 The Church complex of the Monastery of Peć | |
 Interactive map of Patriarchate of Peć Monastery | |
| Monastery information | |
|---|---|
| Denomination | Eastern Orthodox |
| Established | 13th century |
| Diocese | Eparchy of Raška and Prizren (just territorially, since monastery is under direct patriarchal (stavropegial) jurisdiction) |
| Controlled churches |
|
| People | |
| Founders | Archbishop Sava,Archbishop Arsenije I |
| Important associated figures | Archbishops Sava, Arsenije I,Nikodim I,Danilo II |
| Architecture | |
| Style | Serbo-Byzantine |
| Site | |
| Location | NearPeja (Serbian:Peć) |
| Country | Kosovo |
| Coordinates | 42°39′40″N20°15′58″E / 42.661°N 20.266°E /42.661; 20.266 |
| Public access | Yes |
| Type | Cultural |
| Criteria | ii, iii, iv |
| Designated | 2004(28thsession), modified 2006 |
| Part of | Medieval Monuments in Kosovo |
| Reference no. | 724-002bis |
| Region | Europe and North America |
| Endangered | 2006–... |
| Official name | Manastir Pećka patrijaršija |
| Type | Immovable Cultural Heritage of Exceptional Importance |
| Designated | 25 October 1947 |
| Reference no. | SК 1370 |
ThePatriarchate of Peć Monastery (Serbian:Манастир Пећка патријаршија,romanized: Manastir Pećka patrijaršija,pronounced[pɛ̂ːt͡ɕkaːpatrijǎ(ː)rʃija];Albanian:Patrikana e Pejës) or thePatriarchal Monastery of Peć, is a medievalSerbian Orthodoxmonastery located near the city ofPeja (Serbian:Peć),Kosovo. Built in the 13th century, it became the residence ofSerbian Archbishops. It was expanded during the 14th century, and in 1346, when theSerbian Patriarchate of Peć was created, the Monastery became the seat ofSerbian Patriarchs. The monastery complex consists of four churches, and during medieval and early modern times it was also used asmausoleum of Serbian archbishops and patriarchs. Since 2006, it is part of the "Medieval Monuments in Kosovo", a combinedWorld Heritage Site along with three other monuments of theSerbian Orthodox Church.
The monastery is ecclesiastically administered by theEparchy of Raška and Prizren, but it has special (stavropegial) status, since it is under direct jurisdiction of theSerbian Patriarch whose title includesArchbishop of Peć. The monastery church is unique in Serbian medieval architecture, with three churches connected as one whole,[1] and a total of four churches.[2]
The monastery complex is located nearPeja (or Peć), in theMetohija region inKosovo, near the border withMontenegro.[1] It is situated by thePeć Bistrica, at the entrance of theRugova Canyon.[3] Amorus nigra tree, 750 years old, is preserved in the monastery yard, calledŠam-dud (sr), planted by ArchbishopSava II between 1263 and 1272.[4]
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The monastery is located at the edges of an old Roman and ByzantineSiperant.[1] The monastery complex, consisting of four churches,[2] of which three churches connected as one whole,[1] was built in the first third of the 13th century, 1321–1324, and 1330–1337.[1] It is presumed that the site became ametochion (land owned and governed by a monastery) of theŽiča monastery, the seat of the Serbian Archbishopric at that time, whileArchbishop Sava (d. 1235) was still alive.[3]
In the first third of the 13th century, ArchbishopArsenije I (s. 1233–63) had the Church of theHoly Apostles built on the north side.[5] That church was decorated on Arsenije's order in ca. 1250[3] or ca. 1260.[5] In 1253,[6] Arsenije I moved the Serbian Church seat from Žiča to Peć amid foreign invasion,[7][8][9] to a more secure location, closer to the centre of the country.[3] The Serbian Church seat was then shortly returned to Žiča in 1285, before being moved to Peja in 1291, again amid foreign invasion.[10][11]
ArchbishopNikodim I (s. 1321–24) built the Church ofSt. Demetrius on the north side of the Church of the Holy Apostles, while his successor,Archbishop Danilo II (s. 1324–37) built the Church of the Holy Mother of God Hodegetria and the Church ofSt. Nicholas on the south side.[5] In front of the three main churches, he then raised a monumentalnarthex.[5] At the time of ArchbishopJoanikije II, around 1345, the hitherto undecorated Church of St. Demetrius was decorated withfrescoes. Serbian EmperorStefan Dušan (r. 1331–1355) raised the Serbian Archbishopric to the patriarchal status in 1346, thus creating theSerbian Patriarchate of Peć.[12]
During the 14th century, small modifications were made to Church of the Holy Apostles, so some parts were decorated later. From the 13th to the 15th century, and in the 17th century, theSerbian Archbishops andSerbian Patriarchs were buried in the churches of the Patriarchate. In 1459–63, after the death of Arsenije II, the patriarchate became vacant upon abolishment by the Ottoman Empire but was restored in 1557 during the reign of sultanSuleiman the Magnificent.[13]
The re-establishment was done under the advice of grand vizierSokollu Mehmed Pasha, while some of Bulgarian eparchies were also placed under its jurisdiction.[14] Orthodox Albanians ofMetohija were under the jurisdiction of the Patriachate of Peć.[15]
Georgije Mitrofanović (1550–1630) painted new frescoes in the Church of St. Demetrius in 1619–20.[5] In 1673–74 painter Radul painted the Church of St. Nicholas.[5] In the early 18th century, and especially during and after theAustro-Russian–Turkish War (1735–1739), the patriarchate became the target of thePhanariotes and theEcumenical Patriarchate of Constantinople, whose goal was to place the eparchies of the Serbian Patriarchate under its own jurisdiction. In 1737 the first Greek head of the Serbian Patriarchate was appointed after the intervention of Alexandros Mavrocordatos, who labeled the Serb leadership "untrustworthy". In the following years thePhanariotes embarked on policy initiatives that led to the exclusion of Serbs in the succession of the patriarchate, which was eventually abolished in September 1766.[16][17]
The period ofOttoman rule in the region ended in 1912.[18] At the beginning of theFirst Balkan War (1912–1913), the army of theKingdom of Montenegro enteredPeja ((Serbian:Peć). By theTreaty of London (1913) the region of Peja was officially awarded to Montenegro and the Monastery of Peć again became an episcopal seat.[19] BishopGavrilo Dožić of Peć (future Serbian Patriarch) initiated works on the monastery complex, but those efforts were halted, due to the breakout of theFirst World War (1914) and subsequent Austro-Hungarian occupation of Montenegro, including Peja. After World War I ended in 1918 Montenegro joinedKingdom of Serbia and South Slavic provinces of formerAustria-Hungary formed theKingdom of Serbs, Croats and Slovenians. In 1920, the structural unity ofSerbian Orthodox Church was restored, and the Serbian Patriarchate was renewed, with a traditional primatial seat in the Patriarchal Monastery of Peć.[20] Since then, all Serbian Patriarchs were enthroned in the Monastery.[21]
Major reconstruction works in the Monastery were undertaken during 1931 and 1932.[22] In 1947, the Patriarchate of Peć was added toSerbia's "Monument of Culture of Exceptional Importance" list,[5] and on 13 July 2006 it was placed onUNESCO'sWorld Heritage List as an extension of theVisoki Dečani site, which was overall placed on theList of World Heritage in Danger.[23]
In March 2004, duringthe wave of ethnic violence in Kosovo, the Patriarchate was threatened but narrowly avoided destruction.[24] The monastery complex was placed under increased protection by international peacekeeping forces, preventing it from being attacked. From 2004 onwards, the protection of the Patriarchate of Peć was primarily handled byNATO-ledKosovo Force (KFOR) troops. KFOR had been deployed in Kosovo since 1999 followingUN Security Council Resolution 1244, tasked with maintaining a secure environment and safeguarding important sites, including Serbian Orthodox monasteries like the Patriarchate. This protection continued through the years, with KFOR troops ensuring the site remained unharmed, particularly during periods of ethnic tension. Over time, some responsibilities have been gradually transferred to theKosovo Police, causing some concern among Serbs, who were wary of the transition.[25][26] KFOR retained its protective role during the critical years after the March 2004 violence.
Restoration of the complex began in June 2006 and was completed in November 2006. The main aim was to protect the complex from the weather, as well as to repair the inner walls and exterior appearance. Two previously unknown frescoes were uncovered on the north facade of the Church of St. Demetrios, of a Serbian queen and nobleman.[27] In 2008, the church facades were painted red, asŽiča, which led to some reactions.
Serbian Orthodoxarchbishops and patriarchs werektetors of the monastery, and these were buried in its churches. The monastery is the greatest mausoleum of Serbian religious dignitaries.[6] The monastery holds the relics of Serbian church leaders (most of whom aresaints)Arsenije (s. 1233–63),Sava II (s. 1263–71),Jevstatije I (s. 1279–86),Nikodim I (s. 1316–24),Danilo II (s. 1324–37),Joanikije II (s. 1338–54),Jefrem (s. 1375–79; 1389–92),Spiridon (s. 1380–89) andMaksim I (s. 1655–74).
| Church | Image | Notes |
|---|---|---|
| Church of the Holy Apostles (Crkva sv. Apostola, also called Church of the Holy Saviour) |  | Built in the first third of the 13th century. |
| Church of St. Demetrius (Crkva sv. Dimitrija) | | Built by 1324 |
| Church of the Holy Mother of God Hodegetria (Crkva Bogorodice Odigitrije) |  | Built by 1337 |
| Church of St. Nicholas (Crkva sv. Nikole) |  | Built by 1337. A small modest church built at the side of the Hodegetria Church. |
The three main churches with domes (Holy Apostles, St. Demetrius and Hodegetria) are connected with each other, linked by a joint monumentalnarthex, built by Archbishop Danilo II in the 14th century. His biography describes how he built a cathechumena above the narthex, as well as a large tower in front of the church. Now from the tower is left only its foundation, whereas the narthex is in good state. Initially the narthex was designated to be a porch, open on three sides. Two columns and three pillars support the narthex, upon which the vault rests. The narthex is decorated with frescoes in 1330. Their original beauty has partially faded though, as, in 1560, an external arch of the facade had to be walled up because of decay of the structure. Conservation efforts have not been successful in preserving old frescoes which are now in internal surfaces of the walls.[28]
Against the Eastern wall of the narthex and near the Church of the Holy Apostles is placed a marbledThrone of St. Sava. The throne was used by Serbian archbishops and patriarchs when presiding over ecclesiastical assemblies, held in the narthex. A 1375 painting of St. Sava, placed over the throne, decorates the pilaster near the entrance of the church. St. Sava here is represented with ceremonious garments and an ornatemitre. The painting is considered unusual, as the historical truth of St. Sava not being an ordained bishop is purposefully neglected by the artist, who has also reflected over the struggle of the Church of Serbia with Constantinople for the recognition of its independence.[29]
In the narthex can be found the tomb of patriarchMakarije. His figure can be shown in a pilaster on the East wall. In that fresco Makarije addresses a prayer, written on a scroll, to the St Mary and Christ, both of which are shown in the next pilasters.[30]
Out of all the original frescoes that existed at the time of Archbishop Danilo II, the ones that have survived are all in the South-East Corner of the narthex, predominantly on the East wall, the most remarkable of which is the Tree of theNemanjić dynasty, which shows the members of the Nemanja family from Stefan Nemanja to the then living Stefan Dusan. The fresco lists the family in four horizontal rows and emphasizes the vertical zone in the middle which shows, from bottom to top,Stefan Nemanja,Stefan the First-Crowned,Uros I, andKing Milutin, with his sonStefan Dečanski and grandsonDušan at his side.[31] Above the entrance of the Church of the Holy Mother of God is a painting of Archbishop Danilo II, represented as a young man who, along with St. Nicholas, pays homage to the monumental figure of the Virgin, represented as the Fountain of Life.[32]
The Danilo II era frescos of the narthex are the work of two masters, one of them being described by Petković as having an indifferent sense of color and neglectful of the treatment of the uncovered parts of the body, and the other, who has worked in the lower zones of the wall, described as a better draughtsman, and who has emphasized the lower volume of his figures. The facades of the narthex are greatly damaged, although some figures of saints and some other compositions can still be distinguished. The paintings on the Southern side of the narthex, below the original porch, which has now disappeared, represent a scene showing the birth of a saint.[32]
The remaining frescoes of the narthex were all painted in 1565, upon the Church of Serbia being restored and Makarije being the founder. They represent a rich repertoire of famous monks. In the Northern side of the West wall can be seenPeter of Koriša,Prohor of Pčinja,John of Rila, Saint Joachim ofOsogovo and Sarandapor,Gabriel of Lesnovo, andJoanikije of Devič, as well as some archbishops and patriarchs. The West section of the narthex also includes Christ's teachings and parables. The Eastern side of the vault includes a representation of the Calendar with 365 figures and scenes, one for each day of the year. The Northern side of the vault represents thefirst seven ecumenical councils.[33]
Although the 16th century paintings are considered lower in value than the 14th century ones, they are still considered as some of the most important achievements in paintings in the area. A certainAndreja signed himself on the shield of St. Demetrius's church entrance, and seems to have been the main painter. In additionZograf Longin, a Serbian monk and painter, worked with the group of painters.[33]
Two more paintings, both dated 1875 and representingAngelina of Serbia andArchangel Michael, decorate the West wall near the main entrance to the narthex. At the time of their painting, they replaced other frescoes of inferior quality.[34]
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