Page 31 - Studia Universitatis Hereditati, vol 12(2) (2024)

From a sensory studies perspective, the in- sensory and spiritual impact. The acoustics, par-
teraction between light and sacred imagery en- ticularly how sound reverberates off the stone
gages the visual cortex to deepen the observer’s walls and domes, amplify the auditory experi-
experience of the sacred (Pentcheva 2010, 141, ence of religious rituals (Đorđević et al. 2019,
154, 184; Stejskal 2019, 55–66). The architectur- 192–212). Cognitive science suggests that sound
al manipulation of light and the symbolic place- can evoke emotional or meditative states, facili-
ment of figures like Danica and Dušan create tating deeper contemplation, especially in sacred
a multisensory environment where the Divine spaces. Echoes of hymns and chants contrib-
is both seen and felt. The rhythmic patterns of ute to a heightened sense of the sacred, comple-
brickwork and arches engage the visual sense menting the visual elements and deepening the
while creating a tactile quality, invoking ‘hap- spiritual atmosphere (Pentcheva 2017; Troels-
tic visuality,’ where touch is simulated through gard 2018, 52–77).
sight (Betancourt 2016, 660–689). This tactile Religious studies emphasize the embodied 31
experience is further enhanced by the textured nature of religious experience, suggesting that
mortar layers, reflecting the visual rhythm of the the sensory environment of sacred spaces is in-
space. tentionally designed to engage both body and
The auditory dimension of St Nicholas mind in devotion. The ktetorial portrait of Dan-
Church also plays a critical role in shaping its ica, combined with the strategic play of light and
King Dušan’s likeness, guides the observer’s sen-
glance (or as it might be mistakenly assumed to be the only
possible location for the ktetor’s portrait; Đorđević 1994, sory focus toward the sacred. As it opens to al-
146). For comparison, King Uroš II Milutin is also depict- low light in, the portal symbolically bridges the
ed as New Constantine on the northern side across from
the northwest column in the Church of St George in Sta- earthly realm with the Divine, inviting the be-
ro Nagoričino (Cvetković 2023, 667– 692; for Staro Nago- holder into a spiritual journey within the church.
ričino cf. 679–680; fig. 7). Literature frequently mentions Bearing in mind that the Theotokos with Christ
that this is not an easily noticeable position; however, this
idea is not coincidental, particularly considering that by was depicted on the west façade of Ljuboten, it
the late 13th and the beginning of 14th century, the con- is important to recall the Great Lenten Mat-
cept of the ruler as defender of true faith emerged across
from the column as symbol in architecture. The ruler’s as- ins, during which the Theotokos is invoked as
sociation with this column signifies his role as a pillar of the ‘Gate of Heaven,’ opening the gates of mer- Sensory Encounters: Decoding the Symbolism of St Nicholas Church in Ljuboten
support for the Church and its teachings. A nearly iden-
tical presentation was repeated in the Church of the Vir- cy, symbolizing her role as the image of Incar-
gin of the Black Mount above Mateič. Emperor Dušan is nate Logos. The Great Lenten Matins has a dis-
depicted on a pilaster that slightly protrudes from the rest
of the southern wall’s surface (Dimitrova 2002, 185–186, tinctive conclusion, namely, after ‘Trisagion’ and
and on the Holy warrior saint across the Emperor Dušan ‘Our Father,’ instead of the usual troparion to
esp. page 197). He is shown directly across the southeast the saint, the following is read: ‘In the temple
column, on which one of the holy warriors is depicted. It
is important to mention that all three portraits are always stood Your glory, I think I stand in heaven, O
shown close to the entrance structure. Only in the case of Theotokos, Gate of Heaven, open to us the gates
Ljuboten can we see that the relationship with the west-
ern entrance is the same as in Staro Nagoričino (the por- of Your mercy.’ Since she gave birth to Christ,
trait is to the left of the portal, cf. Ćirić 2023, 122). Only the medallion, or paraphrase of Psalm 46, ‘God
in Ljuboten is the portrait on the northern side precise-
ly aligned with the axis of the southern portal. When the is in the midst of her,’ is inscribed on her bos-
doors were originally opened, the light passing through om (Mercenier, Mercenier, and Paris, 1947, 132;
them would have directly illuminated the portrait of the
king and queen with their son Uroš. The text addressing is- Ćirić 2015, 353).
sues of the portraits in Mateič and the question of patron- Hence, it is of great importance that the
age, co-authored by Dr. Branislav Cvetković and myself, is church’s patroness is positioned right next to the
being prepared for the monograph published by Trivent:
Women and Power in the Late Medieval and Early Mod- west portal, with the intercession of Theotokos
ern Southeast and Central Europe (1300–1600), edited by with Christ in the lunette (it is obviously inten-
Melina Rokai, Budapest 2025 (Ćirić and Cvetković forth-
coming). tional that Theotokos with Christ, rather than