prilep 1986).
Relations
Actors (4)
| Name | Class | Begin | End | Relation Type | Description |
|---|---|---|---|---|---|
| (Čihorić [Drugović]) Dabiživь | Person | He was a member of the noble family of Čihorić in Trebinje. He had three brothers (župan Vratko, župan Nenac and tepčija Stepko). He served as a sluga for the Serbian King Stefan Uroš IV Dušan 1334–1345. He was the Cupbearer (enohijarь) of the Serbian Emperor Stefan Uroš V in 1362. Dabiseus Drugouich bought in 1334 at Brskovo a horse from the inhabitant of Ragusa Miloš Hlapović for 30 perper. He came in 1343 to the župa Žrnovnica with Marcus Maurocenus in order to see the property of Sorento from Ragusa, which was near the boundary between the realm of the Serbian Kingdom and the Republic of Ragusa (ad uidendum confines Rusci de Sorento cum Dabiseo sluga). His name appears from 1343 to 1345 in the Liber omnium reformationum. According to it did the people of him cause frequently harm to the Ragusians in the župa Žrnovnica. The emissaries of the Republic of Ragusa complained before the Serbian King Stefan Uroš IV Dušan in October 1345 that Dabiživь established a fair in Trebinje and imposed a tax for the goods exported and imported by the Ragusans. The Serbian King Stefan Uroš IV Dušan accepted the complaints of the Ragusans and forbade Dabiživь to collect any taxes from the Ragusans (Piše kraljevstvo mi da jestь bědomo vsakomu, kako pridōše poklisarie, vlasteli dubrovьčьci, kraljevstvu mi pod Serь – Piro Grubešikь Marьtolь Črěvikь i Paske Gučetikь – i govoriše kraljevstvu mi na slugu Dabiživa, kako e učinilь trьgь na Trěbini i uzima ōd tovara dinarь kto grede i u Dubrovьnikь izь Dubrovnika, i ōd dobitka koi grede u Dubrov’nikь. i govorěe Dabiživь prědь kraljevstvomь mi: „uzimano e i prěžde, ōnazi carina ōnьdězii.“ A govorěke poklisarie dubrovьč’ci: „Tazi carina ne uzimana ōd veka, ōdkole světь stalь.“ I kraljevstvo mi iz’nage erě ne uzimana tazi carina i u moihь dědь i pradědь i u rodietelja kraljevstva mi i u kraljevstva mi. I sьtvori milostь kraljevstvo mi vsemь vlastelomь dubrovьč’cimь, vělimь i malimь, da ne ōnogazi trьga na Trěbini, kagō ga i prěžde ne bilo. I po sema sega da ne uzima Dabiživь Dubrovьčanomь ni carine da ni koega dohodьka, ni trьgov’cu dubrovьč’komu, ni vlahu, ni srьbinu, da nikōmu i k’to grede Dubrovьnikь, izь Dubrovьnika. I vsaci vlasteli koi te stagati po Dabiživě da ne uzima carine tezi do veka věk, ni u syna kraljevstva mi da ni u koga nastoeštago kralja u Srьblihь). In October 1349 he received together 10 perper from the Ragusans (In minori consilio, sono campane solito congregatio, captum fuit et firmatum de donando de havere communis Dabisco yppos X). He was probably buried in the Monastery Church of the Holy Mother of God at Treskavec near Prilep. His tombstone with an inscription has been preserved on the northern wall of the monastery church (měseca genara: uspe rabь božiei dabiživь: enohijarь: cara uroša: vьse srьbьskyi zemьle: grьčьskje: i pomorьskje vь leto: ѕ: ō: o: enьdikta). | |||
| Arsenь Andronikь | Person | Mentioned in the second and third charter (1343/1345) of the Serbian King Stefan Uroš IV Dušan for the Monastery of Treskavec. His property is mentioned in the boundary description of the Kovačevь’s courtyard (tako i sь Kovačevěmь dvorištemь blizь Andronika Arseně), the Saint Theodor’s metochion (Metohь u Prilěpě Svety Theōdori sь vsěmi pravinami; počinae megja ōtь Barove Crьkve... putemь na Vračevьcь do Elimske kukje i do megje Arseneve) and the fair (Panigirište, počьnь ōtь Dola Evrěiska svěne dvorišta Arseneva, do dvora Petralětova i do urvišta Svetye Varvary). | |||
| Milošь (2) | Person | Mentioned in the charter of Vukašin (Demetrios Blukasinos) from January 1366, in which the Serbian King confirmed the donation of Novakь Mrasorovikь to the Monastery Hagios Panteleemon on the Holy Mount Athos.He was the Governor of the town Prilep (kefalia prilěpьski). He was the guarantee of the legal accuracy of the charter, which was issued by the Serbian King Vukašin (Demetrios Blukasinos) in January 1366 (A tomu milostnikь Milošь kefalia prilěpьski). | |||
| Petralětь | Person | Mentioned in the third charter (1343/1345) of the Serbian King Stefan Uroš IV Dušan for the Monastery of Treskavec. His courtyard is attested in the boundary description of the fair in Prilep, which was bestowed to the Treskavec Monastery by the Serbian King Stefan Uroš IV Dušan (Panigirište, počьnь ōtь Dola Evrěiska svěne dvorišta Arseneva, do dvora Petralětova i do urvišta Svetye Varvary). |
Places (1)
| Name | Class | Begin | End | Description |
|---|---|---|---|---|
| Prilep, Church of Saint Nicholas | Place | Description The Church of St. Nicholas is located in the medieval lower town of Prilep (today Varoš). It is situated a few hundred meters away from the medieval marketplace, at the foot of the medieval fortress known as the "Markovi kuli." It is a small single-aisled building with an externally three-sided apse. The lower part of the building is constructed with roughly cut stone, including spolia, while the upper part is built of stone and brick. The significant differences in construction and treatment between the lower and upper parts of the facades are the result of two construction phases. The frescoes inside the Church of St. Nicholas consist of two stylistically different parts, found in the altar apse and the nave. The dedicatory inscription above the southern doors of the church reveals that the frescoes in the nave were commissioned by Vego Kapza and his wife Maria in 1298. Architecture The first phase of construction: The high stone base belongs to the first construction phase of the Church of St. Nicholas (2.6m), made of rough-hewn stone of various dimensions and several rectangular marble blocks used as spolia. These are the remains of a small single-aisled church, built with rough stone. Parallels: In the older layer of the building, there are no stylistic or any other elements that could clearly indicate the construction period. The simplicity of their plan and the construction material suggest that they were built by local craftsmen. Similarities have been observed with objects of domestic architecture from the second half of the 12th century, whose remains have been found in the area of the present-day settlement of Varoš. Dating: end of the 12th century The second phase of construction: The upper part of the church, set on a high stone base, corresponds to the second construction phase. The predominant characteristic of the interior space is the dominance of height over the length of the church. The facade surfaces are entirely covered with ceramic plastic decoration. The quality of the exterior is emphasized by continuous horizontal bands made of various brick motifs, representing a distinctive feature of late Byzantine, and particularly Epirote architecture. Parallels: St. John Kaneo in Ohrid; the Church of the Theotokos Peribleptos in Ohrid; the Church of Christ the Savior in Borje, near Korcha (Koresha), Albania; Panagia (the Panagia Kyriotissa and Ag. Theodoroi) in Preventza, Greece; Ag. Vassileios stin Gefyra in Arta, the Narthex of the Church of Ag. Theodora in Arta. Dating: ca. 1285-1295 Painted Decoration The first fresco unit: consists of frescoes in the altar apse and the lunette of the western facade. A conservative artistic approach was applied, based on expressive means inherited from the Comnenian art, but adapted in a provincial spirit of the second half of the 13th century. Parallels: St. John Kaneo in Ohrid; the Church of St. Nicholas in the village of Manastir in Mariovo; the Church of St. Demetrios in Prilep; the Church of St. George Omorphoklisias near Kastoria Dating: third quarter of the 13th century, or 1298 The second fresco unit: consists of frescoes in the naos. The work of the two painters has been assessed as a fusion of old and new concepts during the stylistically transitional period of the late 13th century. Parallels: Virgin Mavriotissa in Kastoria; Vlacherna monastery in Arta; The Church of Archangel Michael in Kostaniani near Ioannina; the Church of Taxiarches in Kostaniani near Ioannina; Ag. Demetrios Katsouris in Plissioi near Arta. Dating: 1298 |