Page 38 - Studia Universitatis Hereditati, vol 12(2) (2024)

ence, inviting contemplation of the Divine mys- its architectural features and environmental set-
teries represented by the capital’s imagery. ting. The church’s location enhances its spiritual
Although the south portal is today cov- and sensory impact, as it is situated within the
ered with brick and mortar, historical evidence sacred landscape of the Holy Mount of Skoplje
and architectural studies suggest that the orig- (Skopska Crna Gora). This prominent position-
inal design intended for sunlight to emphasize ing within a revered natural setting amplifies the
key features of the church, including the capi- sacred atmosphere and contributes significantly
tal and the portraits of King Dušan and Queen to the worship experience. The natural environ-
Helen with their son Uroš. The rulers, bathed in ment of the Holy Mount further enhances this
the same celestial light that would have touched experience, integrating the church’s sensory ele-
the capital, were positioned as intermediaries be- ments with its sacred setting (Cosgrove and Del-
tween God and the people, legitimizing their au- la Dora 2009; Della Dora 2016, 147–177). The
8
38 thority through religious iconography and natu- 8 It is important to note that the issue of sacred topography
ral light (Korać 2003, 112, 113). in Skopje, Kumanovo, and the surrounding areas has not
Ljuboten Church’s surfaces are brought to been thoroughly addressed in historiography. The fact that
studia universitatis hereditati, letnik 12 (2024), številka 2 / volume 12 (2024), number 2
life by the interplay of light and shadow. The ar- endowments were established in a relatively small space
speaks to the repetitive nature of creating sacred spaces on
chitectural elements are designed to capture and mountains. To recall, mountains, hills, and highlands—
reflect light in ways that emphasize their or- traditionally associated with topoi from the Holy Scrip-
nate details and enhance the spiritual experi- tures—are often chosen as sites for constructing Chris-
tian monasteries and churches. The significance of moun-
ence of those entering the church. The highland tains in Orthodoxy is multifaceted. Their mention in the
sun serves as a powerful tool, much like the lu- Holy Scriptures is historical and metaphorical, and nu-
merous monasteries are located on these elevations. Ad-
minous pigments in illuminated manuscripts, ditionally, mountains often appear in iconographic depic-
transforming the building’s interior into a space tions. Mountains serve as attributes in the names of God
where light and shadow contribute to its aesthet- and play a pivotal role in Christian theology. The moun-
tain is where the Lord delivered His sermon, where He
ic and liturgical significance. Although these vis- went to pray, where He was transfigured before His disci-
tas are lost today, photographs taken at different ples, where He was crucified, and from which He ascend-
ed into Heaven. In the Holy Scriptures, mountains are also
times of the day provide glimpses of the original mentioned in a figurative sense. Ultimately, they are seen
perspectives. as the place of eschatological significance, symbolizing the
final and future Jerusalem, the Heavenly Kingdom. In the
Moreover, the original light’s passage Book of Ezekiel, it is stated that the Garden of God, the
through the south portal could be seen as a met- holy mountain of God, Eden, was located on a mountain
aphor for Divine guidance, casting a path for (Ezekiel 28:13-16) and that the ‘trees of Eden’ were situated
on Lebanon (Ezekiel 31:16). This has led some to localize
the faithful and symbolically anointing the rul- Eden on Mount Lebanon. Lebanon is a mountain range
ers with God’s grace. This spiritual illumination in the country of Lebanon, with its highest peak, Qurnat
as Sawda, at 3,088 meters above sea level. In the Book of
aligns with theological doctrines that empha- Genesis, God and the mountain are mentioned in a com-
size the transcendent nature of celestial author- mon context. Abraham identifies Mount Moriah as God’s
ity and its reflection through the Church and Mountain and ascends it because ‘the Lord will provide’
there. ‘And Abraham called that place: The Lord will pro-
its rulers. The interplay of light and sacred art vide. So it is said to this day: On the mount of the Lord, it
underscored the church’s design as a profound shall be provided’ (Genesis 22:14). In the Book of Exodus,
the mountain in the wilderness, Horeb (Sinai), is referred
tool for worship and spiritual reflection, rein- to as the mountain of God (Exodus 3:1; 4:27; 18:5), where
forcing the connection between the earthly and God is located (Exodus 19:3). ‘And the Lord said to Aar-
on: Go into the wilderness to meet Moses. So he went and
the heavenly (Potamianos 2018, 117; Potamianos met him on the mountain of God, and kissed him’ (Ex-
2021, 284–302). odus 4:27). These geographical structures serve as models
for conceptualizing space within theological discourse, as
can be observed in the depiction of the mountainous sur-
Conclusion roundings of Mount Sinai in the Book of Exodus (Exodus
The multisensory experience within St Nicholas 19-34). Just as Eden is described as on a mountain, in the
Old Testament, the future house of the Lord is also locat-
Church in Ljuboten is deeply intertwined with ed on a mountain. The prophets Isaiah and Micah provide