THE CULTURAL HERITAGE IN THE DEBAR AND REKA REGION ran Pavlov olovski | Zo ik N ko ar D | imovska ova Mateska Dafina Geras ana Gerasim ez n S | a v o zi Pec Cvetanka Had 1 2 THE CULTURAL HERITAGE IN THE DEBAR AND REKA REGION Pavlov vski | Zoran lo o ik N ko ar imovska | D Mateska Dafina Geras Gerasimova a an ez n S | zi Pecova Cvetanka Had December, 2018, Skopje 3 Publisher: Ministry of Culture of Republic of Macedonia Directorate for Protection of Cultural Heritage For the Publisher: PhD Eleonora Petrova-Mitevska National Coordinator of the Local development Pilot Project Debar and Reka: MSc Snezana Gerasimova-Mateska Authors: Dafina Gerasimovska Darko Nikolovski Zoran Pavlov Cvetanka Hadzi Pecova Snezana Gerasimova-Mateska Macedonian proofreading: Aleksandar Jordanoski English translation: Orhideja Zorova English proofreading: Tabitha Longley-Coomber Photographs: Dafina Gerasimovska Konstantin Dimitrovski Darko Nikolovski Zoran Pavlov Cvetanka Hadzi Pecova Francois Zvardon Vlado Kirpijanovski Snezana Gerasimova-Mateska Design and preparation: Frosina Coneva Ivanovic Print: Kosta Abras, Ohrid The publication is published with the financial support of the Ministry of Culture of Republic of Macedonia 4 CONTENTS Introduction ..................................................................................................4 Dafina Gerasimovska Archaeological Sites in the Municipalities of Debar and Mavrovo and Rostusha.....................................................6 Darko Nikolovski Sacral Christian Cultural Heritage in the Municipalities of Debar and Mavrovo and Rostusha ............................................ 13 Zoran Pavlov Typology, Characteristics and Significance of the Ottoman Monuments on the Debar and Reka Region ........................................................................ 27 Cvetanka Hadzi Pecova Historical and Urban Development of the Town of Debar............................................................................. 35 Snezana Gerasimova Mateska Traditional Vernacular Architecture in the Debar – Reka Region................................................................ 47 List of terms .............................................................................................. 60 References .................................................................................................. 64 5 INTRODUCTION The Local Development Pilot Project Debar and Reka was carried out on behalf of the Ministry of Culture, Directorate for Protection of Cultural Heritage in cooperation with the Council of Europe as part of the Regional Programme for Cultural and Natural Heritage of Southeastern Europe. Its purpose is to launch sustainable development process for the local area. This will be based on cooperation and participation of all national and local stakeholders with the goal of enhancing the cultural heritage of the region and consequently initiating a sustainable development process. Within the frames of the implementation of the Local Development Pilot Project of the region Debar and Reka, in 2013, a Comprehensive Heritage Survey was conducted on the entire territory of the region. The activity was financially supported by the Council of Europe and Ministry of Culture. The goal of the Comprehensive Heritage Survey was to provide technical support to the referent authorities in their efforts to protect cultural heritage and to explore and determine its values and role in long-term development policies. The field examinations identified the authentically preserved immovable cultural heritage within the frames of the settled areas and the quantity, state and possibility for their integration in the region`s development plans. The survey of the immovable heritage was executed by three teams composed of the following experts: MA Snezana Gerasimova – Mateska, Biljana Kuzmanovska, PhD Dafina Gerasimovska, Valentino Dimitrovski, MA Zoran Pavlov, MA Cvetanka Hadzi Pecova, Konstantin Dimitrovski, MA Darko Nikolovski, Gazmend Cami and Orhideja Zorova. 6 The main difficulties encountered by the teams when carrying out the field work were the mountainous terrain in which the villages are situated, the difficult access to these villages due to the lack of roads, the abundant summer vegetation and the depopulation of the regions. Despite these difficulties, objects in a total of 58 villages, the town of Debar and several archaeological sites were visited. The largest parts of these inherited structures are no longer in use and due to their total abandonment, the rich heritage and the possibility for their use in the development of the region are lost. This process of devastation of the cultural heritage leads to the building of new structures for the development needs of the region, which further contributes to the degradation of the buildings and artefacts. The general impression for the villages is that, despite the fact that they are located in a remarkably vivid landscape, the inherited ambient is largely degraded. Over centuries of existence, they have undergone various changes in order to alter their structure with new materials and styles to fit the characteristics of various times. Nevertheless, they have managed to endure until present days and to keep their historical layers. The objects, although in poor physical state, have preserved the authentic architectonic characteristics. This publication presents the preserved sacral and secular architecture in the village settlements and the town of Debar, which according to its values and authentic perseverance are interestingt for revitalization and sustainable use. The regeneration of the monumental objects and their treatment as economic goods is the best way to preserve them as it would produce profit larger than that needed for their revitalization and permanent maintenance. The creating of a strategy for sustainable use of the cultural heritage will allow conditions for its protection, increase economic growth and limit the migration of the population thus stopping the depopulation of the region. The publishing of this book is within the frames of the marking of the Europaen Year of Cultural Heritage 2018, which is conducted on behalf of the Directorate for Protection of Cultural Heritage under the moto “Our Heritage – European Value”. 7 ARCHAEOLOGICAL SITES IN THE MUNICIPALITIES OF DEBAR AND MAVROVO AND ROSTUSHA The areas of Debar and Reka (Mavrovo and Rostusha) are steeped in history. These areas were settled as early as the prehistoric period, evident in the remains of a Neolithic settlement in Muzgalitza, near the village of Selokukji, Debar. Moreover, there are further remains of an Iron Age settlement and necropolis in Javorska Voda west of the village of Lazaropole. No archaeological finds from the Hellenistic period have been registered to date. Archeological prospections conducted on the land of this region did not show proof of settlement. The inhabitants of the small mountain villages in this area were mostly engaged in the rearing of livestock. The area enclosed by the municipalities of Debar, Mavrovo and Rostusha was located on the border between the Macedonian and Illyric states. This led to perpetual changes in tribal leaders of the peoples inhabiting this area. The region of Kichevo – Debar was inhabited by the Penestae tribe, who arrived during the course of the 4th century BC from the region in the western catchment of the Crn Drim river. With the expansion of the Roman Empire, these regions were annexed to it and whilst under Roman control, these areas belonged within the borders of various Roman provinces. From 148 BC until the late 3rd century AD, these regions were part of the Province of Macedonia, then during the late 4th century AD in Epirus Nova, followed by Praevalitana and so on. The intensified settling of these areas is evident through the remains of settlements, fortifications and necropolises from the Roman and Late Antique periods. Necropolises include but are by no means limited to those in the micro-area of Ogragje near the village of Krivci, Koshari near the village of Mogorche and Izvor near Dzepishte, as well as the Roman and Late Antique necropolis in Taranesh, the Late Antique necropolis near Stara 8 Crkva in the vicinity of the village of Selokukji and the Late Antique necropolis in the micro-area of Troja near the village of Spas, all located in the region of Debar. At the confluence of the Mala Reka and Radika rivers, four border fortifications (castra) and watch-towers were erected near the village of Kosovrasti, Mogorche and Skudrinje which controlled the roads leading Northwards from the Drim river, along the course of the Radika river and in an Easterly direction along the course of the Mala Reka river. The traces of Slavic presence are visible from as early as the 6th century AD in the region of Debar. Procopius informs of the Slavic threat to the Debar region, as well as to the entirety of Macedonia. The Slavic colonization of the Debar and Reka regions, as well as of other parts of Macedonia was followed by changes in ethnicity. Large parts of the Romanized and indigenous population retreated to the mountain areas or left these regions, whilst some underwent Slavic assimilation. During the 7th and 8th centuries AD, the region of Debar was an agricultural environment. The appearance of the present-day towns in this region is due to settlement and development during the medieval period. Although there is a lack of sufficient field excavations in these areas, still the written sources inform that the medieval town of Orahovnik (Rahovnik) spread over the northern part of present-day Debar. Archaeological site “Borce/St. Panteleimon” near village of Nikiforovo, monastic complex (5th-17th centuries), reconstruction of the last phase 9 As a town, Debar is more prominently mentioned from the beginning of the 11th century when it became an Episcopal seat of the Eparchy of Debar, within the compound of the Archbishopric of Ohrid. With the archaeological findings in mind, it seems that the Slavs were the first to form settlements in the area of Reka, although it must be noted that this terrain has not yet been sufficiently archaeologically explored. The archaeological heritage of the area of the municipalities of Debar, Mavrovo and Rostusha has a great role in the development of the overall culture of these regions. Several archaeological sites with remains of Late Antique fortresses, Antique and medieval settlements and medieval churches have been evidenced in the aforementioned municipality through the method of field prospection. At the same time, evidence of several Archaeological site necropolises has also been found, which, although being “Borce/St. Panteleimon” less of an archeological cultural heritage in their own near village of Nikiforovo, right, still represent a source of valuable artifacts and monastic complex (5th17th centuries), remains significant artistic work which increases our knowledge of the first phase of the cultural past throughout the course of history. Unfortunately, the archaeological excavations have not been carried out in a great level of detail, thus making it impossible to accurately predict the values of the heritage from the prehistoric to the medieval periods. The largest part of the archaeological remains in the mentioned municipalities belongs to the medieval period. These are, for the most part, the remains of churches, settlements and necropolises. MEDIEVAL CHURCHES In the Mavrovo and Rostusha municipality, evidence of medieval churches has been found across 14 archaeological sites. All of these 10 churches are in a state of ruin. In some, contours can be seen thus leading to the conclusion that these were onenave churches. Archaeological site “Krst” near village of Novo Selo, medieval church with necropolis In the Debar municipality, evidence of medieval churches has been found across 12 archeological sites. Ruined walls are evident whilst through study of the foundations, it can once again be concluded that these were mostly one-nave buildings. These would have been simple buildings with rectangular, elongated ground plans with an altar apse in the bottom of the nave on the eastern side, mostly without a narthex. Byzantine influences are present in the construction methods used in the erection of these medieval buildings. Large masonry construction was used in the building of these churches. The walls are fairly thick, built of roughly hewed stone pieces inlaid with lime-mortar. In most cases the buildings were covered with semi-cylindrical vaults, while the conchs were built of lighter materials, namely limestone. The roofing of the vaulted construction was of stone tiles or pantiles. SETTLEMENTS AND FORTIFICATIONS So far, evidence of settlements and fortifications has been found across 10 sites in the Municipality of Mavrovo and Rostusha. Artefacts and archaeological proof is a combination of ruins, building foundations and indeed simply the remains of building materials e.g. stone slabs, lime-mortar and clay tiles. These settlements originate from the Medieval period, with the exception of the aforementioned Iron Age settlement discovered in the micro-area of Javorska Voda near the village of Lazaropole, in which fragments of ceramics and house mud-plaster have been discovered. 11 Located in dominant positions, the fortifications secured the roads through which the trade with surrounding areas took place. This is proved by the fortification of Redzov Grob, near the village of Sretkovo, Archaeological site “Vranska Krasta” near village of Mogorche, Late Antique fortification which dates from the medieval period, erected near the pass-over Strazha. It secured the mountain pass leading to the town of Kichevo. In the Municipality of Debar, 7 sites with remains of settlements and fortifications have been discovered, as well as the remains of a medieval road. Walls of fortifications made of stone slabs and lime-mortar, foundations of buildings and remains of building materials, as well as fragments of utilitarian pottery have been preserved. The fortifications of Kale near the village of Gorno Kosovrasti and Vranska Krasta near the village of Mogorche date from the Late Antique period. The Late Antique fortification Vranska Krasta has a dominant position which allowed it to secure the road leading from the town of Debar to the town of Kichevo. The walls made of stone slabs inlaid with lime-mortar rise on the hill close Archaeological site “Zgradishta-Na Klak” near village of Dolno Kosovrasti, medieval fortress to the confluence of the Beleshica and Mala Reka rivers. In the microarea of Zgradishta – Na Klak, near the village of Dolno Kosovrasti there is a Medieval fortress erected on a hill with an irregular square base. This fortification secured the road leading along the valley of Radika river. The remains of fortified buildings and of the medieval road near Dolno Kosovrasti point to the existence of a developed road network during the Roman period, the Late Antique period, as well as throughout the Middle Ages. 12 The continuity of living in the areas of Debar is also shown through the remains of settlements. The settlement near the micro-area of Paraspur dates from the Roman era; the settlement near the micro-area of Archaeological site “Taranesh”, Taranesh existed during the Roman and the Late village of Selokukji, golden Antique periods, while the rest of the settlements fibula, 3th-4th centuries, (source: Археолошка карта на Република were inhabited during the course of the Middle Македонија, Скопје, 1996, p. 123) Ages. This dating of the archaeological sites points to the settled areas around Debar being intensively lived in during the Roman, Late Antique and the Middle Age periods. NECROPOLISES The Municipality of Mavrovo and Rostushe contains evidence of 28 necropolises dating from the Middle Ages. The territory of the Municipality of Debar contains evidence of 23 necropolises, from which three date from the Roman Period, two are Late Antique, the necropolis in the micro-area of Taranesh near the village of Selokukji was in continuous use throughout the Roman and Late Antique periods, the necropolis near Stara Crkva in Selokukji originates from the Late Antique period, while the remaining 17 date from the Middle Ages. The grave constructions are of cyst type, oriented east-west and do not represent large architectonic buildings. The Roman graves are gabble-top type, with the deceased having been cremated and are again not buildings of particular significance. However, it is the contents of some of these buildings which is noteworthy – for example, artifacts of high cultural significance and artistic value have been Archaeological site “Taranesh”, village of Selokukji, Vas Diatretum, 3th-4th centuries, (source: Археолошка карта на Република Македонија, Скопје, 1996, p. 123) 13 found in a grave in the micro-area of Taranesh near Selokukji, Municipality of Debar. In this particular grave several silver objects, a golden fibula, writing kit, silver gilded plate and a Vase Diatretum glass, dating from the 3rd-4th centuries, an import from Colonia Agrippina (Cologne) and other artefacts have been discovered. During the construction of two modern houses in Debar, a marble sculpture of a Roman citizen was discovered in one whist the other gave light to the discovery of a deposit containing Venetian coins (11th century). On the territories of the municipalities of Debar, and Mavrovo and Rostusha, only two sites are mentioned as listed cultural heritage, dated in the Roman and Late Antique periods, from which one is a basilica from the 5th-6th centuries, extending beneath the foundations and around the modern Church of St. Panteleimon in the village of Nikiforovo. Parts of these structures have been destroyed. Some have been submerged during the construction of dams, while other parts were demolished during the construction of later buildings. However, there is evidence through both written sources and local word of mouth that much archaeological evidence of buildings still rests beneath the ground or beneath the foundations of more modern structures. It would be possible to reconstruct many of the hidden buildings from the remnants preserved in the foundations. This could then be used to develop the tourist potential of these municipalities. The protection and conservation of remains from these Antique and Medieval buildings could be used in the development of sites of touristic interest for those who wish to learn more about the region’s archaeological and cultural history. Indeed it is this very history which forms the base for future architectural and cultural development of the municipalities of Debar and Mavrovo and Rostusha.. MOST SIGNIFICANT ARCHAEOLOGICAL SITES The insufficient excavation of the archaeological sites in the regions does not allow one to paint a full picture and categorise the sites according to their significance. However, the most significant site in the region is considered as being the Archaeological site of “Borche/St. Panteleimon” near the village of Nikiforivo which represents a monastic complex which existed in the period from the 5th till 17th centuries and the Archaeological site of Taranesh near Selokukji, a Roman and Late Antique settlement, the necropolis of which gave numerous significant findings. 14 SACRAL CHRISTIAN CULTURAL HERITAGE IN THE MUNICIPALITIES OF DEBAR AND MAVROVO AND ROSTUSHA The Reformation spirit which prevailed in Macedonia through the first half of the 19th century was prompted by the Treaty of Edrine (1829) and the Gulhan Hatisherif (1838), when the building of Christian temples was finally legalized. This resulted in the so-called “Renaissance” of the 19th century and the beginning of a period of mass building of the large three-nave basilica temples. The creative activity in the region of Debar and Reka, from where the most significant builders` and fresco painters` families in Macedonia originated (the Family of Renzovci from the village of Tresonche), marked the period of the 19th century with numerous activities which resulted in the building of a large number of sacral objects. Among the more significant are the Monastic complex of St. John Bigorski, the Church of Sts. Apostles Peter and Paul in the village of Tresonche and the Church of St. George in the village of Lazaropole. Monastic complex St. John Bigorski 15 Church of the Holy Apostles Peter and Paul in the village of Tresonche 16 Church of St. George in the village of Lazaropole The basic characteristics of these Christian sacral buildings in the territories of the municipalities of Debar and Mavrovo and Rostusha in the 19th century, is the building of the large three-nave basilica temples or the simpler one nave temples in the smaller village settlements. The interior organization of these three-nave basilicas was characterized by the domination of the naos which was partitioned with a monumental iconostasis at the east, towards the altar space, while towards the west the floor gallery is affirmed, thus creating a monolithic space. The narthex has the appearance of an atrium or an opened porch with portals which usually spread towards the south and north sides. Parts of the temples have domes over the erected middle nave, while the side naves have flat ceilings. Different structures dominated in the monastic complexes, where the byzantine type of cross-shaped churches appeared. This design is reminiscent of the Athos monasteries. This Athos style features domes where in the space of the naos, a central solution is made across the extent of the diameter of the under-dome (Bigorski Monastery). The temples were usually built on wooden oak beams interconnected into a ground base constructive system. The churches were built of roughly broken stone with the use of hidden wooden horizontal beams. The corners of the walls, the windows and tamburs were elaborated of hewn stone, while the finishing festoons were made of profiled stone – travertine. The churches were originally covered with stone cladding. The doors and windows were elaborated both as an architrave or arch. The floor in the churches was made with stone blocks in regular forms (square and rectangular). The inner decoration of the walls consisted of recurrent fresco-decoration in the domes and tamburs, while paintings cover the walls in some temples. Church of St. Varvara in the village of Rajchica near Debar 17 Deisis, Church of St. Varvara, village of Rajchica, beginning of 17th century Despite the legends and testimonies of older buildings reaching back as far as the 11th century (in the Bigorski memorial, rewritten from “older to new” by the hieromonk Daniil in 1833, the monastic brotherhood maintained the legend that the founder of their monastery was the monk John in 1020), the oldest preserved temple is the small one-nave Church of St. Barbara in the village of Rajchica near Debar. From the partially preserved fresco-painting in the eastern part of the church and the donors` inscription, we learn that the church was built in 1597 on behalf of the donors Ovchina and Vlk. The epistyle with the elaborated Deesis and the altar doors belonging to the original iconostasis from the beginning of the 17th century originate from this church. The icon works from the last two decades of the 16th and the first two decades of the 17th centuries, part of which are kept in the Monastery of St. George in the village of Rajchica, are considered to be elements from the first iconostasis of Bigorski. Namely, towards the end of the 16th century, during the renewal of the so called “southern church”, an iconostasis has been elaborated from which the throne icons and the altar doors are preserved and painted in the style of the famous fresco-painter Onouphrios, from Argos, or perhaps painted by his son Nicolas. This iconostasis was added to during the first and second decades of the 17th century. Additions included the architrave with Jesus the All-seeing Eye, the epistyle with the elaborated Deesis, the icons of the Great Feasts/Festal cycle and the large iconostasis cross. 18 The missing chapter in the local production in the region of Reka, which especially reflects the artistic work towards the end of the 17th and 18th centuries, is partially filled with icons from the workshops of the Epirote fresco-painters connected mainly with two centres, Ioannina and Thessaloniki. “Epirote mannerist” groups appeared with separate icons for the iconostasis in several churches in the region of Debar-Reka which were brought as ordered icons or gifts from the domestic traders. Their most recognizable element is the templated vegetative ornament on the bordure, the filling of the nimbus with relief stucco ornaments or with the engraving of circles. The icons typical for this group can be seen in the following churches: St. Barbara and St. Athanasius in the village of Rajchica, Sts. Peter and Paul in the village of Tresonche, Presentation of the Virgin in the village of Rosoki, St. George in Lazaropole, Holy Vigin in Dolno Melnichani and St. Demetrius in Tatar Elevci. Iconostasis in the Church of the Dormition of the Virgin, village of Gari One anonymous group of fresco-painters, characterised by their symbiosis of the traditional and baroque stylistic expression and due to its significant presence in the western part of Macedonia, is defined as the “Ohrid`s pro-baroque group”. This group created some throne and festal icons in the churches of St. George 19 in the village of Lazaropole, St. Petka in Galichnik, Presentation of the Virgin in Rosoki and Dormition of the Virgin in Gari. The Monastery of Bigorski possesses the most numerous group of these icons. Aside from this collection of icons, these masters are also attributed with the fragmentary preserved fresco-decoration on the southern wall in the naos. From the end of the 18th century the domestic scene notes the Miyak (local) fresco-painter Nedelko from the village of Rosoki (signed in 1770 on the icon of Jesus Christ in the church of St. Petka in the village of Galichnik. He is also attributed with icons in the churches of St. George in Lazaropole (the altar doors), Rosoki (the festal icon of the Circumcision of Jesus) and in the treasury of the Monastery of Bigorski (St. John Prodromos with а hagiography). The 19th century brought about an artistic flourishing in the region of Reka in all spheres of artistic activities such as the building/renewal of sacral temples, walls being painted / decorated in their entirety, icon painting and woodcarving. During this period of massive activity, due to the able monastic fathers, numerous local fresco-painters developed a name for themselves and their talent flourished, spreading the magnificence of the Debar-Miyak school over the entire Balkan region. The centre of this activity was Church of St. George Victorious (1835) the Monastery of Bigorski from where we in the village of Rajchica near Debar learn of the movements of the fist abbot of the monastery, the hieromonk Ilarion, born in the village of (Tatar) Elevci in the vicinity of Debar. At the time of his arrival in 1743, he faced a “small, old and very poor” church and immediately launched the renewal of the Monastery of Bigorski. Ilarion was also credited for the forming of the metoh in the village of Rajchica, through which he created the preconditions for the economic and artistic revival of the monastery. The monk Mitrophan, born in the village of Lazaropole, was the abbot of the Monastery of Bigorski from 1796-1807 and was known as one of the more productive abbots. During his time, the church was developed from an initially small building to a large, modernised edifice and he commissioned the painting of the large dome in the year 1800. The fresco-decoration of the central dome is attributed to fresco-painters from 20 Iconostasis in the Monastery of Bigorski Korce. From the second half of the 18th century, an original fresco-decoration was preserved from the small older church, which was incorporated into the southern wall during the renewal i.e. the erecting of the modern monastic church dedicated to St. John Prodromos. Following his death in 1807, as Mitrophan`s successor comes his co-temporary, the archimandrite Arsenius, born in the village of Galichnik. During the thirty-two yearlong successful management of the abbot Arsenius, he enriched the Monastery of Bigorski by continuing the decoration of the temple, the male refectory and the full renewal of the old monastic chambers. He built several auxiliary quarters, the watch tower, a courtyard with fountains and so on. Just as he took care of the monastery, in the same manner, he also renewed the metoh (1832) and the church dedicated to St. George Victorious (1835) was built on his initiative in the village of Rajchica near Debar. The fresco-painter Michael Anagnost, his son Demetrius Daniil, a monk, from the village of Samarina in Epirus, were invited by the monastic brotherhood to continue the fresco-decoration of the male refectory and the painting of the icons for the new three floor iconostasis containing 44 icons (1831-1833). They began the tradition of painting donors` portraits of the spiritual primes, initiated by the Archimandrite Arsenius and followed by his successors (Archimandrite Arsenius, Theodosius Hieromonk, etc). The wish of the Archimandrite Arsenius, that the Monastery of Bigorski should be adorned with especially beautiful iconostasis, is reflected in his engagement of the most prestigious woodcarvers of the time. This group consisted of Petre Filipovich – Garkata from the village of Gari, his brother Mark, Makarij Frchkovski from the village of Galichnik, Avram Dichov and his sons Vasil and Philip of the family Filipovci from the village of Osoj. This group managed to create an outbreak 21 of artistic wood carved work with large dimensions during the period from 1829 until 1835. During this same period they also elaborated a bishop`s throne and an abbot`s chair. The hieromonk Joakim, born in the village of Biban, near Debar, continued the efforts of Arsenius and as his successor from 1840 until 1862. He initiated the extension of the monastery and its metoh with the church of St. George in the village of Rajchica. Upon his invitation in 1840, Mihail Anagnost and Daniil were again engaged for the elaboration of the icons of the iconostasis and the fresco-painting of the dome of the church in Rajchica. Previously, in 1838, Mihail painted the festal icons for the Church of Archangel Michael in the village of Trebishte. Later on, from 1848 to 1852, the fresco-decoration of the temple in Rajchica was continued by Dicho Zograf from the village of Tresnoche, who also made the portraits in the male refectory in the Monastery of Bigorski (the portrait of Meletij – Metropolitan of Debar (1849), the portrait of the hieromonk Teodosij and the abbot Joakim (1868)). View toward the central dome, Church of St. George, village of Lazaropole The fresco-painter Antonij, active in the period between 1810 and 1841, mainly in the Eparchy of Debar-Kichevo, made several icon-works in the Monastery of Bigorski (as well as two fresco-icons of Christ and the Virgin on the western pilasters in the naos in the Monastery of Bigorski, ca. 1814), icons for the churches Presentation of the Virgin in the village of Dolno Melnichani (1816), the Church of 22 the Holy Healers in Gorno Melnichani, St. Demetrius in Tatar Elevci and St. Achilles in the village of Trebishta. During the time of the abbot Hariton, in 1866, the smaller dome in the Monastery of Bigorski was painted by an unknown fresco-painter, dedicated to St. John Prodromos. The fresco-painter Vasil Ginoski from the village of Galichnik, in 1871, upon the invitation of the Archimandrite Mihail, made the last intervention in the temple by fresco-painting the western façade in the porch. The Church of St. George, in the village of Lazaropole, with its monumental building and high iconostasis which was decorated by several important fresco-painters, also inclined towards the Monastery of Bigorski as the main spiritual and artistic centre of the region, due to the honourable donor Gjurchin Kokaleski. Mihail Anagost worked on part of the icons for the iconostasis, as well as on the wall painting (the Last Judgement, 1837). However, after quarrels with the villagers the work was continued by Dicho Zograf. The elaboration of the three-floor iconostasis with various icons from several phases (17th – 20th centuries) also contained work by the fresco-painters Georgios (1835/6), Dimitar Molerov from Bansko (1849), Dicho Zograf (1843). Dicho Zograf (1819 – 1873) gained his first painting knowledge with Mihail Anagnost of Samarina, which allowed him to acquire skill and experience by learning from one of the most experienced fresco-painters of the time. This allowed him to grow into one of the most significant and most productive fresco-painters of the Reformation period in the region of Reka. Zograf’s glory spread over the entire Balkan region (two thousand icons and several fresco ensembles). His footsteps were continued mainly by his son Avram Dichov and in some degree by Spiridon. Church of St. Achillius, village of Trebishte 23 View toward the dome of the Church of St. Achillius in the village of Trebishte Other fresco-painters outside his family also learned in his workshop and later cooperated with him, for example, Petre Debranec, his neighbor from the village of Tresonche. Dicho Zograf was engaged for the elaboration of the fresco-decoration and the icon painting in almost all of the most important temples in the region, among them Church of St. Elijah in the village of Selce were the churches of the Presentation of the Virgin in the village of Rosoki in which one can see from the inscription written, on behalf of Dicho Zograf, above the southern wall that the temple was built in year 1835. This differs from the year 1850 which is written on the ceiling of the temple. The festal icons of Dicho Zograf are works from his early phase and are the first of his more significant works (1844 – 45). The Church of the Assumption of St. Elias in the village of Selce, was most probably built in the middle of the 19th century and fresco-decorated in 1864 by Dicho Zograf’s group. The iconostasis and icons 24 Church of St. Nicolas in the village of Tresonche were painted in the period from 1864 until 1868 on behalf of Dicho Zograf. In the Church Dormition of the Virgin in the village of Gari, built in 1856 and frescodecorated in 1866, the authors of the fresco-painting are Dicho Zograf, his son Avram and the pupil Petre Jovanovich. For the Church of the Holy Virgin, in the village of Sence, Dicho Zograf made the icons for the iconostasis in 1855. Dicho Zograf worked in most of the temples in the region of Reka on several occasions, either in the fresco-painting or for the needs of supplementing the icon works of the iconostasis e.g. Monastery of Bigorski (1849), the Church of St. George in Lazaropole (1841), St. George Victorious in Rajchica (1845/52), the Presentation of the Virgin in Rosoki, Holy Apostles Peter and Paul in Tresonche (1845/49), St. Achilles in Trebishte (1849/50), Holy Virgin in Debar (1965/6), St. Elias in Selce (1864), St. Demetrius in Volkovija (1852), Dormition of the Virgin in Janche, St. Nicolas in Kichinica (1849/50), St. Nicolas in Dolno Kosovrasti, St. Demetrius in Tatar Elevci and so on. Avram Dichov, one of Dicho Zograf’s sons and his most faithful coworker, participated in parts of these activities alongside his father (Holy Virgin in Debar 1872, the Church of the Dormition of the Virgin in Gari, St. Petka in Debar – Dolna Maala). Later on Avram Dichov also worked alone (St. Nicolas in the village of Tresonche, 1873). Spiridon, another son of Dicho, worked together with his father on the elaboration of the fresco-decoration in the Holy Apostles Peter and Paul in Tresonche. The domestic artistic production in the region of Reka is supplemented by numerous fresco-painters. The fresco-decoration from 1873 in the Church of the Holy Virgin in Debar is the work of the fresco-painter Kocho Krstev from the village of Lazaropole, while part of the festal icons are made by the hand of Nikola 25 Krstich from Lazaropole, in 1872. On the iconostasis in the Church of St. Petka (Dolna Maala) in Debar there are icons made by Krste Nikolov from Lazaropole. The second church dedicated to St. Petka in Debar is located on the so-called Veligdenska livada (meadow) in the upper part of the town, near the cathedral temple of the Holy Virgin. It is presumed that this temple was built in 1693 due to this date being engraved on the altar. The icons on the iconostasis are works of the fresco-painter Zafir Angjelkovich, made in 1923. The icon of the Virgin with Christ from 1923 mentions the fresco-painter Gj. Donevich from the village of Gari. Fresco-decoration is preserved in the vault of the narthex and the vault of the altar, these are most probably works of the signed fresco-painter from 1928. Above the village of Rajchica the Church dedicated to St. Athanasius (1868) also exists. Fresco-decoration from 1875, preserved only in the altar space and at the western wall, is work of the fresco-painters Dobre Doichin and Krste Kolov from Lazaropole. In the approximate vicinity of Debar, in an idyllic mountain landscape above the village of Tatar Elevci, is the Church of St. Demetrius (1873). Parts of the festal icons of the iconostasis were made by the hands of Dimitrija Andonov, from the village of Gari, in 1899. In the Church of St. George in the village of Osoj, according to the inscription over the southern entrance from the inner side, the author of the fresco-decoration in the vault and the altar is Isaija Dzikov, from Church of St. George in the village of Osoj 26 the village of Osoj, in 1887. On the emporium of the gallery in the western wall of the naos the year 1872 is noted. This is probably a work of another frescopainter, more experienced than Dzikov. The iconostasis construction notes the year 1882, while on the festal icons Dzikov wrote the years the icons were painted as 1885-86. In the village of Gari, in the Church of the Dormition of the Virgin, the icon dedicated to St. Paraskeva is painted by Eftim Spasev, from the village of Gari, in 1893. In the Church of St. Nicolas in Belichica (1885), the festal icons of the iconostasis in the church were painted by the fresco-painter Nikola Mihailov, from the town of Krushevo, in 1888. Other parts of this church were painted by the fresco-painter Krsto Avramov, from the village of Tresonche, in 1896. The Church of Sts. Peter and Paul, built in 1930, was fresco-decorated in 1931 by the artist Lazar Lichenoski. Inthe Church of St. Petka, in the village of Galichnik (1809?), the icons were made by Nedelko, from the village of Rosoki, in 1770 and Hristo Makrovich and Kosmia Makariov in 1868 and another unknown frescopainter in 1879. In the Church of St. Panteleimon, in the village of Nikiforovo (1867, renewed in 1923), Ruse Krstikj is the fresco-painter of the icons from the iconostasis (Fresco-painter Ruse Krstikj from Nistrovo district of Galichnik, 3rd of July 1926). In the Church of the Holy Virgin, in the village of Sence, the icons for the iconostasis were made by an unknown painter in 1841 and Dicho Zograf in 1855 and Teodosija Kostich, from Lazaropole, in 1930. From this brief overview of the intensive artistic flows in the region of DebarReka, in which 39 Orthodox sacral temples exist, the general assessment, of the Christian sacral buildings in the region of the municipalities of Debar, Mavrovo and Roastusha, is the problem of the neglect of the monumental heritage due to several main reasons. Along with the neglect and the lack of care, there is the non-expert activities undertaken by the church boards over the buildings which have the same negative effect with regards to the deterioration of the authenticity. The churches and the monasteries also suffer permanent thefts of the movable cultural heritage (icons and parts of the wood carved church mobile items). This is, above all, due to the irreversible process of immigration of the Christian population, who were the main factor of security of these heritage goods. In addition to this we could also add the poor institutional care of the owner (Macedonian Orthodox Church) and the institutions in charge of protection of cultural heritage, including the local authorities in the sphere of their references. 27 28 TYPOLOGY, CHARACTERISTICS AND SIGNIFICANCE OF THE OTTOMAN MONUMENTS ON THE DEBAR AND REKA REGION The construction of Ottoman buildings on the territory of Debar and Reka begun after the fall under Ottoman rule, in the second half of 15th century. The Ottoman building traditions are reflected in this region by the large number of dwellings with secular and sacral character, erected to meet the needs of the population. In addition to the large number of houses, Ottoman rule saw the construction of architectural works previously unknown to the area. Mosques, tekkes and türbe (mausoleums) were erected to fit the Islamic needs for expression of faith. Additionally, hamams, inns and such like were constructed for use by the entire population, regardless of their religion. However, as a result of modern urban expansion the number of these buildings has gradually decreased and at present only a small number have been preserved– these include: several mosques, two hamams, one thermal bath, one tekke, and a türbe. The presence of the characteristic Ottoman buildings does not only enhance the ambience overlaying the town of Debar but the entire Debar and Reka region. In the mosques (built during the second half of the 15th century and rebuilt in the first half of the 20th century), clear and precise forms dominate the architecture. This is a reflection of the local masonry which valued modest architectural and decorative values. The features and architecture of the traditional Ottoman buildings, present the skills of the groups of local builders who were recognized and used for the construction of these monuments. The examples and works of the opus of the Ottoman period still remain on the territory of Debar and Reka. We would like to point to those erected in the town of Debar as most the significant, since following the Ottoman conquering of the 29 Bayram Bey mosque, western view Budulec mosque, northern view 30 town it was settled by Turkish colonists who formed an urban settlement in which they inserted their way of life and culture. The mosques, being the most characteristic type of buildings from the Ottoman period, convey the simplicity of the architectural form and became the buildings from which architectural expression was replicated. This is mostly visible through the rectangular form covered with a hipped roof and an open porch supported on wooden columns. Among the several mosques in Debar (Bayram Bey Mosque and Budulec Mosque – erected in 19th century), we would emphasize the Hünkar Mosque in Debar as a typical example of Ottoman architecture. The mosque was built in H.872/M.1467, as an endowment of Fatih Sultan Mehmed Khan (1451 – 1481). Although there were certain rebuildings and changes in the early 20th century (1938/39), the mosque has maintained the overall features of the Ottoman architecture from the Classical period. The porch is presently of a closed type, however the original open porch form has survived the passing of time and still remains. The interior is dominated by the modestly elaborated mihrab, minbar and the flat wooden ceiling of which the central part contains a carved rosetta, often used in the decoration of the prophane buldings` interiors. As a result of rough stone and brick for building materials, the facades of the mosques are usually plastered with mortar. During the building of the mosques special attention was dedicated to the building of the minaret which provides the vertical emphasis of the mosque. Despite the modest Hjünkar mosque, northern view Mihrab and minber in the interior of Hjünkar mosque Türbe in Hjünkar mosque yard The porch of Hjünkar mosque, western view minarets, seen on the mosques built in the villages, tall and slender minarets dominate in Debar. The attention dedicated to certain types of buildings is also attested by the Türbe (mausoleum) located a short distance from the Hünkar Mosque in Debar. The Türbe demonstrates the perfection of the amplification of the profiled elements carved in stone. According to the stylistic characteristics – an open type türbe with an octagonal base, over which eight polygonal columns interconnect by semi-circular arches. It can be concluded with little doubt that it was built to31 wards the end of the 18th, or the beginning of the 19th, century and according to the gravestone which is in the türbe, we can presume that it was built for Sadik Pasha in H.1210/M.1795-96. The architectural and decorative features of this türbe can be related to the türbe of Kaplan Pasha in Tirana (Albania) which was built during the same period (1820) and possesses the same stylistic and architectural characteristics which speak for the existence of a common building scheme in this part of the Balkan Peninsula. The Türbe in Debar is unique of its type and a unique example preserved in Macedonia. „New Hammam“ Marble basins (kurna) in the interior of the “New Hammam” The hamams represent interesting architectural buildings of the Classical Ottoman period, as well as presenting some of the rare buildings in their authentic form. The stone used to build the hamams guaranteed a high degree of genuine perseverance. The hamams are a significant cultural and historical testimony to the way of life in the past and, due to their function and architecture, have great relevance when looking at history and culture. With their architectural conception, the hamams represent a significant benchmark of urban culture as they were an important role in social exchanges of the past. The only existing buildings of this type are preserved in the town of Debar. Following their architectural form, the hamams in Debar belong to the type of single hamams. Their interiors display several halvets covered with domes placed on short drums and overlaid with lead tin. Alternate brick and stone layers were used as building materials for the hamams, which emphasises the vividness of the structures. The preserved hamams in Debar were erected in the 16th century, with rebuildings performed to create the “New Hammam” during the 19th cen32 „Old Hammam“ Remains of the small compartmens (halvets) in the “Old Hammam” tury. The main characteristics of this type of building have still maintained the features of the Ottoman architecture. Despite the architectural importance, the applied decorative elaboration of the stone carvings combined with geometric forms gives special attention to the hamams, especially visible in the execution of the kurnas (marble basins) and the fountain (şadrvan). In the New Hamam in Debar, in the vault of the drum of the şadrvan hall (ruined and presently not existing) there was also a painted decoration with rich colourful floral and geometric motifs which reflected the aesthetic tendencies. Although in ruins, the Old Hamam in Debar (also known as the Hamam of Mustafa Pasha) was built in the 16th century and represents a significant cultural and historical testimony for the way of life in Debar during that particular period. With its massive walls and domes made of stone and brick, it is one of the rare buildings which has preserved its authentic building form and aesthetic. Thus, through its revitalization it could become a cultural focal point not only in the town of Debar, but also in the wider area. Bath, village of Banjishte Appearance of the dome in the bathing room in the Bath, village of Banjishte 33 Kadiri Tekke, older state The abundance of natural resources allowed the building of thermal baths (“kaplica”) alongside the public baths in the region of Debar. The particular specificities and way of use of the thermal baths distinguishes them from the public baths. The thermal baths in the village of Banjishte represent a fusion of the natural heritage of the village with the intensive building activity that developed in the area of Debar during the end of the 18th and the beginning of 19th century. The baths in the village are mentioned in the Chronicle of Johann Hahn who, during his journey through the Region of the Drim and Vardar rivers (1863) spent Mosque in the village of Spas 34 Mosque in the village of Rostushe Kadiri Tekke, before it was ruined some time in Debar. The public baths and the thermal baths present two functionally different buildings with different architectural styles, though most likely built around the same period of time. Inside the buildings, the bathing pools with thermal water have been preserved. What gives the buildings special value is the fact that they possess an exquisite authentic and ambient value; they are unique examples of thermal healing with elements and architectural styles that are characteristic for the Ottoman buildings in Macedonia. Built with treated stone squares, precisely executed niches in the interior and functionality of the space, the baths in Banjishte represent an achievement in the architectural expression of the construction of this type of building. The preserved Arabic inscription mentions Oruk Zade (family name) Haci Muhyiddin Ilhami, son of Suleyman, as owner and benefactor of the baths, and states the year the baths were constructed as H.1213/M.1798/99. 35 The tekkes, being sacral buildings in which the rituals of the dervish tariqats (orders) took place, do not possess special features in regards to their building scheme. The dervishes, as in the case of the tekke in Debar, often chose houses as the centar of the tekke, adapting the rooms for the religious needs. The house in Debar which lodged the Kadiri Tekke, was a typical example of Debar`s urban house. İn one of the ground floor quarters a blind dome (callote) and a mihrab were executed and this accomodated the religiousrituals of the dervishes from the Kadiri tariqat. Although there is no other preserved tekke in this region, according to the architectural characteristics, there is no possibility to differentiate a separate stylistic group or form for the tekkes. The abundant building activity of the Ottomans is also visible in several preserved and several ruined buildings, mainly mosques, located in the vivid landscapes of the villages in the region of Debar and Reka. These buildings visualize the tendency towards the style of the monumental buildings in the Capital, but with a greater emphasis on the local skill in the building process. The mosques in Rostushe, as well as in the villages of Spas and Hame have preserved their simplicity without over accentuation of the monumentality and have been adapted for the religious needs of the local village population. Though small in dimensions and despite their rebuilding in more recent periods, these mosques can be pointed out for their authenticity of the period in which they were built. Due to their historical, cultural, architectural, artistic and social values, the Hünkar Mosque with its türbe, the two hamams and the thermal baths in the village of Banjishte, are the monuments which possess authentic value and represent the cultural heritage of the Ottoman period. These monuments are protected by law, however, insufficient care leads to the loss of such important monuments and prevents historical continuity. Unfortunately this contributes to the depletion of the knowledge of values and customs of the past. Such is the example of the Kadiri tekke which unfortunately no longer exists today. 36 HISTORICAL AND URBAN DEVELOPMENT OF THE TOWN OF DEBAR The town of Debar is located in the south-eastern part of the Debar Valley, near the Radika River, encircled by the mountain ranges of Korab, Deshat and Bistra. The centuries long existence of the settled area of Debar, mentioned for the first time under the present-day name in the Charter issued by the Emperor Basil II, shows that the town has a historical continuity in its existence. Regardless of the historical and social changes, the traces of the past are still present in the modern town through their representatives – the architectural heritage. In the 15th century (1499) Debar fell under Ottoman authority and following their arrival the town became an important crossroad of the widened territory of the Ottoman Empire. The communication and economic relations contributed to the development of the town into a well-known economical and crafts centre. Additionally, the market was formed and important objects of secular and sacral architecture were built (with both public and private character). In the sources written in the 19th century, about the territory of the Republic of Macedonia, it is apparent that this time was characterized by vast changes and intense development in the towns. During this period the town of Debar saw particularly great progress in regards to its urban and architectonic growth. ◊ The existing urban structure of the town of Debar is divided into several zones, or suburbs, which contain groups that are spatially organized and scattered all over the entire area of the town. The first and foremost suburb is the Varosh Maalo, which occupies the northern part of the town and represents a core around which the remaining suburbs later formed and developed: Hjunkjar, Vakuf Maalo, Bay37 ram – Bey Maalo, Tikvarche, Dolno Maalo, Kodra Maalo, Kovach and so on. The houses are the central segment constituting the majority of the built urban area, but each suburb also had objects for services, confessional objects for the religious and functional needs of the population (church, mosque, hamam) and fountains with drinking water. In the architectonic and urban structure of the town, the Muslim houses with storeys especially stand out. These houses are located on wide parcels with front facades facing towards wide courtyards with closed with stone walls. The Christian population mainly settled on the narrow side of the hill in houses mostly in a row and built beside and facing towards, the street, thus contributing to the definition and spatial ambient of the street segment. In the spatial organization of the town the market was formed with a strictly linear form in its length alongside the main town street which divides the town into two parts and at the same time represents an axis towards which the streets of the town`s suburbs gravitate. The street network in the suburbs is composed of small narrow streets – “suburbia streets” which connect with the larger streets or run into the market. The development of the secular domestic architecture in the period of its highest creative moment, based on the previously created historically-economic conditions and the existing climate and topographic characteristics, form the House on st. Bratstvo Edinstvo no. 31 Symmetrical type of a house with a centrally placed closed loggia, detail of a central loggia – accentuated element of the basic volume of the house. 38 House on st. JNA no. 33 (known as the House of Gani Grazdani), wood carved and painted ceiling. basic features of the houses in the town of Debar towards the end of the 18th and especially the beginning of the 19th centuries. It was precisely this period that saw the appearance of possibilities for building activity and intensified appearance of individual objects. In addition to the building tradition of the spatially-voluminous foundation of the houses, another key influence in regards to the range of the creative activity was the experience which the builders` groups and masons belonging to the famous Debar Building School possessed. Their experience largely influenced not only the local architecture, but the architecture in the wider Balkan. Not only did the Macedonian masters from the Debar Building School make extraordinary architectonic achievements and the applied constructive systems and building techniques in the building sphere, they also nourished artistic crafts – woodcarving and fresco painting. The decoration of the interiors of the Muslim houses in Debar were given a special accent; the masters adapted the house to the owner’s taste and this contributed towards the final aesthetic expression of the house at the same time as giving an important representation of the wealth of the family. 39 ARCHITECTONIC AND ARTISTIC CHARACTERISTICS OF THE HOUSES IN DEBAR The defining image of the preserved architectonic heritage in present day Debar differs from that of the past with regards to the loss and significant changes to the characteristics and properties. On the basis of the preserved fund of traditional houses with architectonically-artistic specificities which fall within the modern urban image of the town, we can significantly identify the applied architectonic means through the decoration, materials used, composition and techniques of building and construction. The applied building and constructive systems in the houses in Debar are composed of a mixed system of construction-combination with massive carrying walls made of stone and wooden timber frame construction (bondruk). The stone, as a basic building material, is used for the entire building of the massive walls on the ground floor, while its use in the upper floors was mostly on the north wall, unlike the wooden timber frame construction (bondruk) which was used on the walls of the first floor – as a rule on the frontal side. The walls House on st. Petar Popovski no. 57 (9), in a timber frame system are cominterior – painted wall decoration. posed of a wooden skeleton formed by columns interpolated by a filling of adobe brick at a certain distance and plastered with mortar. The way of life, religious beliefs and culture of living also influenced the conception and organization of the interior of the houses in Debar. According to the solution of the horizontal plan, the houses in Debar can be grouped into two basic types: with a symmetrical and with an irregular (asymmetrical) ground plan. The houses with a symmetrically conceived base are free-standing objects, built with G+1 or G+2 floors. They take a rectangular form and they have geometric regularity in the grouping of the chambers and in their spatial organization at the separate levels, which was also reflected and clearly visible on the very façade. One of the aesthetic features for the shaping of the façade in these types of houses 40 is the centrally placed loggia which adds to the frontal appearance, with windows separated in between and with symmetry and rhythm in relation to the overall architectonic composition. Due to the exposed position of the central element – the porch and the two closed loggias emphasize the symmetry and enrich the spatial plastics of the main façade towards the inner courtyard. House on st. Petar Popovski no. 57 (9) The regular geometric form on the symmetrical houses repeats in an almost identical manner or a variant solution on the houses on the following streets in Debar: “Petre Popovski” no.9; “JNA” no.33; “JNA” no.59; “Bratstvo i edinstvo” no.31; “Crn Drim”; the houses on the streets “JNA” no.35; “29 Noemvri” no.9; “Liman Kaba” no.53 and so on. The houses with asymmetrical base solutions have a more complex spatial organization, determined by the different disposition of the chambers in relation to the loggia, as well as to the configuration of the terrain. The disposition of the loggia in the spatial organization of the houses in Debar, forms different solutions of irregular base forms (“Γ” forms, an elongated loggia, as well as a combination of the loggia`s position and different forms in the levels). In cases when the loggia 41 has a frontal position, despite its basic functional characteristic – communication and connecting, the loggia simultaneously unites several functions, while the space division is achieved through the denivelation of the floor. The risen parts are called shanishan and are for resting/sleeping during the summer months (for example the houses on the streets: “Zdravko Chochkovski” no.226; “Liman Kaba” no. 134 and 22; the house on st. “Crn Drim” no.32 etc.). The house on st. “Zdravko Chochkovski” no. 226 is a typical example of a Debar house with an asymmetrical base solution, a wide loggia and an exquisitely rich interior decoration. It is one of the rarely preserved cultural heritage examples of the Ottoman domestic architecture from the 19th century in the Republic of Macedonia. The built-in household furniture in the houses in Debar has a special significance to the inner organization and the aesthetic forming of the interiors. One of the in-built objects in the Muslim houses is the amamdzik (small bath); this is a characteristic element of the Muslim houses. The amamdzik is usually placed beside the entrance section of the house and forms part of a whole group of functional, architectonically-decorative elements: fireplace, semi-circular niche and sergen (closet). Additionally, the walls of the rooms might also have niches and dolaps (casket). House on st. Zdravko Chochkovski no. 12 (226), southeastern view. 42 House on st. Zdravko Chochkovski no. 12 (226), interior, a representative guest room with a rich wood carved and painted decoration. House on st. Petar Popovski no. 57 (9), detail of a wooden niche (dolap). House on st. Zdravko Chochkovski no. 12 (226), loggia – wooden ceilings. 43 House on st. Petar Popovski no. 57 (9), interior – detail of a decorative wood carved rosette on a ceiling. House on st. Zdravko Chochkovski no. 12 (226), interior – guest room, vaulted ceiling with a decoration which emphasizes the rich building tradition in the area of Debar. House on st. Liman Kaba no. 53 – eastern view. 44 In order to accomplish a larger representation of the interior spaces of the houses in Debar we can look to the rich elaboration with woodcarving and painted decoration (on the wall surfaces, polychromic elaboration of the elements of the built-in furniture, as well as the fireplace) which are mainly present in the houses of the Muslim population and especially applied to the guest chambers. Within the overall image of the interiors in the rooms in Debar, the ceilings have a significant place. These consist of two basic parts: a decorative frame which follows the perimeter of the ceiling and the so-called mirror – the surface of the ceiling. Great artistic values are found on the ceilings which are composed of square fields with decorative battens and triangle carved elements formed in the corners. As a rule, in the central part of the ceiling there is a decoratively elaborated rosette. House on st. JNA no. 35 – eastern view. House on st. JNA no. 61 – eastern view /central type of a loggia. 45 House on st. JNA no. 33 (known as the House of Gani Grazdani), south-eastern view. On rare occasions in the houses in Debar, the ceiling could be elaborate in the form of a dome (kube). These ceilings belong to the type of complex compositional solutions and their decorative elaboration includes mortar elaboration and coloured elaboration combined with wood carved elements. STATE OF PERSEVERANCE The architectonic heritage, as seen through the examples from the past – those which still exist in the architectonic and urban structure of the town of Debar, represent separated and somewhat segmented parts which exist outside the context of the current state of affairs. On the basis of the field examination, a different physical condition and state of perseverance of the houses from the traditional urban architecture was ascertained because these buildings underwent different changes due to poor care or additional inappropriate interventions during their decade long existence. Ad46 ditionally, due to the negative influence of the outer factors, these objects have largely lost the traces of their original authenticity and recognition. The degradation registered in the immediate surroundings of the cultural goods with the appearance of newly built objects located in direct contact with the authentically preserved buildings, continues. Namely, the modern objects do not pay the necessary attention and respect towards the inherited values and qualities of the historical architecture. This is manifested in the excessive enlargement of the height and their domination, incompliance of the architectonic elements/details and the materials and colours. Additionally, the interpolation of the new objects is carried out without due respect to the historical ambient and as a result the continuity and integrity of the street fonts has been unbalanced and an obvious conflict between the old and newly built objects is evident. The aggravation of the physical state and degradation on the built-in materials, in the houses which have been abandoned and without regular maintenance and care for a longer period of time, is striking (houses on the streets: “Petre Popovski” no. 2; “Crn Drim” no.28; “Pavle Dzikovski” no.30, as well as the house on “Tasha Martinovska” no.32; “JNA” no.61; the house at the corner of “1 Maj” and “JNA”, the house on “29 Noemvri” no. 9 as well as many others). Much more worrying and at the same time alarming is the fact that the list of objects which have permanently lost their specific architectonic and stylistic features (due to different outer or various factors) has widened. Apart from the houses on the streets “Liman Kaba” no.13, “Crn Drim” no. 32, “Amdi Leshi” no.17, and the house on “Liman Kaba” no.22 (old no.37), the state of protected immovable cultural heritage will be permanently lost for the house on street “JNA” no.33 which, unfortunately, is in ruins and has no material remains on its historical location. 47 48 TRADITIONAL VERNACULAR ARCHITECTURE IN THE DEBAR – REKA REGION The development of the villages in the Debar - Reka region depended on many factors, both natural and social. The neighborhoods (maala), formed by the first families which settled the area on which the village was formed, created the core structure of the settlements. In 15th century Ottoman Extensive Registers (Defters), the existence of a large number of villages, lasting until the present day, are recorded. Despite the uninterrupted continuity of existence, starting from the pre-Ottoman period, a large proportion of villages did not maintain their original location. The villages in close proximity to the roads changed location due to frequent attacks, thus securing safer and better living locations. All villages in the area of Reka are of a mountainous, dense type. The Debar area also has villages on the plains, these being of a dense or a semi-dense type. Scattered on the mountain slopes, sheltered from the strong winds and surrounded by rich pastures, these villages gave the opportunity for cattle breeding as a sole economic income and thus secured the existence of the inhabitants. The “plastic” terrain, especially in the region of Reka, which steeply descends from the mountains to the river beds or fields, led to the creation of a vernacular structure which uses the space and the possibilities of the location to a maximum. The density of construction and the steep nature of the terrain conditioned the communication among the buildings through narrow, steep and distorted paths. The larger paths have an irregular line which follows the isohypses and the configuration of the terrain. The site conditions and the division of plots with the growth of the family, led to the vast irregularity in the plots’ form. The surfaces of the plots were small and usually lodged only the house, while the economic facilities were built on the periphery of the village. Due to the high density of the village, there was rarely a space for a courtyard in front of the entrance to the 49 houses. The inherited rural matrix and the preserved architecture mainly originated from the 19th and the beginning of the 20th centuries. Despite the changes, the villages of Janche, Galichnik and Gari represent preserved traditional architecture wholes. Nested high in the mountains, amphitheatrically placed towards the river valleys, they still show the recognizable image of the traditional village of Reka. The characteristics and the uniqueness of the houses in Reka are not just a result of their regional isolation, but also from the climate of the region, the local topographic features, the accentuated use of local building materials – stone and wood, as well as from the economic affairs of the time in which the building occurred. The basic characteristics of the houses in the region of Reka are the unique location, the consistency of the orientation towards the open land and the sunny side, the functionality of the constructed space, the standardization of the interior, the balance among the interior volumes and the simple vividness of the wall canvases. Up until the second half of the 19th century, in the entire area of Reka, the houses were of modest size. The ground floor was made of stone masonry, the first floor had a visible wooden skeleton and the roof was covered with straw. The stone walls had a thick network of horizontal levelling beams, “kushacs”. Separate examples of this particular type were preserved by the end of the 20th century. Village of Gari, panorama 50 Amphitheatrical location of the houses in the village of Tresonche Houses-towers in the village of Kichinica, built of stone 51 The tall houses “towers” and the ground floor “rye” houses (r`zhanici) simultaneously appeared in all of the villages in the area of Gorna Reka. Both reflect the social contrasts in the region during the course of the 19th and the beginning of the 20th centuries. The fact that the houses in Reka are made of stone also influenced the construction and the architectonic shaping of the houses. The stone used also had a decorative role; carefully processed on the facades` which were left unplastered; coursed for the corner portions of the walls; grooved or verminated for the frames of the gates and the windows and for the inner fire places and chimneys. The wood also held a constructive role, although its visible elements were not elaborately decorated. The ground floors of the houses were made with stone walls, up to 80 cm in width. Although the walls were massive on the outside, the separating walls in the interior of the houses were made with a timber frame (bondruk) wooden construction. The front part of the upper most floor of the house containing the loggia (chardak) and the guest chamber was usually made of a wooden timber frame construction, formed of vertical columns layered with horizontal planks on the inside and the outside and layers of wattle infill or small horizontal laths. The space between these layers was filled with a compound made 52 House in the village of Gari with walls made of timber cladding (bagdatija) of mud and hay (village of Tresonche), mud and sand (village of Bitushe) or just sand (Galichnik), but in the majority of cases it was filled with stone and mud. The outer walls around the “house” and the economic facilities were made of stone. The mortar plastering was used as a final outer processing of the facades` floors in the lower mountain villages (e.g. Janche), or vertically nailed planks (Galichnik, Bitushe). The inter-floor constructions were made of wooden beams, while the floors were made of planks or shoved earth. The wooden roof construction utilized stone cladding or shingle as the finishing covering material, while the older types of houses were covered by rye straw. House in the village of Sence covered with shingle House-tower in the village of Brodec, detail of cantilevered balcony (doksat) House in the village of Gari with an angle placed loggia closed with wooden covers 53 In Gorna Reka the stone wall structure on the ground floor of the houses also appeared on the upper floors. In comparison, in Dolna Reka it passes into a light wooden timber frame construction. The basic elements in the formation of the façade`s expressiveness are the light walls of vertical timber cladding (bagdatija), the small unaccentuated jetty (erker) outlets of the floors and the deep awnings. The forming of the facades gradually emerged from the inner organization of the space and lacked any secondly applied decoration. In the villages located in Mala Reka, quite often the façade was left unplasterd with mortar and with visible, horizontally nailed, small, laths (Gari, Mogorche). The houses in the Reka region were of the closed type, the spatial organization of which contained a large number of varied purposes. The most prominent type is the house-tower, created as a result of the need to defend. The most beautiful example of a house-tower is preserved in Brodec. The monumentality of the stone kubus, the decorative processing of the stone placed in the corners and on the stone portals of the entrances, as well as the stucco decoration on the cantilevered balconies (doksats), gives this example a special place among the preserved house-towers. Brothers` house in the village of Gari 54 House-tower in the village of Galichnik, fitted in the mountain slope Village of Janche, a special variant of a house-tower in Dolna Reka 55 The spatial expansions of the houses are developed vertically due to the slope of the terrain. The loggia, a typical element of the Macedonian traditional architecture, is closed. Only in the village of Gari can open loggias be seen, these however were closed by wooden covers. - According to the spatial organization and location we can differentiate several types of houses, such as: - Closed houses with a loggia in one corner of the base, - Symmetrical organization of the space with a centrally placed loggia, - Closed loggia placed over the entire length of the base, and - The “brothers` house”, which encloses two entirely separated spatial wholes. The houses in Reka contain the work buildings and additional out buildings. The base of the house has a rectangular form, with the exception of the tightly built spaces in which the form of the base adapts to the terrain and the existing organization of the outer space. The living chambers of the family were on the first floor. The spatial organization of the floors usually followed the disposition of the ground floor, even though there are exceptions where the symmetrical disposition of the ground floor is followed by an asymmetrical organization of the spaces on the floors or vice versa. The houses in Galichnik have specificities in the organization and the forming of the living space. The huge volume built of coursed, or partially coursed, stone is vivified by the placing of the loggia over the entire length of the floor, and the front wall is made of timber frame covered with planks. Due to the configuration of the terrain, each level has a direct entrance from the ground. The entrance has a stone doorway which was decorated and engraved with the initials of the owner and the year of building. In the villages in Dolna Reka, such as Janche, there is a special variant of a house-tower. The houses in Janche have vivid forms. Above the massive stone basement and ground floor there is a floor made of light timber frame construction, plastered or covered with planks. The jetty outlets rest on wooden, rounded jetty brackets, while the plastered surfaces have wooden spheres on the corners. The houses in the villages in Mala Reka possess different characteristics to the other various villages, regardless of the fact that they are all works of the Miyak builders. There are numerous reasons for the spatial organization which does not allow the determining of strictly defined type of houses. Due to lack of wood and stone, the houses in the valley of the region of Debar had walls built of coursed stone in the lower compartments, while the floor was 56 House in the village of Prisojnica covered with stone cladding Public fountain “Upija” in the village of Galichnik 57 made of locally made clay bricks, smoothed over by horizontal levelling beams (kushaks). Even if a timber frame construction was used, it was filled with clay bricks. The older houses in the villages of Debar were single ground floor structures, covered with a rye cover or stone cladding. The later built houses have a ground floor made of coursed stone and a first floor made of dried clay (in the plain villages) or a timber frame construction (in the mountain villages). Very often the first floor is profiled over the ground floor as a jetty (erker). The houses are usually symmetrically pieced together with a centrally placed porch on the ground floor and a jetty loggia on the first floor, but there are also asymmetrical examples with a loggia on the corner. On one side of the loggia the grain Granary angle placed on the loggia, barn is placed. When the Mediterin the village of Trebishte ranean climate is felt along the Crn Drim river valley, the porch and the loggia are opened. The inner walls, as well as the walls on the first floor, are built of adobe brick (kerpich) or of wattle infill plastered with mud. In the mountain villages the outer walls of the first floor are made of planks filled with mud. The roof is made of a wooden hip construction covered, in most cases, with titles or with stone cladding. The simple content and spatial appearance of the houses in the villages in the region of Debar make this architecture quite different from that of Reka. The traditional village-fountains (cheshmi) still exist in some villages but in most cases, there is a now a water system in the house. In addition to the houses, the work yard also housed additional objects, which have a significant place in the architectural heritage and an important role in the economic life of the villagers. The grain barn was used for whey storage. It was built from wood on top of a platform of stone and wooden beams. The holding construction was made of wood and layered with planks, while the roof was made of stone cladding or tiles. In a large number 58 of houses in the entire region the grain barn is placed in the loggia, made of wooden planks (Sretkovo, Trebishte). The barns were used for cattle food storage and can be located beside the house (Belichica, Grekaj, Vrbjani, Cerovo, Sretkovo) or grouped on the periphery of the village (Janche, Novo Selo, Nistrovo, Gorno Kosovrasti). If located beside the house the barn`s ground floor was used as stable. The ground floors of the barns were built of stone (in the mountain villages) or adobe brick (kerpich) placed on top of a stone platform (in the plain villages). The upper parts of the barn were made of a wooden construction layered with vertical planks or wattle infill. The hipped roof of the barn is covered with shingle or tiles. The complex of barns at the entrance of the village Complex of barns in the village of Gorno Kosovrasti Gorno Kosovrasti is especially remarkable; showcasing an unusual building complex preserved in its authentic state, interconnected and built on both sides of a narrow and skewed path. The bread furnace was present in almost every rural courtyard in the past. Its base is made of hewn stone and the vault is made of brick. The roof is hipped, covered with tiles or stone cladding. Up until the present day only a small number of furnaces with modified forms have been preserved. The water mills and fulling mills are small stone objects built outside of the villages. Although there were numerous water and fulling mills on the fast mountain river, at present all of these are entirely ruined and overgrown with high vegetation, making it impossible to locate them, with the exception of few water mills which are in the villages. 59 Sheepfold on the mountain Bistra The sheepfolds are located high in the mountains of Bistra and Stogovo. The objects fоr production and storage of cheese are stone buildings, most of which are dug in to the terrain. The sheepfolds are open spaces, enclosed by stone barriers built without mortar. In close proximity to the sheepfolds there are cattle water troughs. The state of the vernacular architecture in the region is presently very poor. The immigration of the population and the lack of maintenance of the objects have led to the devastation of the traditional buildings in the settled villages and outside these. The sharp climate conditions at 1000 – 2000 meters above sea level, at which the settlements are located, the marginalization of the region, poor infrastructure, especially the lack of roads, has lead to immigration and desertion of the villages and devastation of the cultural heritage. The largest parts of the villages are almost entirely depopulated or there are only few inhabitants who remain throughout the entire year. A number of inhabitants only return to the villages for the summer months. The populated villages have a small number of inhabitants, with the exception of very few. In the deserted villages or those which are seasonally populated a large number of objects are ruined. In the villages with a larger number of inhabitants, the inherited objects are demolished or renewed in a modern style becuase the villages are growing and developing with an interruption in the building tradition. Although a large number of the most significant objects are demolished or in a phase of ruin, the villages have still preserved their traditional appearance. 60 61 LIST OF TERMS Abbot – head of a monastery. Aladzha - multi colored, colorful. Altar – sacrificial altar, shrine, a space located on the eastern side of the church, separated from the naos with an iconostasis, in which the liturgy takes place. Apse – semi-circular space at the eastern side of the altar in the Christian sacral objects, which ends with a calotte. Arch – inner side of certain roof construction with a spherical form, mostly semi-cylindrical. Castel – a settlement with walls placed on unapproachable hills. Chamber – a room, part of the house used for sleeping, guest welcoming etc. Church – a building used for Christian religious activities. Deesis (Prayer/Supplication) – composition which represents an illustration of the mediation of the Virgin and St. John the Baptist before Christ on behalf of the believers. Defter – notebook, list, record, accountancy book, trading book. Archiereus – head of the clergy, the highest Orthodox clerical rank. Dervish – Muslim mystic, a member of some of the dervish orders. Archimandrite - highest rank in the monastic order, head of the monks in the monasteries. Dome – arch in a form of a semi-ball. Artifact –handmade object, a product from human activity. Barn – wooden object placed on stone walls, used for storage of hay. Bazaar/Old Market – economic, trading and crafts part of the town, located in the central area. Basilica –object with a central nave and two or more aisles, mutually divided by a colonnade, whereas the central nave is always wider and higher than the aisles. “Brothers` house” –a double house, with two living units. Cantilevered balcony – part of a room expanded over the outer wall, with an elevated floor level. 62 ABCDEFG Eparchy – an area under the canonic rule of an episcope. Fibula/Brooch – a metal, decorative needle used for fastening the parts of the clothes. Fortification – a fortress, fortified place. Fresco painting – church`s wall painting, pictorial art which uses colors on the stiff background. Fulling mill – economic objects for washing and coloring of fabrics, built on streams or rivers. Furnace – a separate object made of stone in the village yard, used for baking bread, as well as other dishes. Granary –wooden object for storage of grains (whey, corn) in the economical yard or a casket for flour mostly placed on the loggia. HIJKLM Halvet – a separate part in a hammam used for bathing. Konak – castle; a room for travelers, hospice. Hammam - single or double public Ottoman bath. Kthetor/Donor – founder, protector and donor who gives financial support for building, restoring and fresco painting of churches and monasteries. Hamamdzik - small house bath in the room or in the musandra (built in wall closet) in the Muslim houses. Hazna – water reservoir in a hammam. Hieromonk – a monk who can carry a liturgy. Hijrah/Hegira – the date of the migration of the prophet Muhammad from Mecca to Medina (16.07.622) and also the start of the Islamic calendar. Kube – arch; dome. Kurna – sink in an hammam made of stone or marble, with a square form, usually nicely decorated, in which the hot and cold water flew. Kushak – horizontal wooden leveling beam which has the function of a cerclage in the construction of the stone wall. House – a chamber in a rural house in which the fireplace was placed and which was used for cooking. Last Judgement – an educational theme depicting the second arrival of Christ, coming from the apocalypse of John. House-tower – house with several floors built of stone. Levha – large framed panels which are placed on the walls of the mosques or the Muslim houses, on which quotes from the Quran with the names of the first Caliphs or with wise oriental sayings are calligraphically written. Iconostasis – a compartment decorated with icons, which separated the altar from the naos. Imam – Islamic spiritual leader, a person of confession who guides the mutual prayer in the mosque. “Imperial Doors” (Holy gates) – double doors centrally placed on the iconostasis, leading from the naos to the altar, symbolizing the gates of Heaven. Jetty – part of the upper floor of the house visually expanded over the lower floor. Jetty brackets – narrowly placed beams which firm the wooden supporting columns or carry the expanded inter-floor beams of the jetties. Loggia – a large space on the floor of the traditional house which represents a multifunctional opened or closed space, connecting the remaining rooms of the house. Madrassa – basic term for the middle and high schools of a boarding school type. Mahfil – stone or wooden gallery of columns, placed in the mosque beside the wall with the entrance portal. Mecca – birth place of Muhammad. 63 MNPQRS Metoch – monastic or church land or estate, an estate awarded to a church or a monastery. Metropolitan – highest priestly rank following the Patriarch or the Archbishop. Mihrab – semi-spherical or polygonal niche, placed opposite the main entrance in the mosque in direction of the Qibla, from where the Imam leads the joint prayer. Minaret – high tower beside the mosque from which the muezzin calls upon the Muslims for prayer; the mosques can have from one up to six minarets. Minber – step pulpit inside the mosque, close to the mihrab, made of stone or wood, from which on Friday, as well as the first day of both Bayram holidays the Imam holds a special preacher (khutbah). Monk – a person who denounced the secular life and dedicated himself to religious service. Mosque – A Muslim building used for Islamic religious activities. Muezzin - a person appointed in the mosque to loudly call upon the believers to prayer from the minaret of the mosque. Naos – inner, central part in the Antique temples, as well as in the Christian churches, dedicated to the believers. Narthex – entrance porch in the Christian sacral objects. Necropolis – town of the decease, graveyard. 64 Neighborhoods – part of a town, town quarter, quart, street. Nishan – grave monument made of stone on a Muslim grave or vault. Niche – wall niche with shelves. Plithar – adobe brick made of mud. Portico – entrance porch leading to the entrance door, a covered porch with a colonnade. Qibla – direction towards Mecca, a direction which gives the orientation of every mihrab part of the mosques toward which all Muslims face during the time of prayer. Rue-house – ground floor, one parted house, covered with straw of rue. Şadrvan – fountain in front of the mosque used for obligatory ritual washing of the believers. Semahane – a chamber in a tekke where the dervish rite “zikir” is performed. Şerefe – enclosed space of the minaret (a balcony) from which the Muezzin calls upon the Muslims to prayer. Sergen – built in closet for beddings. Şeyh – an old man, head, leader (of an order, tribe) Sheepfold – fenced space high in the mountains in which the cattle folds are kept during summer months. Shingle - small and thick boards (made of Mountain Hemlock or Elm tree) used for roofing of the houses. STVWZ Sicil – a register of the judge, a protocol of the sharia courts. vakaf and its management; a cannon, statute of the Islamic endowment. Sokak – short and narrow street. Vas Diatretum – a luxurious Roman glass vessel with a rich decoration on its outer surface. Stables – ground floor part for cattle in the houses or the barns. Stucco – a plastic, relief decorating of the interior and exterior of the building with the use of stucco mortars and other materials. Tambour – cylindrical or multi-angled part of a building, on which the dome is placed. Tajfa – an organized group of builders who worked on construction of objects. Watermill – an object beside a stream or river which uses the water energy for grinding grain. Woodcarving - applied art, a craft by some, of elaboration of objects and carvings of wood. Zograf – fresco and icon painter. Tekke – dervish building in which the dervish rites take place. Timber cladding – horizontally placed beams on the inner and outer side of the timber frame wall construction. Timber frame construction – wooden skeleton system composed of columns and beams which are usually orthogonally placed, as well as jetty brackets for firming of the construction. The filling can be of earth mixed with straw, a wattle infill of thin branches of willow or Cornus mas tree, plithar etc. Turbe – a mausoleum, grave with a dome. 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