Church of Our Lady of Ljeviš
The Church of Our Lady of Ljeviš was implicit in the fourteenth century on top of the remaining parts of a thirteenth Century church, as an enrichment of King Milutin. The draftsman who planned the church, proto-ace Nikola, combined the remaining parts of the old three-nave church with the new cross-formed sanctuary to make a wonderful five-nave building worked with progressive layers of red block and tufa. The one-of-a-kind imaginative tradition of this church is its two layers of frescoes, which take the stand concerning the advancement of archaic workmanship.
The three saved thirteenth Century frescoes (Wedding at Cana, Healing of the Blind Person, and the Mother of God with Christ the Provider) are portrayed by striking tones and heavenly creation. The most outstanding frescoes of the subsequent layer, painted somewhere in the range of 1310 and 1313, are the amazing representations of individuals from the Nemanjić tradition and the cloister’s benefactors.
The later frescoes, with discernibly more human figures and with solid imagery, purposeful anecdote, and representation, are illustrative of an adjustment of the style of middle age fresco painting which occurred in the mid-fourteenth century. The church of Our Lady of Ljeviš has been announced a UNESCO World Heritage site, in acknowledgment of its monstrous social significance.
Gračanica cloister is viewed by quite a few people to be probably the best landmark of Serbian middle age engineering. It is known for its amicable extents and weighty dividers worked of etched stone and red blocks. Of the once lofty religious community perplexing, just the Church of the Annunciation actually remains.
The frescoes at Gračanica are painted in the style of Serbian and Byzantine craft of the primary portion of the fourteenth Century and are astoundingly all around protected. These frescoes of stunning points of interest and captivating excellence portray famous people of the time. At the entry to the church, you will see pictures of the supporter of the church, King Milutin, and his better half Simonida.
These canvases at Gračanica are the earliest known representations of individuals from the Nemanjić administration.
Visoki Dečani Monastery is a cenobitic male religious community with a consistent ascetic practice since the fourteenth 100 years. Today it is home to 25 priests and fledglings. the Monastery Abbot, Archimandrite Sava Janjić, has driven the fellowship beginning around 2011.
The pioneer behind the Monastery was the then-King of Serbia, St. Stefan Uroš III of Dečani (1285-1331), the child of the Holy King Milutin and the dad of Emperor Dušan. Loaded with appreciation to God for every one of the endowments He had given him, particularly after the extraordinary triumph against the Bulgarians in 1330, King Stefan Uroš III gave his First and Founding Charter of Dečani Monastery that very year, portraying the Monastery’s territory possessions and different gifts to it.
By joining Romanesque, Gothic, and Byzantine structure encounters, the skillful experts of Kotor delivered a unique creation in plan, development, and adornment. The Dečani religious community church (catholicon) contains the most extravagant and rich stone-cut ornamentation in Serbian archaic craftsmanship. The rich multi-hued façade was acknowledged by exchanging columns of two sorts of marble: light yellow onyx from Peć and rosy purple breccia from Dečani.
The frescoes of the Dečani church are too immense to ever be taken in by the natural eye. All that was step by step made and culminated in Serbian and Byzantine churches throughout many years was upgraded in Dečani to an extraordinary degreeč no church, Serbian or Byzantine, had recently had so many frescoes and no place has the whole history of Christianity been portrayed in a solitary area as complete as here. The combined insight of late Byzantine craftsmanship is woven into the north of 1,000 scenes and a few thousand individual figures separated into in excess of 20 cycles.
Having turned into a position of the journey, for right around 700 years the Dečani church has continually gotten gifts. Those gifts are a piece of the Monastery’s depository that sparkles with the excellence of old symbols, furniture adorned with wood decorates, valuable ornamented ritualistic relics, original copies, and printed books. As far as its imaginative, social and verifiable worth, it outperforms any remaining Serbian social legacy destinations with the exception of Hilandar.
One of the most extravagant and significant assortments of the Dečani depository is contained items made of valuable and different metals. The majority of the assortment dates to the period from the sixteenth to the nineteenth hundred years.
Beginning around 2004, Dečani Monastery is recorded on the UNESCO’s List of World Heritage in Danger.
Patriarchate of Peć
Patriarchate of Peć Monastery in Kosovo-Metohija was underlying the thirteenth 100 years and turned into the seat of Serbian Archbishops. It was extended between the fourteenth – sixteenth hundreds of years. The Monastery has remained since the time the verifiable seat of the Serbian Orthodox Church.
The religious community complex comprises four churches, three of which are associated as one entirety. They were underlying the thirteenth and fourteenth hundreds of years (1321-24, and 1330-37) – Holy Apostles, St. Demetrius, Holy Virgin Hodegetria, and St. Nicholas. Three of them are associated with an open narthex.
The focal church of the Holy Apostles from the mid-thirteenth century flourishes with excellent frescoes and marble burial chambers of a few Serbian Medieval Archbishops as well as the Patriarchal high position where Serbian Orthodox Patriarchs are officially enthroned.
Ecclesiastical overseer Nikodim I (s. 1321-24) assembled the Church of St. Demetrius on the north side of the Church of the Holy Apostles. Close to his burial chamber, one can see there a burial place of St. Ecclesiastical overseer Ephraim. Ecclesiastical overseer Danilo II of Serbian and Maritime terrains (s. 1324-37) fabricated the churches of the Holy Mother of God Hodegetria and St. Nicholas on the south side. Before the three fundamental churches, he assembled a great narthex. St Danilo’s burial chamber should be visible here and numerous excellent frescoes.
The Patriarchal Monastery in Peć flourishes with frescoes, symbols, relics, and different ancient rarities of colossal creative worth and excellence. It was recorded in the UNESCO World Heritage rundown of Serbia in 2006. Beginning around 1999 the cloister’s been under-equipped insurance and remembered with three other UNESCO Serbian Orthodox Monasteries for the rundown of the World Heritage in Danger.
Peć Patriarchal Monastery as the verifiable seat of Serbian Orthodox Archbishops and Patriarchs is under the direct ministerial ward of the ebb and flow Serbian Patriarch Porfirije. The Abbess of the Monastery is Mother Haritina who lives there with 20 nuns.
Stećci, archaic gravestone memorial parks, offer a special declaration to the social practice of the Serbian public. These extravagantly embellished headstones of different shapes were cut between the final part of the twelfth century and the sixteenth century.
Showing up during the twelfth 100 years, with the primary stage in the thirteenth hundred years, the custom of cutting and utilizing stećci gravestones arrived at its top in the fourteenth and fifteenth 100 years, prior to being ceased in the mid-sixteenth 100 years during the Ottoman victory of Bosnia and Herzegovina.
Stećci are dissipated on the destinations of previous necropolises, in more than 200 locales in southwestern Serbia. Aside from Serbia, stećci are likewise found in locales across Bosnia and Herzegovina, Montenegro, and Croatia.