Page 37 - Studia Universitatis Hereditati, vol 12(2) (2024)

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The double-headed eagle can be seen as a man- ence. In Christian theology, light is a powerful
ifestation of heavenly kingship, symbolizing the symbol of Divine presence and enlightenment,
dual authority of Christ the King, who reigns and its interaction with architectural elements
both on earth as in the Heavens and, as suggest- was integral to the church’s design.
ed by the biblical vision of Christ’s universal do- Historically, sunlight streaming through
minion in Revelation 11:15: ‘The kingdom of this the south portal would have gradually illumi-
world has become the kingdom of our Lord and nated the capital at the northeast corner, causing
of His Christ, and He shall reign forever and the carvings of the cross, the ram, and the eagle
ever’ (Androudis 2015, 315–341; Çağaptay 2018, to shimmer with Divine radiance. This dynam-
309–338). ic interplay between light and sculpture would
The strategic alignment of these symbols have transformed these symbols from static im-
with the light entering through the south por- ages into living conveyors of spiritual meaning.
tal further enhances their theological impact. The light filtering through the portal was per- 37
As light filters through the portal, it illuminates ceived as a manifestation of God’s presence, cre-
the capital and the portraits of King Dušan and ating a visual link between heaven and earth.
Queen Helen, creating a visual and symbolic With its sculpted symbols, the capital was
connection between earthly rulers and celestial strategically positioned to exploit this natural il-
authority. This interplay of light and symbolism lumination. As sunlight fell on the capital, it ac-
reinforces the Divine sanction of Dušan’s reign centuated its intricate details and cast shadows
and the church’s role as a conduit of spiritual il- that highlighted the theological implications
lumination and legitimacy (fig. 9; Potamianos of the symbols. This interaction between light
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2022, 151–172). and stone mirrored the dual nature of existence,
The capital at the northeast corner of St where the material world (stone) is illuminated
Nicholas Church, with its sculpted symbols of by heavenly truth (light). The light’s movement
the cross, ram, and double-headed eagle, em- through the portal deepened the viewer’s experi-
bodies a rich tapestry of theological and political
symbolism. Through their alignment and inter- 7 The south portal of the Church of St. Nicholas has under-
gone considerable changes over time, particularly during
action with the sacred light from the south por- modern restoration efforts. In a photograph published by Sensory Encounters: Decoding the Symbolism of St Nicholas Church in Ljuboten
tal, these elements collectively affirm the heaven- architect Žarko M. Tatić, the portal, although visibly dam-
aged, remained part of the original façade and was filled
ly endorsement of the rulers and the aspiration with stone ashlars. Tatić, who completed the first architec-
to mirror the Byzantine Empire’s spiritual and tural drawings of the church, documented its deteriorat-
ed state (Tatić 1927, 99). The subsequent decision to close
temporal grandeur. the portal with brick and mortar during later conservation
efforts in 1928 raises concerns about the rationale behind
The Sacred Impact of Light through sealing an entrance that played a crucial role in the church’s
architectural and symbolic framework. Regarding the pe-
the South Portal riod of restoration efforts at Ljuboten, only V. R. Petković
provides information, noting that the works were under-
Although the south portal of St. Nicholas taken in 1928 (Petković 1950, 178). This intervention al-
Church is now sealed with a brick-and-mortar tered the visual and spatial perception of the façade, and
wall, its original design played a crucial role in the distinction between the original and new materials re-
mains evident. Such a decision warrants critique regarding
shaping the church’s sacred and sensory experi- the conservation approach, particularly when it comes to
the preservation of historically significant features like the
6 The literature on natural lighting in Byzantine churches is south portal, which had an integral role in the sacred and
extensive. This article aims to provide a summary of this sensory experience of the church’s space. The photographs,
body of work and offer recommendations for further read- most likely taken by Jakov Pavelic, were published by Tatić
ing. Notably, Potamianos’ doctoral dissertation (Potami- and are part of the phototheque of the National Museum
anos 1996) is the key resource for understanding interplay in Belgrade. These visual records provide crucial documen-
between natural light and liturgy in Byzantine architec- tation of the church’s ruinous state before the modern in-
ture. terventions.