Visual Culture and Formation of Sacred Topography in Negotin Krajina

and cultural changes on this territory, as well

as in other parts of Serbia and the Balkans,
gave rise to emergence, development or dis-

Nenad Makuljevi

VISUAL CULTURE AND FORMATION

OF SACRED TOPOGRAPHY IN NEGOTIN
KRAJINA

appearance of sacred areas.

In the heart of the sacred topography of
Negotin Krajina there are Orthodox churches,
acred topography comprises holy places
which have been built since the Middle Ages
on a given territory including sanctified
to the present day. The preserved Orthodox
areas, as well as places of veneration and
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 conlegends 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 Orthoplaces 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 imporNegotin Krajina is located in eastern Serbia
tant was the Spomenica (Memorial Volume)
and it is framed by the Danube, the state borof the Eparchy of Timok, which showed all
ders with Romania and Bulgaria, mountains
the churches. The Spomenica featured hisKuaj 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

1 On sacred topography see: . -, ,

Balcanica 35 (Beograd 2004), 285322.
2 On Negotin Krajina see: . ,
: 1858. , . 1,
1972; Ibid., 1859.
1940. , . 2, 1980.

the period between 1964. and 1966. studies

of a great number of churches in the county
3 ,
1895, 182188; 198199.
4 1834-1934,
1934.

297

Nenad Makuljevi
of Zajear were published, which also included the churches from Negotin Krajina.5
As its works were very important, the eccle-

THE MEDIEVAL HERITAGE

n the Middle Ages, the territory of todays

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 Balthe 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 developtopography 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
here on the basis of field research, archive
sources7 and literature. The study also shows
the parochial Orthodox churches on the territory of Negotin Krajina, i.e. the contemporary

from the medieval period on the territory of

Negotin Krajina. The Korogla Monastery,

graphy of Negotin Krajina.

the northern wall on the left, then in the concave middle field three exquisitely individuali-

one of the oldest ecclesiastic constructions in

this area today, was built in the Middle Ages.9
Korogla was constructed as a single-nave
arhijerejsko namesnitvo (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

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
one can discern St Trifun and St Agaton; in
the territory of Krajina is kept in the Museum of Krajina
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: . , above the schematically painted curtain, two
, XIII-2 ( 1987), 151180;
. , . , . , . ,
: 1832-1925, 2002; . ,

( XIX - XX ),
1994; . ,
(1882-1914), 2007.
7 The Historical Archives of Serbia from Belgrade and
the Archives of the Cathedral Church in Negotin are
particularly important for the study of the sacred topography of Negotin Krajina.

large figures of saints; in the upper narrow

band: Christ at the table, and on his right and
8 The status of todays territory of Negotin Krajina in
the Middle Ages is not clear enough, see: . -, XV XVI , o 31-32 ( 1969), 67.
9 On Korogla see: . . ,
, 3 ( 1888), 103108.

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 authoOn 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 Gri
a choir of angels, carrying with them saints was very important.14 Saint Nikodim was from
busts with halos to the sky. What is particularly
well drawn here is a wonderful horse rider
with a shield and a spear on the right from the
2m tall entrance horizontally cut from a side,
which was decorated with frescoes, as shown

Mount Athos, a monk of Serbian and Greek

origin who withdrew into the mountains on
the Danube river banks after his stay on this
holy mount. From there he moved to Wallachia, 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 Kanitzs description shows that the Tismana Monastery, which is how saint
the order of frescoes followed the medieval Nikodim got his name Tismanski (of Tismaprogram 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 Patriarthe 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 todays
Korogla has been preserved to present day. Krajina, Saint Nikodim founded two monasThe 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
that the church had flown over from the sinful country of Wallachia, whereas according
to yet another one the church in Korogla was
erected by Emperor Duan in memory of one
of his dukes who died fighting the Bulgarians.11 The Korogla Monastery was in ruins,12
10 . , , , .
II, 1987, 471.
11 . . , ,
104, 107; . , , ,
. II, 469.
12 The Korogla Monastery was visited by D. Bos-

century: . ,
, .. I ( 1950),
196197.
13 . , , ,
: :
, .
, 1998, 218.
14 On Saint Nikodim Tismanski: . ,
XIV XV , in:
, ,
1971, 308309.
15 On Manastirica see: . ,
1445. 1586. ,
29/30
( 1993-1994), 206207.
16
On the Vratna Monastery see: . ,
1445.
1586. , 206.

299

Nenad Makuljevi
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 speinaccessible 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 ecclesiasthe 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
strength of his faith and devotion through the
choice of this dangerous place out of reach.
The Vratna Monastery was founded at the foot

also testimonies of monasteries which existed

during the 16th and 17th centuries. Thus, today
we know about the Duica Monastery21 and
the Monastery of the Holy Trinity, located near

of the gate. The church of the Vratna Monastery was refurbished several times. In the 19th
century there was an inscription on it about
the construction of the church and about its
founder Duke erban: erban Voda Desturca

the todays village of Kobinica in the so-called

Negotin mud (Negotinsko blato).22
At the time of the Ottoman rule, one of the
most important monasteries in Krajina was
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 church of the Bukovo Monastery was re-

THE OTTOMAN AGE

furbished and repainted at the end of the 17th

he Ottoman age was a particularly impor- century.24 This church had smaller dimensions,
tant and complex period in the history of
19 . -,
Negotin Krajina. During this period of time, XV XVI ,

Krajina gained a special position and autonomy. Local Christian administrators, called
kneevi princes, in Krajina were hereditary
rulers, and there was only a minimal number
of present Ottomans. Since the second half
of the 15th century the territory of Krajina

17 . ,
, 29
( 2005), 7174.
18 ,
198199; . , , ,
. II, 461.

65109.
20 On Vidin Metropolitanate see: . ,
1739-1834,
. XLIX (2002), ( 2003), 163181.
21 The remains of this church were visited by ure
Bokovi: . ,
, .. I ( 1950),
197.
22 The Monastery of The Holy Trinity was mentioned
in the year 1560: . ,
1445. 1586. , 208209.
23 . ,
1445. 1586., 208.
24 . Bokovi saw two layers of frescoes in Bukovo.
In his opinion, the younger layer belonged to the restoration from the end of the 17th century: . ,
,
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 middleThe door
the entrance to the naos. It was destroyed, was very narrow, and one could barely pass
together with the wall, during the restoration
of the church in the year 1877.25 What has been
preserved is its transcript, where it is said that
the church was painted in 1684 during the

through. The todays narthex was a simple

porch in front of the church with four windows
and no doors. The church was covered with
ceramide and it was one meter shorter, floored

time of metropolitan Sofronije of Vidin, prior

Mihail hegumenos Deanac and with the help
of patron Kir Simon, Prince (knez) of Trnjane.26
The inscription on the painting of this church
reveals some aspects of the life of the Bukovo

with brick only. It was entered after climbing

six stairs. On the left there was no space for
choir.28 The description of the church of the
Bukovo Monastery shows that the church had
an inner division of space, and that there was

Monastery. The monastery, as well as Krajina,

was under the jurisdiction of Vidin Metropolitanate, but they apparently kept in touch with
Serbian monastic centers. This finds most ob-

only a porch outside. The church was buried

in the ground, which used to be characteristic
of the churches built at the time of the Ottoman rule. During this period Bukovo was an

vious confirmation in the presence of hegu- important spiritual center, where priests were
menos Mihail Deanac. 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 developin the Ottoman Empire.
A partial description of the old church in
Bukovo can be discerned from the notes of
hegumenos Prokopije Bujii, a sometime
hegumenos of the Banja Monastery and one
of the leaders of the uprising against the Ottomans in Polimlje and Stari Vlah.27 He noted
25 ,
1895, 198.
26 . . , ,
1876, 957.
27 The description of Prokopije Bujiis personality can be found: . , ,

ment of the residents lives. An example of

the dynamic process of construction and
displacement of churches in Krajina can be
seen in the preserved annals of the parish
of Bukovo and Kobinica.29 According to the
annals, at the beginning of the 18th century,
, . II, 466467.
28 The list of iconostases, icons and old church books
on the territory of this museum from 3 11. XII 1964, 2.
(Library of the Museum of Negotin Krajina)
29
. , - , 11 ( 2008),
211213.

301

Nenad Makuljevi
there was a common church shared by the
villages of Bukove and Kobinica, devoted
to St Gregory the Theologian Sveti Grigorije
Bogoslov. In mid 18th century, both of these
places moved to other locations, when a
church was built in the new village of Bukove.
This church was used until around 1817-1820.

in this area even in the first decades of the

19th century. One of the last churches built
under the Ottoman rule was the Old Church

At that time both villages returned to the

original, todays location, when two churches
were built: the Church of Saint Georg Sveti
Georgije in Bukove and the Church of Saint

churches during the Ottoman rule. The first

iconostasis of this church was made upon its
erection. The famous hero from the First Serbian Uprising, Hajduk Veljko Petrovi, was bur-

in Negotin,33 which is clearly reflected in its

distinctive features. It was built in the year
1803 and it was buried in the ground, which
was a frequent solution in the construction of

Nicholas Sveti Nikola in Kobinica. According ied near the church in the year 1813.
to the annals, the church in Bukove 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 Krajinas mergence with Serbia, a number
place.30 The church in Kobinica was also of churches were built and painted. During
built from the same material. These churches
were used until the year 1850.
What also testifies of the more favourable
position of the Christians on the territory of

Ottoman rule, the churches in Popovica (1830)

and Trnjan (1829) were erected, built of wood
and similarly planned.34 What is particularly
emphasized in the churches are the choir

Krajina in the 18th century are the preserved

crosses of larger dimensions.31 They were
mostly erected as tombstones, and their size
and shape revealed a certain religious free-

areas, which gives them a cruciform basis. One

of the distinctive features of these churches
is the similarity of their decoration with the local profane buildings, which is why they be-

dom. At the cemetery near the Korogla

Monastery, Felix Kanitz saw and read an
inscription on a 2.5 m tall rock the tombstone for Radak ivanovic dating from the
year 1768.32
The Ottoman authorities were present

long to a special group of wooden churches

in Serbia.35 Wooden churches were frequently

30 Ibid. 212.
31 Some of the monumental crosses were placed in
the port of the Old Church in Negotin, where during
the eighties of the 20th century the Museum of Krajina
formed a lapidarium.
32 . , , , .
II, 469.

33 On the Old Church see: , 1803..: 1803-2003,

. , 2004. The description of the Old Church in Negotin was written by: .
, , in this book.
34 ,
1895, 185;
1834-1934, 246; 251. On churches in Popovica and
Trnjan: . , ;
Ibid., , in this book.
35 . , 17981848, 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 Tamnie,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
icons. Today the icons with inscriptions in

ECCLESIASTIC CULTURE IN THE SERBIAN

STATE

the Wallachian language can be seen in

onstruction and restoration of churches
Mihajlovac,36 Radujevac, Jabukovac,37 and in
the past they could also be found in many
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

there was a local Wallachian icon painter or if
these zographs are coming from other areas.

In a literature it is stated that the old church in

tubik was erected precisely between the First
and the Second Serbian Uprisings.44
Owing to Prince Milo, Negotin Krajina was
One of the very few signed Wallachian icons
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 Zajear, the Eparchy of Timok was formed
book, i.e. the Gospel, there is a signature of the and it became the most important ecclesiaspainter zugrav Konstantin from Krajova. In this tic administrative unit. The seat of the eparmanner the icon from Radujevac pointed to chy was in Negotin and Zajear, which had a
the existence of cultural connections between great impact on the organization of ecclesiKrajina 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
with the economic communications.
Side by side with the Wallachian zographs,
on the territory of Krajina there were also
Slavic, Serbian and Bulgarian painters who
used the zograph model of icon painting.39
36
See: . ,
, in this book.
37 See: . ,
, in this book.
38
See: . ,
(1882-1914), 78.
39 On the zograph model of painting: N. Makuljevi, The
Zograph Model of Orthodox Painting in Southeast Europe
1830-1870, Balcanica XXXIV (Beograd 2004), 385405.

40
. ,
, in this book.
41 . , , in
this book.
42 . , , in this
book.
43 . ,
, in this book.
44 . , 1798-1848, 92.
45 . , 1830-1839,
2004, 3335.
46 On the Eparchy of Timok see: . ,
1836,
, . LII ( 2005), 257272; .
, 1836,
, Miscellanea XXVIII ( 2007),
3162.

303

Nenad Makuljevi
the fourth decade of the 19th century, eccle- became one of the numerous sacral construcsiastic practice in Negotin Krajina was gradu- tions serving Knez Milos 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 cenEparchy of Timok had a prominent role in this tury, Negotin Krajina was one of the territoprocess.
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
Milos involvement in patronage and propaganda. This was particularly emphasized in
Mihajlovac. Namely, Prince Milo managed

by Milan . Milievi, on his passing through

this area when he noted: What is clear in Krajina is that there are a great many churches
and despite being of weak construction, they

to move the residents from Veliko Ostrvo on

the Danube to Serbia, where the settlement
of Mihajlovac was formed.47 The village got its
name after Mihail, Prince Milos son, which
was in line with the governmental and pro-

still seem to outnumber the very priests. What

is also striking is that it is almost at every crossroads or border between two villages that you

ment permanently memorized a particular

ruler. In the newly formed Mihajlovac, Prince
Milo was the church founder. His idea and
propagandist character of his activities are

there were churches in Brza Palanka, Mihajlovac, Mala Kamenica, Prahovo, Danjevo,
Slatina, Urovica, Jabukovac, Plavna, Malajnica,
tubik, Popovica, Trnjane, Radujevac, Srbovlah

shown in the text of an inscription which was

supposed to be placed above the entrance
to the church in Mihajlovac. In the text it is
clearly stated that the church was erected
to commemorate Prince Milos visit and the

(Srbovo), Bukove/ Kobinica, Mokranj, Metri,

Veliko
Jasikovo,
Glogovica,
Rogljevo,
Rajac, Brusnik, Tamni, Koprivnica, Sikol,
ubra, Reka, Negotin, together with the
monasteries of Bukovo and Vratna.51

will find crosses, made of stone or wood, as

border signs.50 Milievis remarks find confirpagandist 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 Okruije (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

annexation of Krajina and other areas torn off 49 On Prince Milos propaganda and his patronage
Serbia.48 In this way the church in Mihajlovac of Orthodox churches, see: . ,
47 . . , ,
1924, 98100.
48
. . ,
1815-1839,
, . 22, - 1926, 147.

- ,
: ,
2000, 283293.
50
M.. ,
, 1868, 162.
51
. . , i i ,
V (
1853), 237239, 243245, 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 Veljkos grave was not
churches in Bukove and Kobinica, a common known with certainty, his brother Milutin put
church was built in the year 1849. According
to the sources, this church was built in gothic
style,52 and it fought for primacy with the one
in Milanovac.53 The case of this church shows

up a memorial plate in 1844, with a becoming

epitaph which celebrated Hajduk Veljko as
a Serbian national hero.55 On account of its
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
The ecclesiastic life in the Principality of
tecture of the Principality of Serbia.
th
During the 19 century, some powerful Serbia implied acceptance and implementalocal 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 of legal acts and procedures referring to

the construction and decoration of Orthodox churches. According to the Law on public structures, churches had the character of

tion zapisi were put up to surround the territory of a particular village. These landmarks
had different dimensions, and they could be
very monumental. They contained a dedica-

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

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 decoration.
Some older Orthodox churches gained

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 harmony with the spirit of the Eastern Orthodox
Church.58 Therefore, the construction of new

52
. , - , 213.
53 . . , i i , 244.
54 Compare with: . ,
, :

1956 , 1958, 192, 198, 202, 245.

55 M. . ,
, 174175.
56 Ibid. 175.
57 . ,
1882-1914, 2834.
58 See:
XV, 1863, 112114;
: . ,

305

Nenad Makuljevi
Apart from the state and law regulations,
churches was controlled by representatives
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 connecDuring 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 Kratine decorative elements, and not necessarily
acceptance of medieval architectural forms.59
As a result, all over Serbia and even on the
territory of Negotin Krajina churches were

jina also confirms that. In spite of the gradual

obstruction and restriction of zographs work
in the Principality of Serbia, there was one
constructionist and zograph workshop from

built with a bell tower above the western

front whose decoration was marked by the
elements of Byzantine culture.
During the second half of the 19th century
ecclesiastic life in Krajina started to flourish. Old

the territory of the Ottoman Empire of that

time. This was a constructors and painters
group which, according to the annals of the

churches were abandoned and new Orthodox

churches were built with features matching
the trends of church civil engineering of that
time. Thus, churches with bell towers and

churches of Krajina, was composed of the

constructor Petar Nikoli and zographs Pavle
and Nestor. This group built and painted the
church in Mokranje, Kobinica65 and Rogljevo.
Only few people from this group can be identified with higher probability. One of them is

Neo-Byzantine decorative plastics were built Nestor Trajkovi-Trajkov, i.e. Trajanov son of
in tubik 1868-1872,60 Jabukovac 1868-1876,61 the woodcarver Trajan Negriev from Galicnik.
Prahovo,62 Mokranj, Kobinica63 and Rogljevo. In the second half of the 19th century he had a
1882-1914, considerable painterly opus on the territory of
2834.
59
See: . ,
1882-1914, 220-221.
60 The first project of the church in tubik was made
by D. Milutinovic. See: . -,

,
, 1978, 94;
. , , in this
book.
61 . , , in this book.
62 . ,
, in this book.
63 The plan of the church in Kobinica was made in
the Ministry of Constructions: . ,
1867-2000,
2000, 14.

Bulgaria.66 Zograph Nestor painted together

with Pane Djurcinov, who is said to have led a
group of zographs while working in Serbia in
Negotin. Panes team (tajfa) also included his
sons Mihail and Teofil.67
However, the work of zographs Pavle
64
On geographical influence on culture see: T.
DaCosta Kaufmann, Toward a Geography of Art, Chicago
London 2004.
65
. , - , 215-216.
66 . , ,
1965, 222223.
67 Ibid. 225.

306

Visual Culture and Formation of Sacred Topography in Negotin Krajina

and Nestor was threatened by the bishop of in Kobinica was finished, but in line with the
Timok Evgenije Simonovi, who tried to stop instructions from the Consistory.
In Krajina there were also icons, which must
them. He was not satisfied with their work in
Mokranje, so he spoke to the Consistory of the have been brought there from the surroundTimok Eparchy in order to stop their work in ings of Vidin. Thus, the icon of the Mother of
Kobinica. Bishop Evgenije maintained that God done by the well-known icon painter
the painting in Mokranje did not meet the Dio Zograf is kept in the Cathedral Church
requirements of the Orthodox Church painting. The bishop and the Consistory were
confronted by representatives of the village
communes of Kobinica and Bukove, who
believed that the problem had been caused

of Negotin.69 Also, the icon of Saint Toma was

painted by Dio Zograf for the guild craft,
which was led by master Niko in 1856.70 This
icon was placed in the Old Church in Negotin.

rules and instructions from the Consistory of

the year 1874.68 The argument and quarrel
over the painting of the church in Kobinica
shows that members of ecclesiastic hierarchy

there are emperors doors painted by Simeon

Jakic in 1816, while the altar icons in Popovica were painted by Simeons son Arsenije in
1820.73 Simon and Arsenije Jakics icons were

Dios 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 tubik, that is Steva of Vidin.71
The annexation of Krajina to the PrinciTodorovic. The conflict over the painting of
the Kobinica 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 Jakic family
and finishing their work, but in line with the from Bela Crkva.72 In the Old Church in Negotin

in Krajina fully adopted the historical poetics

of church painting and that they opposed
zographs work. On the opposing side there
were the purchasers of church painting local
village communities, apparently with disparate aesthetic views. In the entire conflict, representatives of state authorities acted rather
pragmatically. They showed their primacy and
owing to them the work started in the church
68 More details on the conflict over the painting of
the church in Kobinica: . ,
1867-2000, 1518.

69 See:

, .
70 . , 17911848, 262.
71 See: . ,
, 225231, 239240.
72 On the Jakic family of painters: . , ,
1 (
1965), 267286.
73 On the icons by Simeon and Arsenije Jakic in
the Old Church in Negotin and Popovica see: , 272; . ,
1791-1848, 244; . , , in this book;

307

Nenad Makuljevi
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, Tamni,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
of affairs of the mid 19th century, is the one
for the church in Veliko Gradite.74
Since its annexation to Serbia, there were with The Last Supper from Radujevac (image
many Serbian icon painters in Krajina, and
the painted programs of altar partitions and
offertory strategies were in accordance with
the general trends of sacral visual culture of

11). This icon was offered by the director of

Bihela, to commemorate his arrival in Serbia
and Prince Milo Obrenovics return to power
(image 12).79 As it was precisely in Radujevac

the Principality of Serbia. One of the earliest that Prince Milo 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
were, according to the note on the back of
the altar icon of the Mother of God, painted
by Milija Markovi, ivko Pavlovi and Ivan

confirmation of loyalty from Bihela. Bestowing

the church with the icon thus sacralized political loyalty and it could be perceived as some
kind of an oath. Simultaneously, the oblation

Markovi .
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 culshow of private piety and as part of the public ture in the Principality of Serbia.
promotion of ones own political stances. An
During the second half of the 19th cenimportant 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
complex composition showing the most important events from ecclesiastical history and
places of pilgrimage. It seems that during the
second half of the 19th century there was an
increase in the number of pilgrims from Krajina,
Ibid.,
, in this book.
74 . ,
, 272.
75 See: . ,
, in:
, . . , 2006, 807837.

wife Poleksija, painted the iconostasis of the

church in tubik.80 At the same time, local artists had an active role in the sacral art of this
76 . , , in this
book.
77 . , , in
this book.
78
. ,
, in this book.
79 On The Secret Supper icon from 1859 see: .
, , in
this book.
80 . , . , . , . ,
1832-1925, 2002; . , , 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
In the furnishing of Orthodox churches,
the Grammar School Pavle ortanovi81 and
Vatroslav Bekovi82 at that time. ortanovi liturgical objects have an important place. In
stayed in Negotin from 1883 to 1897.83 During
his stay in Negotin, ortanovic painted a great
number of portraits and compositions from
national history, as well as icons, iconostases

ecclesiastical rules it was stressed that liturgical

objects were to be made of noble materials,89
which contributed to the grandeur of divine
service. On the territories of Krajina and Epar-

and wall paintings in churches.84 ortanovis

most important work in Krajina was painted in
the Old Church in Negotin, where he restored
and painted icons for the iconostasis, also doing wall painting.85 What has also been pre-

chy of Timok, representative liturgical objects

date to the very first decades of the 19th century.90 It was already in the period of the uprisings that a silver chalice was made in 1812
by master Petko in memory of Maria. Another
chalice was made with special care and complex iconographic decoration, as a gift from

served are ortanovis icons for the Cathedral

Church in Negotin, The Bukovo Monastery
and the church in tubik.86 ortanovic mana- Duke Milenko Stojkovi in Pore. 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 Bekovi. 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 Rogljevo, Radujevac, Kobinica, Mihajlovac,
81 On ortanovi see: . , the Old Churh in Negotin, and the Cathedral

,
2930 ( 1993-1994), 129142.
82 1839-1989, .
, 1989, 127.
83 . -, : , 2003.;
1839-1924. , . , 2003, 153235.
84 . -, : , 414.
85
. -, : ,414; . ,
, in
this book.
86 . , , in
this book.
87 . , , in this book.

Church in Negotin.92
One of the most important feats in the organization of sacred topography of Negotin
Krajina, together with the act of total compliance with the current trends in ecclesiastical
88
. ,
, in this book.
89 , x y, !Wli
90 . , 17911848, 370, 418419.
91 Ibid., 371.
92
On Jovan Nikoli and his opus: . ,
, in print.

309

Nenad Makuljevi
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 faades.97 The architects choice
tin, Dragutin Milutinovic made a developed
urban plan and projects for a number of public constructions, including the monument to
Hajduk Veljko Petrovic and the new church.93
The Cathedral Church in Negotin was built
owing to bishop Evgenije, who initialized its
construction around 1868, but the supervisor

to use neo-classicistic decoration stemmed

from the understanding of the church as a
public edifice. Instead of the neo-Byzantine
style, which was used to emphasize the na-

Ranko Alimpic wanted to have it built in the

new Negotin.94 For this reason preparations
for the construction of this Negotin church
started as early as in 1867-1868.95 Upon giving
up the idea of relocation, the foundations of
the new church were laid in 1872, on a histori-

ness and power of a public state and national

institution, which was especially used in Serbian ecclesiastical architecture in the mid
19th century.98 The church was situated on the
main town square, representing a new heart
and a symbolical center of Negotin.99 There-

tional identity, what was implemented here

were the rules of academism architecture. In
this manner they underlined the representative-

cal location, next to Hajduk Veljkos powder fore, in the immediate vicinity of the church,
magazine. The process of construction lasted there stood the monument to Prince Milo,
until 1874, and the church was consecrated in made by the sculptor ordje Jovanovi.100
the year 1876.96
Special attention will be devoted to the
The new Cathedral Church in Negotin was
of monumental dimensions, according to
the project of the author which has not been
ascertained. The concept of the new church
of Negotin was similar to the bases of the
churches in Azanja, Smederevska Palanka,
93 . , 1859.
1940, . 2, 1980, 126128.
94 Ibid., 131132.
95 . , XIX ,
2006, 400.
96 , 9 (
)

decoration of the Cathedral Church in Negotin. The painting of the iconostasis was originally entrusted to Pavle ortanovi, a local
97 See: . , XIX
, 402.
98 On usage of neo-classicistic architecture and its
symbolic meaning in Serbian ecclesiastical architecture: . ,
, 2006, 4546.
99 See: . ,
:
, 2006, 375385.
100 On the monument to Prince Milo: . ,
: , 117415.

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 Markovi, and it consistent Serbian national work in this area.
was finished by Milisav Markovi. The concept Due to bishop Melentijes 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.
What was particularly important for the
sacred topography of Negotin Krajina in the
19th century was the restoration of the Bu-

supported making new iconostases. Bishop

Melentije was not only implementing national program, but he also supported religious
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 eccleMonastery were quite distinguished: it is siastical icon-painting. A part of his polemics
well positioned, among beautiful springs, with
an old church, large property; when it is quiet
the bells can be heard even in Negotin, and
so can the bells from Negotin be heard here,

with ore Krsti has been preserved, and

here one can see he was an advocate of the
Russian model of icon painting and reverence
for the early modern practice in iconostasis

too. Through the monastery woods called Gaj

there is a beautiful road,...101 In this period the
Vratna Monastery was a metoch (property) of
the Bukovo Monastery.102 The monastic church
was refurbished in 1888 by the archimandrite Prokopije Bujii. Through his effort the

programs.104
At the time of Episcopal service of bishop
Melentije, laws and regulations on construction of Orthodox churches were fully
followed.105 At the end of the 19th century,
construction of Orthodox churches in Negotin

church was expanded and decorated (image

13). On the monastic estate the School for
Winemaking and Fruit Growing was founded,
so Bukovo became an important spiritual, cultural and educational center in Krajina.

Krajina fully complied with the rules and legal

procedures of the Principality of Serbia, as
well as with the trends in Serbian ecclesiastical
architecture of that time. A great number of
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 ecclesiastic life of Negotin Krajina at the end of 103 . , -

101
251.
102

. . , i i ,
Ibid., 239.

(1882-1914), 6264.
104 . , (1882-1914), 6263.
105 On legal regulations of ecclesiastical art in the
Kingdom of Serbia: . ,
1882-1914, 28-34.

311

Nenad Makuljevi
standard solutions were dominant. They ceptions was the church in Jasenica in 1895.113
In bishop Melentijes report for the
were performed by Svetozar Ivakovi, in
compliance with architectural poetics of Episcopal council from 1901, he spoke about
Theophil Hansen. Following Ivakovis plan as the influence exerted by the Ministry of Conwell as the standard ones, they made the plan struction and his dissatisfaction with the sent
of the church in Tamni,106 and most probably plans: the plans for all consecrated churches
plans of the churches in Urovica, ubra,107 were drafted in the Ministry of Constructions.
Sala, Reka,108 Duanovac109 and Vidrovac.110
The basic model for these buildings was close
to the draft of the church in lna. The proposal of the solution for these churches was

They do not have any domes. I tried hard to

effect the construction of one dome in the
middle of the church, but met with resistance
in the aforementioned Ministry. They stated

given by Svetozar Ivakovi, and the plan was that the suggestion could not be taken since
made by Jovan Ilki and Aleksandar Bugarski. in that case churches would be much more
Ivakovi gave an explanation for his form of expensive. And even though I acknowledged
an ordinary prayer house, like a simple long
house, without a dome.111 From the Ministry,
they also sent the plan for the church in Radujevac, according to the project of the architect Duan ivanovi.112 This plan, identical to
the plan of the church in Trstenik, was one of

the reason behind their decision, I still maintained that the closed wooden domes should
be built and that the plans should follow the
sketch of the Church of St Sava in Vraar. The

former suggestion was declined, and the

latter, they said, would be kept in mind. Howthe 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 Ser106 See: . , , bian churches and monasteries.114
in this book.
At the end of the 19th century, most likely
107 . ,
, in this book.
due to the legal procedures in the furbishing
108 . ,
and decoration of Orthodox churches with
, in this book.
109
. , which committees chose painters, the most
, in this book.
110 : . ,
, in this book.
111 A full explanation of the project of the church in
Zlna is given by: . , (
),
, . 1 ( 1894), 13.
112 . , (1882-1914), 234.

renowned Serbian church painters worked on

113 . ,
, in this book.
114
.
1900.
1901. , XI-XII (
1902), 725726.

312

Visual Culture and Formation of Sacred Topography in Negotin Krajina

the territory of Krajina. The finishing works in stases in Jasenica122 and Reka,123 the iconodecoration of the Cathedral Church in Nego- stasis and frescoes in Mihajlovac,124 as well as
tin were very important. Steva Todorovi, one the frescoes of the Bukovo Monastery,125 after
of the most respected Serbian artists of that the work of Steva Todorovi in the Cathedral
time, was in charge of wall painting. Together Church.
Church communities and individual conwith his wife Poleksija and other assistants, he
painted the wall surfaces, creating a complex tributors played an important role in the pronational thematic program.115 In this period,
Lazar Krdali painted the iconostases of the
Bukovo Monastery116 by himself or with his
wife Olga and the church in Tamni .117 Rafailo

cess of funding and construction of churches.

The industrialist ore Vajfert built a unique
private memorial church in Krajina. In Glogovica, Vajfert built the Church of Saint Ana in

Momilovi painted the iconostasis in Sikole

in 1908,118 while Pako Vueti took care of the
iconostasis and wall painting in Radujevac.119
The painter Milisav Markovi from Knjaevac
had outstanding involvement in the Eparchy

memory of his mother Ana. As a renowned

wealthy purchaser, he employed the architect Vladimir Popovic to make the plan for the

of Timok, which made him one of the most

productive icon painters not only in Krajina
but in the whole Principality of Serbia. Milisav
Markovi was hired for painting numerous
churches of Timok Eparchy.120 He painted the
iconostasis and frescoes in Sala ,121 icono-

115 . , (1882-1914), 7677.

116 Ibid., 178179.
117 J. , , in this
book.
118 . , () :
, (1875-1941), 2009,
23.
119 . , , 183184; . ,
, in this book.
120 . ,
, XIII-2
( 1987), 151159.
121 . , ,
in this book.

church. The iconostasis and frescoes for the

church in Glogovica were painted by Milan
Milovanovi.126

THE PERIOD AFTER 1920

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
connected to organization of ecclesiastic life
were continued. As the area of Negotin Krajina
already had a developed ecclesiastic network

122 . ,
, in this book.
123 . ,
, in this book.
124 . ,
, in this book.
125 . , (1882-1914), 6264.
126 . ,
, in this book.

313

Nenad Makuljevi
and a great number of churches from the 19th shaped throughout the past centuries, todays
century, only few churches were built and structure of sacral topography has been ordecorated at this time.
ganized into the Episcopal Deanery of NegoBetween the two world wars, Orthodox
churches continued to be built in Negotin
Krajina. At this time churches were built in
Samarinovac and arkamen.127 The church in

tin. In the history of its formulation, the 19th

century was the most important period, when
the largest number of Orthodox churches were
built and decorated in this area. The distinctive

arkamen was designed in 1927 in Serbian-Byzantine style, which was dominant in the
Serbian architecture of that time. The iconostasis of the church was painted in 1933 by the
Russian emigrant Stefan Ljisuk.128 Since at that

features of Krajinas sacred topography match

both general and political trends in Serbia,
and local geographical and cultural characteristics. Therefore, sacred visual culture of Kraji-

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 Kuzmanovi.129

The period of the Second World War marked
a dramatic change. After the war, the communist 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 Yugoslavias
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 1834-1934, 251.
128 See: . ,
, in this book.
129 . , , in
this book.

314