Patriarchate of Peć

Patriarchate of Peć

The Patriarchate of Peć (Pećka patrijaršija) is a complex of three churches and a chapel joined together by an outer narthex in one structure. The oldest of the three is centrally poised, dedicated to the Holy Apostles. It was built in the first half of 13^th century on the land belonging to the seat of the Serbian church, the monastery of Žiča, and was intended as the burial place of Serbian archbishops. However, after a Bulgarian raid exposed Žiča’s vulnerability, the seat of the archbishop was transferred here, deeper inland. Peć became the most important monastery in the land and obtained its present day appearance during the first half of the 14^th century. In 1346 Emperor Dušan raised this archbishopric to the level of patriarchate keeping its seat in Peć. During Ottoman conquest, the Patriarch fled to the north and eventually disappeared, as did the glory days of Peć. When the Serbian Patriarchate was re-established in 1557, the seat was again located in Peć and the monastery complex underwent extensive renovation. From here the patriarchs managed the Church and the affairs of the whole Serbian nation. During the course of the Austro-Turkish wars two of the patriarchs fled to Austrian lands and both times Peć was burned down and its treasures were looted. Finally the Turks abolished the Patriarchate altogether in 1766. In the 19^th century it witnessed was razed several more times. The 20^th century wasn’t more peaceful: In 1981 most of the dwellings were torched by extremists. The Patriarchate of Peć still has a specific place in the hierarchical order of the Serbian Orthodox Church; for instance, it is customary for every Serbian patriarch to be ceremonially enthroned here.

To see all three churches one must go to the rear side of the complex. Of the oldest church, Holy Apostles, only the transept, three apses and a plain cupola can be seen. These were once brightly painted, as were most of the other non-ornamental sections of the façades. To the right of the Holy Apostles stands the church of St Demetrios built around 1320 and to the left lies the Virgin Hodegetria (“The one who is showing the way”) with the small church of St Nicholas to its left, both some ten years younger. The exterior of both churches is quite uninteresting except for the cupolas and several gothic double windows. Along the front parts of the adjacent churches, Archbishop Danilo II added a monumental narthex that once possessed a high bell tower. The narthex was much praised for its delicacy but this was lost in the later remodeling, especially in 16^th century when its arcades were walled in to secure it from collapsing and make space for new wall paintings. The long, outer narthex is divided into two aisles by supporting columns. From the original 14^th century frescoes, only a few have survived such as the Nemanjić dynasty family tree and the Virgin Mary on the south wall. Other frescoes to be found here are from the renewal of 1560, ordered by the new Patriarch Makarije Sokolović: a splendid scene of the Last Judgment and a representation of the Church calendar with a painting for each of the 365 days of the year. From here one can enter all three of the churches.

In Holy Apostles one first encounters the scenes from the Passion and portraits of the Nemanjić rulers painted in the 14^th century and slightly retouched two centuries later. A group of paintings portraying complex theological topics follows these. The frescoes in the cupola and on the supporting arches date back to the mid 13^th century making them the oldest in the complex, and bear similarities to those at the Studenica monastery. Most beautiful among these is the figure of the Virgin with outspread arms. Three archbishops are buried in this church; over the grave of Joanikije II there is a representation of his ascension to the heavens. On the north wall, the painter Georgije Mitrofanović made the portrait of Patriarch Jovan (c. 1620). The iconostasis dates back to 1722. The entrance to St Demetrios is gained through an attractive stone portal. Here the original 14^th century frescoes were extensively retouched in the 17^th century. They include the life of the patron saint, portraits of Emperor Dušan with his son Uroš and the first Patriarch, Joanikije, and the Ecumenical Councils as well as two Councils of the Serbian Orthodox Church. In the Nativity of Christ, one can see the realistic representation of shepherds from that time. The monastery’s treasury is also on display in this church, including some superb manuscripts, icons, liturgical objects and vestments as well as a “Rodop’s bell” from 1432. Located here are the graves of the Patriarchs Jefrem and Sava IV.

The church dedicated to the Virgin contains some of the most revered 14^th century frescoes in Serbia. The portrait of Archbishop Danilo II who commissioned the church, can be seen to the left of the entrance. He is led by the Prophet Daniel and carries the model of the monastery complex (that notably includes a representation of the original tower). The Archbishop’s grave is also to be found here. Amongst other frescoes are paintings of the 23 members of the Nemanjić dynasty; the interesting “Nursing Virgin” and the Assumption of the Virgin are above the entrance. The paintings of the calendar and the Last Judgment date from the 16^th century. In prothesis is the life of St Arsenius and in diaconicon life of St John the Baptist.

The small church of St Nicholas by the south wall of the Virgin’s church contains 17^th century wall paintings presenting the life of the patron saint and, on the lower level, of eminent Serbian saints.

Source: www.serbiainyourhands.com