Page 29 - Studia Universitatis Hereditati, vol 12(2) (2024)

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Figure 5: Monogram of Dmitar, Carved on the Interior Figure 6: Portraits of King Dušan, Queen Helen, and
Side of the Architrave of the West Portal (photo Their Son Uroš, North Wall of the Church (photo
Jasmina S. Ćirić) Jasmina S. Ćirić)

sensory impact experienced by visitors as they meticulously engraved on the lintel’s inner side,
enter the church. aligned with an inscription mentioning the city
Moreover, the placement of the main en- of Zvečan.
trance within the central archway reflects the This cross-like symbol is not merely deco-
medieval Serbian architectural tradition, where rative as it serves as a profound invocation: the
the main entrance held symbolic significance. name ‘Dmitar’ extends beyond mere identifica-
By situating the entrance prominently and cen- tion to become a sensory prayer, with each syl-
trally, ktetors could assert their authority and lable acting as a plea to the Divine and bridg-
demonstrate their connection to Divine power. ing the human and heavenly realms. To utter or
1
This positioning reinforced the church’s cruci- contemplate this name is to engage in a spiritual
form plan and served as a powerful sensory stim- act, transforming the air into a vessel of sacred
ulus, aligning the architectural design with the intercession. Sensory Encounters: Decoding the Symbolism of St Nicholas Church in Ljuboten
building’s spiritual and symbolic aims. Before entering the church, visitors first en-
counter spolia – relics from a bygone empire –
Sensory Engagement and Embodied positioned outside the portal. As they cross the
Cognition threshold, their senses are enveloped by the di-
The architectural and decorative elements of
St Nicholas Church in Ljuboten exemplify a 1 It is likely that the lintel was originally a spolia, adapted
sophisticated medieval Serbian artistic tradi- to fit its current purpose, with the monogram of Dmitar
in Ljuboten serving as a potent symbol of the power strug-
tion and also foster a multisensory experience gles within the Serbian nobility—those aligned with King
that engages embodied cognition and deepens Stefan Dečanski versus supporters of the young Dušan.
The monogram, resembling the Greek letters ΔΜΤΡ
spiritual involvement. By exploring such ele- (Δημητρίου), and its placement below the founder’s in-
ments through lenses of cognitive science, sen- scription suggest different creation dates and methods:
sory studies, and religious studies, one gains the monogram was carved in relief by removing the stone
mass, while the inscription was incised. The paleograph-
insight into how the church’s design shapes sen- ic differences and the distinct carving techniques indicate
sory and spiritual experiences. that these were not executed simultaneously or by the same
hand. Similar monograms, such as those of St. Demetri-
Upon entering the sacred space of St Nich- us in Thessaloniki, offer comparative insights, appearing in
olas Church in Ljuboten, visitors are immedi- low relief on ceramics or scratched through the slip coating
of vessels, further connecting this symbol to the saint’s cult
ately drawn to the monogram of Dmitar (fig. 5), in the region (Ćirić 2024, 264–265).