Page 30 - Studia Universitatis Hereditati, vol 12(2) (2024)

agonal alignment of Dmitar’s monogram with forms stimulates one’s mind, fostering height-
the interior vista (Đorđević 1995, 5–10). From ened awareness of the space and the Divine pres-
this vantage point, one can view a fresco of the ence it aims to evoke.
young King Stefan Dušan at the northern wall Initially, the church’s west façade featured
(fig. 6) while the memory of the spolia lingers the ktetorial portrait of Danica, the founder,
from the exterior. This alignment is intentional, holding an image of the church. Although this
not coincidental, inviting the senses to connect portrait is no longer preserved, historical sourc-
past and present, royalty and the eternal (Ćirić es and analyses confirm its existence and origi-
2024, 263–266). nal position. Prominently placed on the south
The relationship between Dmitar’s mon- side of the west façade, the portrait emphasized
ogram, his city of Zvečan, and the figure of Danica’s part in the church’s creation and played
Dušan within the church transcends a mere po- a crucial role in the sensory and symbolic experi-
30 litical statement; it represents a theological di- ence of those entering the sacred space (Radujko
alogue. Dmitar’s name, inscribed on the lintel, 2008, 105). As visitors pass through west the por-
becomes a conduit for Divine petition. As the tal, they experience a transformative moment –
studia universitatis hereditati, letnik 12 (2024), številka 2 / volume 12 (2024), number 2
name ‘Dmitar’ is voiced within this sacred space, what can be described as the ‘miracle of light’
it serves as a sensory ritual, merging the breath because natural light streams into the church,
of the faithful with the light streaming through illuminating the Deesis fresco on the north-
the portal (Chariton 1978, 101; Isar 2014, 27–44; ern wall. This light established a visual connec-
Foltz 2019, 157). This light highlights Dušan’s tion between the ktetor, the sacred figures of the
image and affirms faith in the Divinely chosen Deesis, and the portrayal of King Dušan, Queen
king (Ćirić 2024, 267). Helen, and their son Uroš (Ćirić 2024, 260, note
In contrast, the ktetorial inscription, hid- 7).
den within the portal and commissioned by This interplay of light and architecture was
Dmitar’s mother Danica for her son’s salvation, designed to evoke profound spiritual and sen-
represents a more intimate gesture of faith. This sory experiences. The light symbolizing Divine
quiet prayer, inscribed in stone but felt in spir- grace, being transitioned from the earthly realm,
it, contrasts with the more overt visual pledge; represents the pious act of Danica to the Divine
while taken together, these elements transform figures depicted in the Deesis. King Dušan’s im-
the act of pronouncing ‘Dmitar’ into a tactile age, situated near the Deesis, highlights his role
and auditory connection between the Divine as a Divinely chosen ruler, reinforcing his impor-
and the worldly. tance within the church’s design and iconogra-
The church creates a dynamic sensory en- phy (Radojčić 1934, 57; Đurić 1974, 61; Rasolkos-
vironment through its architectural features, ka-Nikolovska 2004, 229). The importance of his
including finely detailed columns, elaborate figure is further emphasized by the complex po-
brickwork, and symbolic portals. The intricate litical history surrounding Dušan’s rise to pow-
carvings on columns – featuring motifs of ram er, particularly his opposition to his father, King
and eagle – and the carefully structured stone- Stefan Uroš III Dečanski (Marjanović-Dušanić
and-brick façade patterns generate visual stimu- 2016, 61–78). The visual and sensory connection
li that captivate the attention of observers. The between the ktetor, King Dušan, and the Divine
theory of embodied cognition suggests that sen- figures enhanced the perception of Dušan as the
sory input significantly influences cognitive pro- God-chosen ruler – a belief deeply embedded in
cesses, which means that the church’s senso- the church’s design (Ćirić 2024, 267–269). 2
ry stimuli engage the observer’s perception and
thought processes, shaping their spiritual expe- 2 It is important to note that the placement of King Dušan’s
portrait on the northern side across from the northwest
rience. The visual complexity of the patterns and column is by no means arbitrary, as it might seem at first