Properties
| ID | 124031 |
|---|---|
| System Class | Bibliography |
| Bibliography | Article |
| Case Study | Beyond East and West: Sacred Landscapes Duklja and Raška |
Description
Danica Popović, Čudotvorenja svetog Save Srpskog, in: Pod okriljem svetosti. Kult svetih vladara i relikvija u srednjovekovnoj Srbiji (ed. Danica Popović, Beograd 2006) 97-118.
Relations
Places (1)
| Name | Class | Begin | End | Description |
|---|---|---|---|---|
| Mileševa Monastery, Church of the Ascension of Jesus Christ | Place | The Mileševa Monastery is situated near Prijepolje in South-Western Serbia. The Monastery's Church of the Ascension of Jesus Christ was built by the Serbian King Stefan Vladislav (reigned 1234-1243) in 1234 (Teodosije 178; Domentijan 6). Regarding its ground plan, this church resembles Žiča Monastery, therefore it belongs to the Raška style. In 1236 Saint Sava (ca. 1175-1236) died in Veliko Tărnovo. In 1237 he was buried in the exonarthex of the Mileševa Monastery, at which point his cult started to evolve. It is a single nave edifice with a semicircular apse with two bays, a dome and a narthex. Above the Eastern bay is a dome, and on its sides are rectangular choirs. In 1228 the proskomedia and diakonikon were added, probably modeled by the Žiča Monastery. The church widens from the West to the East and ends with three altar apses leaning directly on the domed Eastern wall. The exonarthex was built by the same builders, who constructed the exonarthex and a tower of the Studenica Monastery. It has a catehumeneon and two side chapels, a dome and no windows (in accordance with its purpose). The entire church was lavishly decorated with frescoes and sculpture (especially around the portals and windows). Frescoes in the nave, narthex and exonarthex are dated to the 1230s and 1240s. In the 16th century the church was repainted. In the exonarthex are famous frescoes with scenes of the Last Judgement, purposefully designed by Saint Sava, while he was preparing a grave site for himself. In 1594 the Ottomans took away the relics of Saint Sava and burnt them on the Vračar plateau in Belgrade, probably on the site where today the Church of St. Sava and the National Library of Serbia stand. |
Artifacts (1)
| Name | Class | Description |
|---|---|---|
| Reliquary with the Relic of Saint John the Forerunner’s Right Arm, the Chapel of Saint John the Baptist in Siena Cathedral | Artifact | The reliquary with the relic of Saint John the Forerunner’s right arm is today kept in the crypt of the Chapel of St John the Baptist in the Cathedral of Siena. The foundation charter of the Monastery of Žiča shows that the Serbian King Stefan Prvovenčani (reigned 1196-1227) and his son, the later Serbian King Stefan Radoslav (reigned 1228-1233), bestowed some of the most highly venerated Christian relics upon it, among which is the above-mentioned relic with the ultimate purpose to transfer the image of the Holy Land to Serbia, and in that way secure sacral legitimacy for the young kingdom. Later, in 1464 the Despot of Morea Thomas Palaiologos brought it with him to Siena, along with some other precious possessions, and turned it over to Pope Pius II (1458-1464) in exchange for a remarkable recompense. The relic consists of the embalmed, excellently preserved forearm and hand. The original cylindrical silver-gilt reliquary, clearly distinguishable from the later 15th century one, is decorated with filigree ornaments, gemstones and rows of pearls. In terms of style and craftsmanship, it finds closest analogies in the work of Byzantine goldsmiths of the 10th to 12th centuries.The waist-length portrait of Saint John the Baptist incised in the middle of its domical lid is encircled by the donor’s prayerful inscription: The Forerunner’s right arm. Protect me, Sava, Serbian Archbishop. Based on analogies from the Byzantine world, it seems very likely that the relic was used on important state and church occasions. The relic enjoys the status of a highly venerated cult object ever since. |