KOÂÀ×ÅÂÈÖÀ ÁÚËÃÀÐÈß

KOVACHEVICA BULGARIA 2 3 Êîâà÷åâèöà Âðúùàíå êúì èñòîðèÿòà

“Äà óìååø äà ñå íàñëàæäàâàø íà ìèíàëîòî çíà÷è äà æèâååø äâîéíî” Ìàðöèàë

Âèñîêî, ïî ñòðúìíèòå çàïàäíè ñêëîíîâå íà Äúáðàøêèÿ äÿë íà Çà- ïàäíèòå Ðîäîïè (íà 23 êì ñåâåðîèçòî÷íî îò ãð. Ãîöå Äåë÷åâ è 17 êì ñåâåðíî îò ñ. Ãúðìåí) íà 1020 ì íàäìîðñêà âèñî÷èíà ñå íàìèðà åäíà îò íàöèîíàëíèòå àðõèòåêòóðíè ëåãåíäè - ñåëî Êîâà÷åâèöà. Ïîñòðî- åíî â ñóðîâèòå óñëîâèÿ íà âèñîêîïëàíèíñêà ñðåäà, íî ñ ìåê ñðåäèçåì- íîìîðñêè êëèìàò, ñ ïëàíèíñêî âëèÿíèå, íîñåíî ïî ïîðå÷èåòî íà ð. Êà- íèíà (Êúðâàâà), êîÿòî ñå âðÿçâà â ñòðúìíèòå ñêëîíîâå íà çåìëèùå- òî, ñåëî Êîâà÷åâèöà ñìàéâà ïîãëåäà ñ íåâåðîÿòíîòî ñè àðõèòåêòóð- íî áîãàòñòâî. Îñêúäíèÿò, ñêàëèñò òåðåí å îòâîþâàí îò âñÿêà êúùà ñ èñòèíñêè ñòðîèòåëåí ïîäâèã íà ìíîãî ïîêîëåíèÿ. Îùå ñ ïúðâèòå çàñåëíèöè âúçíèêâà óíèêàëíèÿò òèï íà êîìïàêòíî æèëèùíî ñòðîèòåëñòâî; ðå- äîâî èëè àíñàìáëîâî, îò ãðóïà êúùè, íàðè÷àíè “áðàòñêè”. Ñãúñòåíî- òî ïðîñòðàíñòâî ìåæäó òÿõ ñèòóèðà òÿñíè ñòðúìíè óëè÷êè ñúñ ñïå- öèôè÷íà ïëàíèðîâêà è îðèãèíàëíà êàìåííà íàñòèëêà. Îáùèÿò àðõè- òåêòóðåí ñòèë, êîéòî ìîæå äà áúäå îïðåäåëåí êàòî “âúçðîæäåíñêè” å òîëêîâà óíèêàëåí, ÷å íÿìà àíàëîã â áúëãàðñêàòà àðõèòåêòóðà. Çà- òîâà îáùåñòâåíàòà îöåíêà çà ñàìîáèòíîñòòà è àðõèòåêòóðíàòà àâòåíòè÷íîñò íà ñåëèùíèÿ àíñàìáúë è çàïàçâàíåòî ìó êàòî íåïîâ- òîðèì è áåçöåíåí èñòîðè÷åñêè êîìïëåêñ, å èçðàçåíà â ðåøåíèåòî íà Ìèíèñòåðñêè ñúâåò ñ ðàçïîðåæäàíå ¹ 89 îò 1977 ã. çà îáÿâÿâàíå íà ñåëèùåòî çà “Èñòîðè÷åñêè è àðõèòåêòóðåí ðåçåðâàò - Êîâà÷åâèöà”. 4 Kovachevitsa Back to History

“To be able to enjoy past means living twice” Martialis

High, up on the Western slopes of the Dubrashky Part of the Western Rodopi Mountain (23 km Northeast of the town of Gotze Delchev and 17 km North of the village of Gurmen) at 1020 m above the sea level one of the national architecture legends is situated – the village of Kovachevitsa. Built in the severe conditions of high-mountain environment, yet in a mild Mediterranean climate with mountain influence, carried alongside the Kanina (Bloody) River Valley that juts into the steep slopes of the land, Kovachevitsa astounds the perception with its amazing architecture mag- nificence. The scarce, rocky terrain was won over by each house with a real feat of construction of many generations. A unique type of compact residence construction, whether row-structures or ensemble-based of groups houses referred to as “fraternal” ones was established ever since the first settlers appeared. The dense space among those houses situates narrow steep alleys with peculiar planning and an original stone-made pavement. The general architecture style, which may be defined as “Renaissance”, is so unique that it does not have an analogue in Bulgarian architecture. Therefore, the public appreciation for the originality and the architecture authenticity of the village assembly and the preservation thereof as a unique and invaluable historical complex was codified into a Decision made by the Council of Ministers under Instruction No 89 in 1977 for declaring the village to be Kovachevitsa Historical and Architecture Reserve. 5 Ôðàãìåíò îò ìðàìîðíà îëòàðíà ìàñà îò ðàííî õðèñòèÿíñêàòà åïîõà – ñðåäàòà íà III â. – Íèêîïîëèñ àä Íåñòóì (ÎÈÌ – ãð. Ãîöå Äåë÷åâ). Fragment of a marble altar tablet of the early Christian Age – middle of the 3rd century – Nikopolis ad Nestrum (MHM – Gotze Delchev).

Òðàêèéñêè áðîíçîâ øëåì – IV â. ïð. Õð. - îòêðèò ïðè ñ. Êîâà÷åâèöà (ÍÈÌ – Ñîôèÿ). Thracian bronze helmet – 4th century B.C., discovered in Kovachevitsa (NHM — Sofia).

Èñòîðè÷åñêîòî ìèíàëî íà ñ. Êîâà÷åâèöà å ìíîãîïëàñòîâî è íåãî- âàòà äúëáî÷èíà, ìàðêèðàíà îò èçêëþ÷èòåëíî öåííè àðõåîëîãè÷åñêè íàõîäêè, ìîæå äà ñå òúðñè îùå îò êàìåííî-ìåäíàòà åïîõà è êàòî ïðåäïîëàãàåì öåíòúð íà äðåâíà öèâèëèçàöèÿ, ìèíàâà ïðåç àíòè÷íî- ñòòà, îáèòàåì è íàñåëÿâàí ñ ðàçëè÷íà èíòåíçèâíîñò ïðåç âñè÷êè èñ- òîðè÷åñêè åïîõè, äî íàöèîíàëíîòî Âúçðàæäàíå, êîãàòî äîñòèãà ñâîÿ çàâúðøåí ñòèëîâ ðàçöâåò. Ñâèäåòåëñòâî çà òîâà áîãàòî èñòîðè÷åñêî ìèíàëî ñà íàõîäêèòå îò íàäãðîáíàòà ìîãèëà â ìåñòíîñòòà “Ðóäàðÿ” îò êúñíèÿ ïåðèîä íà æåëÿçíàòà åïîõà è òðàêèéñêîòî ñâåòèëèùå îò I õèëÿäîëåòèå ïð. Õð. â ìåñòíîñòòà “Êîçèÿ êàìúê”. Ñåâåðíî îò ñ. Êîâà÷åâèöà â ìåñòíîñò- òà “Ñâ. Êîíñòàíòèí” â îòêðèòèÿ àíòè÷åí íåêðîïîë ñà íàìåðåíè åä- íè îò íàé-öåííèòå íàöèîíàëíè íàõîäêè îò êðàÿ íà IV è íà÷àëîòî íà III âåê ïð. Õð. êàòî èçâåñòíèòå “Áðîíçîâ øëåì” è “Áðîíçîâà ðèçíèöà” òðàêèéñêè òèï. Èçòî÷íî îò ñåëîòî â ìåñòíîñòòà “Ñòàðàòà öúðêâà” ñà ðàçêðèòè îñíîâèòå íà ñðåäíîâåêîâíà öúðêâà. Ñëåäèòå îò àíòè÷åí ïúò, â áëèçîñò äî ñåëèùåòî, ñâúðçâàë Íèêîïîëèñ àä Íåñòóì è Ôèëèïîïîë (Ïëîâäèâ) ãî ïîñòàâÿ â ñðåäà íà èíòåíçèâíè êóëòóðíè è òúðãîâñêè âðúçêè â àíòè÷íîñòòà, ïðåäîïðåäåëÿùè áîãàòîòî ìó èñ- òîðè÷åñêî ìèíàëî. Çà ñúæàëåíèå íå ñúùåñòâóâàò ñèãóðíè èçòî÷íèöè çà èñòîðè÷åñêàòà õðîíîëîãèÿ íà âúçíèêâàíåòî è ðàçâèòèåòî íà ñåëè- ùåòî ïðåç äàëå÷íèòå åïîõè. Ïî-òî÷íèòå ñâåäåíèÿ ñà îò Ñðåäíîâåêî- 6 Áðîíçîâà ìîíåòà ñ îáðàçà íà èìïåðàòîð Òðàÿí – The Kovachevitsa historical past was multi-faceted and its profundity íà÷àëîòî íà II â. (ÎÈÌ – ãð. Ãîöå Äåë÷åâ). marked by extremely precious archeological finds could be sought as Bronze coin with the image of Emperor Trayan – beginning of early as the Stone-Copper Age and as a presumably center of an ancient the 2nd century (MHM – Gotze Delchev). civilization passed onto the Antiquity, inhabited under various intensity over all historic epochs up until the National Renaissance when it reached Ôðàãìåíò îò ìðàìîðíà îáðî÷íà ïëî÷êà ñ òðàêèéñêè it complete style zenith. êîííèê – III â., îòêðèòà â ðåãèîíà íà ñ. Êîâà÷åâèöà The finds of the tombstone in the Rudarya Place of the Late Iron Age (ÎÈÌ – ãð. Ãîöå Äåë÷åâ). and of the Thracian Sanctuary of the I millennium B.C. in the Kozia Kamak Fragment of a marble consecrated plate with a Thracian rider – 3rd century, discovered in the Kovachevitsa region place provide evidence to the latter rich historical past. Some of the most (MHM – Gotze Delchev). valuable national finds of the end of fourth and the beginning of the third century B.C. such as the famous Bronze Helmet and Bronze Chain-Mail of Thracian Type were found North of Kovachevitsa in the St. Konstantin Place in the open ancient necropolis. The foundations of a Middle-Age church were discovered east of the village in the Starata Tzurkva (Old Church) Place. The traces of an ancient road next to the village that must have linked Nikopolis ad Nestrum to Philipopolis (Plovdiv) situated it in the center of intense cultural and commercial interactions in Antiquity pre- determining its rich historical past. Unfortunately, no certain sources exist on the historic chronology of the establishment and the development of the village during ancient times. The reports that are more accurate dated from Middle Ages and were associated with the tragic period of Bulgaria under the Ottoman rule.

7 Ôðàãìåíò îò ìðàìîðíà îëòàðíà ìàñà ñ ëîâíè ñöåíè – III â. – Íèêîïîëèñ àä Íåñòóì (ÎÈÌ – ãð. Ãîöå Äåë÷åâ). Fragment of a marble plate with hunting scenes – 3rd century - Nikopolis ad Nestrum (MHM – Gotze Delchev).

Ôðàãìåíò îò ìðàìîðíà ïðåãðàäíà îëòàðíà ñòåíà îò ðàííî õðèñòèÿíñêàòà åïîõà – ñðåäàòà íà III â. (ÎÈÌ – ãð. Ãîöå Äåë÷åâ). Fragment of a marble altar tablet of the early Christian Age – middle of the 3rd century – Nikopolis ad Nestrum (MHM – Gotze Delchev).

âèåòî è ñà ñâúðçàíè ñ òðàãè÷íèÿ ïåðèîä íà Áúëãàðèÿ ïîä îòîìàíñêî âëàäè÷åñòâî.  ïåðèîäà íà ñâîåòî âúçíèêâàíå ñ. Êîâà÷åâèöà èìà íå ñàìî áîãàò èñòîðè÷åñêè ôîí, íî è ùåäðà ïðèðîäíà ñðåäà, áîãàòè ðå- ñóðñè îò îñíîâíèòå ñòðîèòåëíè ìàòåðèàëè êàìúê è äúðâî, êîèòî ñòèìóëèðàò ñòðîèòåëñòâîòî íà ñîëèäíè, çäðàâè ñãðàäè, íåïîäâëà- ñòíè íà ñòîëåòèÿòà. Îò êàìåííèòå îñíîâè ÷àê äî êàìåííèÿ ïîêðèâ, íàñòëàí ñ ïðî÷óòèòå êîâà÷åâñêè “òèêëè”, âñè÷êè àðõèòåêòóðíè äå- òàéëè ñà áèëè ñúçäàäåíè ñ ÷óâñòâî çà ìÿðêà è òðàéíîñò. Òîïëîòàòà è óþòíîñòòà áèëè ïîñòèãíàòè ñ ðàçòî÷èòåëíàòà óïîòðåáà íà ïúð- âîêëàñåí äúðâåí ìàòåðèàë, ïîäáèðàí îò áîðîâèòå, áóêîâèòå è äúáî- âè ãîðè â îêîëíîñòòà. Ïúðâèòå çàñåëíèöè íà ñ. Êîâà÷åâèöà, ñïîðåä èñ- òîðè÷åñêàòà íàðîäíà ïàìåò, ñà áåæàíöè îò ðàçãðîìåíîòî îò òóð- öèòå Òúðíîâñêî öàðñòâî (1393 ã.) êúì êîèòî ñå ïðèñúåäèíÿâàò ïðå- ñåëíèöè è îò Êîñòóðñêî. Òå ñå óñòàíîâÿâàò â íÿêîëêî ìàõàëè, ïðúñíà- òè íà ãîëåìè ðàçñòîÿíèÿ. Äðóãà ãîëÿìà âúëíà îò çàñåëíèöè å ñâúðçà- íà ñ áåç÷èíñòâàòà íà òóðñêàòà âëàñò ïðè íàñèëñòâåíîòî ïîìîõàìå- äàí÷âàíå íà áúëãàðñêîòî íàñåëåíèå. Ñëåä îïîæàðÿâàíåòî íà ñ. Ðèáíî- âî, îöåëÿëîòî íàñåëåíèå, ñå çàñåëâà â ãîðíàòà ÷àñò íà äíåøíîòî ñå- ëèùå, îêîëî èçâîð, ñåãà ãîëÿìà ÷åøìà, êîÿòî íîñè èìåòî “Öèãàí÷èöà”. Ëåãåíäàòà, êîÿòî äàâà èìåòî íà ñåëèùåòî “Êîâà÷åâèöà”, å ñâúðçàíà ñ æåíàòà íà åäèí ïðåñåëíèê êîâà÷ Ìàðêî - Ãèíà Êîâà÷åâèöà. Ñëåä ñìúðòòà ìó òàçè âåðîÿòíî, ìúäðà è ñèëíà ïî äóõ æåíà å áèëà òúð- 8 Ôðàãìåíòè îò êåðàìè÷íè ñúäîâå ñ ðèñóâàíà äåêîðàöèÿ – VI -V â. ïð. Õð. (ÎÈÌ – ãð. Ãîöå Äåë÷åâ). Fragments of ceramic vessels with painted ornaments – 6th-5th century B.C. (MHM – Gotze Delchev).

Áðîíçîâè ìîíåòè ñ îáðàçà íà ðå÷íèÿ áîã è òðèçúáåö – IV-III â. ïð. Õð. (ÎÈÌ – ãð. Ãîöå Äåë÷åâ). Bronze coins with the image of a river god and a trident – 4th-3rd century B.C. (MHM – Gotze Delchev).

During the period of its establishment, Kovachevitsa not only did it have rich historical background, but also generous nature, rich natural resources of the main construction materials of stone and wood that pro- vided incentives to building solid, firm sites, lasting beyond time. All archi- tecture details starting from the stone-made foundations reaching the stone-made roof, covered by the famous Kovachevitsa tiles – tikli, were created with a sense of moderation and solidity. The cordiality and cozi- ness were achieved by using lavishly first-class materials selected of the pine-tree, beech-tree and oak-tree woods in the vicinity. The first settlers in Kovachevitsa according to historic local memories were refugees of the Turnovo Kingdom defeated by the Turks (1393), which were joined by emigrants from the Kostursko regions. They settled in several hamlets scattered around on grand distance. Another significant immigrant wave was associated with the excesses of the Turkish Authorities during the period of violent conversion to Islam of the Bulgarian population. After burning down the village of Ribnovo the sur- vivors settled in the upper part of the present village around a water spring, now being a large fountain referred to as “Tziganchitza”. The legend that gave the name of the village – Kovachevitsa was asso- ciated with the wife of a smith immigrant called Marco – Gina Kovachevitsa (note: Smith in Bulgarian is Kovach). After his decease that probably wise and strong-willed woman was sought for advice and assis- 9 ñåíà çà ñúâåò è ïîìîù îò ìíîãî ñâîè ñúñåëÿíè, òàêà ÷å ñòàíàëî íà- ðèöàòåëíî äà ñå êàçâà: “Îòèâàì ïðè Êîâà÷åâèöà”, êîãàòî íÿêîé òðúã- âàë îò äîëíàòà êúì ãîðíàòà ìàõàëà, êúäåòî áèëà êúùàòà íà êîâà÷à. Òàêà ïðåäàíèåòî ñâúðçâà èìåòî íà ñ. Êîâà÷åâèöà ñ àâòåíòè÷íè ëè÷- íîñòè, ðåàëíî ñúùåñòâóâàëè, çà êîèòî èìà çàïàçåí äúëáîê ñïîìåí â íàðîäíàòà ïàìåò. Çà áúðçîòî ðàçðàñòâàíå íà ñåëîòî ñïîñîáñòâàëè è ìíîãî âàæíè ôàêòîðè êàòî èçîáèëèåòî íà ïèòåéíà âîäà (íàä 15 èç- âîðà è 12 ÷åøìè), ìåê êëèìàò, îáøèðíè ïàñèùà è áîãàòà ïðèðîäà, íà- ñèòåíà ñ äèâîðàñòÿùè ëå÷åáíè áèëêè è ïëîäîâå (ãîðñêè ÿãîäè, ìàëè- íè, êúïèíè, øèïêè, ëåøíèöè, áîðîâèíêè, ðèãàí, áúçîâè êîëîíèè è äð.). Òåðàñîâèäíî ðàçïîëîæåíèòå íèâè, ëèâàäè è ãðàäèíè ñ ÿáúëêîâè, ñëèâî- âè, ÷åðåøîâè, êðóøîâè è îðåõîâè íàñàæäåíèÿ, êîèòî ñúùåñòâóâàò è äíåñ, íàïðàâèëè çåìëèùåòî ïðèâëåêàòåëíî çà íîâè çàñåëíèöè, òúðñå- ùè ñèãóðíîñò îò çà÷åñòèëèòå ðàçáîéíè÷åñêè íàïàäåíèÿ â íèçèíèòå. Íîâà ìèãðàöèîííà âúëíà îò áúëãàðè ÷àê îò Çàïàäíà Ìàêåäîíèÿ íà- ìèðà ñâîÿòà îáåòîâàíà çåìÿ â ñ. Êîâà÷åâèöà îêîëî 1791 ã., êàòî çàñå- ëÿâà äîëíèÿ çàïàäåí ðàéîí íà ñåëîòî. Äåñåòèíà, ïåòíàäåñåò ñåìåé- ñòâà îò Äåáúðñêî, Êè÷åâñêî è Òåòîâñêî ïîñòðîÿâàò ñâîèòå êúùè, îáîñîáåíè â ò. íàð. “Àðíàóòñêà ìàõàëà”, îêîëî ïðî÷óòàòà ÷åøìà “Àð- íàóòñêèÿ ÷ó÷óð”, ÷èÿòî âîäà áèëà êàïòèðàíà (÷ðåç ñïåöèàëíè êåðà- ìè÷íè òðúáè) îò ìåñòíîñòòà “Áóãàòà”. Íîâèòå æèòåëè íà ñ. Êîâà- ÷åâèöà âíàñÿò íîâè åëåìåíòè â áèòà íà íàñåëåíèåòî. Òåõíèÿò ïðî- ôåñèîíàëèçúì â ñòðîèòåëñòâîòî íåñúìíåíî ñå å ïðîÿâèë â àðõèòåê- òóðíèÿ îáëèê íà ñåëèùåòî. Òÿõíîòî ñàìî÷óâñòâèå íà îïèòíè äþëãå- ðè (ñàìîóêè àðõèòåêòè è ñòðîèòåëè) ñå îòðàçèëî áëàãîòâîðíî íà îáùèÿ äóõîâåí îáëèê, ïîâäèãàéêè íèâîòî íà îñòàíàëèòå æèòåëè, ïðåäèìíî çåìåäåëöè è ñêîòîâúäè. Íàñåëåíî ñ êîìïàêòíî õðèñòèÿíñ- êî íàñåëåíèå, ñ ÿðêî èçðàçåíà è îòñòîÿâàíà áúëãàðñêà èíäåíòè÷íîñò, ñ. Êîâà÷åâèöà ïðîñúùåñòâóâàëà ïðåç öåëèÿ ïåðèîä íà Îñìàíñêî âëàäè- ÷åñòâî â Áúëãàðèÿ, êàòî çäðàâà êðåïîñò íà áúëãàðùèíàòà â Þãîèç- òî÷íèòå Ðîäîïè. Çàáåëÿçàíî è îòðàçåíî â îñìàíñêèòå äàíú÷íè ðåãèñòðè îùå â ÕV - XVI âåê êàòî ñåëî Êîâà÷åâè÷å èëè Êîâà÷îâè÷å, îò 13 áúëãàðñêè, õðèñ- òèÿíñêè äîìàêèíñòâà (õààíåòà), ñåëèùåòî ñå ðàçðàñòâà è ïðåç Âúç- ðàæäàíåòî ðàçâèâà çàâèäíà ñòîïàíñêà äåéíîñò, îâöåâúäñòâî, äîñ- òèãàùî ðúñò îò 20 000 ãëàâè è çàíàÿò÷èéñòâî: àáàäæèéñòâî, êèðàä- æèéñêî è ïðî÷óòîòî äþëãåðñòâî. Çàïàçåíèòå ñâåäåíèÿ çà Òåòèì-êå- õàÿ (Ñòîèìåí Òåòèìîâ), êîéòî èìàë íàä 5000 îâöå è ñîáñòâåíî ïàñè- ùå â ìåñòíîñòòà “Âèùåðèöà”, äàâàò ïðåäñòàâà çà çàìîãâàíåòî è ïðîöúôòÿâàíåòî íà ñåëîòî.  êðàÿ íà ÕIÕ âåê, ïî äàííè íà Íåâðîêî- ïñêàòà Ìèòðîïîëèÿ, íàñåëåíèåòî íà ñ. Êîâà÷åâèöà íàáðîÿâà âå÷å 1400 äóøè.  ïåðèîäà ñëåä 1885 ã. íàñòúïâà ñåðèîçíà ïðîìÿíà â áèòà íà ïî-çàìîæíèòå çåìåäåëöè è ñêîòîâúäè, êîèòî çàïî÷âàò äà ñòðîÿò ÷àðêîâå ïî ðåêà Êàíèíà è äà òúðãóâàò ñ äúðâåí ìàòåðèàë. Ñîáñòâå- íèöèòå íà òåçè, ïîâå÷å îò 13 ÷àðêà, ôîðìèðàò ñîöèàëíà ãðóïà îò 10 Åæåäíåâèå â ñ. Êîâà÷åâèöà îò íà÷àëîòî íà XX âåê (Àðõèâíè ôîòîãðàôèè). tance by much of her fellow-villagers, so it became common to refer to it Everyday in Kovachevitsa - beginning of the 20th century (photos of the records). as “I am going to Kovachevitsa” whenever someone was leaving from the down hamlet to the upper one where the Smith’s house was located. Thus the legend linked the name of the village of Kovachevitsa to real persons that indeed existed and a marked note was kept in the local memories. Numerous other factors contributed to the rapid expansion of the vil- lage such as the abundance of drinking water (more than 15 springs and 12 fountains), the mild climate, vast pastures, rich nature full of wide med- ical herbs and fruit (wild strawberries, raspberries, blackberries, briar, hazelnuts, cranberries, wild marjoram, elder sprigs, etc.) The ledged field, meadows and gardens with apple, plum, cherry, pear and walnut trees that exist also today rendered the land attractive for new settlers looking for security of the frequent robber attacks in the low lands. A new migration wave of Bulgarians from as far as Western Macedonia found its Promi in Kovachevitsa in around 1791 as they settled onto the lower western part of the village. Ten to fifteen families from the regions of Debar, Kichevo and Tetovo built their houses established in the so- called Arnautksa Hamlet about the famous Arnautski Chuchur fountain the water in which was impounded (via using special ceramic pipes) pf the Bugata Place. The new settlers of Kovachevitsa introduced new elements in popular customs. Their expertise in building undoubtedly stood out in the architecture outlook of the village. Their confidence of being experi- enced masons (self-made architects and builders) produced a favorable impact on the general spiritual pattern elevating the other settlers most of whom where prevalently tillers and stockbreeders. Populated with compact Christians with a marked and defended Bulgarian identify Kovachevitsa survived over the entire period of the Ottoman Rule in Bulgaria being a strong fortress of Bulgarianness in the Southeastern Rodopi mountain. Noted and recorded in the Ottoman Tax Registers ever since the 15th – 16th century as Kovacheviche or Kovachoviche, starting from 13 Bulgarian Christian households (haane’s), the village grew and during the Renaissance developed noteworthy economic activities, sheep-breeding reaching a level of 20 000 sheep and craftsmanship: homespun tailoring, lodgery, and the famous masonry. The accounts recorded on Tetim- chehaya (Stoimen Tetimov) who possessed more than 5000 sheep and an own pasture in the Vishteritza Place gave an idea on the well-being and the prosperity of the village. At the end of the 19th century according to records of the Nevrocope Bishopric the Kovachevitsa population numbered already 1400 people. In the period following 1885 a significant change occurred in the lifestyle of the wealthier tillers and stock-breeders who started construct- ing cog wheels on the Kanina River and trading with timber. The owners of those more than 13 cog wheels formed a social class of rich and suc- cessful people of whom an entire generation of highly educated, notable 11 12 Æåíñêè öúðâóëè îò ñ. Êîâà÷åâèöà ñ ïëåòåíè âúëíåíè ÷îðàïè îò êðàÿ íà ÕIÕ â. – ÷àñòíà êîëåêöèÿ, ñ. Êîâà÷åâèöà. Lady’s sandals from Kovachevitsa with knit wool-made socks of the end of the 19th century (private collection, Kovachevitsa).

Êîçÿöè îò ðåãèîíà íà ñ. Êîâà÷åâèöà – ñâàòáåí ÷åèç çà ìëàäîæåíöè – íà÷àëîòî íà ÕÕ â. (ÎÈÌ – ãð. Ãîöå Äåë÷åâ). Goat’s hair rugs of the Kovachevitsa region – wedding dowry for a young couple – beginning of the 20th century (MHM – Gotze Delchev).

Ñâàòáàòà íà ìëàäîæåíöèòå Äîñòà è Êèðèë Æåðåâè íà ñòàðèÿ ïëîùàä “Âðèñ” â ñ. Êîâà÷åâèöà – 1926 ã. (Àðõèâíà ôîòîãðàôèÿ). The wedding ceremony of Dosta and Kiril Jerevi on the old Vris Square in Kovachevitsa – 1926 (photo of the records). 13 áîãàòè è ïðåóñïåëè õîðà, îò ÷èÿòî ñðåäà ïðîèçõîæäà öÿëà ãåíåðàöèÿ Êàíóø Âîéâîäà (Òîäîð Òåòèìîâ) (1850-1925) – êðàÿ íà ÕIÕ â. (Àðõèâíà îò âèñîêîîáðàçîâàíè, âèäíè ëè÷íîñòè, ñ íîâî îáùåñòâåíî ñúçíàíèå è ôîòîãðàôèÿ). ñòàòóò. Òàì ñà è êîðåíèòå íà ïî-êúñíî ñúçäàäåíèòå ñåëñêè êîìèòå- Kanush Voivode (Todor Tetimov) (1850-1925) – end of the 19th century (photo of the records). òè íà ÂÌÎÐÎ, îò êîèòî ñà èçáèðàíè è íàçíà÷àâàíè ìåñòíèòå ñúâåò- íèöè. Éîðäæå Äèìèòðîâ Äæîðäæåâ (1840–1893). (Àðõèâíà ôîòîãðàôèÿ). Íàé-ñúùåñòâåíî çíà÷åíèå çà âúçðîæäåíñêèÿ îáëèê íà àðõèòåêòó- Yordje Dimitrov Djordjev (1840-1893). (photo of the records). ðàòà íà ñ. Êîâà÷åâèöà èìàò çàñåëíèöèòå îò Çàïàäíà Ìàêåäîíèÿ. Íà òåõíèÿò êîëåêòèâåí òðóä è ïîòîìñòâåí òàëàíò, íà òÿõíàòà ëî- ãè÷íîñò è ðàöèîíàëíîñò â èçïîëçâàíå íà îñêúäíîòî ñòîðèòåëíî ïðîñòðàíñòâî, íà òÿõíàòà òâîð÷åñêà, ðàçêðåïîñòåíà ôàíòàçèÿ ïðè ñúçäàâàíå íà óíèêàëíèòå àíñàìáëè îò êúùè, ñå äúëæè èçêëþ÷èòåëíà- òà ñòèëíîñò, ïðîïîðöèîíèðàíîñò è íåïðåõîäíà êðàñîòà íà àðõèòåê- òóðàòà. Íî òîâà ñòðîèòåëíî ÷óäî íå å ìàòåðèàëèçèðàíî ñàìî â ñ. Êîâà÷åâèöà. Äþëãåðñòâîòî ñòàâà ðîäîâ ïîìèíúê çà ìíîãî ïîêîëåíèÿ ãóðáåò÷èè, ñ êîèòî ñå ñâúðçâà èçãðàæäàíåòî íà ïðåêðàñíè êúùè, õà- íîâå è öúðêâè èç öÿëà Áúëãàðèÿ è äàëå÷ çàä ãðàíèöèòå é. Îñâåí áåëå- çèòå íà òåæúê èçòîùèòåëåí òðóä, äþëãåðñòâîòî êàòî ïðîôåñèÿ íîñåëî âèñîêî ñàìî÷óâñòâèå, îïèò, óäîâëåòâîðåíèå è íîâà êóëòóðà, ïðèäîáèòà îò îáùóâàíåòî ñ ìíîãî è ðàçëè÷íè õîðà. Ðàáîòàòà íà äþëãåðèòå áèëà ñåçîííà: îò Ãåðãüîâäåí äî Äèìèòðîâäåí, êàêòî áèëî ïðèåòî è íîñòàëãèÿòà ïî áëèçêèòå è ðîäíèÿ äîì ñà âúçïÿòè â íå åä- íà íàðîäíà ïåñåí. Íå å ñëó÷àåí ôàêòúò, ÷å òðàäèöèÿòà â ñòðîèòåëñòâîòî, ïðîôå- ñèîíàëíèòå òàéíè, ïðåäàâàíè îò ïîêîëåíèå íà ïîêîëåíèå, îôîðìèëè íÿêîëêî ãåíåðàöèè òàëàíòëèâè ñòðîèòåëè, èçëåçëè èìåííî îò ñ. Êî- âà÷åâèöà, çà äà ïðèäîáèÿò ñëàâàòà íà ìàéñòîðè îò ñàìîáèòíàòà êîâà÷åâñêà äþëãåðñêà øêîëà. Êîâà÷åâñêàòà àðõèòåêòóðíî-ñòðîèòåë- íà øêîëà, ïîäîáíî íà ñàìîáèòíèòå æèâîïèñíè è ðåçáàðñêè øêîëè å óíèêàëíî âúçðîæäåíñêî ÿâëåíèå. Ïîòîìñòâåíàòà ïðèåìñòâåíîñò è íåïðåñòàííîòî ïðîôåñèîíàëíî óñúâúðøåíñòâàíå áèëè â îñíîâàòà íà íåéíàòà ïîïóëÿðíîñò. Ðåñïåêòèðàù å áðîÿò íà èçêóñíèòå ìàéñ- òîðè-äþëãåðè, êîèòî ñàìî â ñ. Êîâà÷åâèöà íàáðîÿâàëè 300-450 ãîäèø- íî, à çàåäíî ñ äþëãåðèòå îò ñåëàòà Ëåùåí, Ìàð÷åâî, Ãúðìåí, Ðèáíî- âî, Îãíÿíîâî, Äîëåí è äð. äîñòèãàë äî 1200 äóøè. Ïî ñâîÿòà ìàñîâîñò ñòðîèòåëíàòà øêîëà ñúïåðíè÷è íà Òðåâåíñêàòà, ñ÷èòàíà çà íàé-ìíî- ãîáðîéíà. Ïî çàïàçåíè ñâåäåíèÿ, êîâà÷åâñêèòå ìàéñòîðè ñà ñòðîèëè íà ïîâå÷å îò 70 ìåñòà èç ñòðàíàòà. Àðõèòåêòóðíàòà ïðèêàçêà îò êàìúê è äúðâî, íà êîÿòî ñå âúçõèùà- âàìå è ñåãà, å ñúçäàäåíà îò èçêóñíèòå ðúöå íà âåëèêè êîâà÷åâñêè ñòðîèòåëè - ñàìîóêè ãåíèàëíè äþëãåðè îò ðîäîâåòå Ïà÷àëîâè, Äæèã- ðåâè, Ìúãåâè, Äæèðòîâè, Áàÿòåâè è äð. È äíåñ ñà òðàéíè ñëåäèòå îò ñòðîèòåëíèÿ àïîãåé íà òåçè òàëàíòëèâè õîðà, êîèòî ñàìè, áåç âúíøíà ïîìîù, âúçäèãàò ãîëåìèÿ òðèêîðàáåí õðàì-áàçèëèêà “Ñâ. Íè- êîëà” ïðåç 1841-1847 ã., â áëèçîñò ñ íàé-ñòàðîòî êèëèéíî ó÷èëèùå â Íåâðîêîïñêî, çàâúðøåíî îùå ïðåç 1820 ã., â êîåòî ïúðâè ïðåïîäàâà- 14 persons with a new public-oriented mentality and status descended. The ancestors of the village VMORO (Internal Macedonian Odrin Revolutionary Organization) committees established later of which the local counselors were appointed also pointed at the latter class. The Western Macedonian settlers produce the most significant impact on the Renaissance aspects of the Kovachevitsa architecture. The exquisite stylishness, proportionality and lasting beauty were underlain by their col- lective efforts and hereditary talent, their logic-led and rational use of the scarce construction space, and their creative and free-spirited thinking. However, the latter construction miracle was not actualized in Kovachevitsa only. Masonry turned into an ancestral occupation for many generations of workers, which was associated with the construction of magnificent houses, inns, and churches all over Bulgaria and far beyond its borders. Alongside the traces of heavy efforts, masonry as an occupa- tion used to ensure fine confidence, experience, satisfaction and new knowledge acquired over the course of communicating with numerous and various people. The masons’ labor was seasonal: starting from St. George’s Day (beginning of May) and finishing on St. Dimitar’s Day (end of October) as it was customary, as the homesickness for relatives and home was praised in many folk songs. It was not accidental that the building traditions, the professional secrets passed from one generation to the next one shaped several gener- ations of talented builders descending namely from Kovachevitsa, as they later got the reputation of masters of the original Kovachevitsa masonry school. The Kovachevitsa architecture and building school like the original Êîâà÷åâñêè ÷åòíèöè ñ áîéíî ñíàðÿæåíèå îò êðàÿ íà ÕIÕ â. (Àðõèâíà ôîòîãðàôèÿ). artistic and wood-carving schools was a unique Renaissance phenome- Kovachevitsa revolutionaries fully armed at the end of the 19th century non. The hereditary continuity and the permanent professional perfec- (photo of the records). tion laid in the fundaments of its popularity. The number of sophisticated mason masters was awesome as in Kovachevitsa only 300-450 annually were present, and together with the masons from the villages of Leshten, Marchevo, Gurmen, Ribnovo, Ognyanovo, Dolen, etc. the number reached 1200. The construction school could compete with the Tryavna one in terms of mass scale as the latter was thought to be the largest. According to recorded accounts, the Kovachevitsa craftsmen built on more than 70 sites all around the country. The architecture tale of stone and wood that we admire at present times as well was created by the skillful hands of great Kovachevitsa builders – self-made mason geniuses of the Pachalovi, Djigrevi, Mugevi, Djirtovi, Batyatevi, etc. Families. The long-lasting traces of the construc- tion apogee that could be observed today of those gifted men that alone without external help raised a basilica church with a nave and two aisles “St. Nikola” in the period 1841-1847 close to the oldest cell school in the Nevrocope region completed as early as 1820 where the first tutors were the local priests. The church tower built in 1900 was made by Usta 15 òåëè ñà ìåñòíèòå ñâåùåíèöè. Êàìáàíàðèÿòà íà öúðêâàòà, ïîñòðîå- íàïðàâåíî îò Ñòîÿí Çëàòàðåâ ïðåç 1865 ã. íà ïðåç 1900 ã., å äåëî íà Óñòà Àíãåë Ìèòåâ è Òîìà Ìàðêîâ, êîãîòî Ìíîãî âàæåí ôàêò â îáùåñòâåíèÿ æèâîò å ó÷ðåäÿâàíåòî íà ïúð- ñ÷èòàëè çà ðàâåí íà ëåãåíäàðíèÿ àðõèòåêò Óñòà Êîëüî Ôè÷åòî è òî- âîòî Ïðîôåñèîíàëíî ñåëñêî äþëãåðñêî ñäðóæåíèå â Ïèðèíñêèÿ ðåãèîí. âà èìå áèëî ïðÿêîðà ìó, çàñëóæåí ñ ãîëÿì òàëàíò. Êàìáàíèòå íà Òîâà ñòàâà ïðåç 1873 ã. ñ àêòèâíîòî ó÷àñòèå íà íàðîäíèÿ ó÷èòåë Íè- öúðêâàòà áèëè îòëÿòè íà ìÿñòî îò èçêóñíè ãîðíîáðîäèíñêè ìàéñ- êîëà Êîâà÷åâñêè. Îðãàíèçèðàíè â ïðîôåñèîíàëíà ãèëäèÿ, êîâà÷åâñêè- òîðè ëåÿðè îò ìàòåðèàëè, äàðåíè îò öÿëîòî íàñåëåíèå. Ïðåòîïåíè òå ìàéñòîðè-äþëãåðè ðàçøèðèëè òåðèòîðèÿòà íà ñâîÿòà ïîïóëÿð- áèëè äåñåòêè ÷àíîâå (òóí÷îâå), çâúíöè, ìåòàëíè ñúäîâå, çëàòíè è íîñò è íàëîæèëè îùå ïî-ñèëíî ñòèëà íà Êîâà÷åâñêàòà àðõèòåêòóðíî- ñðåáúðíè ïðåäìåòè è íàêèòè. Ïîìíè ñå, ÷å êàìáàíèòå ñà áèëè ñâàëÿ- ñòðîèòåëíà øêîëà ïî öÿëà Áúëãàðèÿ. íè äâà ïúòè, äîêàòî ìàéñòîðèòå èçâëåêëè íàé-÷èñòèÿ çâóê îò ìå- Íàñåëåíèåòî íà ñ. Êîâà÷åâèöà íîñè áóäíî íàöèîíàëíî ñúçíàíèå îùå òàëíàòà ñïëàâ. Äî äíåñ òîçè ïðåêðàñåí çâúí ñå ðàçíàñÿ ìåëîäè÷íî ïîä îò ñàìîòî âúçíèêâàíå íà ñåëèùåòî. Ñèëíîòî ÷óâñòâî çà ðîäîâà ïðè- íåáåòî íà ñ. Êîâà÷åâèöà, à â ÿñíè äíè - ÷àê äî Íåâðîêîïñêîòî ïîëå. Íå íàäëåæíîñò (êîåòî å âðúùàëî ãóðáåò÷èèòå îò äàëå÷íè ðàçñòîÿíèÿ å ñëó÷àéíî, ÷å òîâà íàñåëåíèå ñ áóäíî íàöèîíàëíî ñúçíàíèå îùå òà÷è âñÿêà çèìà) è õðèñòèÿíñêàòà âÿðà ñà ïðåäàâàíè êàòî íàé-âàæíèòå ñå- èìåòî íà íàðîäíèÿ ó÷èòåë Íèêîëà Êîâà÷åâñêè - îñíîâàòåë íà ïúðâî- ìåéíè öåííîñòè îò áàùà íà ñèí. Çàòîâà ñúáèòèÿòà îêîëî Àïðèëñêî- òî Íîâîáúëãàðñêî ó÷èëèùå â Íåâðîêîïñêà îáëàñò ïðåç 1854 ã. Îùå å òî âúñòàíèå ïðåç 1876 ã. ñðåùó Îòîìàíñêàòà èìïåðèÿ å ïîäêðåïåíî æèâà çà ïàìåòòà íà õîðàòà äàòàòà 27 ñåïòåìâðè, êîãàòî ìëàäèÿò, îò áóäíèòå æèòåëè íà ñåëîòî, ÷ðåç îðãàíèçèðàíå íà ìåñòíè ðåâîëþ- ñàìî äâàäåñåò è äâå ãîäèøåí, Íèêîëà îòêðèâà øêîëîòî â ñîáñòâåíà- öèîííè êîìèòåòè, ãîòîâè çà áîðáà. È ìàêàð, ÷å ñ. Êîâà÷åâèöà íå òà ñè áàùèíà êúùà, ïðèñïîñîáåíà çà ó÷èëèùå îò íåãî ñàìèÿ, áàùà ìó ó÷àñòâà âúâ âúñòàíèåòî, òðàäèöèÿòà îñòàâà è ïî-êúñíî ïðåç 1895 ã. Èâàí Áàíåâ è ãðóïà ðîäîëþáöè.  íîâîñúçäàäåíèòå êëàñíè ñòàè òîé ñå îáðàçóâà êîìèòåò íà ÂÌÎÐÎ. Ãîòîâíîñòòà ñè çà ñàìîæåðòâà â âúâåæäà “âçàèìîó÷èòåëíèÿ ìåòîä” íà îáó÷åíèå è ñúçäàâà ïàíñèîí çà èìåòî íà ñâîáîäàòà, æèòåëèòå èçðàçÿâàò ÷ðåç âñåîòäàéíî ïîääúð- ïðèõîäÿùèòå äåöà îò áëèçêèòå ñåëà. Ó÷èëèùåòî ñòàíàëî “îêðúæíî”, æàíå íà ÷åòèòå íà âîéâîäèòå Ñëàâêî âîéâîäà, Øèìàð âîéâîäà, Éîðä- íå ñàìî ïî ïðîçâèùå, íî è ïî îáõâàò íà ïðèèæäàùèòå ó÷åíèöè. Òàçè æå âîéâîäà è èçâåñòíèÿ Òîäîð Òåòèìîâ - Êàíóø âîéâîäà. àïîñòîëñêà ïðîñâåòèòåëñêà äåéíîñò áèëà ïðîäúëæåíà îò ó÷èòåëÿ Îò ñ. Êîâà÷åâèöà èçëèçàò âúñòàíè÷åñêè ÷åòè è ïðåç 1903 ã. ïî âðå- Éîðäæå Äèìèòðîâ Äæîðäæåâ, êîéòî ïîñòðîèë ïðåç 1892 ã. ñúñ ìåòî íà Èëèíäåíñêî-Ïðåîáðàæåíñêîòî âúñòàíèå, âîäåíè îò Äè- ñîáñòâåíè ñðåäñòâà íîâà äâóåòàæíà ó÷èëèùíà ñãðàäà, äàëà îáðàçîâà- ìèòúð ×óëåâ, Ñòîéêî Ïàøêóëåâ è äð. Ðàçãðîìÿâàíåòî íà âúñòàíèå- íèå è êóëòóðà íà ïîêîëåíèÿ êîâà÷åâöè è çàïàçèëà èìåòî íà ñâîÿ ïàò- òî çàñÿãà ìàêàð è íå ïðÿêî ñ. Êîâà÷åâèöà. Ñëåä îïîæàðÿâàíåòî íà ðîí äî äíåñ. Îáùåñòâåíèÿò æèâîò è êóëòóðíèòå íóæäè íà æèòåëè- áëèçêîòî ñ. Áàëäåâî è ïîñëåäâàëèòå àðåñòè è íàñèëèÿ, íàñåëåíèåòî íà òå íà ñ. Êîâà÷åâèöà ñå îñúùåñòâÿâàëè â ó÷ðåäåíîòî ïðåç 1865 ã. ÷è- ñ. Êîâà÷åâèöà áÿãà âðåìåííî êúì Ïëîâäèâñêî è Ïàçàðäæèøêî çà äà ñå òàëèùå “Ñâåòëèíà”, èìå, îñòàíàëî íåïðîìåíåíî âå÷å ïî÷òè 140 ãî- ñúõðàíè. äèíè.  íåãîâèÿò êíèæåí ôîíä å îòáåëÿçàíî äàðåíèå îò 1500 êíèãè, Êàêòî å èçâåñòíî Îñâîáîæäåíèåòî îò òóðñêî ðîáñòâî íà ðåãèî-

16 (Master) Angel Mitev and Toma Markov who was believed to be equal to in its Book Stock. the legendary architect Usta (Master) Kolyo Ficheto as the latter name The establishment of the first Professional Village Masonry Association was his nickname that was deserved by his great talent. The church bells in the Pirin region was another important fact. The latter took place in were cast on the spot by skillful Goren Brod caster masters of materials 1873 with the active efforts on the part of the public teacher Nikola donated by the entire community. Tens of bells (tunch’s), smaller bells, Kovachevsky. United in a professional league, the Kovachevitsa mason metal-made vessels, golden and silver objects and ornaments were melt- craftsmen expanded the scope of their popularity and imposed further ed. Memories are still kept that the bells were removed twice until the the style of the Kovachevitsa Architecture and Construction School all masters extracted the finest sound of the metal alloy. The latter wonder- over Bulgaria. ful sound is melodically spread even today under the Kovachevitsa sky, The Kovachevitsa community had a public-spirited mentality right and in clear days – as far as the Nevrocope plain. from the foundation of the village. The strong sense of family belonging- It was not accidental that such a community with a public-spirited ness (which rendered the workers come back each winter from distant mind still praises the name of the public teacher Nikola Kovachevsky – a lands) and of Christian faith were passed on as the most important fam- founder of the first New Bulgarian School in the Nevrocope Region in ily values from father to son. Therefore, the April Insurrection event in 1854. The date of the 27th of September when the young 22-year-old 1976 against the Ottoman Empire were supported by the bright village Nikola opened the school in his own father’s house, adapted to become inhabitants via setting up revolutionary committees ready to fight. a school by himself, his father Ivan Banev and a group of patriots, is still Though Kovachevitsa did not take part in the revolt, the tradition vivid. In the newly created classrooms he presented for the first time the remained alive and later in 1895 a VMORO committee was established. mutual-teaching training method and established a boarding school for The residents expressed their readiness for self-sacrifice in the name of the incoming kids from the villages nearby. The school became a “dis- freedom by dedicated support of the bands of voivodes Slavko Voivode, trict” one, not only by name, but also in terms of scope of the incoming Shimar Voivode, Yordje Voivode, and the well-known Todor Tetimov – students. That apostolic and Enlightenment activities by continued by the Kanush Voivode. teacher Yordje Dimitrov Djordjev who in 1982 built with his own funds a Rebel groups originated from Kovachevitsa also in 1903 during the new two-floor school building that educated and provided knowledge to Ilinden-Preobrajenie Rebellion led by Dimitar Chulev, Stoyko Pashkulev, generations of Kovachevitsa people as it preserved the name of its patron etc. After the burning down of the nearby village of Baldevo and the until present. detentions and violations following the latter the Kovachevitsa people Public life and cultural demand by the Kovachevitsa inhabitants were escaped temporarily to the Plovdiv and Pazardjik regions in order to sur- encountered in the community center “Svetlina” (Light) established in vive. 1865, as its name remained unchanged for almost 140 years now. A As it is well-known the liberation of the Ottoman rule in the region donation of 1500 books made by Stoyan Zlatarev in 1865 was recorded occurred as late as 1912. That was the period of the Balkan War in which

17 Äúðâàðè-ñåêà÷è îò ñ. Êîâà÷åâèöà èçâîçâàò äúðâåíè òðóïè çà äúñêîðåçíèöàòà “Áåñëåò” - 1932-1935 ã. (Àðõèâíà ôîòîãðàôèÿ). Woodchoppers of Kovachevitsa that transport timber for the Beslet saw-mill – 1932- 1935 (photo of the records).

18 Äúðâîðåçáåí òàâàí â åäíà îò íàé-ñòàðèòå çàïàçåíè êúùè â ñ. Êîâà÷åâèöà îò ñðåäàòà íà ÕIÕ â. Wood-carved ceiling in one of the oldest preserved houses in Kovachevitsa of the middle of the 19th century.

Ðàáîòíèöè îò ñ. Êîâà÷åâèöà ïî âðåìå íà ðàáîòà â äúñêîðåçíàòà ôàáðèêà “Áåñëåò” – 1935 ã. (Àðõèâíà ôîòîãðàôèÿ). Kovachevitsa workers at their work place in the Beslet Saw-Mill -1935 (photo of the record).

19 íà ñòàâà åäâà ïðåç 1912 ã. Òîâà å âðåìåòî íà Áàëêàíñêàòà âîéíà, â êî- ÿòî íåçàáàâíî ñå âêëþ÷âàò æèòåëè íà ñåëîòî êàòî äîáðîâîëöè, âî- äåíè îò ïàòðèîòè÷åí äóõ, â ïîäêðåïà íà ìëàäàòà íè äúðæàâà. Ìèðíèÿò ñëåäâîåíåí ïåðèîä 1913-1931 ã. áåëåæè ïîñòåïåííî çàïà- äàíå íà õàðàêòåðíèÿ ïîìèíúê - äþëãåðñòâîòî. Çåìåäåëèåòî, æèâîò- íîâúäñòâîòî è äúðâîäîáèâúò ñòàâàò îñíîâíî ïðåïèòàíèå íà áèâ- øèòå äþëãåðñêè ðîäîâå, êîèòî âå÷å âëàäåÿò ãîëåìè ãîðñêè òåðèòî- ðèè.  åäíà ñïðàâêà îò ïîçåìëåíèòå ðåãèñòðè ñå âèæäà, ÷å â íà÷àëî- òî íà ÕÕ âåê çåìëèùåòî íà ñ. Êîâà÷åâèöà è âêëþ÷åíèòå êúì íåãî ïëà- íèíñêè ìåñòíîñòè, îáõâàùàò îêîëî 300 êâ. êì îò òåðèòîðèÿòà íà Çàïàäíèòå Ðîäîïè. ( ïîñëåäíèòå äåñåòèëåòèÿ òåðèòîðèÿòà å ðàç- äåëåíà íà îáùèíñêî çåìëèùå ñ ïëîù îêîëî 67 êâ. êì è äúðæàâíà ñîáñòâåíîò îò 230 êâ. êì). Òàçè ãîëÿìà òåðèòîðèÿ îò çåìåäåëñêè è ãîðñêè èìîòè ïîãúëíàëà ñèëèòå íà æèòåëèòå êàòî îñíîâåí ïîìèíúê. Ñ ïðèñúùèÿò ñè äóõ íà òúðñåùè è îðãàíèçèðàíè õîðà, ìíîãîáðîé- íèòå çåìåäåëñêè ôàìèëèè ó÷ðåäÿâàò ïðåç 1920 ã. Çåìåäåëñêî ñòîïà- íñêî ñäðóæåíèå “Áðàòñòâî”. Ïðåç 1922 ã. ñå ó÷ðåäÿâàò è ãîðñêèòå òðóäîâî ïðîèçâîäèòåëíè êîîïåðàöèè “Ðîäîïè” è “×åðâåí áîð”, à ïî- êúñíî ïðåç 1932 ã. å ïîñòðîåíà è ìîäåðíà êîîïåðàòèâíà äúñêîðåçíà ôàáðèêà (ãàòåð) â ìåñòíîñòòà “Áåñëåò”, çàäâèæâàíà ñ ïàðà.

20 village inhabitants immediately were involved as volunteers led by patri- otic spirit in support of our young country. The peaceful post-war period of 1913-1931 marked the gradual degra- dation of the typical occupation – masonry. Tilling, stock-breeding and timber industry became the main occupation of the former mason fami- lies that already possessed large wood territories. In a record of the Land Register one could see that at the beginning of the 20th century the land- site of Kovachevitsa and the mountain localities included thereto encom- passed approximately 300 km2 of the Western Rodopi territory. (Over the last decades the territory was divided up into a public landsite with an area of app. 67 km2 and a state-owned land of 230 km2). That vast terri- tory of agricultural and wood estates absorbed the efforts of the inhabi- tant as a main occupation. Numerous tilling families established in 1920 the Agricultural Economic Association “Bratstvo” (Fraternity) with their typical outlook of organized people of the quest. In 1922 the timber labor manufacturing cooperations of “Rodopi” and “Cherven Bor” (Red Pine-tree) were found- ed, and later in 1932 a modern cooperative lumber mill was built in the Beslet Place set in motion using heat. That manufacturing structure, which the Kovachevitsa residents created, provided them with work places on the entire operation line starting from the woodchoppers, tim-

21 Òàçè ïðîèçâîäèòåëíà ñòðóêòóðà, êîÿòî æèòåëèòå íà ñ. Êîâà÷åâè- âîòî è äà å ïðîèçâîäñòâî. Ìîæå áè ñïîìåíúò çà óíèêàëíîòî àðõè- öà ñúçäàâàò, èì îñèãóðÿâàëà ðàáîòíè ìåñòà ïî öÿëàòà ëèíèÿ íà ïðî- òåêòóðíî áîãàòñòâî ùåøå äà ñå çàëè÷è îò âðåìåòî, àêî ïðåç 70-òå èçâîäñòâî îò ãîðñêè ñåêà÷è, èçâîçâà÷è íà òðóïè äî äúðâîîáðàáîòâà- ãîäèíè íà ÕÕ âåê íå ñòàíà åäíî ïðåîòêðèâàíå íà òîçè “êàìåíåí ãðàä” ùè ïîëóìàíèôàêòóðíè ñïåöèàëèñòè. Áàâíàòà, íî íåîáðàòèìà ìèãðà- îò ðîäíîòî êèíîïðîèçâîäñòâî. Íåêîëöèíà èíòåëèãåíòíè õîðà: ïèñà- öèÿ íà íàñåëåíèåòî íà ñ. Êîâà÷åâèöà êúì ãðàäîâåòå çàïî÷âà îò 1946 òåëè, ðåæèñüîðè, õóäîæíèöè, ñöåíàðèñòè è îïåðàòîðè îòêðèõà çà õî- ã. Âåëèíãðàä, Íîâè Êðè÷èì, Êàçàíëúê è äð. ïðèâëè÷àò ñ âúçìîæíîñòè ðàòà, íàé-ãîëåìèÿ çà Áúëãàðèÿ, ôèëìîâ ïàâèëèîí íà îòêðèòî. Äåñåò- çà ïîâå÷å îáðàçîâàíèå è ðàçëè÷íè ïðîôåñèè. Ïîòîêúò îò ìëàäè õîðà, êè ôèëìè, çàñíåòè â ñ. Êîâà÷åâèöà, ðàçíåñîõà ñëàâàòà íà òîçè óíèêà- íàïóñíàëè ñåëîòî ãî îáåçëþäÿâà. Îò íàñåëåíèå, íàáðîÿâàùî 2000 äó- ëåí êàìåíåí äåêîð ïî ñâåòà. Ðàçðàáîòâàíåòî íà “Áúëãàðñêèÿò Õîëè- øè ïðè æèëèùåí ôîíä îò 300 êúùè, îùå ïðåç ïåðèîäà 1938-1940 ã. òî âóä” äîíåñå íà áúëãàðñêîòî êèíî íåïîäîçèðàí åñòåòè÷åñêè ïîòåíöè- ñïàäà íà 1229 æèòåëè. Êàðòèíàòà ñòàâà âñå ïî-òúæíà ïðåç ñëåäâàùè- àë. Àâòåíòè÷íàòà àðõèòåêòóðíà ñðåäà íà ñ. Êîâà÷åâèöà ïðîâîêèðà òå äåñåòèëåòèÿ. Èç÷åçâà ÷àðøèÿòà ñúñ ñåäåìòå êðú÷ìè, íÿêîëêîòî ÷ðåç ñâîÿòà íåïîâòîðèìà êðàñîòà àêòüîðè, ñöåíàðèñòè, îïåðàòîðè êàñàïíèöè è äâàäåñåòèíàòà äþêÿíà, îáåçëþäÿâàò ñå êúùèòå, îïóñ- è ðåæèñüîðè êúì âèñîêî ïðîôåñèîíàëíà èçÿâà. Îòçâóêúò â áúëãàðñêî- òÿâàò óëèöèòå. Äíåøíèòå æèòåëè ñà åäâà 50-60 äóøè, ïîâå÷åòî â òî îáùåñòâî, îò åìîöèîíàëíèÿ êîíòàêò ÷ðåç êèíîòî ñ îïóñòÿâàùî- íàïðåäíàëà âúçðàñò, à îãðîìíèòå ãîðñêè âëàäåíèÿ íà ñåëèùåòî ñåãà òî ñåëî, ñå èçðàçè â ñïîíòàíåí îïèò íà ìíîãî èíòåëåêòóàëöè è ïàò- ñà ïðèðîäíè ðåçåðâàòè è íå ìîãàò äà ïîñëóæàò çà ñúæèâÿâàíå íà êàê- ðèîòè çà ñïàñÿâàíå îò ðàçðóõà íà òàçè êðàñîòà. Òîâà ñòàíà áåç íàìå- ñà íà äúðæàâíè èíñòèòóöèè, ïî åäèí åñòåñòâåí íà÷èí, íà çàêóïóâà- íå, ðåñòàâðèðàíå è íàñåëÿâàíå, ìàêàð è ñåçîííî, íà óìèðàùèòå êúùè. Òàçè ïîäàäåíà íà ìèíàëàòà àðõèòåêòóðíà ñëàâà íà Áúëãàðèÿ, ðúêà îò ñúâðåìåííèöèòå íè å ìîðàëíîòî íèâî, êîåòî åäèíñòâåíî ìîæå äà ñå ðàâíÿâà íà ñúòâîðåíàòà îò ïðåäèøíèòå ïîêîëåíèÿ êðàñîòà - ïðèêàç- êà îò êàìúê è äúðâî ñ èìåòî Êîâà÷åâèöà.

22 ber transporters to wood-processing semi-manufacturing experts. The development of the Bulgarian Hollywood brought to the Bulgarian The slow and yet irreversible migration of the population from cinema an unexpected aesthetic potential. The authentic architecture Kovachevitsa to the urban centers started in 1946. Velingrad, Novi environment of Kovachevitsa provoked with its natural beauty actors, Krichim, Kazanluk, etc. attracted by providing opportunities for more screen writes, cameramen, and directors to reach high professional levels types of education and various occupations. The outflow of young people of expressions. The response in the Bulgarian society from the emotional depopulated the village. From a population level of 2000 people under contact via cinema means with the deserting village expressed into a residential stock of 300 houses as early as the 1938-1940 period the latter spontaneous attempt of numerous intellectuals and patriots to save this declined to 1229 residents. The situation became even worse over the fol- beauty from ruining. The latter occurred without the intervention of state lowing decades. The bazaar with the seven pubs, several butcheries, and institutions in a very natural way of purchasing, restoring, and populating, twenty shops disappeared, and the streets became deserted. The popula- though on a seasonal basis, the dying houses. tion at present adds up to only 50-60 people most of who at an advanced That hand extended to the past architecture reputation of Bulgarian by age, and the vast wood mansions of the village are now nature reserves our contemporaries was the ethical level, which could be only compared and could not serve to restoring any manufacturing whatsoever. to the beauty created by preceding generations – a tale of stone and Probably the memory of the unique architecture richness would have wood by the name of Kovachevitsa. been erased by time if in the 70s of the 20th centuries a re-discovery of that stone town had not occurred by our local cinema industry. A few intelligent people: writers, directors, artists, screen writers, and cameramen revealed to the public the largest movie outdoor pavilion in Bulgaria. Tens of movies shot in Kovachevitsa spread around the reputa- tion of this unique stone setting worldwide.

23 Êàïñúçîâè êúùè. The Kapsuzov Houses. 24 Áåëè÷åâà è Áàíãîâà êúùè. The Belichev and Bangov Houses. 25 Ïðèêàçêà îò êàìúê è äúðâî

“Â ïðîñòîòàòà å íàé-òúíêèÿò âêóñ” Îãþñò Ðîäåí

Òàçè æèòåéñêà ñåíòåíöèÿ íà âåëèêèÿ ôðåíñêè ñêóëïòîð Îãþñò Ðî- äåí íàé-òî÷íî ïðèëÿãà íà àðõèòåêòóðíèÿ èçêàç íà ñàìîðîäíèÿ ñòðî- èòåëåí ãåíèé íà ñêðîìíèòå êîâà÷åâñêè äþëãåðè. Ïðîñòîòàòà, èçâå- äåíà äî ñúâúðøåíñòâî, â àðõèòåêòóðíèÿ àíñàìáúë êàòî öÿëî è â íå- ãîâèòå âåëèêîëåïíè äåòàéëè å íàé-ãîëÿìîòî äîñòîéíñòâî íà íåïîä- ðàæàåìèÿ ñòèë íà Êîâà÷åâñêàòà ñòðîèòåëíî àðõèòåêòóðíà øêîëà. Òðóäíî ìîæå äà áúäå îòêðèò äðóãàäå òîëêîâà áåçïîãðåøåí àðõèòåê- òóðåí ñèíòåç ìåæäó ïðèðîäíàòà ñðåäà è ñúòâîðåíîòî îò ÷îâåøêà- òà ðúêà ñòðîèòåëíî ÷óäî. Äíåñ ìîæåì ñàìî äà áúäåì áëàãîäàðíè çà ñúùåñòâóâàíåòî íà òàçè ïðèêàçêà îò êàìúê è äúðâî, â êîÿòî å âãðà- äåíî öÿëîòî âåëèêîëåïèå íà íàðîäíàòà äóøåâíîñò, òðóäîëþáèå è òàëàíò íà âúçðîæäåíñêà Êîâà÷åâèöà. Ïîãëåäíàò îò èñòîðè÷åñêè àñïåêò, àðõèòåêòóðíèÿò îáëèê íà ñå- ëîòî, ïðåäè èäâàíåòî íà ïðåñåëíèöèòå îò Äåáúðñêî, Êè÷åâñêî è Òå- òîâñêî ïðåç 1791 ã., å ïî÷òè çàëè÷åí. Òîëêîâà ñèëíà å íîâàòà ïðîôåñè- îíàëíà íàìåñà íà òàëàíòëèâèòå ìàéñòîðè-äþëãåðè â öÿëîñòíàòà àð- õèòåêòóðíà ñòðóêòóðà, ÷å óñâîÿâà ïîñòåïåííî ïî÷òè âñè÷êè àðõè- òåêòóðíè ïðîñòðàíñòâà çà äà îñòàâè íà íàøàòà ñúâðåìåííîñò åäèí øåäüîâúð íà íåïîâòîðèìî ñòèëíî åäèíñòâî! Äåáúðñêèòå ñòðîèòåëè, êîèòî ñëåä íÿêîëêî ïîêîëåíèÿ ñå ïðåâðú- ùàò â êîâà÷åâñêè, ñà áèëè öåíèòåëè íà ïðèðîäíàòà êðàñîòà è çàòî- 26 A Tale of Stone and Wood

“Simplicity underlies finest taste” Auguste Rodin

The worldly wisdom of the great French sculptor Auguste Rodin most accurately fits the architectural expression of the self-made construction genius of the modest Kovachevitsa masons. Simplicity elevated to perfection in the architecture assembly as a whole and its magnificent details is the most noteworthy merit of the unique style of the Kovachevitsa Construction Architecture School. It would be difficult to find elsewhere such an impeccable architecture synthesis between natural environment and building miracle created by human hand. We would only be grateful today for the existence of this tale of stone and wood in which the complete splendor of local spirit, diligence and talent of the Renaissance Kovachevitsa are entwined. Viewed from a historical perspective the architecture aspects of the village prior to the arrival of the emigrants from the Debar, Kichevo and Tetovo Regions in 1791 were almost wiped out. The new professional interventions is so strong such as to acquire gradually almost all architecture spaces in order to leave our modernity a mas- terpiece of a unique accord of styles! The Debar builders that in several generations turned into Kovachevitsa ones appreciated natural beauty and therefore not only did they not impair it, but further skillfully integrated their cre- ations into the limited unity with nature. Today we cannot miss 27 Êîâà÷åâèöà ñóòðèí. Kovachevitsa morning. 28 Êîâà÷åâèöà ñóòðèí. Kovachevitsa morning. 29 âà íå ñàìî íå ñà ÿ íàêúðíèëè, íî íàïðîòèâ, îñòðîóìíî ñà âãðàäèëè è ïîåçèÿ ñòàðèííàòà àðõèòåêòóðà. Ìîùíèòå, ñòúïèëè íàïðàâî âúð- ñúòâîðåíîòî îò ñâîèòå ðúöå â îðãàíè÷íî öÿëî ñ íåÿ. Äíåñ íå ìîæåì õó óëè÷íàòà íàñòèëêà çèäîâå íà êúùèòå íå ïðèòåñíÿâàò ïîãëåäà, äà íå ñå âúçõèòèì íà ïîäõîäà è íà÷èíà íà ñèòóèðàíåòî è èçãðàæäàíå- òåõíèòå ôîðìè ñà ñìåê÷åíè, îñòðèòå ðúáîâå ñà ñêîñåíè îò ãðèæëè- òî íà êúùèòå, çàñòðîÿâàíåòî íà ïîìîùíèòå ñòîïàíñêè ñãðàäè, òúð- âàòà ðúêà íà ñòðîèòåëÿ, çà äà áúäå óäîáíî è áåçîïàñíî äâèæåíèåòî ãîâñêè, îáùåñòâåíè è äð. è âðúçêèòå ìåæäó òÿõ, óíèêàëíèòå êàìåííè íà õîðà, êàðóöè è äîáèòúê. àðòåðèè - óëè÷êèòå, ñúîáðàçåíè ñ ïðèðîäíàòà äàäåíîñò: îñêúäåí, Èäåÿòà çà ïåñòåëèâîñò íà ñòðîèòåëíîòî ïðîñòðàíñòâî å äîâåëà ñòðúìåí è ñêàëèñò òåðåí. äî èçêëþ÷èòåëíî ðàöèîíàëíè àðõèòåêòóðíè ðåøåíèÿ, êîèòî ðåñïåê- Çà ñòðîèòåëíèÿò òàëàíò è äàëíîâèäíîñò íà òåçè õîðà ãîâîðÿò òèðàò ñúñ ñâîÿòà ëîãè÷íîñò è çàâúðøåíîñò. Âñÿêà îò êîâà÷åâñêèòå íÿêîè ôàêòè îò ìèíàëîòî, êîèòî áóäÿò ëþáîïèòñòâî è óäèâëåíèå êúùè ñàìà çà ñåáå ñè å óíèêàëíî àðõèòåêòóðíî ðåøåíèå íà îáùàòà çà- è äíåñ ïî îòíîøåíèå íà óíèêàëíîòî èçãðàæäàíå íà áèòîâèòå êîìóíè- äà÷à: äà ñå ïîñòèãíå ìàêñèìàëíî æèëèùíî ïðîñòðàíñòâî ñ ìèíèìóì êàöèè íà ñåëîòî: êàòî ìîäåðíàòà çà ñâîåòî âðåìå êàíàëèçàöèÿ, ïðî- ñðåäñòâà. Çàòîâà îáùèÿò áåëåã íà êúùèòå å ðàçâèòèå íà çàñòðîåíà- êîïàíà â ñêàëèñòèÿ óëè÷åí òåðåí íà äâà è ïîëîâèíà ìåòðà äúëáî÷èíà! òà ïëîù ïî âåðòèêàëíàòà îñ, êàòî íàé-òÿñíî è îãðàíè÷åíî å ïðîñò- Çà ñòðîèòåëåí îáðàçåö ìîãàò äà ñå ñ÷èòàò è óíèêàëíèòå óëè÷íè íàñ- ðàíñòâîòî â îñíîâàòà, à ðàçãðúùàíåòî ñòàâà âúâ âèñî÷èíà. òèëêè ñ äåíèâåëàöèÿ çà îòòè÷àíå íà äúæäîâíè âîäè, ñ ïðåäâèäåíèòå Äúðâåíèÿò ìàòåðèàë, èçïîëçâàí îò ìàéñòîðèòå â íèñêèÿ ðå- è âãðàäåíè íàïðå÷íè ïðàãîâå îò êàìåííè ïëî÷è, êîèòî ïðåäîòâðàòÿ- ãèñòúð íà êúùèòå, ñàìî òóê-òàì ïî âúíøíèòå ñòåíè êàòî êîøàê âàëè õëúçãàíåòî ïî èçêëþ÷èòåëíî ñòðúìíèÿ òåðåí ïðåç çèìàòà. (àðìàòóðà), â ìàñèâíèòå äâóêðèëè âõîäíè âðàòè è íÿêîëêîòî ìàëêè Ñãóøåíèòå íà ìíîãî ìåñòà åäíà â äðóãà ñòðÿõè íà êúùèòå, êîèòî ñåðâèçíè ïðîçîð÷åòà, ñúçäàâà îáùîòî âïå÷àòëåíèå çà êúùèòå êàòî õâúðëÿò ïëúòíà ñÿíêà âúðõó êàëäàðúìåíèòå óëè÷êè è íîñÿò ïðèÿòåí çà êàìåííè ñðåäíîâåêîâíè êðåïîñòè. Òàì, êúäåòî òå èçíèêâàò íàïðà- óþò ïðåç ëåòíèòå ãîðåùèíè, ñà è äîáúð çàñëîí ñðåùó ñíåæíî íàâÿâà- âî îò ñêàëèñòèÿ ëàíäøàôò è ñå èçâèñÿâàò ñòðåìèòåëíî íàãîðå ñúñ íå ïðåç ïî-òåæêè çèìè. Æèâîïèñíî êðèâîëè÷åùè, òåçè òåñíè, áåç òðî- ñâîèòå 3-4 åòàæíè ñíàãè, ïðèëè÷àò íà îòáðàíèòåëíè êóëè, çàñòàíàëè òîàð, ñåëñêè óëè÷êè ñà åäíî îò íàé-ïðèâëåêàòåëíèòå ìåñòà çà êðàò- íà ñòðàæà ñðåä ñåëîòî. Ðàçáèðà ñå, òîâà óñåùàíå å çà êðàòêî, äîêàòî êà ïî÷èâêà, îñîáåíî äî íÿêîÿ îò 12-òå ÷åøìè, êîèòî ïúëíÿò ñ æèâîò ïîãëåäúò ñòèãíå âèñîêèòå åòàæè, êúäåòî òàëàíòëèâèÿò ñòðîèòåë 30 expressing our admiration for the approach and mode of situating the eye, as their forms were softened, the sharp edges were round- and constructing the houses, the building of ancillary economic ed by the caring hand of the builder such as to ensure comfortable premises, commercial, public ones, etc. and the link in between, the and save movement of people, carts and stock. unique stone arteries – the alleys compliant with natural resources: The notion of saving the construction space led to extremely a scarce, steep, and rocky terrain. rational architecture solutions that impress with its logic and com- Some facts of the past that provoke curiosity and amazement also pleteness. Each of the Kovachevitsa houses in itself was a unique today in view of the unique construction of the public utilities in the architecture solution of the general task: to achieve maximum resi- village evidence the building talent and foresight: for instance the dential space with minimum means. Therefore, the common feature pipeline, which was based on a modern technology at that time dug of the houses is the development of the built-up area on the vertical into the rocky alley terrain at depth of 2.5 m! The unique alley pave- axis as the space in the basis is the tightest and the most limited and ments with a drainage denivelation of the rain water with included the expansion unveils in elevation. cross thresholds of stone plates that prevented from happening slid- Timber used by the craftsmen in the lower register of the houses ing on the extremely steep terrain in the winter could also be at scattered places only in the form of koshak (reinforcement) in the deemed as construction models. solid two-folding entrance doors and some small service windows, The eaves of the houses clustered in between at many points that created a general impression of the houses of being stone Middle cast a deep shadow on the cobblestone pavements and brought a Age fortresses. They resembled defense towers standing on guard in nice sense of coziness in hot summer times, were also fine shelters the midst of the village raised right from the rocky landscape and against snow drifts in times of harsher winters. These picturesquely reaching high with 3-4 floor size structures. Naturally, the latter mazy narrow village alley without sidewalks were one of the most notion was brief until the eyes reached the upper floors where the attractive relaxation places especially next to one of the 12 fountains gifted builder demonstrated extravagance using timber. that filled with life and poetry the ancient architecture. The house Along the stretch of the houses two- or three-floored one of top of walls solidly standing right on the alley pavement does not bother the other the ceilings were made of timber. The visible main struc- 31 å ïðîÿâèë ðàçòî÷èòåëñòâî â óïîòðåáàòà íà äúðâåí ìàòåðèàë. àíñàìáúëà îò äâå-òðè “áðàòñêè” êúùè íå äîìèíèðà íèòî åäíà. Òå òà- Ïî öÿëîòî ïðîòåæåíèå íà êúùèòå, íà äâà èëè òðè åòàæà, åäèí íàä êà ñà ñèòóèðàíè âúðõó òåðåíà, ÷å íå ñè ïðå÷àò, íå ñå êîíêóðèðàò, íå äðóã, ïîòîíèòå ñà îò äúðâî. Âèäèìàòà íîñåùà êîíñòðóêöèÿ íà ïîê- ñè îãðàáâàò ïðîñòðàíñòâîòî è ñâåòëèíàòà. Ïîäîáíî âçàèìîäåé- ðèâèòå, íàïðàâåíà îò 10-15 ìåòðîâè òàëïè, êîÿòî âïå÷àòëÿâà è íàé- ñòâèå íà îáåìè â àðõèòåêòóðíîòî öÿëî, ïîñòèãíàòî â áðàòñêèòå êðèòè÷íèÿ ïîãëåä ñ ìàéñòîðñêàòà ñè îáðàáîòêà, äîïúëâà íîâîòî óñå- êîìïëåêñè, íÿìà àíàëîã â èñòîðèÿòà íà áúëãàðñêàòà âúçðîæäåíñêà àð- ùàíå çà òîïëîòà, ïîðîäåíî îò áëàãîðîäíèÿ öâÿò íà äúðâîòî. õèòåêòóðíà ìèñúë. Èçîáèëèåòî íà äúðâåí ìàòåðèàë îò íàé-âèñîêî êà÷åñòâî â îêîëíî- Íå å òðóäíî äà ñè ïðåäñòàâèì ðàçáèðàòåëñòâîòî ìåæäó õîðàòà è ñòòà å äàâàëî íÿêîëêî ñòîëåòèÿ ñâîáîäà íà ìàéñòîðèòå äà ñúòâî- ó÷àñòèåòî íà öÿëîòî ðàáîòîñïîñîáíî íàñåëåíèå ïðè èçäèãàíåòî íà ðÿò óíèêàëíèÿ èíòåðèîð íà êîâà÷åâñêàòà êúùà. Äúðâåíèòå ìèíäåðè, âñÿêà íîâà êúùà. Òîâà å îñíîâíàòà ïðè÷èíà çà ïîñòèãíàòèÿ ñèíõðîí âãðàäåíè ìåáåëè, ïîëèöè, ðàêëè, âðàòè, ðåçáîâàíè òàâàíè, ñòúëáèùà ìåæäó ïëåòåíèöàòà îò ñëîæíè “Ï”-îáðàçíè èëè “Ã”-îáðàçíè ðåäîâå è ìåæäó åòàæèòå, ïîäîâå, êîëîíè è âñè÷êî, êîåòî å èçèñêâàë äîìàøíèÿ ãðóïè îò êúùè, êîèòî îáóñëàâÿò êîìïàêòíîòî êèëèìîîáðàçíî çàñò- áèò è óþò å ïðåìèíàëî ïðåç ðúöåòå è ñúðöàòà íà ñàìîáèòíèòå ðîÿâàíå íà ñåëîòî. Îòíîâî è îòíîâî ãëàâíà ïðè÷èíà çà íàñèòåíîòî ìàéñòîðè îò Òåòîâî, Êîñòóð è Äåáúð ñ ïîñëîâè÷íà ïåñòåëèâîñò è è èçêëþ÷èòåëíî ôóíêöèîíàëíî çàñòðîÿâàíå å íåäîñòèãúò îò òåðåí. êðàñîòà íà èçêàçà. Èçëèøíàòà íàòðóôåíîñò è åêëåêòèêà, õàðàêòåðíè Îñêúäåí è ñòðúìåí, òîé å íàëîæèë äèôåðåíöèðàíåòî íà æèëèùíàòà çà âúçðîæäåíñêèòå êúùè îò äðóãè ðàéîíè íà ñòðàíàòà, òóê íå ñúùå- ñðåäà â ñ. Êîâà÷åâèöà íà òðè çîíè: çîíà íà æèëèùíî ÿäðî, ïîÿñ îò ñåëñ- ñòâóâàò. Íå ñúùåñòâóâà íèòî åäíà âåù, êîÿòî íÿìà ôóíêöèîíàëíî êîñòîïàíñêè ñãðàäè (ïëåâíè, õàìáàðè è äð.) îêîëî íåãî è çîíà íà îáðà- ïðåäíàçíà÷åíèå. Ïðîñòî ïîëåçíîòî å ñòàâàëî êðàñèâî. Òðóäíèÿò æè- áîòâàåìè ñåëñêîñòîïàíñêè ïëîùè. Òàçè ñòðóêòóðà íà ñåëîòî ñå å çà- âîò è áèò íà õîðàòà çà ñòîëåòèÿ å îòðàçåí â ñêðîìíàòà, ñåìïëà ïàçèëà çà äúëãî, çàùîòî å áèëà íàé-åñòåñòâåíîòî è ñïîëó÷ëèâî ðåøå- âúòðåøíà àðõèòåêòóðà è äîðè âúâ âèäà, áðîÿ è ôóíêöèîíàëíîñòòà íèå çà ïúëíîöåííî ñúùåñòâóâàíå íà íàñåëåíèåòî. íà æèëèùíèòå ïîìåùåíèÿ. Ïðî÷óòèòå Êîâà÷åâñêè êúùè, íàðå÷åíè Êîâà÷åâñêèòå êúùè, êàêòî âúîáùå ðîäîïñêèòå êúùè, ñà ñîëèäíè “áðàòñêè”, îòðàçÿâàò ôèëîñîôèÿòà íà çàäðóæåí òðóä è ðàâíîïðàâ- êàìåííè ïîñòðîéêè, ñúñ ñïåöèôè÷íà, ìàéñòîðñêè èçïúëíåíà çèäàðèÿ. íè âçàèìîîòíîøåíèÿ âúâ ôàìèëíèÿ è ðîäîâ ïàòðèàðõàëåí æèâîò.  Òåõíîëîãèÿòà íà ãðàäåæ å ìíîãî ñåìïëà: ìîçàå÷íî ïîäðåäåíè íåäÿëàíè

32 tures of the roofs made of 10-15 m planks that impressed even the space and light. Such an interaction of volumes in the architecture most critical eye with its master processing, added the new feeling of composition reached in the fraternal complexes did not have an ana- warmth provoked by the noble color of timber. logue in the records of the Bulgarian Renaissance architecture The abundance of timber of the finest quality in the vicinity gave thought. several centuries the liberty of the craftsmen to create the unique It would not be hard to imagine the understanding among people interior of the Kovachevitsa house. The timber-made couches, the and the participation of the entire working population in the process embedded furniture, book shelves, closets, columns and anything of building each new house. The latter was the main reason for the else required by the home customs and coziness passed through the synchrony reached between the mixture of complicated “Ï”-shaped hands and the hearts of the original craftsmen from Tetovo, Kostur or “Ô-shaped rows and groups of houses that formed the compact and Debar characterized by proverbial expression simplicity and carpet-like building of the village. Once again the main reason for the beauty. Extreme ornateness and eclectics typical for Renaissance rich and extremely functional building was the lack of terrain. Scarce houses in other regions of the country were not present here. No and steep, the latter imposed the differentiation of the residential object existed unless having a functional purpose. Simply what was environment in Kovachevitsa into three zones: residential center useful became beautiful as well. Harsh life and living of people for zone, a layer of agricultural premises (for weeding, granaries, etc.), centuries were reflected in the modest, simple interior architecture and outside the latter also a zone of agricultural areas. That structure even in the residential premises number, type and functionality. of the village was preserved for a long time since it was the most nat- The famous Kovachevitsa houses referred to as “fraternal” reflect- ural and successful solution for adequate existence of the population. ed the philosophy of input labor and equal relations in the family The Kovachevitsa houses similar to the Rodopi houses in general and lineal patriarchal life. In the assembly of two to three houses were solid stone-made buildings with peculiar masterfully executed none of them dominated. They situated on the terrain such as to masonry. The building technology was quite simple: mozaically avoid hindering one another, competing, robbing one another of the arranged non-hewed stones cemented with soft soil. The solid

33 êàìúíè, ñïîåíè ñ ðàçìåêíàòà ïðúñò. Ìàñèâíèòå çèäîâå ñà èçêëþ÷è- òåëíî çäðàâè è òðàéíîñòòà èì å ïðîâåðåíà îò ñòîëåòèÿòà, à êðà- ñîòàòà íà ïðåëèâàùàòà îò òîïëà îõðà äî ñòóäåíî ñèâà êàìåííà ìî- çàéêà å íåîñïîðèìà. Òúíêèòå, ïàòèíèðàíè îò âðåìåòî äúðâåíè êîøà- öè, ðàçäåëÿùè êàìåííàòà çèäàðèÿ íà õîðèçîíòàëíè ïîÿñè, âíàñÿò ÷î- âåøêè ìàùàá è äåêîðàòèâíà çâó÷íîñò íà ñòðîãèòå êàìåííè ïîâú- ðõíèíè. Êîâà÷åâñêèòå äþëãåðè ñà îñòàâèëè ñâîÿ íåïîâòîðèì ñòðîè- òåëåí ïî÷åðê è âúðõó äúðâåíèÿ ñêåëåò íà ïîêðèâíèòå êîíñòðóêöèè, ïðîçîðöèòå, âðàòèòå, äúðâåíàòà åðêåðíà îáëèöîâêà è ðàçáèðà ñå, âúðõó ñåìïëèÿ è ëàêîíè÷åí àðõèòåêòóðåí äåòàéë íà èíòåðèîðà. Åëå- ìåíòèòå íà æèëèùíèÿ èíòåðèîð ñà çàâèñåëè îò ïðåäíàçíà÷åíèåòî íà âñÿêî ïîìåùåíèå. Âëèçàéêè â òðàäèöèîííàòà êîâà÷åâñêà êúùà, ïðîòîòèï íà ðîäîïñêàòà, ñå ìèíàâà íàé-íàïðåä ïðåç “ñóõèÿ” äâîð, â ñúñåäñòâî ñ êîéòî ñå íàìèðà “ïîäíèêà” (îáîð) â íàé-íèñêèÿ ðåãèñòúð íà ñãðàäàòà. Ïðè íàëè÷èå íà ñòîïàíñêè åòàæ, îáèêíîâåíî ðàçâèò íà ïîëóíèâî, äî íåãî ñå äîñòèãà ÷ðåç ãîëÿìà äúðâåíà ñòúëáà. Ñëåäâàùè- òå åäèí èëè äâà ãîðíè åòàæà ñà ïëàíèðàíè äà ïîáåðàò ìíîãîëþäíèòå ñåìåéñòâà. Ïðè ïúðâîíà÷àëíèÿ òèï íà èçãðàæäàíå, ïðîäúëæèë äà êðàÿ íà ÕVIII âåê, ãîëåìèòå ôàìèëèè ñà îáèòàâàëè îáøèðíà îáùà ñòàÿ ñ îã- íèùå, êîÿòî èìàëà ôóíêöèÿòà íà ñïàëíÿ è êóõíÿ åäíîâðåìåííî. Ïðåç ÕIÕ âåê ñòðóêòóðàòà íà ðîäîâèòå êúùè ïðåòúðïÿëà ñåðèîç- íà ïðîìÿíà ñëåä îáîñîáÿâàíåòî íà îòäåëíèòå ñåìåéñòâà â ñàìîñòî- ÿòåëíè ñòàè ñ îãíèùà. Èíòåðèîðúò ñå îáîãàòÿâà ñúñ ñïåöèàëèçèðàíè ïîìåùåíèÿ, êîèòî áåëåæàò íàðàñòâàùàòà áèòîâà êóëòóðà íà êîâà- ÷åâñêîòî íàñåëåíèå. Íàé-ðàçïðîñòðàíåíèòå èíòåðèîðíè ïðîñòðàí- ñòâà ñà: “ïîòîí” (êîðèäîð-ñàëîí) ñ ïðèëåæàùàòà êúì íåãî ñòúëáà, èç- öÿëî èçðàáîòåíè îò äúðâî, ÷ðåç êîéòî ñå îñúùåñòâÿâà âðúçêà ñ âñè÷- êè äðóãè ïîìåùåíèÿ, “âîäíèê” (ìÿñòî çà ñúõðàíåíèå íà âîäà çà áèòî- âè íóæäè), “êüîøê”, òîàëåòíà, ñàìîñòîÿòåëíè ñòàè ñ îãíèùà è ïåù, ïîíÿêîãà âêëþ÷åíà êúì ïîòîíà. Íàé-èíòåðåñåí è îò ñúâðåìåííà ãëåä- íà òî÷êà èíòåðèîðåí åëåìåíò ñè îñòàâà ïîòîíúò. Îðèåíòèðàí âè- íàãè êúì íàé-äîáðîòî èçëîæåíèå, òîé îïðåäåëÿ è âèçóàëíî-ïðîñòðàí- ñòâåíîòî ðåøåíèå íà ãëàâíàòà ôàñàäà íà êúùàòà, êàòî ñå âïèñâà è ìíîãî ÿðêî â àíñàìáëîâèÿ òèï íà “áðàòñêèòå” êúùè. Ðàçëè÷íèòå àð- õèòåêòóðíè ñõåìè íà ðàçïîëîæåíèåòî íà ïîòîíà: íàäëúæíà, íàïðå÷- íà, ñèìåòðè÷íà è öåíòðàëíî-íàïðå÷íà, îïðåäåëÿò è ðàçëè÷èÿòà âúâ ôàñàäèòå íà êîâà÷åâñêàòà êúùà. Òàëàíòëèâèòå ìàéñòîðè íå ïðåñòàâàëè äà âíàñÿò ðàçíîîáðàçèå âúâ âñÿêà íîâà êúùà, êàòî èçíàñÿëè äîïúëíèòåëíî åäíîñòðàííî, äâóñòðàííî èëè òðèñòðàííî ÷àðäàöè ñ øèðîêè ñòðÿõè. Îáîãàòÿâàëè è àðõèòåêòóðíî-êîíñòðóêòèâíèòå åëåìåíòè ñ èíòåðåñíè äåòàéëè ïî ïàðàïåòèòå è äúðâåíèòå “ñòåíè-ïåðäåòà” íà ñòðåõèòå. Ïåñòåëè- âîòî èçïîëçâàíå íà ò. í. “ñòîëàðñêà” ðåçáà ïî òàâàíè, âðàòè, ìàíñàð- äè è âúçãëàâíèöè íà êîëîíèòå âèäèìè îòâúí, å â ïúëåí ñèíõðîí ñúñ ñòðîãèÿ õàðàêòåð íà èíòåðèîðà. 34 masonry was extremely firm and its duration has been verified by time, and the beauty of the overflowing ochre to a cold gray stone mosaic was indisputable. The thin patina-covered-over-time rein- forcement (koshatzi) separating the stone masonry into horizontal layers introduced a human dimension and a decoration response of the austere stone areas. The Kovachevitsa masons left also their unique construction mark on the timber frame of the top structures, the windows, the doors, the timber oriel paneling and naturally on the simple and laconic architecture detail of the interior. Entering into the traditional Kovachevitsa house, a prototype of the Rodopi one, one should first pass through the “dry” yard next to which the podnik (cattle-shed) was situated in the lowest register of the building. If an economic floor were present, usually developed at a semi-level, one could reach it using a large timber step-ladder. The following one or tow floors were designed to accommodate the crowded families. In the initial type of construction that lasted until the 17th century the large families inhabited a big room with a fire- place that functioned both as a bedroom and a living room. In the 19th century the structure of the family houses underwent a significant change after the separation of separate families in indi- vidual rooms with fireplaces. The interior was enriched by building specialized premises that noted the advanced everyday manners of the Kovachevitsa community. The most popular interior structures were as follows: “ceiling — ponton” (salon – hall way) with an adjunct step-ladder thereto fully made of timber via which a link could be made with all other premises; vodnik (water storage for daily necessities); kyoshk – resting room; independent rooms with fireplaces and ovens sometimes linked with the ceiling. The ceiling remains the most interesting interior element even from a modern point of view. Always directed to the best view, the latter defined also the visual and space solution of the main façade of the house, as it integrated very strikingly in the assembly type of the fraternal houses. Various architecture schemes of the situation of the ceiling: longitudinal, cross, symmetrical, and central-transverse determines the differences in the facades of the Kovachevitsa house. The talented craftsmen did not stop importing variety into each new house as they exported further one-sided, two-sided or three- sided balconies with wide eaves. They also enriched the architecture and construction elements with peculiar details on the parapets, and the wooden wall-curtains of the eaves. The moderate use of the so- called joiner’s fretwork on ceilings, doors, garrets, and column ends, visible from the outside was in full harmony with the austere style of the interior. The flexible dynamics of the oriels exported above the stone facades of the Daskalov House, the Sarafov House, the Bangov 35 Ïëàñòè÷íàòà ðàçäâèæåíîñò íà åðêåðèòå, èçíåñåíè íàä êàìåííèòå ôàñàäè íà Äàñêàëîâàòà êúùà, Ñàðàôîâàòà, Áàíãîâàòà, Óðäåâàòà è äð. êúùè, ñà îáðàçöè íà ðàííîâúçðîæäåíñêàòà ðîäîïñêà àðõèòåêòóðà. Íåïîâòîðèìè ïî âúçäåéñòâèå è àðõèòåêòóðíî-õóäîæåñòâåíè êà÷å- ñòâà ñà àíñàìáëèòå íà Äèøëÿíîâàòà, Øóìàðåâàòà, Ïèëàðåâàòà, Ãþ- çåëåâàòà, Êþïîâàòà êúùà, êàêòî è ãîëÿìàòà Øèìàðîâà êúùà. Âñè÷êè òå, êàêòî è îñòàíàëèòå êîâà÷åâñêè êúùè äúëæàò ñòèëíàòà ñè çàâúð- øåíîñò íà êàìåííèÿ ïîêðèâ îò êðàñèâà ìîçàéêà îò ïðî÷óòèòå “òèê- ëè”, ðèîëèòíè ïëî÷è, âñÿêà îò êîèòî å ñ ðàçëè÷íà ôîðìà, ïîëó÷åíà îò ðú÷íà îáðàáîòêà è ñ åñòåñòâåíà ïðèðîäíà ïàòèíà. Áåç òîçè àâòåí- òè÷åí àðõèòåêòóðåí ñòèë êîâà÷åâñêèòå êúùè íå áèõà áèëè õàðìî- íè÷íî çàâúðøåíè êàòî àðõèòåêòóðíà öÿëîñò. Ãîëåìèòå ñòðîèòåëíè ïîñòèæåíèÿ íà êîâà÷åâñêèòå äþëãåðè áåçñ- ïîðíî ñå êîðåíÿò â ïðîôåñèîíàëèçìà, ïðåäàâàí êàòî ôàìèëíà òðàäè- öèÿ, íî è â îáè÷àéíî-ïðàâíèòå íîðìè, ñïàçâàíè îò âñè÷êè, êîèòî ðå- ãóëèðàëè âçàèìîîòíîøåíèÿòà â ãèëäèÿòà, ïî îòíîøåíèå íà éåðàðõè- ÿòà, îðãàíèçàöèÿòà, ðàçïðåäåëåíèåòî íà òðóäà è ïå÷àëáàòà. Ïîñòå- ïåííîòî íàâëèçàíå íà íàåìíèÿò òðóä ïîä ôîðìàòà íà “íàäíè÷àð- ñòâî” â äþëãåðñêèòå äðóæèíè, â êðàÿ íà ÕIÕ âåê, å ïðåäïîñòàâêà çà íîâ ñòàòóò è éåðàðõèÿ â ñòðîèòåëíèÿ åñíàô. Èçâåñòíî å, ÷å â ñ. Êî- âà÷åâèöà ñå èçáèðàë óïðàâèòåëåí ñúâåò îò íàé-èçòúêíàòèòå ìàéñ- òîðè, êîéòî ïðåäñòàâëÿâà ëèöåòî íà äþëãåðñêîòî ñúñëîâèå ïðåä îá- ùåñòâîòî. Îòêðèâàò ñå äþêÿíè çà ñïåöèàëèçèðàíè èíñòðóìåíòè, à êîíêóðåíöèÿòà ïîäòèêâà ìàéñòîðèòå äà ñè ñúçäàäàò òàåí åçèê “ìåùðîâñêè” èëè “ìåùðîãàíñêè” îò òèïà íà ñîöèàëíèòå ãîâîðè, áëèçúê äî áðàöèãîâñêèÿ è íàïúëíî íåðàçáèðàåì çà íåïîñâåòåíèòå. Çà- ïàçåíèòå ïîâå÷å îò 300 ìåùðîãàíñêè äóìè è èçðàçè çâó÷àò ïðèáëèçè- òåëíî òàêà: “Ìèùîïèÿòà å áîðàíà îò ãóðà è äðóíà” - êîåòî çíà÷è “Êúùàòà å íàïðàâåíà îò êàìúê è äúðâî”, èëè “Âåïè åäíà äçèôóðà çà ìåùðàòà” - “Äàé åäíà öèãàðà çà ìàéñòîðà”. Òàçè îðèãèíàëíîñò â ïîâå- äåíèåòî íà ìàéñòîðñêîòî ñúñëîâèå å íàïúëíî ðàçáèðàåìà è îïðàâäà- íà çà ñâîåòî âðåìå, íåçàâèñèìî ÷å ñåãà çâó÷è ìíîãî åêçîòè÷íî. Îò áóðíèÿ ñòðîèòåëåí ïåðèîä íà ñ. Êîâà÷åâèöà ñà îñòàíàëè ìíî- ãî ñïîìåíè, óñòíî ïðåäàâàíè îò ïîêîëåíèå íà ïîêîëåíèå. Çà ãîëÿìàòà ÷àðøèÿ “Âðèñ” â öåíòúðà íà ñåëîòî è çà äâàäåñåòòå äþêÿíà ïî íåÿ, ðàçïîëîæåíè îò Øóáàëåêîâàòà ÷åøìà äî Ëàíäæîâèöà ÷åøìà, êðúñ- òåíè íà ìåñòíè ðîäîâå, çà îòâîðåíèòå îò ñóòðèí äî âå÷åð âðàòè íà êîâà÷íèöàòà, ñàìàðäæèéíèöàòà, æåëåçàðíèöàòà, îáóùàðíèöàòà, àáàäæèéíèöàòà, ñëàäêàðíèöàòà, áàêàëíèöàòà, ìîæå äà ñå ÷óå ïî íÿ- êîÿ äóìà è äíåñ. Òå îùå ñúùåñòâóâàò â ñïîìåíèòå íà ìàëêîòî îñòà- íàëè ìåñòíè æèòåëè. Íÿêîè îò òÿõ ñà òè÷àëè êàòî äåöà ïî ÷àðøèÿ- òà “Âðèñ” è ñà âèæäàëè íåäåëíèÿ ãîëÿì ïàçàð, íà êîéòî ñà ïðèèæäàëè ñåëÿíè îò ñúñåäíèòå ñåëà è òúðãîâöè, çà äà ïðåäëîæàò ðàçííîîáðàç- íàòà ñè ñòîêà. Ïðåç 50-òå ãîäèíè íà ìèíàëèÿ âåê, ïðîêàðàíèÿò íîâ ïúò çà Áåñëåòñêîòî ãîðñêî ñòîïàíñòâî ñëàãà êðàé íà ïúñòðîòàòà è 36 House, the Urdev House, etc. exemplified the early Renaissance Rodopi architecture. The assemblies of the Dishlyanov House, the Shumarev House, the Pilarev House, the Gyuzelev House, the Kyupov House as well as the large group of the Shimerov Houses had a unique impact and architecture and artistic virtues. All of the latter as well as the other Kovachevitsa houses owed their stylistic completeness to the stone top made of a beautiful mosaic of the famous tiles, riolyte plates, each one with a different shape obtained by manual processing and having natural patina. The Kovachevitsa would not have been harmoniously complete architecturally without that authentic architecture feature. The significant construction achievements of the Kovachevitsa masons indisputably originated from the expertise passed on as a family tradition, but also in the customary legal norms observed by everyone that regulated the relations in the league in view of hierar- chy, arrangements, labor distribution, and profit allocation. The gradual introduction of hired labor under the waged-based form in the mason groups at the end of the 19th century was a prerequisite for a new statute and hierarchy in the construction guild. It is known to me that in Kovachevitsa a Management Board used to be selected of the most prominent masters that presented the image of the mason profession in society. Shops for specialized instruments were opened and competition rendered the craftsmen create a secret lan- guage of theirs referred to as “meshtrovsky” or “meshtrogansky” of the type of social dialects close to the Bratzigovo one and fully incomprehensible to the uneducated ones, as more than 300 meshtrogansky words and phrases have been preserved. Only memories passed on by word from one generation to the next have remained from the tremendous construction times of Kovachevitsa. One could hear a word or two even today about the large Vris bazaar in the center and the twenty shops located there from the Shubalekov fountain to the Landjov one, named after local families, about the smithy, the packsaddle’s shop, the forge, the shoemaker’s shop, the tailor’s shop, the confectionary, and the gro- cery. They still exist in the memories of the few local residents. Some of them used to run as kids on the Vris bazaar and used to enjoy the unique big market on which villagers and merchants of the neigh- boring villages used to come to offer their various goods. In the 50s of the last century the new road built to the Beslet Forestry put an end to the diversity and tumult because it passed right in the middle of the bazaar destroying all commercial buildings. The unique inn (the Bakalov House) that had used to be in the very center of the bazaar was also demolished. Fortunately, not all public sites were damaged. The public-spirited community of Kovachevitsa saved the most precious monument of 37 Àâòåíòè÷íà êîâà÷åâñêà ñåëñêà íîñèÿ îò êðàÿ íà ÕIÕ â. (Àðõèâíà ôîòîãðàôèÿ). Authentic Kovachevitsa Êîâà÷åâñêî ñåëñêî õîðî íà “Îðèùåòî” ïðåä ó÷èëèùåòî íà Éîðäæå village costume at the end of Äèìèòðîâ îò íà÷àëîòî íà ÕÕ â. (Àðõèâíà ôîòîãðàôèÿ). the 19th century Kovachevitsa village ring on the Orishteto in front of the Yordje Dimitrov’s school at (photo of the records). the beginning of the 20th century (photo of the records). 38 Àâòåíòè÷íè ïîñðåáðåíè æåíñêè íàêèòè îò êðàÿ íà ÕIÕ â. (×àñòíà êîëåêöèÿ – ñ. Êîâà÷åâèöà). Authentic silver-plated lady’s jewels at the end of the 19th century (private col- lection in Kovachevitsa).

Îðèãèíàëíè Êîâà÷åâñêè æåíñêè ïðàçíè÷íè íîñèè îò ñðåäàòà íà ÕIÕ â. (×àñòíà êîëåêöèÿ – ñ. Êîâà÷åâèöà). Original Kovachevitsa ladies’ celebration cos- tumes in the middle of the 19th century (private collection in Kovachevitsa). 39 îæèâëåíèåòî, çàùîòî ìèíàâà òî÷íî ïðåç ÷àðøèÿòà, ðàçðóøàâàéêè óñëîâèåòî, íî çàïàçèëè ãîëåìèòå ìó ðàçìåðè âúâ âúòðåøíîòî âñè÷êè òúðãîâñêè ñãðàäè. Ðàçðóøåíà å è óíèêàëíàòà ñòðàíîïðèåìíè- ïðîñòðàíñòâî (äúëæèíà , øèðèíà , âèñî÷èíà ). Çà âäèãàíåòî íà òîçè öà (Áàêàëîâàòà êúùà), êîÿòî ñå å íàìèðàëà â ñàìèÿ öåíòúð íà ÷àðøè- Áîæèé äîì ñå òðóäèëî öÿëîòî íàñåëåíèå è ìîæå áè çàòîâà áàø-ìàéñ- ÿòà. Çà ùàñòèå íå âñè÷êè îáùåñòâåíè ñãðàäè ñà ïîñòðàäàëè. Áóäíîòî òîðèòå ñà “çàáðàâèëè” äà âïèøàò èìåíàòà ñè â ïàìåòåí íàäïèñ âúð- íàñåëåíèå íà ñ. Êîâà÷åâèöà å ñúõðàíèëî íàé-öåííèÿ ïàìåòíèê íà äóõîâ- õó ñòåíàòà ìó èëè ìîæå áè êòèòîðèòå áèëè òîëêîâà ìíîãî, ÷å å áè- íîñòòà ñè, ñàêðàëíèÿ äîì íà õðèñòèÿíñêàòà ñè âÿðà - öúðêâàòà “Ñâ. ëî òðóäíî äà ñå ïîáåðàò íà öÿëà ñòåíà? Öúðêâàòà áèëà çàâúðøåíà è Íèêîëà”. Èçãðàäåíà â òåæêèòå ãîäèíè íà òóðñêî ðîáñòâî ñ óñèëèÿòà îñâåòåíà ïðåç 1848 ã. Òðèêîðàáíàòà áåçêóïîëíà áàçèëèêà “Ñâ. Íèêîëà”, íà öÿëîòî íàñåëåíèå, òÿ å áèëà ñèìâîë íà íàäåæäàòà çà ïî-äîáúð æè- åäíà îò ïåòòå íàé-ãîëåìè áàçèëèêè â Áúëãàðèÿ å èçãðàäåíà ïî òðàäè- âîò, óïîâàíèå è çàêðèëà îò ñòðàäàíèÿòà. Çàòîâà ÿ ïîñâåòèëè íà ñâ. öèîííàòà çà Êîâà÷åâèöà ñòðîèòåëíà òåõíîëîãèÿ è ìàòåðèàëè, ñîëèä- Íèêîëà, çàêðèëíèê íà ïúòíèöèòå, ãóðáåò÷èèòå è áåæàíöèòå, êàêâî- íè êàìåííè çèäîâå è ïîêðèâ, çàñòëàí ñ êàìåííè ïëî÷è “òèêëè”. Âçèäà- òî â ñâîÿ êîðåí áèëî öÿëîòî íàñåëåíèå íà ñåëîòî. íèòå âèñîêî â ïîäïîêðèâíîòî ïðîñòðàíñòâî ïðîçîðöè îñèãóðÿâàò Èñòîðèÿòà, ñâúðçàíà ñ òðóäíî âçåòîòî ðàçðåøåíèå îò òóðñêèòå äîáðî îñâåòÿâàíå íà âúòðåøíîñòòà íà õðàìà. âëàñòè çà ñòðîèòåëñòâîòî íà õðàìà, ïðåâúðíàòà â ìåñòíà ëåãåíäà, Îãðîìåí òðèðåäîâ èêîíîñòàñ, èçöÿëî äúðâåíà êîíñòðóêöèÿ ñ èçê- ðàçêàçâà çà èçâåñòåí êîâà÷åâñêè òúðãîâåö, êîéòî óñïÿë äà íàìåðè ëþ÷èòåëíî êðàñèâà öàðñêà äâåð ñ ïîçëàòåíà äúðâîðåçáà ïîñðåùà áîãî- ïðèçíàíèå ÷àê â ñóëòàíñêèÿ äâîð â Öàðèãðàä êàòî èçêóñåí áðúñíàð. ìîëöèòå ñ ðåñïåêòèðàùîòî ñè âåëèêîëåïèå. Ñàêðàëíàòà ìèñòèêà íà Êúì íåãî ñå îáúðíàëè ñúñåëÿíèòå ìó ñ ìîëáà çà ïîìîù, çàùîòî áèëî õðàìà ñå ïîäñèëâà îò ïîäðåäåíèòå â òðè õîðèçîíòàëíè ðåäà íàä ñå- íåâúçìîæíî äà ïîëó÷àò ðàçðåøåíèå çà ñòðîåæ îò ñóëòàíñêàòà àäìè- äåìäåñåò èêîíè. íèñòðàöèÿ (Âèñîêàòà ïîðòà). Òîâà ñòîðèë ëè÷íî ñóëòàíúò, êîéòî èç- Äâàíàäåñåòòå öàðñêè èêîíè îò ñðåäàòà íà ÕIÕ âåê ñà èçðàáîòåíè äàë è ïîäïèñàë ôåðìàí çà ñòðîèòåëñòâîòî íà êîâà÷åâñêàòà öúðêâà îò íåèçâåñòåí èêîíîïèñåö, êîéòî íîñè ïî÷åðêà íà êúñíèòå çîãðàôè êàòî áëàãîâîëåíèå è ïðèçíàíèå çà òàëàíòà íà êîâà÷åâñêèÿ áðúñíàð. îò Òðåâíåíñêàòà æèâîïèñíà øêîëà. Êîëîðèòúò, êîìïîçèöèîííèòå Åäèíñòâåíîòî óñëîâèå áèëî òÿ äà íå áúäå âèñîêà, çà äà íå ñå âèæäà ðåøåíèÿ è æèâîïèñíàòà òåõíèêà ñà íåñúìíåíî äåëî íà äîáúð ìàéñòîð îòäàëå÷å. Çàòîâà ñòðîèòåëèòå âêîïàëè õðàìà â çåìÿòà è èçïúëíèëè íà ÷åòêàòà, ñúçäàë óíèêàëíè îáðàçöè íà êúñíàòà âúçðîæäåíñêà èêîíî- 40 its spirit, its sacral home of Christian faith – the St. Nikola Church. sors were that numerous and it was difficult to fit onto one wall. The Built under the harsh conditions during the Ottoman rule with the church was completed and sanctified in 1848. The St. Nikola basilica effort of the entire community, it used to be a symbol of hope of bet- with a nave a two aisles, one of the five largest basilicas in Bulgaria, ter life, confidence, and protection of suffering. Therefore, they ded- was built following the traditional Kovachevitsa technique and mate- icated it to St. Nikola, a guardian of the strangers, workers, and rials, solid stone walls and top, covered by stone tiles tikli. The win- refuges as the entire community originated thereof. dows were laid high in the sub-ceiling structure and provided fine The story of the permit obtained hard from the Turkish Authorities lighting in the interior of the church. to build the church turned into a local legend tells for a famous A vast three-row iconostasis fully made of wood with an extreme- Kovachevitsa merchant that managed to receive recognition even in ly beautiful royal entrance welcomes the worshippers with its awe- the Sultan’s Court in Tzarigrad as being a skillful barber. His fellow- some magnificence. The sacral mysticism of the church is reinforced villagers asked him for assistance since it had been impossible for more than 70 icons arranged in three horizontal rows. them to receive a construction permit from the Sultan Administration The twenty royal icons of the middle of the 19th century were cre- (the High Gate). The latter was done by Sultan himself who issued ated by an anonymous icon-painter that bore the marks of the late and signed a firman for the construction of the Kovachevitsa church icon-painters of the Tryavna Painting School. The colors, the compo- as a sign of benevolence and recognition of the Kovachevitsa bar- sition solutions and the painting technique were undoubted execut- ber’s talent. The only condition was that it should not be raised tall ed by a fine brush master the created unique images of the late in order not to been seen from a large distance. Therefore, the Renaissance icon-painting. The apostolic and celebration row of builders dug the church into the ground and yet preserved its large icons in the iconostasis was made by other anonymous icon-painters. size in the interior. On the Northern and Southern walls close to the iconostasis were The entire community worked to build this God’s temple and placed arcs of two extremely precious icons: St. George and a Horse maybe that is the reason why the craftsmen forgot to engrave their and St. Dimitar and a Horse created by the hand of Georgi Stregyov names in a commemorative tablet on the wall or probably the spon- in 1874 of the Balkan Artistic School. 41 Äîáðåâà êúùà. The Dobrev House. 42 Øóìàðåâà êúùà. 1895 The Shumarev House. 1895 43 ïèñ. Àïîñòîëñêèÿò è ïðàçíè÷åí ðåä îò èêîíè â èêîíîñòàñà ñà äåëî íà äðóãè íåèçâåñòíè çîãðàôè. Íà ñåâåðíàòà è þæíà ñòåíè â áëèçîñò äî èêîíîñòàñà ñà ïîñòàâåíè â äúðâåíè êèâîòè äâå èçêëþ÷èòåëíî öåííè èêîíè íà “Ñâ. Ãåîðãè íà êîí” è “Ñâ. Äèìèòúð íà êîí”, äåëî íà “Ðóêà Ãå- îðãèÿ Ñòåðãþâ, ëåòî 1874” îò Áàíñêàòà õóäîæåñòâåíà øêîëà. Öúðêîâíèÿò êîìïëåêñ å áèë íàïúëíî çàâúðøåí åäâà â 1900 ã., êîãà- òî ñúáðàëè ñìåëîñò, à ñúùî è ñðåäñòâà, êîâà÷åâëèè èçäèãàò áåç îôè- öèàëíî ðàçðåøåíèå è âèñîêà 12 ìåòðà êàìáàíàðèÿ â öúðêîâíèÿ äâîð.  òàçè ÷åòèðèåòàæíà êóëà òå ïîñòàâÿò äâå ãîëåìè êàìáàíè, îòëÿ- òè îò ãîðíîáðîäèíñêè ìàéñòîðè êàòî äàðåíèå îò áðàòÿ Àëåêñîâè. Âúðõó èçòî÷íàòà ñòðàíà íà êóëàòà áèë ìîíòèðàí è ïúðâèÿò ÷àñîâ- íèê, êîéòî îòìåðâàë âðåìåòî ñ óäàð íà ÷àñîâíèêîâîòî ÷óê÷å âúðõó êàìáàíèòå. Òàêà êàìáàííèÿò çâúí ñ ìåëîäè÷íèÿ ñè çâóê ñúïúòñòâàë êîâà÷åâëèè âñåêè ÷àñ â òðóäíèòå èì äåëíèöè è ðàçëèâàë áîãàò íàäïåâ íà äâåòå êàìáàíè â ïðàçíè÷íèòå äíè. Çà ñúæàëåíèå ÷àñîâíèêúò íå äîñòèãíàë äî íàøè äíè. Ñãðàäèòå íà öúðêâàòà “Ñâ. Íèêîëà”, Êèëèéíî- òî ó÷èëèùå è Îñíîâíî ó÷èëèùå “Éîðäæå Äèìèòðîâ”, ñâúðçàíè â óíè- êàëåí àðõèòåêòóðåí êîìïëåêñ, êàêòî è ìíîãî îò ñòàðèòå ñåëñêè êú- ùè, ïðèòåæàâàò ñòàòóò íà Àðõèòåêòóðåí ïàìåòíèê íà êóëòóðàòà, â ñúîòâåòñòâèå ñúñ Çàêîíà çà ïàìåòíèöèòå íà êóëòóðàòà è ìóçåè- òå.

44 The church complex was fully completed as late as 1900 when the Kovachevitsa people gained courage and money to raise without an official permit a 12-m tall bell tower in the church yard. In the latter four-floor tower they placed 2 large bells cast by Goren Brod crafts- men as a donation by the Alexov brothers. On the eastern side of the tower also the first clock was installed that measured time by the beat of the clock hammer on the bells. Thus the ring sound with its melodic sound accompanied Kovachevitsa people on every hour in their hard days and spread a rich tune of the two bells on holydays. Unfortunately the clock did not survive to our times. The buildings of the St. Nikola Church, the Cell School and the Elementary School “Yordje Dimitrov” linked in a unique architecture complex as well as many of the old village houses have a status of Architecture Culture Monuments in compliance with the provisions of the Law of Culture Monuments and Museums.

45 Ìåë÷èíà êúùà. The Melchin House. 46 Êàðàãåðãüîâà êúùà. The Karagergyov House.

47 Õîðîçîâà êúùà. The Khorozov House. 48 ×èìóíèíà è Óðäåâà êúùà. The Chimunin and Urdev House.

49 Êîâà÷åâñêèÿò àðõèòåêòóðåí ôåíîìåí è ïðèðîäíèòå çàáåëåæèòåëíîñòè â ðåçåðâàòà

“Ïðèðîäàòà å òâîðåö íà âñè÷êè òâîðöè” Ãüîòå

Êîâà÷åâñêàòà ñòðîèòåëíî-àðõèòåêòóðíà øêîëà å óïðàæíÿâàëà ñâîåòî íàé-ñèëíî îáëàãîðîäÿâàùî âëèÿíèå âúðõó áëèçêèòå ñåëèùà â ðåãèîíà, â êîèòî ñúùî å çàïàçåíà àâòåíòè÷íà âúçðîæäåíñêà àðõè- òåêòóðíà ñðåäà. Îáÿâåíè çà ïàìåòíèöè íà êóëòóðàòà êàòî ñåëèùíè êîìïëåêñè èëè êàòî îòäåëíè àðõèòåêòóðíè îáåêòè, ñåëàòà Êîâà÷å- âèöà è Äîëåí, çàåäíî ñúñ ñúõðàíåíàòà êàòî ïðèðîäåí ðåçåðâàò îêîë- íà ñðåäà, ïðåäñòàâÿâàò åäèí öÿëîñòåí íåïîâòîðèì êóëòóðíî-èñòî- ðè÷åñêè êîìïëåêñ. Ñåëî Ëåùåí ñå íàìèðà â ñêëîíîâåòå íà Äúáðàøêèÿ äÿë íà Çàïàäíè- òå Ðîäîïè, íà 15 êèëîìåòðà îò ãð. Ãîöå Äåë÷åâ. Óíèêàëíèòå ìó ñòà- ðè êúùè ñà ðàçïîëîæåíè â ìíîãîïëàñòîâà ïåðñïåêòèâà ïî ñòðúìíè- òå ñêëîíîâå è ñúñ ñâîèòå áîãàòè àíñàìáëîâè ðåøåíèÿ íîñÿò âñè÷êè áåëåçè íà êîâà÷åâñêèÿ àðõèòåêòóðåí ñòèë. Íàé-ãîëÿìàòà àðõèòåê- òóðíà çàáåëåæèòåëíîñò å öúðêâàòà “Ñâ. Ïàðàøêåâà”, ïîñòðîåíà ïðåç 1833 ã. Òÿ ïðèòåæàâà ðèñóâàí äúðâîðåçáåí èêîíîñòàñ è ñòàðè àâòåíòè÷íè èêîíè. Êèëèéíîòî ñåëñêî ó÷èëèùå å îòêðèòî ïðåç ñúùà- òà 1833 ã., à â íîâîáúëãàðñêî ó÷èëèùå òî ïðåðàñòâà ïðåç 1891 ã. Îêî- ëî ñ. Ëåùåí ñà ðàçêðèòè óíèêàëíè àðõåîëîãè÷åñêè îáåêòè: â ìåñòíî- ñòòà “Ñâ. Àòàíàñ” - òðàêèéñêè íàäãðîáíè ìîãèëè, à â ìåñòíîñòòà “Çåëåíêà” - îñòàíêè îò àíòè÷íî ñåëèùå. “Ñèíèÿ âèð” å åäíà îò íàé-àòðàêòèâíèòå ïðèðîäíè çàáåëåæèòåë- íîñòè ïî ïîðå÷èåòî íà ð. Êàíèíà. Âåëè÷åñòâåíàòà ïðèðîäíà àðõè- 50 Kovachevitsa Architecture Phenomenon and Reserve Natural Landmarks

“Nature is the artist of all artists”. Goethe

The Kovachevitsa Architecture and Construction School exercised its strong beneficial impact on the nearby villages in the region where an authentic architecture background has been preserved as well. Promulgated to be culture monuments as village complexes or as indi- vidual architecture sites the villages of Kovachevitsa and Dolen alongside the environment preserved as a natural reserve comprise a comprehen- sive cultural and historical complex. The village of Leshten is located on the slopes of the Dubvara Section of the Western Rodopi Mountain, 15 km away of the town Gotze Delchev. Its unique old houses were located at a multi-layered perspective on the steep slopes and bore all marks of the Kovachevitsa architecture style with their rich assembly solutions. The greatest landmark was the St. Parashkeva church built in 1833. It has a painted wood-carved iconosta- sis and antique authentic icons. The cell school was open in the same 1833, and it was transformed into a new Bulgarian school in 1891. Around the village of Leshten unique archeological sites were discov- Ñåëî Ëåùåí è öúðêâàòà ered: in the St. Atanas place – Thracian gravestones, and in the Zelenka “Ñâ. Ïàðàøêåâà”. Village of Leshten and the place – remnants of an ancient town. St. Parashkeva Church. The Sinia Vir is one of the most attractive natural landmarks on the Kanina Riverside. The magnificent natural architecture cut into the gran- ite and gneiss rocks vast stone pots filled with rumbling falling water. The 51 “Ñèíèÿ âèð”. Sinia Vir. 52 “Êîçèÿ êàìúê”. Kozia Kamak.

“Ñòàðàòà æåíà” – ñêàëèñòî îáðàçóâàíèå ïî ïúòÿ çà ìåñòíîñòòà “Êîçè êàìúê”. Starata Jena (Old Lady) – a rock formation on the way to Kozia Kamak. 53 òåêòóðà å èçñåêëà â ãðàíèòíèòå è ãíàéñîâè ñêàëè îãðîìíè êàìåííè ïîçâîëèëà èçðàáîòâàíå íà “çâåçäíà êàðòà” âúðõó ñêàëíèòå ïîâúðõíè- êîòëè, èçïúëíåíè îò ïàäàùàòà ñ ãðîõîò âîäà. Îòðàæåíèÿòà íà âå- íè, äåëî íà æðåöèòå íà áîã Äèîíèñèé Ñàáàçèé. Òåçè íàó÷íè õèïîòåçè ëèêîëåïíèòå ñêàëè, ãîðèòå è íåáåòî âúðõó êðèñòàëíàòà ïëàíèíñêà ïðèâëè÷àò ìíîæåñòâî èçñëåäîâàòåëè è òóðèñòè êúì èíòåðåñíàòà âîäà ÿ îöâåòÿâàò â èçóìðóäåíî-çåëåí öâÿò, êîéòî äàâà èìåòî íà ìåñòíîñò “Êîçèÿò êàìúê”, îò êîÿòî ñå îòêðèâà íåâåðîÿòíî êðàñè- ìåñòíîñòòà “Ñèíèÿ âèð”. Ìåñòíîñòòà å ïðèðîäåí ïëàíèíñêè ôåíî- âà ïàíîðàìà êúì ïðî÷óòèòå “Êàÿëèéñêè ñêàëè” è êúì äàëå÷íèòå âúð- ìåí ñ íåîöåíèìà åñòåòè÷åñêà è åêîëîãè÷åñêà ñòîéíîñò.  ÷èñòèòå õîâå íà Ïèðèí ïëàíèíà íà çàïàä. âîäè ñå âúäè âèñîêîïëàíèíñêà ïúñòúðâà, à â îêîëíîñòèòå ðàñòàò ëå- Âðúõ Áåñëåò å íàé-âèñîêàòà òî÷êà (1938 ì íàäìîðñêà âèñî÷èíà) íà ÷åáíè áèëêè - ðèãàí, æúëò êàíòàðèîí, äèâè ÿãîäè è äð. Áåñëåòñêèÿ ðèä â Äúáðàøêèÿ äÿë íà Çàïàäíèòå Ðîäîïè. Òîçè ãðàíè- Ïðèðîäíàòà çàáåëåæèòåëíîñò “Êîçèÿò êàìúê” å óíèêàëíî ñêàëíî òåí ïúðâåíåö å çàîáèêîëåí îò âúðõîâåòå “Ìàëúê Áåñëåò” íà þãîçà- îáðàçóâàíèå ñ ïëîù îò îêîëî 300 êâ. ì â åäíîèìåííàòà ìåñòíîñò â ïàä, “Òðèòå õâîéíè” íà ñåâåðîèçòîê, “×åðåí êàìúê” íà þã è “Êîçèÿò çåìëèùåòî íà ñ. Êîâà÷åâèöà, íà 14 êì ñåâåðíî îò ñåëîòî. Ïðåç 1976 ã. êàìúê” íà þãîèçòîê. Âúðõúò ïðèòåæàâà ñðàâíèòåëíî ðàâåí òåðåí ñ ìåñòíîñòòà å âïèñàíà â äúðæàâíèòå ðåãèñòðè êàòî “Ïðèðîäíà çà- äúëæèíà 300 è øèðèíà 80 ì. Îò íåãî ñå îòêðèâà øèðîêà ïàíîðàìà áåëåæèòåëíîñò” è å ïîä çàêðèëà íà çàêîíà çà îïàçâàíå. Ïðè íàïðàâåíè êúì Ñðåäíèòå Ðîäîïè ñ ïðåäåí ïëàí “Ñêàëíè âðúõ - êàÿëèéñêè âðúõ”, ïðåç 1983 ã. àðõåîëîãè÷åñêè åêñïåäèöèè ñà èçñëåäâàíè èçäúëáàíèòå “Ïîãëåäåö”, “Ïúðäèêîí”, “Äðåíëèé” è äð. Îò èçòî÷íèòå ìó ñêëîíîâå îùå â äðåâíîñòòà 120 åäíàêâè ïî äèàìåòúð è äúëáî÷èíà äóïêè â èçâèðà Êàÿëèéñêà ðåêà. Áèëîòî ìó å ïîêðèòî ñúñ ñðåäèçåìíîìîðñêà ñêàëíîòî îáðàçóâàíèå. Ðàçïîëîæåíè â îïðåäåëåíè ãåîìåòðè÷íè ðåäî- íèñêîñòåáëåíà ðàñòèòåëíîñò, à ñêëîíîâåòå ìó ñà ïîêðèòè ñ âèñî- âå, òå ñà ïîäîáíè íà îïèñàíèòå â àðõåî-àñòðîíîìè÷åñêàòà ëèòåðà- êîïëàíèíñêè èãëîëèñòíè ãîðè îò áÿë áîð, ñìúð÷, åëà, ìóðà. òóðà “äóïêè”, äàòèðàíè îò 3000 ã. ïð. Õð. â Åâðîïà, Ðóñèÿ è äð. Äðåâ- Ïàðàêëèñúò “Ñâ. Ãåîðãè” ñïàäà êúì ñúâðåìåííèòå àðõèòåêòóðíè íîãðúöêèÿò ôèëîñîô è èñòîðèê Õåðîäîò ñî÷è èìåííî Ðîäîïèòå (ìî- çàáåëåæèòåëíîñòè â êîíòåêñòà íà ïîääúðæàíå íà ìåñòíèòå ñòðî- æå áè â òîçè äÿë íà ïëàíèíàòà) çà âåðîÿòíîòî ìÿñòî íà ïðî÷óòèÿ èòåëíè òðàäèöèè. Ïîñòðîåí å â êðàñèâà ìåñòíîñò îò áóêîâè è áî- Äèîíèñèåâ õðàì, ñâåòèëèùå íà òðàêèéñêîòî ïëåìå áåñè. Âúçìîæíî å ðîâè ãîðè, â áëèçîñò ñ îñòàíêèòå íà ðàçðóøåí ïðåç òóðñêîòî òÿõíàòà àñòðîíîìè÷åñêà êóëòóðà äà å áèëà òîëêîâà âèñîêà, ÷å äà å ðîáñòâî ìàíàñòèð. Èçãðàäåí ñúñ ñðåäñòâà è òðóä íà æèòåëèòå íà 54 reflections of the magnificent rocks, the woods and the sky in the crystal God. Those scientific hypotheses attract numerous researchers and clear mountain water color it in emerald blue that named the locality the tourists to the interesting locality of the Kozia Kamak, which opens an Sinia Vir (Blue Pond). Te locality is a natural alpine phenomenon with an extremely beautiful view to the famous Kalayaliiski Rocks and to the dis- invaluable aesthetic and environmental worth. Alpine trout breeds in the tant peaks of the Pirin mountain to the West. clear water, and in the vicinities – marjoram, tutsan, wild strawberries, The Beslet peak is the highest point (1938 m above the sea level) of etc. the Beslet Hill in the Dubrava Section of the Western Rodopi Mountain. The Kozia Kamak landmark is a unique rock formation with an area of That granite champion is surrounded by the peaks of Malak Beslet to the app. 300 m2 in the locality of the same name in the landsite of Southwest, of Trite Hvoini to the Northeast, of Cheren Kamak to the South Kovachevitsa, 14 km North of the village. In 1976 the locality was entered and of Kozia Kamak to the Southeast. The peak has a relatively smooth in the state registers as a natural landmark and has been under the pro- area with a length of 300 m and a width of 80 m. A wide vista unveils of tection of the Law on preservation. During archeological expeditions the latter to the Middle Rodopi Mountain as at the foreground the Skalni made in 1983 the 120 holes dug during Antiquity with an identical diam- Peak – Kayaliisky peak, Pogledetz, Purdikon, Drenliy, etc. are situated. eter at an identical depth in the rock formation were examined. Located The Kanina river springs out of its Eastern slopes. Its ridge is covered by on defined geometric rows, they were similar to the ones described in the Mediterranean low-stemmed plants, and its slopes – by alpine coniferous archeo- astronomic literature holes dated 3000 B.C. in Europe, Russia, trees of White Pinus, Spruce, Pine Spruce, and White Fir. etc. The ancient Greek philosopher and historian Herodotus pointed out The St. George’s Chapel belongs to the contemporary architecture exactly the Rodopi mountain (maybe that same section of the latter) as landmarks in the context of supporting the local construction traditions. the probable location of the famous Dionysus’s Temple, a sanctuary of It was built on a beautiful background of beech and pine trees close to the besi Thracian tribe. It is possible that their astronomic culture had the remnants of a monastery that had been ruined down under the been that elevated that it allowed for the composition of a stellar map on Ottoman rule. Built with the financial and labor support of the the rock surface, which was done by the priests of the Dionysus Sabasius Kovachevitsa residents in 1995 the Chapel was dedicated to St. George. 55 ñ. Êîâà÷åâèöà (ïðåç 1995 ã.), ïàðàêëèñúò å ïîñâåòåí íà “Ñâ. Ãåîðãè”. Âúíøíèÿò àðõèòåêòóðåí ïðîôèë ñå îòëè÷àâà ñ ïîä÷åðòàíà ñåìï- ëîñò è ïðèâëåêàòåëíà ïðîñòîòà íà àðõèòåêòóðíèòå ôîðìè. Öúðêâàòà å åäíîêîðàáíà, ñ ìàëêà îëòàðíà àïñèäà, áåç èêîíîñòàñ, ñ îëòàðíî ïðîñòðàíñòâî, ïîâäèãíàòî îò íèâîòî íà íàîñà íà õðàìà. Öÿëîòî ñòåííî ïðîñòðàíñòâî å èçîãðàôèñàíî êàòî äàðåíèå îò õó- äîæíèêà Íèêîëà Êàðàìôèëîâ è êîëåãè.  öÿëîñòíàòà èêîíîãðàôèÿ íà õðàìà äîìèíèðàò öúðêîâíè ñúáèòèÿ, îáðàçè íà ñâåòöè è ìú÷åíèöè, êàíîíèçèðàíè êàòî áúëãàðñêè: ñâ. Ïåòêà, ñâ. Çëàòà Ìúãëåíñêà, ñâ. Éî- àí Ðèëñêè, ñâ. Ñèìåîí Ñàìîêîâñêè, ñâ. ñâ. Êèðèë è Ìåòîäèé è äð., êàê- òî è åäíà ðÿäêî èçîáðàçÿâàíà ñöåíà îò æèâîòà è èñòîðèÿòà íà Çîã- ðàôñêèÿ ìàíàñòèð â Àòîí: “Èçãàðÿíåòî íà 26-òå çîãðàôñêè ìú÷åíè- öè îò ëàòèíöèòå.”  áëèçîñò äî ïàðàêëèñà ïðåç 2004 ã. å èçäèãíàò ìîíóìåíòàëåí ìåòàëåí êðúñò êàòî åìáëåìàòè÷åí õðèñòèÿíñêè çíàê íà ìåñòíîñòòà, â íàé-âèñîêàòà âèäèìà ÷àñò íàä ñåëèùåòî. Ñåëî Äîëåí å òèïè÷íî âèñîêîïëàíèíñêî ñåëî (1020 ì íàäìîðñêà âè- ñî÷èíà), ðàçïîëîæåíî âúðõó þãîçàïàäíàòà ÷àñò íà Äúáðàøêèÿ äÿë íà Çàïàäíèòå Ðîäîïè, íà 26 êèëîìåòðà îò ãð. Ãîöå Äåë÷åâ. Ñúçäàäåíî îò çàñåëíèöè, ñïàñÿâàùè ñå îò íàñèëñòâåíî ïîìîõàìåäàí÷âàíå ïðåç ÕVI â., òî ñå ñïîìåíàâà â òóðñêèòå ðåãèñòðè îùå â 1671 ã. Âúðîæäå- íñêèÿò àðõèòåêòóðåí ðàçöâåò, ñúõðàíåí è äî äíåñ, ÷ðåç 70-òå êúùè ïàìåòíèöè íà êóëòóðàòà, ãî ïðàâè ïðåç 1977 ã. “Êóëòóðåí èñòîðè- ÷åñêè ðåçåðâàò “Äîëåí”. Îñíîâíèòå çàáåëåæèòåëíîñòè ñà ðîäîâèòå êúùè, ñðåä êîèòî íàé-èçâåñòíè ñà Àíãåëîâàòà, Òàëïîâàòà è äð., êàê- òî è ñòàðàòà öúðêâà “Ñâ. Íèêîëà”, ïîñòðîåíà ïðåç 1834 ã. â êîìïëåêñ ñ êèëèéíî ó÷èëèùå. Âúðõó èêîíîñòàñà íà òàçè öúðêâà ñà èçðèñóâàíè èêîíè îò Ãåîðãè Ôèëèïîâ, çîãðàô îò Äåáúðñêî, êîéòî ïî-êúñíî ñå ïðåñåëâà è æèâåå â Ãàáðîâî. Íàé-èíòåðåñíè êàòî âúçðîæäåíñêè òè- ïè÷íè óëè÷íè àíñàìáëè ñà êðúñòîâèùàòà “Êàâàëèòå”, “Íèêîëîâñêà- òà ÷åøìà” è ÷àðøèéñêàòà óëè÷êà. Ñåëîòî å èçâåñòíî â ìèíàëîòî ñ äîáðå ðàçâèòîòî ñè çëàòàðñòâî è êèðàäæèéñòâî, à ïîíàñòîÿùåì ñ æèâîòíîâúäñòâî, òþòþíîïðîèçâîäñòâî è äúðâîäîáèâ. Ñåëî Ðèáíîâî ñå íàìèðà íà ñåâåðîçàïàä îò ð. Êàíèíà â ïîäíîæèå- òî íà âð. Áåëèêîâèöà. Ïðèðîäíîòî îáêðúæåíèå îò ïðîñòîðíè âèñî- êîïëàíèíñêè ïëàòà, ëèâàäè è òþòþíåâè è êàðòîôåíè íèâè îïðåäå- ëÿ èçêëþ÷èòåëíàòà ïúñòðîòà è æèâîïèñíîñò íà ïåéçàæà. Èñòîðè÷åñêèÿò è àðõèòåêòóðåí ðåçåðâàò - “Êîâà÷åâèöà” èìà ðåàëåí ïðèíîñ â êóëòóðíî-èñòîðè÷åñêîòî áèòèå íà Áúëãàðèÿ ñúñ ñâîÿòà àâòåíòè÷íîñò è óíèêàëíîñò íà àðõèòåêòóðåí ôåíîìåí. Çàïàçâàíåòî ìó â íàñòîÿùåòî å ïðèíîñ è çà áúäåùîòî íàöèîíàëíî èäåíòèôèöèðàíå íà Áúëãàðèÿ â ñåìåéñòâîòî íà Åâðîïåéñêèòå íà- öèè êàòî ñòðàíà ñ ÿñíè ãðàíèöè íà ñàìîáèòíà êóëòóðà. Îñâåí äðåâ- íèòå è àíòè÷íè èñòîðè÷åñêè ïëàñòîâå, êóëòóðíàòà òåðèòîðèÿ íà Áúëãàðèÿ íîñè áåëåçèòå íà åäèí ðàçëè÷åí îò Åâðîïåéñêèÿ Ðåíåñàíñ, êîéòî èìà íåïðåõîäíè ÷åðòè. Àðõèòåêòóðíàòà íåïîâòîðèìîñò íà 56 The external architecture profile is characterized by marked simplicity and attractive unpretentiousness of the architectural forms. The church has a nave with a small altar apsis, without an iconostasis, with some altar space, elevated at the church axis level. The entire wall space was painted as a donation by the painter Nikola Karamfilov. Church events, saint and martyr images canonized as Bulgarian such as St. Petka, St. Zlata Muglenska, St. Johg Rilsky, St. Simeon Samokovsky, St. Cyril and St. Methodius, etc. dominate in the general icon-painting of the church as well as a rarely depicted scene of the Zograph Monastery life and histo- ry in Aton: the burning of 26 martyr icon-painters by the Latins. Near the Chapel in 2004 a monumental metal-made cross was raised as a symbolic sign of Christianity in the vicinity at the highest visible point above the village. The village of Dolen is a typical alpine village (1020 v above the sea level), located in the Southwestern part of the Dubrava section of the Western Rodopi Mountain, 26 km away from the town of Gotze Delchev. Founded by settlers saving themselves of violent conversion to Islam dur- ing the 16th century it was noted in the Turkish Registers ever since 1671. The Renaissance architecture growth preserved to present times via the 70 houses that promulgated culture monuments rendered the latter in 1977 “Dolen Culture and Historical Reserve”. The main landmarks were the family houses among which the most famous ones were the Angelov House, the Talpa House, etc. as well as the old church built in 1834 in a complex with the cell school. Icons by Georgi Philipov, an icon-painter of the Debar region that later moved to Gabrovo were painted on the Ïàðàêëèñà “Ñâ. Ãåîðãè” íàä ñ. Êîâà÷åâèöà è iconostasis of that church. The Kavalite, Nikolovata Chalma junctures and ñòåíîïèñíà óêðàñà â íàîñà íà öúðêâàòà. the bazaar alley were the most interesting typical alley assemblies. St. George’s Chapel above Kovachevitsa and frescos on the church front. Village is a known in the past by its well-developed gold-smithy and lodgery, and at `resent timec by ctock-breeding, tobacco manufacturing and logging. The village of Ribnovo is located Northwest of the Kanina River at the foot of the Belikovitza peak. The natural surroundings of vast alpine plateaus, meadows and tobacco and potato fields set out the exclusive scenery variety and picturesqueness. The historical and architectural reserve of Kovachevitsa contributed indeed to the cultural and history life in Bulgaria by offering its authen- ticity and uniqueness of being an architectural phenomenon. Its preser- vation in the present is a contribution also to the future national identity of Bulgaria in the European Nations family as a country with marked lines of original culture. The Bulgarian cultural territory beside the ancient and antique historical layers bears the marks of a Renaissance different from the European one with an intransient value. The architec- ture originality of Kovachevitsa is one of the models of Bulgarian identi- 57 ñ. Êîâà÷åâèöà å åäèí îò îáðàçöèòå íà áúëãàðñêàòà íàöèîíàëíîñò è Åâðîïåéñêèÿ ñúþç ïî òàçè ïðîãðàìà íà ðåñòàâðàöèîííè äåéíîñòè ïî êóëòóðà, êîéòî çàñëóæàâà äà áúäå çàùèòàâàí, îáè÷àí è ïîêàçâàí íà âúçñòàíîâÿâàíå íà êàëäúðúìåíàòà íàñòèëêà â öåíòúðà íà ñåëîòî, ñâåòà ñ äîñòîéíñòâî. ðåìîíò íà ïîêðèâíàòà êîíñòðóêöèÿ íà öúðêâàòà “Ñâ. Íèêîëà” è ïúë- Íà 17 îêòîìâðè 2002 ã. èíèöèàòèâåí êîìèòåò îò ïîñòîÿííè æè- íà ðåñòàâðàöèÿ íà ñãðàäàòà íà îñíîâíî ó÷èëèùå “Éîðäæå Äèìèò- òåëè è ñîáñòâåíèöè íà êúùè â ñ. Êîâà÷åâèöà îðãàíèçèðà òúðæåñò- ðîâ”, íåèçïîëçâàíà è ïîäëîæåíà îò äåñåòèëåòèÿ íà ðàçðóõà. Ñ ðåàëè- âåíî ÷åñòâàíå è ìîëåáåí çà 90-ãîäèøíèíàòà îò îñâîáîæäåíèåòî íà çàöèÿòà íà ïðîåêòà ùå áúäå çàïàçåíà çà ïîêîëåíèÿòà ñãðàäà - àðõè- ñåëîòî îò îñìàíñêî ðîáñòâî. Òîãàâà ñå ðàæäà èäåÿòà çà ñúçäàâàíå òåêòóðåí ïàìåòíèê íà êóëòóðàòà: îñíîâíî ó÷èëèùå “Éîðäæå Äè- íà ñäðóæåíèå, êîåòî äà ìîáèëèçèðà óñèëèÿòà íà âñè÷êè, êîèòî îáè- ìèòðîâ” è àäàïòèðàíèÿ çà ïðåäîñòàâÿíå íà òóðèñòè÷åñêè óñëóãè è ÷àò è ìèëåÿò çà ñåëîòî, êàêòî è äà òúðñè èçòî÷íèöè çà íàáèðàíå íà ïðîäóêòè èíôîðìàöèîíåí òóðèñòè÷åñêè öåíòúð, èñòîðè÷åñêè ìó- ìàòåðèàëíè ðåñóðñè çà çàïàçâàíå êóëòóðíî-èñòîðè÷åñêîòî íàñëåä- çåé, õóäîæåñòâåíà è ôîòî-ãàëåðèÿ è õîòåëñêà ÷àñò. Ïðîåêòúò ñòâî è ïîäîáðÿâàíå îáëèêà íà ñ. Êîâà÷åâèöà êàòî èñòîðè÷åñêè è àð- âêëþ÷âà è êîíêðåòíè äåéíîñòè, ñâúðçàíè ñ ïîïóëÿðèçèðàíå íà ñåëî- õèòåêòóðåí ðåçåðâàò è îñèãóðÿâàíå ïîìèíúê íà ìåñòíîòî íàñåëå- òî, îáó÷åíèå íà ìåñòíè õîòåëèåðè, ðåñòîðàíòüîðè, ïëàíèíñêè âî- íèå ÷ðåç ñúçäàâàíå óñëîâèÿ çà ðàçâèòèå íà ñåëñêè è êóëòóðåí òó- äà÷è è åêñêóðçîâîäè, ìàðêèðàíå íà òóðèñòè÷åñêèòå ìàðøðóòè è ðèçúì. Åäèí ìåñåö ïî-êúñíî íà 17 íîåìâðè 2002 ã. å ó÷ðåäåíî Ñäðóæå- ìåñòíè çàáåëåæèòåëíîñòè, ñúõðàíÿâàíå è ïîïóëÿðèçèðàíå íà àâòåí- íèå “Èñòîðè÷åñêè è àðõèòåêòóðåí ðåçåðâàò ñ. Êîâà÷åâèöà”, êîåòî å òè÷íèÿ ôîëêëîð â ðåãèîíà. ×ëåíîâåòå íà ñäðóæåíèåòî ñà óâåðåíè, ðåãèñòðèðàíî îò Áëàãîåâãðàäñêèÿ îêðúæåí ñúä íà 21 ÿíóàðè 2003 ã. ÷å ñ ïðåäëàãàíåòî íà òåçè íîâè òóðèñòè÷åñêè ïðîäóêòè, êàêòî è ïî Çàêîíà çà þðèäè÷åñêèòå ëèöà ñ íåñòîïàíñêà öåë. Êàòî ïúðâà áúäåùàòà ñè äåéíîñò ïî çàïàçâàíå è ïîäîáðÿâàíå îáëèêà íà Èñòîðè- ñòúïêà çà ïîñòèãàíå íà öåëèòå ñè Ñäðóæåíèåòî â ïàðòíüîðñòâî ñ ÷åñêèÿ è àðõèòåêòóðåí ðåçåðâàò ñ. Êîâà÷åâèöà ùå äîïðèíåñàò çà Îáùèíà Ãúðìåí ðàçðàáîòè è ïðåäñòàâè ïðîåêò ïî Ïðîãðàìà ÔÀÐ - ðàçâèòèåòî íà ñåëñêèÿ è êóëòóðåí òóðèçúì â ñ. Êîâà÷åâèöà è ðåãè- “Ðàçâèòèå íà êóëòóðíèÿ òóðèçúì â Áúëãàðèÿ”. Ïðîåêòúò áå êëàñè- îíà è ùå ãè ïðåâúðíå â æåëàíî ìÿñòî çà îòäèõ è òóðèçúì. ðàí è ñäðóæåíèåòî ïîäïèñà “Ãðàíò”, ïðåäâèæäàù ôèíàíñèðàíå îò

58 ty and culture that deserves to be protected, cherished and demonstrat- the latter program of restoration activities of the cobblestone pavement ed to the world with dignity. in the center of the village, reparation works of the top structure of the On 17. 10. 2002 a Committee of permanent resident and house own- St. Nikola Church and full restoration of the building of the elementary ers in Kovachevitsa organized an official celebration and a church service school “Yordje Dimitrov” that remained unused and subject to destruc- on the occasion of the 90th anniversary of the liberation of the village of tion over several decades. the Ottoman yoke. Then an idea was conceived to establish an associa- By implementing the project a building that is an architectural monu- tion that should mobilize the effort of everyone that loves and cherishes ment will be preserved for generations ahead – the elementary school the village and also search for sources of collecting funding to preserve “Yordje Dimitrov” as well as the information and tourist bureau adapted the cultural and historic heritage and to improve the image of to provide tourist services and products, a historical museum, an art and Kovachevitsa as a historical and architectural reserve, and to provide photographic gallery and a hotel. means of living to the local community by creating conditions to develop The Project includes also specific activities related to making the village rural and cultural tourism. popular, training local hotelkeepers, restaurant holders, alpine guides A month later on 17. 11. 2002 the Kovachevitsa Historical and and tourist guides, preserving and making popular local authentic folk- Architectural Reserve Association was established that was registered by lore. the Blagoevgrad District Court on 21. 01. 2003 under the provisions of the The members of the Association are confident that offering these new Law on Non-Profit Organizations. tourist products as well as executing their future activities on preserving As a first step for reach its goals the Association in collaboration with and improving the image of the Kovachevitsa historical and architectural the Gurmen Municipality developed a project and applied under the reserve will contribute to the advancement of rural and cultural tourism PHARE Program – Cultural Tourism in Bulgaria Project. The Project was in Kovachevitsa and the nearby region and will transform them in a pre- awarded and the Association signed a grant for funding by the EU under ferred place of relaxation and tourism.

59 ì Ó‚‡˜Â‚ˈ‡î ìKovachevitsaî »Á‰‡‚‡ Ò‰ÛÊÂÌË ì»ÒÚÓ˘ÂÒÍË Ë Published by Society ìHistorical ‡ıËÚÂÍÚÛÂÌ ÂÁÂ‚‡Ú and Architectural Reserve Village ÒÂÎÓ Ó‚‡˜Â‚ˈ‡î Kovachevicaî ≈-mail: [email protected] ≈-mail: [email protected] www.kovachevica.com www.kovachevica.com »Á‰‡ÌËÂÚÓ Â Ò˙-ÙË̇ÌÒË‡ÌÓ ÓÚ Published with co-financial assis- ≈¬–Œœ≈…— »fl —⁄fi« Ë ¡˙΄‡ˡ tance of EUROPEAN UNION and ÔÓ œÓ„‡Ï‡ ‘¿– BG 0102.03 Bulgaria Programme PHARE Á‡ –‡Á‚ËÚË ̇ ÍÛÎÚÛÌˡ ÚÛËÁ˙Ï BG 0102.03 for Development of ‚ ¡˙΄‡ˡ. Bulgarian Cultural Tourism.

¿‚ÚÓ ̇ ËÁ‰‡ÌËÂÚÓ Ë ıÛ‰ÓÊÂÒÚ‚ÂÌ Author and ÔÓÂÍÚ: artistic design: ÔÓÙ. ÃËı‡ËÎ ≈Ì‚ prof. Michail Enev √‡Ù˘ÂÌ ‰ËÁ‡ÈÌ Ë Ô‰Ô˜‡Ú: Graphic design and prepress: —ÚÂÙ‡Ì ≈Ì‚ Stefan Enev œ‚Ӊ ̇ ‡Ì„ÎËÈÒÍË: Translation: ìœÓÎË„ÎÓÚÓÒ ŒŒƒî ìPolyglotosî Ltd. —͇ÌË‡ÌÂ, ÂÍÒÔÓ̇ˆËˇ (CTP) Ë Scaning, CTP and Print: Ô˜‡Ú: ‘‡ÚÛÏ ŒŒƒ Fatum Ltd. —ÓÙˡ 2004 „. Sofia 2004

“‡ÁË ·Ó¯Û‡  ËÁ„ÓÚ‚Â̇ Ò ÙË̇ÌÒÓ‚‡Ú‡ This brochure has been drawn up with the ÔÓÏÓ˘ ̇ ≈—. »ÁÎÓÊÂÌËÚ ‚ Ì¡ ‚˙Á„ÎÂ‰Ë financial assistance of the EC. The views Ò‡ ̇ —‰ÛÊÂÌË ì»ÒÚÓ˘ÂÒÍË Ë ‡ıËÚÂÍ- expressed herein are those of Society ÚÛÂÌ ÂÁÂ‚‡Ú Ò. Ó‚‡˜Â‚ˈ‡î Ë ÔÓ ÌË- ìHistorical and Architectural Rezerve Village ͇Í˙‚ ̇˜ËÌ Ì ÓÚ‡Áˇ‚‡Ú ÓÙˈˇÎ̇ڇ ÔÓ- Kovachevitsaî and can therefore in no way be ÁËˆËˇ ̇ ≈‚ÓÔÂÈÒ͇ڇ ÍÓÏËÒˡ. taken to reflect the official opinion of the EC.