Visual Culture and Formation of Sacred Topography in Negotin Krajina

Nenad Makuljević and cultural changes on this territory, as well

VISUAL CULTURE AND FORMATION as in other parts of Serbia and the Balkans,
gave rise to emergence, development or dis-
OF SACRED TOPOGRAPHY IN NEGOTIN
appearance of sacred areas.
KRAJINA In the heart of the sacred topography of
Negotin Krajina there are Orthodox churches,

S acred topography comprises holy places

on a given territory including sanctified
areas, as well as places of veneration and
which have been built since the Middle Ages
to the present day. The preserved Orthodox
churches give out an incomplete image of the
prayer.1 Therefore it represents a holy/sacred
past ecclesiastic culture of Negotin Krajina.
area within a particular geographical and
The churches from the Middle Ages and the
administrative unit. Sacred topographies have
Ottoman period are only partly preserved and
been formed through history. They are not
insufficiently studied, and most of them date
static, but changeable in line with religious,
from the 19th century, i.e. the restoration of the
social and cultural contexts, depending on
Serbian state. In fact, the contemporary con-
legends and customs, on the ethnical and
cept of sacred topography of Negotin Krajina
national character of the residents, and the
was established precisely during the 19th and
relationship among church, state and local
beginning of the 20th centuries.
authorities. Even though they can include
The research of Orthodox churches on the
various forms of religious culture, in the centre
territory of Negotin Krajina was initiated as
of sacred topographies there are devotional
early as in the 19th century, when the Ortho-
places of the dominant religion.
dox Church schematisms in Serbia gave the
The territory of Negotin Krajina2 in Serbia is
first information on churches and the time
characterized by a unique sacred topography.
of their construction.3 What was very impor-
Negotin Krajina is located in eastern Serbia
tant was the “Spomenica” (Memorial Volume)
and it is framed by the Danube, the state bor-
of the Eparchy of Timok, which showed all
ders with Romania and Bulgaria, mountains
the churches. The “Spomenica” featured his-
Kučaj and Deli Jovan, and the valley of the river
tory, current state of affairs and photographs
Timok. The sacred topography of this area has
of the churches.4 After the Second World War,
been formed through times. Dynamic political
art historical research was also intensified. In
the period between 1964. and 1966. studies
1 On sacred topography see: С. Смолчић-Макуље-
вић, Сакрална топографија манастира Трескавца, of a great number of churches in the county
Balcanica 35 (Beograd 2004), 285–322.
2 On Negotin Krajina see: Т. Станојевић, Неготин
и Крајина: од првих трагова до 1858. године, књ. 1, 3 Православна српска црква у Краљевини Србији,
Неготин 1972; Ibid., Неготин и Крајина од 1859. до Београд 1895, 182–188; 198–199.
1940. године, књ. 2, Неготин 1980. 4 Споменица Тимочке епархије 1834-1934, Сремски
Карловци 1934.

297
 Nenad Makuljević

of Zaječar were published, which also in- THE MEDIEVAL HERITAGE

cluded the churches from Negotin Krajina.5

I
As its works were very important, the eccle- n the Middle Ages, the territory of today’s
siastical art of Negotin Krajina also attracted Negotin Krajina belonged to different state
the scholars interested in the Serbian art of systems. It was not part of any centers of Bal-
the 19th century, so a number of studies and kan medieval states. After the long Byzantine
monographs dealt with the works of architec- rule and until the Ottoman conquests, this
ture and painting.6 However, despite tremen- territory was a border area between Serbia
dous efforts put into this research, the sacred and Bulgaria,8 which influenced the develop-
topography of Negotin Krajina has not been ment of its ecclesiastic culture.
systematically studied so far. This is why the Today there are several churches preserved
courses of ecclesiastic culture are analyzed from the medieval period on the territory of
here on the basis of field research, archive Negotin Krajina. The Koroglaš Monastery,
sources7 and literature. The study also shows one of the oldest ecclesiastic constructions in
the parochial Orthodox churches on the terri- this area today, was built in the Middle Ages.9
tory of Negotin Krajina, i.e. the contemporary Koroglaš was constructed as a single-nave
“arhijerejsko namesništvo” (deanery) of Nego- church with a narthex. In the interior of the
tin, in order to enable a clear overview of the church there were frescoes which are now
formation and contemporary characteristics destroyed. Felix Kanitz wrote a description
of sacred visual culture and the sacred topo- of this wall painting: “three female figures on
graphy of Negotin Krajina. the northern wall on the left, then in the con-
cave middle field three exquisitely individuali-
zed horse riders with shields and swords, and
three priests on the right. On the southern
wall it is only on a small place in the niche that
5 Documentation on the study of icon-painting on
the territory of Krajina is kept in the Museum of Krajina
one can discern St Trifun and St Agaton; in
in Negotin. the apse on both sides of its narrow window,
6 Here is a selection of texts mentioning churches and
sacral art from Negotin Krajina: У. Рајчевић, Сликарска above the schematically painted curtain, two
породица Марковић из Књажевца, Зборник радо- large figures of saints; in the upper narrow
ва Народног музеја XIII-2 (Београд 1987), 151–180;
Н. Кусовац, М. Врбашки, В. Грујић, В. Краут, Стеван band: Christ at the table, and on his right and
Тодоровић: 1832-1925, Београд 2002; А. Кадијевић,
Један век тражења националног стила у српској
архитектури (средина XIX века - средина XX века), 8 The status of today’s territory of Negotin Krajina in
Београд 1994; Н. Макуљевић, Црквена уметност у the Middle Ages is not clear enough, see: Д. Бојанић-
Краљевини Србији (1882-1914), Београд 2007. -Лукач, Неготинска Крајина у време турске владави-
7 The Historical Archives of Serbia from Belgrade and не – на основу извора из XV и XVI века, Гласник Етнo-
the Archives of the Cathedral Church in Negotin are графског музеја 31-32 (Београд 1969), 67.
particularly important for the study of the sacred topo- 9 On Koroglaš see: М. Ст. Ризнић, О старинама у
graphy of Negotin Krajina. округу крајинском, Старинар 3 (Београд 1888), 103–108.

298
Visual Culture and Formation of Sacred Topography in Negotin Krajina

left hand sides there are six apostles in a line. so it was refurbished by the protection autho-
On the western wall there is a similar compo- rities during 1975-76.13
sition, and below it the laying of the Mother In the formation of the sacred topography
of God in the tomb with a few figures around of Negotin Krajina the stay of hesychast Saint
her, and above her, floating among the clouds, Nicodemus of Tismana – Saint Nikodim Grčić –
a choir of angels, carrying with them saint’s was very important.14 Saint Nikodim was from
busts with halos to the sky. What is particularly Mount Athos, a monk of Serbian and Greek
well drawn here is a wonderful horse rider origin who withdrew into the mountains on
with a shield and a spear on the right from the the Danube river banks after his stay on this
2m tall entrance horizontally cut from a side, holy mount. From there he moved to Walla-
which was decorated with frescoes, as shown chia, where he founded the monasteries of
by the traces of colour in the mortar and the Vodica and Tismana. His relics are situated in
outer wall.”10 Kanitz’s description shows that the Tismana Monastery, which is how saint
the order of frescoes followed the medieval Nikodim got his name “Tismanski” (of Tisma-
program in the decoration of the church. This na). He played a particularly important role in
finds particular confirmation in the note on the history of Serbia, when he effected a truce
the western wall, where the composition of between the Serbian Church and the Patriar-
the Ascension of the Mother of God is ren- chy of Constantinople at the time of Prince
dered. Lazar.
A large cemetery surrounding the church in During his stay on the territory of today’s
Koroglaš has been preserved to present day. Krajina, Saint Nikodim founded two monas-
The position of this church was very impor- teries. These are the Manastirica Monastery15
tant in local folk tradition. According to one of and, most probably, Vratna.16 Saint Nikodim
the stories, this is where Marko Kraljevic died kovic, who believed the church had dated from the 15th
after the Battle of Rovine. Another legend said century: Ђ. Бошковић, Средњовековни споменици
североисточне Србије, Старинар н.с. I (Београд 1950),
that the church had flown over from “the sin- 196–197.
ful country of Wallachia”, whereas according 13 А. Давидов Темерински, Короглаш, манастир,
у: Споменичко наслеђе Србије: непокретна културна
to yet another one the church in Koroglaš was добра од изузетног и великог значаја, уредила С.
erected by Emperor Dušan in memory of one Пејић, Београд 1998, 218.
14 On Saint Nikodim Tismanski: Д. Миок, Културне
of his dukes who died fighting the Bulgari- везе између Влашке и Србије у XIV и XV веку, in: О Кнезу
ans.11 The Koroglaš Monastery was in ruins,12 Лазару, зборник радова са научног скупа, Крушевац
1971, 308–309.
15 On Manastirica see: Б. Кнежевић, Друштво и
10 Ф. Каниц, Србија, земља и становништво, књ. уметност у источној Србији од 1445. до 1586. године,
II, Београд 1987, 471. Зборник за ликовне уметност Матице српске 29/30
11 М. Ст. Ризнић, О старинама у округу крајинском, (Нови Сад 1993-1994), 206–207.
104, 107; Ф. Каниц, Србија, земља и становништво, 16 On the Vratna Monastery see: Б. Кнежевић,
књ. II, 469. Друштво и уметност у источној Србији од 1445. до
12 The Koroglaš Monastery was visited by D. Bos- 1586. године, 206.

299
 Nenad Makuljević

practiced his anchoretic life in the immediate belonged to the county of Vidin19 and Vidin
vicinity of the Vratna Monastery, on a highly Metropolitanate, which also influenced spe-
inaccessible place, near the natural stone arch cific characteristics of ecclesiastic life.20
known as “the gate”. This is where we can find Numerous sources testify of the ecclesias-
the remains of the original hermitage church, tic culture and sacral topography of Negotin
“the cell of Saint Nikodim”.17 The location of the Krajina at the time of the Ottoman rule. Apart
hermitage shows that a monk hesychast prac- from very few preserved churches, there are
ticed his anchoretic life there, showing the also testimonies of monasteries which existed
strength of his faith and devotion through the during the 16th and 17th centuries. Thus, today
choice of this dangerous place out of reach. we know about the Dušica Monastery21 and
The Vratna Monastery was founded at the foot the Monastery of the Holy Trinity, located near
of “the gate”. The church of the Vratna Monas- the today’s village of Kobišnica in the so-called
tery was refurbished several times. In the 19th “Negotin mud” (Negotinsko blato).22
century there was an inscription on it about At the time of the Ottoman rule, one of the
the construction of the church and about its most important monasteries in Krajina was
founder Duke Šerban: “Šerban Voda Desturca the Bukovo Monastery. The existence of this
from Bucharest in the year 1415”.18 monastery was recorded in the documents
from the second half of the 16th century,23
which clearly indicates its earlier foundation.
THE OTTOMAN AGE The church of the Bukovo Monastery was re-
furbished and repainted at the end of the 17th

T he Ottoman age was a particularly impor- century.24 This church had smaller dimensions,
tant and complex period in the history of
19 Д. Бојанић-Лукач, Неготинска Крајина у време
Negotin Krajina. During this period of time, турске владавине – на основу извора из XV и XVI века,
Krajina gained a special position and auto- 65–109.
20 On Vidin Metropolitanate see: Н. Радосављевић,
nomy. Local Christian administrators, called Видинска митрополија 1739-1834, Историјски
“kneževi” – princes, in Krajina were hereditary часопис књ. XLIX (2002), (Београд 2003), 163–181.
21 The remains of this church were visited by Đurđe
rulers, and there was only a minimal number Bošković: Ђ. Бошковић, Средњовековни споменици
of present Ottomans. Since the second half североисточне Србије, Старинар н.с. I (Београд 1950),
197.
of the 15th century the territory of Krajina 22 The Monastery of The Holy Trinity was mentioned
in the year 1560: Б. Кнежевић, Друштво и уметност
у источној Србији од 1445. до 1586. године, 208–209.
23 Б. Кнежевић, Друштво и уметност у источној
17 Б. Кнежевић, Пећинска црква код манастира Србији од 1445. до 1586., 208.
Вратне, Гласник Друштва конзерватора Србије 29 24 Đ. Bošković saw two layers of frescoes in Bukovo.
(Београд 2005), 71–74. In his opinion, the younger layer belonged to the resto-
18 Православна српска црква у Краљевини Србији, ration from the end of the 17th century: Ђ. Бошковић,
198–199; Ф. Каниц, Србија, земља и становништво, Средњовековни споменици североисточне Србије,
књ. II, 461. 199.

300
Visual Culture and Formation of Sacred Topography in Negotin Krajina

and what is preserved from the original fres- that the church had been “covered with earth,
coes today is only the fresco of the Mother of especially the northern part, and damp,… The
God Wider than the heavens. Placed on the iconostasis was old, damaged by the damp,
naos vault, it is framed with the text of the the windows were very small, reaching the
poem O Tebe Raduyetsya. The inscription on earth itself, so it was dark inside. The church
the painting of the church was placed above was partitioned in the middle…The door
the entrance to the naos. It was destroyed, was very narrow, and one could barely pass
together with the wall, during the restoration through. The today’s narthex was a simple
of the church in the year 1877.25 What has been porch in front of the church with four windows
preserved is its transcript, where it is said that and no doors. The church was covered with
the church was painted in 1684 during the ceramide and it was one meter shorter, floored
time of metropolitan Sofronije of Vidin, prior with brick only. It was entered after climbing
Mihail hegumenos Dečanac and with the help six stairs. On the left there was no space for
of patron Kir Simon, Prince (knez) of Trnjane.26 choir”.28 The description of the church of the
The inscription on the painting of this church Bukovo Monastery shows that the church had
reveals some aspects of the life of the Bukovo an inner division of space, and that there was
Monastery. The monastery, as well as Krajina, only a porch outside. The church was buried
was under the jurisdiction of Vidin Metropoli- in the ground, which used to be characteristic
tanate, but they apparently kept in touch with of the churches built at the time of the Otto-
Serbian monastic centers. This finds most ob- man rule. During this period Bukovo was an
vious confirmation in the presence of hegu- important spiritual center, where priests were
menos Mihail Dečanac. The patron of the educated.
painting was Simon Prince (knez) of Trnjane, The construction and decoration of
who was a member of the highest social class Orthodox churches followed the develop-
in the Ottoman Empire. ment of the residents’ lives. An example of
A partial description of the old church in the dynamic process of construction and
Bukovo can be discerned from the notes of displacement of churches in Krajina can be
hegumenos Prokopije Bujišić, a sometime seen in the preserved annals of the parish
hegumenos of the Banja Monastery and one of Bukovo and Kobišnica.29 According to the
of the leaders of the uprising against the Otto- annals, at the beginning of the 18th century,
mans in Polimlje and Stari Vlah.27 He noted
становништво, књ. II, 466–467.
25 Православна српска црква у Краљевини Србији, 28 The list of iconostases, icons and old church books
Београд 1895, 198. on the territory of this museum from 3 – 11. XII 1964, 2.
26 М. Ђ. Милићевић, Кнежевина Србија, Београд (Library of the Museum of Negotin Krajina)
1876, 957. 29 М. Стојадиновић, Летопис Буковчанско-
27 The description of Prokopije Bujišić’s persona- -кобишничке парохије, Баштиник 11 (Неготин 2008),
lity can be found: Ф. Каниц, Србија, земља и 211–213.

301
 Nenad Makuljević

there was a common church shared by the in this area even in the first decades of the
villages of Bukovče and Kobišnica, devoted 19th century. One of the last churches built
to St Gregory the Theologian – Sveti Grigorije under the Ottoman rule was the Old Church
Bogoslov. In mid 18th century, both of these in Negotin,33 which is clearly reflected in its
places moved to other locations, when a distinctive features. It was built in the year
church was built in the new village of Bukovče. 1803 and it was buried in the ground, which
This church was used until around 1817-1820. was a frequent solution in the construction of
At that time both villages returned to the churches during the Ottoman rule. The first
original, today’s location, when two churches iconostasis of this church was made upon its
were built: the Church of Saint Georg – Sveti erection. The famous hero from the First Ser-
Georgije in Bukovče and the Church of Saint bian Uprising, Hajduk Veljko Petrović, was bur-
Nicholas – Sveti Nikola in Kobišnica. According ied near the church in the year 1813.
to the annals, the church in Bukovče “was built In the first decades of the 19th century,
from wooden blocks, covered with bulrush. between the period of the Serbian uprisings
There was also a cemetery in this old church and Krajina’s mergence with Serbia, a number
place…”.30 The church in Kobišnica was also of churches were built and painted. During
built from the same material. These churches Ottoman rule, the churches in Popovica (1830)
were used until the year 1850. and Trnjan (1829) were erected, built of wood
What also testifies of the more favourable and similarly planned.34 What is particularly
position of the Christians on the territory of emphasized in the churches are the choir
Krajina in the 18th century are the preserved areas, which gives them a cruciform basis. One
crosses of larger dimensions.31 They were of the distinctive features of these churches
mostly erected as tombstones, and their size is the similarity of their decoration with the lo-
and shape revealed a certain religious free- cal profane buildings, which is why they be-
dom. At the cemetery near the Koroglaš long to a special group of wooden churches
Monastery, Felix Kanitz saw and read an in Serbia.35 Wooden churches were frequently
inscription on a “2.5 m tall rock” – the tomb-
33 On the Old Church see: Двестогодишња споме-
stone for Radak Živanovic dating from the ница Храма Рођења Пресвете Богородице, Старе не-
year 1768.32 готинске Хајдук Вељкове цркве из 1803.г.: 1803-2003,
приредио М. Стефановић, Неготин 2004. The descrip-
The Ottoman authorities were present tion of the Old Church in Negotin was written by: И.
Ћировић, Стара црква Рођења Пресвете Богороди-
це у Неготину, in this book.
30 Ibid. 212. 34 Православна Српска црква у Краљевини Србији,
31 Some of the monumental crosses were placed in Београд 1895, 185; Споменица Тимочке епархије
the port of the Old Church in Negotin, where during 1834-1934, 246; 251. On churches in Popovica and
the eighties of the 20th century the Museum of Krajina Trnjan: И. Ћировић, Црква Свете Тројице у Поповици;
formed a lapidarium. Ibid., Црква Свете Тројице у Трњану, in this book.
32 Ф. Каниц, Србија, земља и становништво, књ. 35 Б. Вујовић, Уметност обновљене Србије 1798-
II, 469. 1848, Београд 1986, 106.

302
Visual Culture and Formation of Sacred Topography in Negotin Krajina

built at the time of the Ottoman rule. All over Their works can be found in the Old Church
the Balkans, churches made of wood were in Negotin40, Trnjane,41 Tamniče,42 as well as in
erected, together with all the necessary ele- Glogovica.43
ments of the church interior.
Another distinctive feature of ecclesiastic
art in Krajina is presence of the Wallachian ECCLESIASTIC CULTURE IN THE SERBIAN
icons. Today the icons with inscriptions in STATE
the Wallachian language can be seen in
Mihajlovac,36 Radujevac, Jabukovac,37 and in
the past they could also be found in many C
onstruction and restoration of churches
on the territory of Krajina was initiated as
churches in the Eparchy of Timok.38 It is difficult early as in the period of the Serbian uprisings.
to ascertain whether on the territory of Krajina In a literature it is stated that the old church in
there was a local Wallachian icon painter or if Štubik was erected precisely between the First
these zographs are coming from other areas. and the Second Serbian Uprisings.44
One of the very few signed Wallachian icons Owing to Prince Miloš, Negotin Krajina was
is from Radujevac. In the icon of Christ the annexed to the Principality of Serbia in the
Great Bishop from the Radujevac collection, year 1833.45 On the territory of Negotin and
at the very bottom of the text from the open Zaječar, the Eparchy of Timok was formed
book, i.e. the Gospel, there is a signature of the and it became the most important ecclesias-
painter “zugrav” Konstantin from Krajova. In this tic administrative unit. The seat of the epar-
manner the icon from Radujevac pointed to chy was in Negotin and Zaječar, which had a
the existence of cultural connections between great impact on the organization of ecclesi-
Krajina on the one hand, and Oltenia and Wal- astic life in Krajina.46 Thus, since the middle of
lachia on the other, which was definitely in line
40 И. Ћировић, Стара црква Рођења Пресвете
with the economic communications. Богородице у Неготину, in this book.
Side by side with the Wallachian zographs, 41 И. Ћировић, Црква Свете Тројице у Трњану, in
this book.
on the territory of Krajina there were also
42 Ј. Пјевац, Црква Свете Тројице у Тамничу, in this
Slavic, Serbian and Bulgarian painters who book.
used the zograph model of icon painting.39 43 Н. Макуљевић, Црква Сошествија Светог Духа
и црква Свете Ане у Глоговици, in this book.
44 Б. Вујовић, Уметност обновљене Србије 1798-
36 See: И. Ћировић, Црква Светог арханђела -1848, 92.
Михаила у Михајловцу, in this book.
45 Р. Љушић, Кнежевина Србија 1830-1839, Београд
37 See: А. Костић, Црква Вазнесења Господњег у 2004, 33–35.
Јабуковцу, in this book.
46 On the Eparchy of Timok see: Н. Радосављевић,
38 See: Н. Макуљевић, Црквена уметност у Тимочка епископија по попису из 1836, Историјски
Краљевини Србији (1882-1914), 78. часопис, књ. LII (Београд 2005), 257–272; Н.
39 On the zograph model of painting: N. Makuljević, The Радосављевић, Попис Тимочке епархије из 1836,
«Zograph» Model of Orthodox Painting in Southeast Europe Мешовита грађа, Miscellanea XXVIII (Београд 2007),
1830-1870, Balcanica XXXIV (Beograd 2004), 385–405. 31–62.

303
 Nenad Makuljević

the fourth decade of the 19th century, eccle- became one of the numerous sacral construc-
siastic practice in Negotin Krajina was gradu- tions serving Knez Miloš’s ruling propaganda
ally coordinated with the practices in other and commemorating his political successes.49
parts of the Serbian state, and bishops of the Due to the privileges it had in the 18th cen-
Eparchy of Timok had a prominent role in this tury, Negotin Krajina was one of the territo-
process. ries with a greater number of churches in the
The annexation of Krajina to the Principa- Principality of Serbia. This was also recognized
lity of Serbia was also marked by Prince by Milan Đ. Milićević, on his passing through
Miloš’s involvement in patronage and propa- this area when he noted: “What is clear in Kra-
ganda. This was particularly emphasized in jina is that there are a great many churches
Mihajlovac. Namely, Prince Miloš managed and despite being of weak construction, they
to move the residents from Veliko Ostrvo on still seem to outnumber the very priests. What
the Danube to Serbia, where the settlement is also striking is that it is almost at every cross-
of Mihajlovac was formed.47 The village got its roads or border between two villages that you
name after Mihail, Prince Miloš’s son, which will find crosses, made of stone or wood, as
was in line with the governmental and pro- border signs.”50 Milićević’s remarks find confir-
pagandist practice of that time when settle- mation in the register of churches brought in
ments received or changed their names in 1853 in the description of Krajina Okružije (the
honour of a representative from the ruling region of Krajina) written by A. P. Ivanovic.
house. In this manner the name of the settle- In the counties of Brza Palanka and Krajina
ment permanently memorized a particular there were churches in Brza Palanka, Miha-
ruler. In the newly formed Mihajlovac, Prince jlovac, Mala Kamenica, Prahovo, Džanjevo,
Miloš was the church founder. His idea and Slatina, Urovica, Jabukovac, Plavna, Malajnica,
propagandist character of his activities are Štubik, Popovica, Trnjane, Radujevac, Srbovlah
shown in the text of an inscription which was (Srbovo), Bukovče/ Kobišnica, Mokranj, Metriš,
supposed to be placed above the entrance Veliko Jasikovo, Glogovica, Rogljevo,
to the church in Mihajlovac. In the text it is Rajac, Brusnik, Tamnič, Koprivnica, Sikol,
clearly stated that the church was erected Čubra, Rečka, Negotin, together with the
to commemorate Prince Miloš’s visit and the monasteries of Bukovo and Vratna.51
annexation of Krajina and other “areas torn off” 49 On Prince Miloš’s propaganda and his patronage
Serbia.48 In this way the church in Mihajlovac of Orthodox churches, see: Н. Макуљевић, Црква у
Карановцу - задужбина кнеза Милоша Обреновића,
у: Рудо Поље – Карановац – Краљево, Београд –
47 Т. Р. Ђорђевић, Из Србије кнеза Милоша, Београд Краљево 2000, 283–293.
1924, 98–100. 50 M.Ђ. Милићевић, Путничка писма с разних
48 Т. Р. Ђорђевић, Архивска грађа за насеља у страна Србије о Србији, Београд 1868, 162.
Србији у време прве владе Кнеза Милоша 1815-1839, 51 А. П. Ивановић, Описанiе окружiя краинског,
Насеља и порекло становништва, књ. 22, Београд- Гласник Друштва србске словесноти V (Београд
-Земун 1926, 147. 1853), 237–239, 243–245, 248, 251.

304
Visual Culture and Formation of Sacred Topography in Negotin Krajina

Despite the existent Orthodox churches, new importance in the Principality of Serbia.
the annexation of Krajina to the Principality Thus, during the first decades under Serbian
of Serbia implied a partial deviation from the rule, the Old Church of Negotin stood out. It
earlier practice and introduction of contem- gained the character of both Eparchial church
porary norms of church life. When divine ser- and place of national memory. Even though
vice was no longer performed in the wooden the location of Hajduk Veljko’s grave was not
churches in Bukovče and Kobišnica, a common known with certainty, his brother Milutin put
church was built in the year 1849. According up a memorial plate in 1844, with a becoming
to the sources, this church was built in “gothic epitaph which celebrated Hajduk Veljko as
style”,52 and it “fought for primacy with the one a Serbian national hero.55 On account of its
in Milanovac”.53 The case of this church shows eparchial significance, Dositej, the first bishop
that it was already in the middle of the century of Timok, was buried next to this church
that the sacral visual culture of Krajina started in 1854, and on that occasion, the body of
to accept the current norms of church archi- Hajduk Veljko was also found there.56
tecture of the Principality of Serbia. The ecclesiastic life in the Principality of
During the 19 century, some powerful Serbia implied acceptance and implementa-
th

local customs still modeled the religious life
in Krajina. Thus, in this area, as well as in the
neighbouring county of Vidin,54 sacred stone
landmarks with visual decoration and inscrip-
tion “zapisi” were put up to surround the terri-
tory of a particular village. These landmarks
had different dimensions, and they could be
very monumental. They contained a dedica-
tion to a certain holiday, on which day they
were visited to celebrate it. The landmarks had
various shapes, such as those of a cross or a
pillar, and they often had rich symbolic deco-
ration.
Some older Orthodox churches gained
52 М. Стојадиновић, Летопис Буковчанско-
-кобишничке парохије, 213.
53 А. П. Ивановић, Описанiе окружiя краинског, 244.
54 Compare with: А. Василиев, За изобразтелните
изкуства въ северозападна България, у: Комплексна
научна експедиция в северозападна България през
1956 година, София 1958, 192, 198, 202, 245.
tion of legal acts and procedures referring to
the construction and decoration of Ortho-
dox churches. According to the Law on pub-
lic structures, churches had the character of
communal buildings, which underlined their
importance in the society and state, laying
the responsibilities of their construction and
maintenance on the authorities.57 As stated
in the Law on church authorities from 1862,
“new churches were to be built in line with the
architectural characteristics of the Byzantine
style and wall painting was to be done in har-
mony with the spirit of the Eastern Orthodox
Church”.58 Therefore, the construction of new
55 M. Ђ. Милићевић, Путничка писма с разних
страна Србије о Србији, 174–175.
56 Ibid. 175.
57 Н. Макуљевић, Црквена уметност у Краљевини
Србији 1882-1914, 28–34.
58 See: Зборник закона и уредаба у Књажеству
Србији XV, Београд 1863, 112–114; О утицају закона
на сакралну визуелну културу Србије: Н. Макуљевић,

305
 Nenad Makuljević

churches was controlled by representatives Apart from the state and law regulations,
of the state and the church alike. Abidance what also influenced ecclesiastical art in
by the legal norms and understanding of Negotin Krajina was its geographical position.
the Byzantine style influenced both the form Throughout history geography has always
and the decoration of Orthodox churches. affected the possibilities of cultural connec-
During the seventh decade, the acceptance tions, artists’ mobility or distribution of cultural
of the Byzantine style meant usage of “Byzan- goods.64 The ecclesiastical art in Negotin Kra-
tine” decorative elements, and not necessarily jina also confirms that. In spite of the gradual
acceptance of medieval architectural forms.59 obstruction and restriction of zographs’ work
As a result, all over Serbia and even on the in the Principality of Serbia, there was one
territory of Negotin Krajina churches were constructionist and zograph workshop from
built with a bell tower above the western the territory of the Ottoman Empire of that
front whose decoration was marked by the time. This was a constructors’ and painters’
elements of Byzantine culture. group which, according to the annals of the
During the second half of the 19th century churches of Krajina, was composed of the
ecclesiastic life in Krajina started to flourish. Old constructor Petar Nikolić and zographs Pavle
churches were abandoned and new Orthodox and Nestor. This group built and painted the
churches were built with features matching church in Mokranje, Kobišnica65 and Rogljevo.
the trends of church civil engineering of that Only few people from this group can be iden-
time. Thus, churches with bell towers and tified with higher probability. One of them is
Neo-Byzantine decorative plastics were built Nestor Trajković-Trajkov, i.e. Trajanov – son of
in Štubik 1868-1872,60 Jabukovac 1868-1876,61 the woodcarver Trajan Negriev from Galicnik.
Prahovo,62 Mokranj, Kobišnica63 and Rogljevo. In the second half of the 19th century he had a
Црквена уметност у Краљевини Србији 1882-1914, considerable painterly opus on the territory of
28–34. Bulgaria.66 Zograph Nestor painted together
59 See: Н. Макуљевић, Црквена уметност у
Краљевини Србији 1882-1914, 220-221. with Pane Djurcinov, who is said to have led a
60 The first project of the church in Štubik was made group of zographs while working in Serbia – in
by D. Milutinovic. See: Љ. Мишковић-Прелевић, Рад
Драгутина Милутиновића и Михаила Валтровића Negotin. Pane’s team (tajfa) also included his
на снимању средњовековних споменика у Србији, sons Mihail and Teofil.67
Излози Српског ученог друштва, Београд 1978, 94;
И. Ћировић, Црква Свете Тројице у Штубику, in this However, the work of zographs Pavle
book.
61 А. Костић, Црква Вазнесења Господњег у Јабу- 64 On geographical influence on culture see: T.
ковцу, in this book. DaCosta Kaufmann, Toward a Geography of Art, Chicago
– London 2004.
62 В. Недељковић, Црква Везнесења Господњег у
Прахову, in this book. 65 М. Стојадиновић, Летопис Буковчанско-
-кобишничке парохије, 215-216.
63 The plan of the church in Kobišnica was made in
the Ministry of Constructions: Н. Плавшић, Основна 66 А. Василиев, Български взрожденски майстори,
школа «Стеван Мокрањац» у Кобишници 1867-2000, София 1965, 222–223.
Кобишница 2000, 14. 67 Ibid. 225.

306
Visual Culture and Formation of Sacred Topography in Negotin Krajina

and Nestor was threatened by the bishop of in Kobišnica was finished, but in line with the
Timok Evgenije Simonović, who tried to stop instructions from the Consistory.
them. He was not satisfied with their work in In Krajina there were also icons, which must
Mokranje, so he spoke to the Consistory of the have been brought there from the surround-
Timok Eparchy in order to stop their work in ings of Vidin. Thus, the icon of the Mother of
Kobišnica. Bishop Evgenije maintained that God done by the well-known icon painter
the painting in Mokranje did not meet the Dičo Zograf is kept in the Cathedral Church
requirements of the Orthodox Church paint- of Negotin.69 Also, the icon of Saint Toma was
ing. The bishop and the Consistory were painted by Dičo Zograf for the “guild craft”,
confronted by representatives of the village which was led by master Niko in 1856.70 This
communes of Kobišnica and Bukovče, who icon was placed in the Old Church in Negotin.
believed that the problem had been caused Dičo’s icons for Negotin were created when
by the local priest, who wanted to hire the this renowned painter worked in the vicinity
painters of the church in Štubik, that is Steva of Vidin.71
Todorovic. The conflict over the painting of The annexation of Krajina to the Princi-
the Kobišnica church escalated to the point pality of Serbia also affected the presence of
when it came to court, where Ministry of painters and their works which did not follow
Education was involved as well. The whole the zograph tradition. Thus, in the old Krajina
clash ended with the zographs continuing there were paintings done by the Jakšic family
and finishing their work, but in line with the from Bela Crkva.72 In the Old Church in Negotin
rules and instructions from the Consistory of there are emperor’s doors painted by Simeon
the year 1874.68 The argument and quarrel Jakšic in 1816, while the altar icons in Popo-
over the painting of the church in Kobišnica vica were painted by Simeon’s son Arsenije in
shows that members of ecclesiastic hierarchy 1820.73 Simon and Arsenije Jakšic’s icons were
in Krajina fully adopted the historical poetics
69 See: Списак икона и других црквених предме-
of church painting and that they opposed та са територије Неготинске Крајине који долазе у
zographs’ work. On the opposing side there обзир за галерију црквеног сликарства и црквених
предмета у Неготину, Музеј Крајине.
were the purchasers of church painting – local 70 Б. Вујовић, Уметност обновљене Србије 1791-
village communities, apparently with dispa- 1848, 262.
71 See: А. Василиев, За изобразтелните изкуства
rate aesthetic views. In the entire conflict, re- въ северозападна България, 225–231, 239–240.
presentatives of state authorities acted rather 72 On the Jakšic family of painters: П. Васић, Сли-
карска породица Јакшић из Беле Цркве, Зборник
pragmatically. They showed their primacy and за ликовне уметности Матице српске 1 (Нови Сад
1965), 267–286.
owing to them the work started in the church
73 On the icons by Simeon and Arsenije Jakšic in
the Old Church in Negotin and Popovica see: Сликар-
68 More details on the conflict over the painting of ска породица Јакшић из Беле Цркве, 272; Б. Вујовић,
the church in Kobišnica: Н. Плавшић, Основна школа Уметности обновљене Србије 1791-1848, 244; И. Ћи-
«Стеван Мокрањац» у Кобишници 1867-2000, 15–18. ровић, Црква Свете Тројице у Поповици, in this book;

307
 Nenad Makuljević

most probably brought to Krajina later. At the so the Jerusalem icons can now be found in
time when they were made, zographs domi- the churches in Vidrovac, Tamnič,76 Popovica,77
nated the art of icon-painting in Krajina. In the as well as in the Old Church in Negotin.78 An
offertory inscriptions on the icons from Popo- icon showing oblation and patronal practice,
vica it is stated that they were originally done which was connected to the political state
for the church in Veliko Gradište.74 of affairs of the mid 19th century, is the one
Since its annexation to Serbia, there were with The Last Supper from Radujevac (image
many Serbian icon painters in Krajina, and 11). This icon was offered by “the director of
the painted programs of altar partitions and Bihela”, to commemorate his arrival in Serbia
offertory strategies were in accordance with and Prince Miloš Obrenovic’s return to power
the general trends of sacral visual culture of (image 12).79 As it was precisely in Radujevac
the Principality of Serbia. One of the earliest that Prince Miloš put his foot on the Serbian
zographs’ paintings from the Principality is ground, this icon testifies of the embracement
the iconostasis of the Bukovo Monastery from of the new government, and of a personal
the year 1837. The icons on this altar partition confirmation of loyalty from Bihela. Bestowing
were, according to the note on the back of the church with the icon thus sacralized politi-
the altar icon of the Mother of God, painted cal loyalty and it could be perceived as some
by Milija Marković, Živko Pavlović and Ivan kind of an oath. Simultaneously, the oblation
Marković . act of the director of Bihela came from a wide
In Krajina oblation was practiced both as a range of political usages of sacral visual cul-
show of private piety and as part of the public ture in the Principality of Serbia.
promotion of one’s own political stances. An During the second half of the 19th cen-
important form of private piety was a pilgri- tury, renowned Serbian painters also worked
mage to the Holy Land, and memorabilia like in Krajina. Steva Todorovic, together with his
the Jerusalem icon.75 The Jerusalem icon is a wife Poleksija, painted the iconostasis of the
complex composition showing the most im- church in Štubik.80 At the same time, local art-
portant events from ecclesiastical history and ists had an active role in the sacral art of this
places of pilgrimage. It seems that during the
76 Ј. Пјевац, Црква Свете Тројице у Тамничу, in this
second half of the 19th century there was an book.
increase in the number of pilgrims from Krajina, 77 И. Ћировић, Црква Свете Тројице у Поповици, in
this book.
Ibid., Стара црква Рођења Пресвете Богородице у 78 И. Ћировић, Стара црква Рођења Пресвете
Неготину, in this book. Богородице у Неготину, in this book.
74 П. Васић, Сликарска породица Јакшића из Беле 79 On The Secret Supper icon from 1859 see: А.
Цркве, 272. Костић, Црква Вазнесења Господњег у Радујевцу, in
75 See: Н. Макуљевић, Поклоничка путовања и this book.
приватни идентитет, in: Приватни живот код Срба 80 Н. Кусовац, М. Врбашки, В. Грујић, В. Краут,
у деветнаестом веку, приредили А. Столић и Н. Ма- Стеван Тодоровић 1832-1925, Београд 2002; И. Ћиро-
куљевић, Београд 2006, 807–837. вић, Црква Свете Тројице у Штубику, in this book.

308
Visual Culture and Formation of Sacred Topography in Negotin Krajina

territory. They worked as drawing teachers in the thrones of the Old Church in Negotin.88
the Grammar School Pavle Čortanović81 and In the furnishing of Orthodox churches,
Vatroslav Beković82 at that time. Čortanović liturgical objects have an important place. In
stayed in Negotin from 1883 to 1897.83 During ecclesiastical rules it was stressed that liturgical
his stay in Negotin, Čortanovic painted a great objects were to be made of noble materials,89
number of portraits and compositions from which contributed to the grandeur of divine
national history, as well as icons, iconostases service. On the territories of Krajina and Epar-
and wall paintings in churches.84 Čortanović’s chy of Timok, representative liturgical objects
most important work in Krajina was painted in date to the very first decades of the 19th cen-
the Old Church in Negotin, where he restored tury.90 It was already in the period of the up-
and painted icons for the iconostasis, also do- risings that a silver chalice was made in 1812
ing wall painting.85 What has also been pre- by master Petko in memory of Maria. Another
served are Čortanović’s icons for the Cathedral chalice was made with special care and com-
Church in Negotin, The Bukovo Monastery plex iconographic decoration, as a gift from
and the church in Štubik.86 Čortanovic mana- Duke Milenko Stojković in Poreč. In the Krajina
ged to fulfill only some of the purchasers’ region there are also various liturgical objects
requirements in Negotin Krajina, so he did dating from the mid 19th century and made
not manage to get involved in the painting by Jovan Nikolic, one of the most renowned
of the Cathedral Church of Negotin. In Krajina Serbian goldsmiths from Belgrade. In 1850 he
ecclesiastical painting was also practiced by made the censer for the Bukovo monastery,91
Vatroslav Beković. He painted the iconostasis and his works like chalices, crosses, bound
of the church in Jabukovac 1873-1874,87 and gospels can be found in the churches in Ro-
gljevo, Radujevac, Kobišnica, Mihajlovac,
81 On Čortanović see: М. Врбашки, Литографије the Old Churh in Negotin, and the Cathedral
Павла Чортановића, Зборник за ликовне уметности
Матице српске 29–30 (Нови Сад 1993-1994), 129–142. Church in Negotin.92
82 Неготинска гимназија 1839-1989, уредник М. One of the most important feats in the or-
Станковић, Неготин 1989, 127.
ganization of sacred topography of Negotin
83 Д. Димиресковић-Папалуцић, Павле Чортано-
вић: сликар у Неготину, Неготин 2003.; Шематизам Krajina, together with the act of total compli-
округа крајинског 1839-1924. године, приредио Р. Бла-
гојевић, Неготин 2003, 153–235. ance with the current trends in ecclesiastical
84 Д. Димиресковић-Папалуцић, Павле Чортано-
вић: сликар у Неготину, 4–14.
88 И. Ћировић, Стара црква Рођења Пресвете
85 Д. Димиресковић-Папалуцић, Павле Чорта-
Богородице у Неготину, in this book.
новић: сликар у Неготину,4–14; И. Ћировић, Стара
црква Рођења Пресвете Богородице у Неготину, in 89 Служебник, вx Бyлграде, !Wli
this book. 90 Б. Вујовић, Уметност обновљене Србије 1791-
86 И. Ћировић, Црква Свете Тројице у Штубику, in 1848, 370, 418–419.
this book. 91 Ibid., 371.
87 А. Костић, Црква Вазнесења Господњег у Јабу- 92 On Jovan Nikolić and his opus: В. Даутовић,
ковцу, in this book. Златар Јован Николић, in print.

309
 Nenad Makuljević

art of the Principality of Serbia, was the erec- Grocka and Loznica. This was supposed to
tion of the new Cathedral Church in Negotin. indicate that the plan of the church was made
The construction of the new church was ini- in the Principality, and that it came from the
tialized with the abandonment of the idea Ministry of Constructions. The new church
that Negotin should move to another, better in Negotin was different from other similar
and healthier location, on Danube. In the churches in the consistent neo-classicistic
preparation of the building of a “new Nego- work on the façades.97 The architect’s choice
tin”, Dragutin Milutinovic made a developed to use neo-classicistic decoration stemmed
urban plan and projects for a number of pub- from the understanding of the church as a
lic constructions, including the monument to public edifice. Instead of the neo-Byzantine
Hajduk Veljko Petrovic and the new church.93 style, which was used to emphasize the na-
The Cathedral Church in Negotin was built tional identity, what was implemented here
owing to bishop Evgenije, who initialized its were the rules of academism architecture. In
construction around 1868, but the supervisor this manner they underlined the representative-
Ranko Alimpic wanted to have it built in the ness and power of a public state and national
“new Negotin”.94 For this reason preparations institution, which was especially used in Ser-
for the construction of this Negotin church bian ecclesiastical architecture in the mid
started as early as in 1867-1868.95 Upon giving 19th century.98 The church was situated on the
up the idea of relocation, the foundations of main town square, representing a new heart
the new church were laid in 1872, on a histori- and a symbolical center of Negotin.99 There-
cal location, next to Hajduk Veljko’s powder fore, in the immediate vicinity of the church,
magazine. The process of construction lasted there stood the monument to Prince Miloš,
until 1874, and the church was consecrated in made by the sculptor Đordje Jovanović.100
the year 1876.96 Special attention will be devoted to the
The new Cathedral Church in Negotin was decoration of the Cathedral Church in Nego-
of monumental dimensions, according to tin. The painting of the iconostasis was origi-
the project of the author which has not been nally entrusted to Pavle Čortanović, a local
ascertained. The concept of the new church
of Negotin was similar to the bases of the 97 See: Б. Несторовић, Архитектура Србије у XIX
веку, 402.
churches in Azanja, Smederevska Palanka, 98 On usage of neo-classicistic architecture and its
symbolic meaning in Serbian ecclesiastical architec-
ture: Н. Макуљевић, Црква Светог Архангела Гаврила
93 Т. Станојевић, Неготин и Крајина од 1859. до у Великом Градишту, Велико Градиште 2006, 45–46.
1940, књ. 2, Неготин 1980, 126–128.
99 See: И. Борозан, Репрезентативна култура и
94 Ibid., 131–132. политичка пропаганда: споменик кнезу Милошу у
95 Б. Несторовић, Архитектура Србије у XIX веку, Неготину, Београд 2006, 375–385.
Београд 2006, 400. 100 On the monument to Prince Miloš: И. Борозан,
96 Летопис Нове неготинске цркве, 9 (Библиотека Репрезентативна култура и политичка пропаган-
Музеја Крајине) да: споменик кнезу Милошу у Неготину, 117–415.

310
Visual Culture and Formation of Sacred Topography in Negotin Krajina

teacher and painter who could not perform the 19th century.103 He ran the eparchy from
such a complex task. Therefore, the icono- 1891 to 1913, when he supported the idea of
stasis was assigned to Nikola Marković, and it consistent Serbian national work in this area.
was finished by Milisav Marković. The concept Due to bishop Melentije’s activities, there was
of the painting of the new church iconostasis a change in the appearance and decoration
was in this way coordinated with the poetics of many churches. He effected the removal
of ecclesiastical painting of that time, as the of old Vlach icons from the iconostases and
bearer of the historical truth. supported making new iconostases. Bishop
What was particularly important for the Melentije was not only implementing nation-
sacred topography of Negotin Krajina in the al program, but he also supported religious
19th century was the restoration of the Bu- and spiritual restoration. He was also good at
kovo Monastery. In the middle of the century writing ecclesiastical, i.e. spiritual literature,
the location and the property of the Bukovo also thinking through the problems of eccle-
Monastery were quite distinguished: “…it is siastical icon-painting. A part of his polemics
well positioned, among beautiful springs, with with Đorđe Krstić has been preserved, and
an old church, large property; when it is quiet here one can see he was an advocate of the
the bells can be heard even in Negotin, and Russian model of icon painting and reverence
so can the bells from Negotin be heard here, for the early modern practice in iconostasis
too. Through the monastery woods called Gaj programs.104
there is a beautiful road,...”101 In this period the At the time of Episcopal service of bishop
Vratna Monastery was a metoch (property) of Melentije, laws and regulations on con-
the Bukovo Monastery.102 The monastic church struction of Orthodox churches were fully
was refurbished in 1888 by the archiman- followed.105 At the end of the 19th century,
drite Prokopije Bujišić. Through his effort the construction of Orthodox churches in Negotin
church was expanded and decorated (image Krajina fully complied with the rules and legal
13). On the monastic estate the School for procedures of the Principality of Serbia, as
Winemaking and Fruit Growing was founded, well as with the trends in Serbian ecclesiastical
so Bukovo became an important spiritual, cul- architecture of that time. A great number of
tural and educational center in Krajina. plans for churches in Negotin Krajina were
Melentije, the bishop of Timok, played an made in the Ministry of Constructions, and
important role in the organization of the ec-
clesiastic life of Negotin Krajina at the end of 103 Н. Макуљевић, Црквена уметност у Краљеви-
ни Србији (1882-1914), 62–64.
104 Н. Макуљевић, Црквена уметност у Краљеви-
ни Србији (1882-1914), 62–63.
101 А. П. Ивановић, Описанiе окружiя краинског, 105 On legal regulations of ecclesiastical art in the
251. Kingdom of Serbia: Н. Макуљевић, Црквена уметност
102 Ibid., 239. у Краљевини Србији 1882-1914, 28-34.

311
 Nenad Makuljević

standard solutions were dominant. They ceptions was the church in Jasenica in 1895.113
were performed by Svetozar Ivačković, in In bishop Melentije’s report for the
compliance with architectural poetics of Episcopal council from 1901, he spoke about
Theophil Hansen. Following Ivačković’s plan as the influence exerted by the Ministry of Con-
well as the standard ones, they made the plan struction and his dissatisfaction with the sent
of the church in Tamnič,106 and most probably plans: “the plans for all consecrated churches
plans of the churches in Urovica, Čubra,107 were drafted in the Ministry of Constructions.
Salaš, Rečka,108 Dušanovac109 and Vidrovac.110 They do not have any domes. I tried hard to
The basic model for these buildings was close effect the construction of one dome in the
to the draft of the church in Žlna. The pro- middle of the church, but met with resistance
posal of the solution for these churches was in the aforementioned Ministry. They stated
given by Svetozar Ivačković, and the plan was that the suggestion could not be taken since
made by Jovan Ilkić and Aleksandar Bugarski. in that case churches would be much more
Ivačković gave an explanation for his form of expensive. And even though I acknowledged
“an ordinary prayer house, like a simple long the reason behind their decision, I still main-
house, without a dome”.111 From the Ministry, tained that the closed wooden domes should
they also sent the plan for the church in Radu- be built and that the plans should follow the
jevac, according to the project of the archi- sketch of the Church of St Sava in Vračar. The
tect Dušan Živanović.112 This plan, identical toformer suggestion was declined, and the
the plan of the church in Trstenik, was one of latter, they said, would be kept in mind. How-
the solutions which followed the concepts of ever, nothing was done, so all churches were
Serbian-Byzantine style. What was also built in built according to almost one and the same
compliance with the same architectural con- sketch. Truth be said, they are beautiful, and
yet without domes they do not possess the
overwhelming beauty of the form of old Ser-
106 See: Ј. Пјевац, Црква Свете Тројице у Тамничу, bian churches and monasteries.”114
in this book.
107 С. Вељковић, Црква Сошествија Светог Духа у At the end of the 19th century, most likely
Чубри, in this book. due to the legal procedures in the furbishing
108 С. Вељковић, Црква Светих апостола Петра и
Павла у Речкој, in this book. and decoration of Orthodox churches with
109 С. Вељковић, Црква Успења Пресвете which committees chose painters, the most
Богородице у Душановцу, in this book.
renowned Serbian church painters worked on
110 Види: В. Недељковић, Црква Светог Николе у
Видровцу, in this book.
111 A full explanation of the project of the church in 113 В. Недељковић, Црква Вазнесења Господњег у
Zlna is given by: С. Ивачковић, Црква у селу «Жлни» ( у Јасеници, in this book.
срезу Заглавском округа Тимочког), Српски технички 114 Извештај Њег. Преосвештенства епископа
лист, св. 1 (Београд 1894), 1–3. Тимочког о каноничкој посети своје епархије у 1900.
112 Н. Макуљевић, Црквена уметност у Краљеви- и 1901. години, Весник Српске цркве XI-XII (Београд
ни Србији (1882-1914), 234. 1902), 725–726.

312
Visual Culture and Formation of Sacred Topography in Negotin Krajina

the territory of Krajina. The finishing works in stases in Jasenica122 and Rečka,123 the icono-
decoration of the Cathedral Church in Nego- stasis and frescoes in Mihajlovac,124 as well as
tin were very important. Steva Todorović, one the frescoes of the Bukovo Monastery,125 after
of the most respected Serbian artists of that the work of Steva Todorović in the Cathedral
time, was in charge of wall painting. Together Church.
with his wife Poleksija and other assistants, he Church communities and individual con-
painted the wall surfaces, creating a complex tributors played an important role in the pro-
national thematic program.115 In this period, cess of funding and construction of churches.
Lazar Krdžalić painted the iconostases of the The industrialist Đorđe Vajfert built a unique
Bukovo Monastery116 by himself or with his private memorial church in Krajina. In Glogo-
wife Olga and the church in Tamnič .117 Rafailo vica, Vajfert built the Church of Saint Ana in
Momčilović painted the iconostasis in Sikole memory of his mother Ana. As a renowned
in 1908,118 while Paško Vučetić took care of the wealthy purchaser, he employed the archi-
iconostasis and wall painting in Radujevac.119 tect Vladimir Popovic to make the plan for the
The painter Milisav Marković from Knjaževac church. The iconostasis and frescoes for the
had outstanding involvement in the Eparchy church in Glogovica were painted by Milan
of Timok, which made him one of the most Milovanović.126
productive icon painters not only in Krajina
but in the whole Principality of Serbia. Milisav
Marković was hired for painting numerous THE PERIOD AFTER 1920
churches of Timok Eparchy.120 He painted the
iconostasis and frescoes in Salaš ,121 icono-
D uring the 20th century there were large
political and social changes. After the First
World War, Serbia entered the SHS Kingdom
– the Kingdom of Yugoslavia, when activities
115 Н. Макуљевић, Црквена уметност у Краљеви- connected to organization of ecclesiastic life
ни Србији (1882-1914), 76–77.
116 Ibid., 178–179. were continued. As the area of Negotin Krajina
117 J. Пјевац, Црква Свете Тројице у Тамничу, in this already had a developed ecclesiastic network
book.
118 У. Рајчевић, Рафаило (Георгије) Момчиловић:
монах, сликар и мученик (1875-1941), Београд 2009, 122 В. Недељковић, Црква Вазнесења Господњег у
23. Јасеници, in this book.
119 Н. Макуљевић, Црквена уметност у Краље- 123 С. Вељковић, Црква светих апостола Петра и
вини Србији, 183–184; А. Костић, Црква Вазнесења Павла у Речкој, in this book.
Господњег у Радујевцу, in this book. 124 И. Ћировић, Црква Светог арханђела Михаила
120 У. Рајчевић, Сликарска породица Марковића у Михајловцу, in this book.
из Књажевца, Зборник радова Народног музеја XIII-2 125 Н. Макуљевић, Црквена уметност у Краљеви-
(Београд 1987), 151–159. ни Србији (1882-1914), 62–64.
121 М. Станковић, Црква Свете Тројице у Салашу, 126 Н. Макуљевић, Црква Сошествија Светог Духа
in this book. и црква Свете Ане у Глоговици, in this book.

313
 Nenad Makuljević

and a great number of churches from the 19th shaped throughout the past centuries, today’s
century, only few churches were built and structure of sacral topography has been or-
decorated at this time. ganized into the Episcopal Deanery of Nego-
Between the two world wars, Orthodox tin. In the history of its formulation, the 19th
churches continued to be built in Negotin century was the most important period, when
Krajina. At this time churches were built in the largest number of Orthodox churches were
Samarinovac and Šarkamen.127 The church in built and decorated in this area. The distinctive
Šarkamen was designed in 1927 in Serbian- features of Krajina’s sacred topography match
-Byzantine style, which was dominant in the both general and political trends in Serbia,
Serbian architecture of that time. The icono- and local geographical and cultural characte-
stasis of the church was painted in 1933 by the ristics. Therefore, sacred visual culture of Kraji-
Russian emigrant Stefan Ljisuk.128 Since at that na clearly shows the development of spiritual
time Russian emigrants had one of the most and cultural life of Eastern Serbia, as one of
important roles in the creation of sacral visual the most representative examples of Serbian
art, the choice of this painter fitted the general ecclesiastical culture of the new century.
trends of ecclesiastical art.
After World War One, the village of Kovilovo
from Bulgaria was annexed to the territory of
Negotinska Krajina. The iconostasis and wall
painting of the church in Kovilovo were done
by the zograph Evgenij pop Kuzmanović.129
The period of the Second World War marked
a dramatic change. After the war, the commu-
nist government impeded the development
of ecclesiastic life, which was reflected on the
forms and production of sacral visual culture.
After 1990, during the period of Yugoslavia’s
breakdown and decades of war, there was a
gradual renewal of ecclesiastic life.
Sacred topography of Negotin Krajina
shows the development of ecclesiastic life on
the territory of Eastern Serbia. Having been
127 Споменица Тимочке епархије 1834-1934, 251.
128 See: А. Костић, Црква Вазнесења Господњег у
Шаркамену, in this book.
129 А. Костић, Црква Светог Илије у Ковилову, in
this book.

314