Page 39 - Studia Universitatis Hereditati, vol 12(2) (2024)

church’s location within the sacred landscape of ly ruler to the celestial realm. This visual align-
the Holy Mount of Skoplje adds a profound di- ment allowed visitors to perceive King Dušan
mension to this multisensory experience. The as a transitional figure, bridging the celestial
natural setting not only enhances the visual and with the earthly and drawing worshippers into
tactile aspects of the church but also reinforces the spiritual communion with the holy figures
its spiritual significance, offering a deeper con- and patrons. Visitors and worshippers in Ljubo-
nection to the Divine. ten are drawn into a mystical experience, join-
In St Nicholas Church, the interplay be- ing with the donor, noblewoman Danica, and
tween light and the sacred environment is crit- the sacred imagery in an atemporal spiritual
ical in devotional practice and performative pie- relationship.
ty. Light entering through the south portal was
more than a physical phenomenon; it was seen Acknowledgment
as a manifestation of Divine presence that unit- Financial support for this article was provided within 39
ed the viewers with theological messages. The the Agreement on the Transfer of Funds for Financ-
fresco of King Dušan, positioned alongside holy ing Scientific Research of Teaching Staff at Accredited
figures, created a narrative linking the earth- Higher Education Institutions of the Republic of Serbia
in 2024, no. 451-03-65/2024-03/200198.
descriptions of the topographical characteristics of the
space where the future house of the Lord will be situated, Summary
as a place ‘on the mountain above all mountains and hills’
(Isaiah 2:2-3; Micah 4:1-2). Similar: ‘In the last days, the The article provides a detailed analysis of the sen-
mountain of the Lord’s house shall be established on the sory and symbolic dimensions of St. Nicholas Church
top of the mountains and exalted above the hills; and all
nations shall flow to it. Many people shall come and say: in Ljuboten, focusing on its architectural and artistic
Come, let us go up to the mountain of the Lord, to the elements to uncover the profound theological and po-
house of the God of Jacob; He will teach us His ways, and
we shall walk in His paths. For out of Zion shall go forth litical messages embedded within its design. Situated
the law, and the word of the Lord from Jerusalem’ (Isaiah within the sacred landscape of the Holy Mountain of
2:2-3).” This narrative reinforces the theological symbol- Skoplje, the church’s architecture is intricately linked to
ism of mountains as places of divine encounters and sancti-
ty, embodying the concept of “God-protected spaces” that its natural environment, enhancing its spiritual and sen-
resonate deeply in Christian art and architecture. Monas- sory impact. Central to the discussion is the interacti-
teries and churches on mountains echo the scriptural asso- Sensory Encounters: Decoding the Symbolism of St Nicholas Church in Ljuboten
ciations with sacred summits, creating a dialogue between on between light and sacred imagery within the church.
topography, spirituality, and the sacred history of salva- The manipulation of light in relation to the church’s ar-
tion. For a more detailed interpretation of mountains and
sacred spaces in the Christian tradition, see: Lidov (2009, chitecture is not merely an aesthetic choice but a delibe-
8–10). For the idea of creating sacred spaces in Ohrid, see: rate design element intended to deepen the observer’s
Ćirić (2017, 319–329). experience of the divine. The interplay between light
Protopresbyter Radoslav Grujić, while serving as the di-
rector of the Museum of Southern Serbia in Skopje, was and symbolic figures, such as King Dušan’s and Queen
the only scholar to write extensively about the concept of Helen’s portraits, creates a multisensory environment
Skopje as a sacred space. Citing sources such as Procopi-
us of Caesarea, Grujić argued that Skopje was once a met- where the divine is both seen and felt. This engagement
ropolitan city with many churches. He also highlights the is further enhanced by the tactile quality of the bric-
Komnenian dynasty (1084–1185 AD), a period condu- kwork and arches, which invoke a ‘haptic visuality,’ whe-
cive to constructing monasteries throughout the Byzan-
tine Empire. During this time, Byzantine society—from re touch is simulated through sight.
emperors to peasants—was gripped by extraordinary re- The auditory dimension also plays a crucial role.
ligious fervor, bordering on mania. As a result, church-
es and monasteries proliferated across the empire. Grujić The church’s acoustics, with sound reverberating off the
also identifies this area as the domain of the Monastery of stone walls and domes, amplify the experience of reli-
St. George and mentions citations from the writings of St.
Isaiah the Elder, who wrote about the churches near Skop- gious rituals, contributing to a heightened sense of the
je. It is believed that St. Isaiah may have translated Dio- sacred. The echoes of hymns and chants facilitate deep-
nysius the Areopagite and described how the churches ap- er contemplation and enhance the spiritual atmosphere.
peared to him as akin to paradise, a garden, or a flowerbed
(Grujić 1935, 34, 68, 160). The analysis delves into the religious and historical sym-