Narrative of Cultural Heritage…

27-523:7(497.115)

NARRATIVE OF CULTURAL HERITAGE: THEORY AND PRACTICE – CHURCH OF ST. NIKOLA IN PRISTINA Jelena Pavličić University of Belgrade,

Abstract: Depending on the context in which the subject In the 20th century when electronic tools revolu- of past achieves a particular communication, is inter- tionary change memory and remembering by the new preted and used, the value of this subject is changed. The transfer of information, way of remembering is not the object polysemy is causing this so we are always challenged only being changed, but also the perception of time. to rethink the phenomenon of heritage. At that point we are Thus, the past becomes something that requires a re- in the domain of explanation, and that mean in story, narra- discovery and new ways of preserving and use in the tive. But what kind of story? If we know that images of past are product of selective forgetting and active process of present. remembering, and are part of narrative time concept The problem that we face is how inherited and pre- through whom we read and examine heritage object, than served values from the last time to transfer in the fu- the story that we make about that object is not strictly ture. Although comprehensive contained in one cul- linear, it breaks rigid chronology, and creates a plot that tural object, the values change, depending on the con- combines elements of temporal experience. The case study text in which object communicates, is interpreted and of this theory and focus of this paper is 19th century church used. Therefore, the „key“ is in their clear recognition, of St. Nikola in Pristina. We are following the life and mean- understanding and explanation, which causes further ing of this object in the old city center through the period of treatment of heritage and preservation. So the quality existence and ideas that enriched it. The aim is to recognize of cultural object (which makes it so different from and discuss place of the church in the cultural memory of other works of material culture) not only recognizes town, and opposite the materiality and age but rather those mental con- Keywords: continuity, time concept, remembering, images of structions which tend society in facing the very subject. past, narrative, structure of cultural heritage, communi- Therefore the problem is relocated in the field of un- cation, church of St. Nikola in Pristina, cultural memory derstanding and explanation of objects of the past, and of town then we are in the domain of narrative - or the story.

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A story, we would tell at first, has a linear flow, as at is to become non chronological. "The plot of a story first is a time experience, too. It has a beginning and an gathers and consolidates a number of separate events end, the past is clearly distinguishable from the pre- into one complete and finished story and thus schema- sent and the future. Also, as the category of "under- tizes intelligible meaning which is related to the story standing" the past is in the level of remembering past as a whole." The human mind needs rounded story, contents, then remembered images of the past are also without which objects and the human experience are perceived through the linear continuum. However, isolated cases. So the plot is deliberately tool by which images of the past are not "chunks" of unique "history" we shape our messy, shapeless and somewhat inartic- extracted as needed and always the same, but on the ulate time experience The narrative involves mimetic contrary they are the result of selective memory and activity because products something very specific or, always an active process of remembering. In this very specific, products scheduled events by building mechanism of constructing the past events may be the plot. In the story, the author establishes a similarity in essence of modern narration. That kind of story about the way that the previously distant objects and experi- the object breaks rigid chronology and creates a plot ences are approaching one another - they associate that combines elements of temporal experience. Or, (Riker, 1993: 6 - 20). speaking of events or things of the past, we use the present experience and knowledge, again, we remem- ber the things that were already part of the process of I. THERE WAS THE ENTIRE LIFE BEHIND THINGS remembering and choose the content we want to save from oblivion. In this paper, we wonder how to structurally organ- Paul Ricoeur drew attention to the importance of ize the story of an object of the past and how to build a distinguishing the current remembering of the past, plot that makes harmonious diffused time experience, then the present seeing of the current and finally the or the actors, events, policies with which the subject is current expectations of the future. The distinction identified today. between these three dimensions is based on their uni- Specifically, we're talking about the Church of St. ty (Kuljić, 2006: 8). It exists in time - as the three as- Nicholas in Pristina (e.g. Fig. 1). It was built in 1830 on pects of the present (which, in turn, is always punctuel the foundations of an older church (Nušić, 1903: 12). (current)) - in which we remember, perceive and ex- About the older church not much is known because of pect, and in the space of mind (of the narrator) and archaeological research that has never been done. narration. Monastery with the same inscription was mentioned in Ricoeur looks at examining the paradoxes of time at the Turkish census of the 1544th years and from the St. Augustine and develops his subjectivist conception time of Selim II (1566-1574), which raising the possi- to the structural organization of the story and Aristo- bility that the present church renewed this sacred tle’s theory of dramatic plot. The thesis is circular in space (Zirojević, 1984: 170).1 The first significant nature, and the main priority of the theory of the story changes new church experienced in the early 20 cen-

122 Narrative of Cultural Heritage… tury, and then at the end of the century, when its role However, it is interesting to talk about this church in as an active religious center is shaken. In 1911 the bell the terms of Old Serbia, 19th century church and the tower is added to the church and in 1990 the dome. In city of Pristina. Their models of functioning the church 1992 the conservation work of the church started, keeps itself. Orthodox faith and the Church as an insti- especially in the iconostasis of family Frchkovski from tution had a prominent place in the state and the socie- Debar. During this work wall paintings was discovered ty of the nineteenth century. (Vranići, 1993: 138-142). In 1999, after the arrival of Attitude of the state toward the church reflected on KFOR in and , the church was dam- the church building, in fact on all the things to which the aged by a bomb while in riots 2004th it was on fire. A Church in its doctrinal and liturgical practice was at- significant portion of its construction corps was tached upon: iconography and equipment of churches, burned then, the entire archive, icons, and valuable decorating, maintenance, and the raising of temples. The iconostasis Debar masters of the 19th century, also.2 adoption of legislation creates that the State controls the How the iconostasis doesn’t exist anymore, and it was visual identity of the city. By edict from 1830 Serbia gets the reason why the church was nominated as cultural the freedom of confession of faith and church art reaches heritage, the question is are there other values, and is expansion. Tanzimat reforms have enabled the develop- it cultural heritage now without material existence of ment above all church architecture, which until then had wood iconostasis? been reduced to objects for which they did not dare to stand explicit religious symbols. Smaller and inconspicu- ous churches are changing or there are build new which trough its architecture clearly take place in the visual identity of place. In a small span of time since the intro- duction of reforms, in the Balkans was built a large num- ber of Christian churches. At the same time in the unre- lieved south, there are still small, inconspicuous churches of basilica type. Church of St. Nicholas has found its place in the city, but not as monumental temple but a modest one, without dome and tower (Fig. 2.), so as not to compete with the high minaret of a nearby Imperial mosque. "The church from the outside looks like an ordinary house, built in the

ground so that it comes down to four degrees." It is simi- Figure 1. Church of St. Nicolas in Pristina from the north, 2010. lar to Odzaklija church in Leskovac. St. Nicholas church is located in the old part of town, the side of the road to Judging by the rare studies and published papers on Germia, the famous picnic place of Pristina, and the ele- the subject, it would seem that this modest church vated site of the former “Varos mahala”, where only Serbs from the 19th century doesn’t give much to be said. 3 lived in 19th century (Nušić, 1903:12). By the time of con-

123 Култура / Culture, 8 /2014 struction, approximately in 1830 the Serb population cording to another story, Kir Janicije was the one who didn’t have a church, but over the ruins of the old church, asked for permission to build a church, but nonethe- over the altar was raised roof (part), that position is des- less feared that it will be crushed / destroyed, so it was ignated as a place of worship and over them lit candles. built at night and buried a bit into ground, with look of About the presence of an older church, specifically its an ordinary family house. There is also remembered "traces", also testify memory of Pristina residents record- myth of the two monks from Novi Pazar who came to ed in writings of Branislav Nusic. 4 He writes about the collect donation for the construction of the church, but ornate stone in the churchyard of the new church, which were notorious for Pasha as spies, and were killed. The is supposed to be part of the previous building, which story tells that this position is indicated unusual light, was thought to have been higher and that it was some- Pasha repented, and built a mosque there, and to the where in the bazaar. Presence of other Orthodox church- Serbs allowed the construction of a church on the site es in Pristina is mentioned in medieval literature, but it where the already lit candles. does not know about them much. 5 Nevertheless, their These myths - fictional story in which it was be- presence in the city is often mentioned when is talking lieved, and that the time seemed identity spot of town about the construction of St. Nicholas, which emphasizes and of the believers, existed later, too. Instead of clap- the continuity of the Serbian Orthodox Church and the pers in 1911 the church gets the tower. This event also centuries of the presence of the Serbian people in the tied a myth, as a testimony of actually happening and area. ingenuity of the Serbian population in relation to exer- cise religious rights. The bell, which was secretly hanged on wooden scaffolding was supposed to ring when the Ottoman Sultan Mehmed V Rešat arrived in Pristina on 15 June in 1911 year. Serbs, and among them prominent Tanasije Taca Vasic and priest Josif Spasic, organized this action. When the bell rang, the church has entered 12 zaptija (Ottoman guard) to prevent this. Ingenious Serbian believers are told that they are welcoming the arrival of the Sultan. Thus, the bell remained (Todić – Vul- ićević, 1999: 86-87). Similar stories are linked to other

churches in Old Serbia. One of them is the one related Figure 2. Church of St. Nicolas, postcard to Odzaklija church in Leskovac, which resembles from the first half of XX century Pristina church, although much smaller dimensions. Church was the three boat basilica, whose central Certain Hadzi-Jovan got permission from Yasar Pa- arched boat and the side of the flat ceiling. It was built sha to care and built a church (Nušić, 1903: 12). Ac- also upon in 1830 years and has a porch on the west

124 Narrative of Cultural Heritage… and south. According to the story, although with the This idea is reflected in the program of the second threat of the Turks, people of Leskovac have dared to zone of the wall paintings of the church from the early build a temple, but also to lay the foundation of the fire- 20th century. Images of Serbian saints and respected place and chimney. When asked by the Turks what is it, rulers in the south wall of the church in Pristina come the answer is - the house for the priest to whom should to alive medieval history in order to preserve the Or- come all the believers so the house should be big. Re- thodox faith and traditions. They play an important gardless of the size of the house, the Turks believed in the role in the defense against islamization, and „looking story, as though the chimney does not go on the church for“ historical support for the existence of the church building. It has remained the name of the church - in this area. The same idea can justify the images of archi- Odzaklija as a witness of ingenuity Serbs. tecture on the side walls of the church, in the second zone. Prohibitions, which are, as by rule, broken, brokered In these images are recognized models of temples (which by a number of creative solutions. They reflected power we recognize from 18th century prints transferred here of faith, spirit and bravery of the people. in schematized form) and the most recognizable is Decani These stories about the construction of the church monastery on the south wall (Fig. 3.).6 It found its place may have a real basis in historical fact, but it is not here as a medieval shrine that is in this area played the necessary, and probably not verifiable. They are tied role of spiritual and political headquarters. Also there are with the myth, surviving in the memory and gladly presented model of the Pec Patriarchate, which can be being retold. On the one hand they reflects the context discerned in the north, mating wall. It is interesting, alt- - the social situation in Kosovo where is difficult to get hough it can not be attributed to the painter's idea, that a permit and build a church so, dangerous to consume the character of Serbian ruler placed below the figure of faith. On the other side in them is loaded insistence on Decani on the south wall. the existence of an earlier church and their remains of In the churchyard of St. Nicholas are two more build- which now needs to build a new one. This reference to ings, Serbian elementary school and two year high school the continuity is important for obtaining permits for (Nušić, 1903: 12). This defines church as an educational construction of the church by the Turkish authorities. center and a meeting place and points to its active role in Also, the need and desire for confirmation of age and the religious, and the ordinary life of the citizens. The national traditions is expressed in the most common impact (and responsibility) of the church in addressing interpretation that the remains of the old church ruins school issues in the area of Old Serbia was big. Until the are from the golden age of the Serbian nation and Ne- opening of the Serbian consulate in Pristina in 1889 manjic time (Makuljević, 2006: 65). Mythological aware- when jurisdiction takes Ministry of Foreign Affairs of ness of age of Nemanjic, seen as the golden age and the Serbia, about Serbian education teacher hiring cared ideal of church and political programs, created historical church school district and Metropolitan in Prizren. Thus, grounds that a new church should be seen as a restora- for example, some teachers were fired for simply dislik- tion of the old (Makuljević, 2006: 10). Aforementioned ing Metropolitan Nicifor. Then, of course, followed the Monastery of St. Nicholas is just a reminder of that. appeal and "protests" (Nedeljković, 2003).

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Metropolitan building is also located in the courtyard 1830 was characterized by a significant role of the of the church. Here stayed Metropolitan of Raska-Prizren parish community in the creation of religious life. The Eparchy when was of the tour through the eparchy. One decisions to construct and paint the temples bring of the rooms of this building was the Metropolitan, in the parishioners (Makuljević, 2005: 15). Throughout the second, large, were held municipal meetings, while in 19th century, especially in Old Serbia, community par- third worked School Board, and served as a teacher's ticipation in the religious sphere plays an important office (Nušić, 1903: 12). For many years it was the only role. It is expressed by the patronage and act of giving. Serbian schools, and in the last decades of the twentieth Economically wealthy individuals and groups, espe- century, this building was the Institute for the Serbian cially the guilds, contribute those funds to equip the Language and Culture of Kosovo and Metohija. 7 Metro- church or the icon itself, thus securing an eternal me- politan building was built by the citizens in 1869, with morial for the “salvation of souls” (Lazić, 2006: 611- care of Kosta Filipovic, merchant, as evidenced by an 615). Devotion is the first motive of the individual inscription above the door (Nušić, 1903: 12). patrons, but this act is clearly demonstrated their power and position in the social life of the city. "Par- cels" of painted walls of the church, where were pre- sented certain saints in the church of Sv. Nicholas in Pristina, were ordered from these people. It was paint- ed by Abraham Dicov in 1902-1903, by invitation and recommendation of Metropolitan Nicifor, who invited him to work wherever found work in the eparchy (Constantinople Gazette, 1903). 8 After the Pristina Avram Dicov went to Kosovska Kamenica where in 1905. painted local c. Sv. Nicholas (Ženarju, 2012: 222- 223). It is still in the yard, and much more than the aforementioned, the old Orthodox cemetery. It is situ- ated on a hillside northeast of the church, and is bor- dered by the boundary wall of unbaked bricks. Burial was performed on the cemetery until the 1920s. year. By 2008. there were preserved 73 gravestones. The Figure 3. Model of the Decani monastery, wall painting largest number of them is made up of crosses of vari- ous shapes and sizes, some embedded boards and two Patronage system we have, also, when it comes to sarcophagi. Many of graves, especially the sacrum, had wall icons of church ordered by prominent citizens of rich ornamentation in the form of geometric, astral, Pristina and guild associations. Religious renewal after plant and anthropomorphic motifs. 9

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In the church of St. Nicholas in Pristina there was a The church seems to be, of great significance not only in rich treasury, till 2004th when it was burned. It con- religious, but overall, the social life of the citizens of Pristina. sisted of 19th century books and sacred vessels that Part of the rule itself she imposed or proposed, but most of dated to the time of 18th to the beginning of 20th cen- the other rules she respected. In fact, the rules and prohibi- tury. In the fund of 90 books, there are mostly those tions defined her appearance. In addition to prohibiting the printed in Russia, which were brought to Serbia by construction of the tower is a significant the one related to priests, monks and Russian merchants. Among the the construction of the dome, too. Church for many years liturgical books were those printed in the printing Kiev looked like a normal house gabled roof, until 1990. when the Pechersk Lavra, Moscow, Belgrade, Sarajevo and dome was added on the proposal of the Serbian Orthodox Sremski Karlovci, Vienna, Venice, Istanbul, Sofia, St. Church. It is interesting that during construction all the time Petersburg and Greece (Vranići, 1997: 189 – 198). This was impression that it’s about the reconstruction of the shows strong cultural and spiritual ties between Ser- church and the cupola. Polemical tone is absent as the bian Orthodox Church and the church community. search for the historical foundations of thesis. This is proba- The only book that is written by hand is the "Canon bly because it is not recognized testimony potential of the of prayer to Venerable Father Joanikije of Devic" made original appearance of the church, only the iconostasis of Debar master which was declared as cultural heritage in on 30th of May in 1875. at the monastery of Devic in 1956. By rising the dome the completely central part of the Kosovo. From the same period has been preserved a arch and wall paintings was destroyed and authentic ap- written record, "kontika" of, at that time – Bishop, pearance is compromised. This act, though polemic on one Ignatije. It was written on 1st of June in 1864. and was hand, is clear evidence of cultural awareness and practices written in Serbian. Also, it was found in the church in Serbia of last century, and the need to emphasize tradi- grave and its contents mostly transferred by Branislav tional Christian symbols - the dome, in the middle of a ma- Nušić "Kontika required to keep the Orthodox faith; jority Islamic population, where this is the only Orthodox Sunday is devoted to God, and the church should be church. Raising the dome interacts with the visual identity of visit at time and shops to be closed on that day. Except Pristina and foremost oriental face of the old bazaar where Sunday kontika provides that still need to celebrate the church is located. The act of construction also means the saints and the stores to be closed on this days, and victory against prior restraint of time of unliberated Serbia. among others saints its mention "St. Joanikije of De- Stories of freedoms and restrictions of expression of vic" (Nušić, 1902: 110). The cult of the hermit was faith, rebellion and clever solutions in Pristina, it seems to drafted in the 15th century (Popović, 2012: 607 – 623), follow the life of this place, or better yet revive it. Thus and on the strength of its practice in this area, espe- the southern side of the church exist decoration that was cially in Pristina testify the western part of the south not originally belonged to this area, as evidenced by the wall of the church in Pristina. The icon is very dam- style in which it was performed and discussing two sev- aged, but the next to the saint with a white veil is seen en-pointed candlesticks - menorah. Most likely, this deco- inscription „&annjk(ie)”. ration was portal of Pristina synagogue that was de-

127 Култура / Culture, 8 /2014 stroyed during World War II. According to the current 2004, with a brief overview of destroyed and threatened Chris- priest Steva Mitric church at that time served as both tian heritage) Beograd, 2004. [3] There are just a few published articles dealing with this church: 10 religion temple. Biljana Vranići, Crkva Sv. Nikole u Prištini, (Church of St. Nicolas By telling the story of the church and the story about in Pristina) Glasnik društva konzervatora Srbije 17, Beograd, the church in this paper, we touched on the identity of 1993, 138–142.; Biljana Vranići, Crkva Sv. Nikole u Prištini i some places where the church is based and what’s its liturgijske knjige (Church of St. Nicolas in Pristina and liturgical books) in: Baština No. 8, Priština, 1997, 189-203. heritage. Some issues are touched and new approaches, [4] „Stariji putnici su zaticali još trag te crkve, a i stariji ljudi pamte through which Pristina church was overvalued and repo- njene tragove“ („Elderly passengers were still finding the tracks sitioned, especially in the cultural memory of the city. It is of the church, and the older people remember her tracks“) in: important to say that the narrator is the one who selects Branislav Đ. Nušić, Kosovo: opis zemlje i naroda, II sveska, (Ko- sovo: A description of the land and people, II book), 13. a topic and way of explaining the order of events. So the [5] The single, somewhat larger, published text devoted to St.- narrative in this way is not without some perspective, Nicholas, in the Gazette of DKS 17, the author Biljana Vranići in- and does not claim to total objectivity and clash with the troduces us to the older churches in Pristina, but a more detailed truth. Context of the author are part of the narrative, too, description of the same or naming them or the file in which they are not mentioned. Thoroughly discussion of the older churches in and not only one of her appearance, but the further life of Pristina could be found in: Branislav Todić, Mitropolija u Prištini – the consumer (reader, listener, viewer) - whose vision prva grobna crkva kneza Lazara (Metropolis in Pristina - the first and understanding of the story is later formed. Broadly burial church Lazar)in: Sveti knez Lazar: Spomenica o šestoj sto- speaking every reading is new rewriting. The reader in godišnjici Kosovskog boja 1389–1989, 163–169. [6] Characteristics of monastery recognized from the graphics of poststructuralist theory creates authors and the issue of Stojanovic George and Adolf G. Miller from 1746 year. Graf. discussion, in our case the subject of the past, and of this No. 198 and No. 199 in: Dinko Davidov, Srpska grafika 18. Veka dependent the preservation of the object and the continu- (Serbian graphics of 18th century) Novi Sad, 1978. ity of the story. [7] Milan Ivanovic, A suffering of Serbian religious monuments in Kosovo and Metohija, 1999 -2004, unpublished manuscript. Story is, therefore, a different name for dialogue. [8] Carigradski glasnik br. 2 (Constantinople Gazette No. 2) for friday 10th of January, Constantinopol, 1903, 3. ENDNOTES [9] Obnova kulturne baštine na Kosovu i Metohiji 2005–2008 (Resto- ration of cultural heritage in Kosovo and Metohija 2005–2008), 2008. 52–53. [1] Based on data from the Turkish defters (Vucitrn defter No. 234 [10] The interview was conducted on 9th of December 2012. and No. 124): Olga Zirojević, Crkve i manastiri na području Pećke patrijaršije do1683. godine (Churches and monasteries in area of the Pec Patriarchate till 1683.), Beograd, 1984. 170, and REFERENCES later upon it: Milan Ivanović, Zadužbine Kosova (Legacy of Ko- sovo), Priština - Beograd, 1987, 513. and Biljana Vranići, Crkva [1] Davidov, Dinko, Srpska grafika 18. veka (Serbian graphics of 18th Sv. Nikole u Prištini, (Church of St. Nicolas in Pristina) Glasnik century), Novi Sad, 1978. društva konzervatora Srbije 17, Beograd, 1993, 138. [2] Lazić, M, Ktitori i priložnici u srpskoj kulturi 19. i početkom 20. [2] Martovski pogrom na Kosovu i Metohiji: 17–19. mart 2004. Godi- Veka (Patrons and contributors in Serbian culture 19 and early ne, s kratkim pregledom uništenog i ugroženog hrišćanskog kul- 20 century), in: A. Stolić, N. Makuljević (ed.), Privatni život kod turnog nasleđa, (March pogrom in Kosovo: 17-19 th of Mart Srba u devetnaestom veku, Beograd 2006, pp. 611–615.

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[3] Martovski pogrom na Kosovu i Metohiji:17–19. mart 2004. Godi- [9] Kuljić, Todor, Kultura sećanja (Cultural memory), Čigoja, Beo- ne, s kratkim pregledom uništenog i ugroženog hrišćanskog kul- grad, 2006. turnog nasleđa (March pogrom in Kosovo: 17-19 th of Mart [10] Popović, Danica, Kult Svetog Joanikija Devičkog (Cult of St. Jo- 2004, with a brief overview of destroyed and threatened Chris- anicije of Devic) in: Vizantijski svet na Balkanu, knjiga II, 2012. tian heritage), Beograd, 2004. [11] Riker, Pol, Vreme i priča (Time and narrative), IK Zorana Stoja- [4] Makuljević, Nenad, Ikonopis Vranjske eparhije: 1820–1940 (Painting novića, 1993. Vranje Diocese 1820-1940) in: Ikonopis Vranjske eparhije / ed. [12] Todić–Vulićević, Radmila, Priština, Prištevci i vreme (Pristina, Miroslav Timotijević and Nenad Makuljević, Beograd–Vranje, 2005. Pristins and time), Novi Sad, 1999. [5] Makuljević, Nenad, Umetnost i nacionalna ideja u XIX veku (Art [13] Vranići, Biljana, Crkva Sv. Nikole u Prištini (Church of St. Nicolas and national idea in XIX century), Beograd, 2006. in Pristina), Glasnik Društva konzervatora Srbije 17, Beograd [6] Nedeljković, Slaviša, Učiteljsko pitanje (problemi izazvani premeštaji- 1993, pp. 138–142. ma srpskih učitelja u Staroj Srbiji početkom XX veka)( Teacher's [14] Vranići, Biljana, Crkva Sv.Nikole u Prištini i liturgijske knjige question (problems caused by Serbian teacher reassignments in Old (Church of St. Nicolas in Pristina and liturgical books) u: Baština Serbia in the early twentieth century) in: Peščanik 1 – Časopis za br.8, Priština, 1997, pp.189-203. istoriografiju, arhivistiku i humanističke nauke, Niš, 2003. [15] Ženarju, Ivana, Debarski zografi na Kosovu i Metohiji (Debar [7] Nušić Đ., Branislav, Kosovo : opis zemlje i naroda, I sveska (Koso- painters in Kosovo), Saopštenja XLIV – 2012, Beograd, 2012, vo: A description of the land and people, I book), Novi Sad, 1902. pp. 207-227. [8] Nušić Đ., Branislav, Kosovo: opis zemlje i naroda, II sveska (Koso- vo: A description of the land and people, II book), Novi Sad, 1903.

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