Studenica Monastery

The essential part of the Monastery was built in the period from the 12th to 14th centuries. This complex gradually developed in time, and nowadays it comprises a unique structure of endowments with the majestic old church dedicated to the Holy Virgin the Benefactress in its center. In the interior of the entrance tower, portraits of Nemanja’s two sons, Grand Prince Stefan the First–Crowned and Grand Prince Vukan were painted in 1210.

These paintings are among the oldest portraits in the history of Serbian medieval art. Ever since its foundation in the late 12th century, it was given the highest rank of the Royal Lavra, and it had a special place among all Serbian monasteries, as St. Sava of Serbia instructed in the Studenica Monastery Tipikon:

I instruct, therefore, to all of you in the name of our Lord God
 the Ruler of All that this holy monastery be independent among 
all the governing ones, free of any supervision, not subject to any other
rights, but only governed by the Mother of God the Benefactress,
and by the prayer of our venerable father, and consolidator, [by]
the one acting as an Abbot in it.
St. Sava, The Tipikon of Studenica, chapter XII  

Next to the majestic Church of the Holy Virgin built in the time of Stefan Nemanja and his son Saint Sava, dating from the same period are the dining hall, located in its immediate vicinity, the remains of the Great Lodgings constructed to serve as the dwelling house for monks, the residence for the ktetor, as well as Saint Nicholas church, foundations of Saint John the Forerunner’s church and a small church erected in 1314. in the age of king Milutin Nemanjić, dedicated to Saints Joachim and Anne. 

Wishing to combine them, he decided that his memorial would be made as a specific synthesis of seemingly contradictory architectonical styles. Thus, the inner area is structured by the principles of Byzantine art, with the altar placed on the eastern side, while walls and the outer surfaces of the church are made in the fashion characteristic for Romanesque art.

The way the two styles were used in Studenica had not been seen before. Great efforts were made and significant resources used to complete the construction of the sepulchral church of the founder, together with auxiliary buildings, within a period of only 10 years (1186–1196). All the entrance portals, high and majestic, were cut from the finest marble, decorated with marvelous wall sculpture in relief.

The Studenica Monastery Church of the Virgin the Benefactress served as a model for other churches built in a distinctive style called “the Raška style”, a special branch in eastern medieval church architecture named by the capital in Ras near today’s city Novi Pazar, where was the seat of the Serbian state. The Church of the Virgin Benefactress in Studenica holds a special place among them and represents a hard–to–reach model of architectural beauty.

Ten years after the construction of the Church of the Holy Virgin was completed, Stefan Nemanja’s sons, in particular Sava Nemanjić, who was the Abbott of Studenica Monastery at that time, endeavored to finish their father’s memorial and the church that was his burial place.

Thanks to Sava’s efforts, the best painters of that time were engaged to decorate the walls of the Church of the Holy Virgin. They painted in the fresco technique, using the high–priced lapis lazuli and gold.

The state of these delicate wall paintings is constantly monitored by relevant experts. Conservation and restoration work in the Church of the Virgin the Benefactress have been conducted in the service of restoring the original appearance.

Next to the Crucifixion, painted above the sepulcher of the founder of the Studenica Monastery, is an extraordinarily significant fresco: Saint Simeon Nemanja, holding his memorial church in his hands, is brought by the Most Holy Virgin before Jesus Christ the Righteous Judge enthroned.  

In the head of the same window frame at the Studenica church of the Holy Virgin the Benefactress there is a distinctive representation of the basilisk, a mythical creature with the body of a rooster and the tail of a serpent on the right side. It stands in front of the terrifying creature looking like a dragon, that is devouring a man.

The basilisk is usually interpreted as an evil symbol, also mentioned in the Book of Psalms: “Thou shalt walk upon the asp and the basilisk: and thou shalt trample underfoot the lion and the dragon” (Psalm 90:13).

Saint Isidore of Seville wrote about this animal: “‘Basilisk’ (Basiliscus) is a Greek word, translated into Latin as “little king”, because it is the king of the snakes so that they flee when they see it because it kills them with its odor – it also kills a human if it looks at one.

Indeed no flying bird may pass unharmed by the basilisk’s face, but however distant it may be it is burnt up and devoured by this animal’s mouth”. Pliny the Elder also confirms its attributes: “Anyone who sees the eyes of a basilisk serpent (basilisci serpentis) dies immediately.

It is no more than 12 inches long and has white markings on its head that look like a diadem. Unlike other snakes, which flee its hiss, it moves forward with its middle raised high. Its touch and even its breath scorch grass, kill bushes and burst rocks.”

Surpassing excellence: Fresco painting of King’s Church in Studenica 
 


The Church of Saints Joachim and Anne, also named the King’s Church after its ktetor king Milutin Nemanjić (1253−1321), was frescoed shortly after its construction, probably around 1315. For this task, Serbian King Milutin, grandson of Stefan Nemanja, hired the best artists of his time, Greek painters Michael Astrapas and Eutychios from Thessaloniki, who had already done frescos in his memorial churches.

Experts agree that the wall paintings in the King’s Church are the pinnacle of surpassing excellence in the artistic creation of Michael Astrapas and Eutychios, whose style in these works comes close to the beauty of icon–painting. Frescos have preserved their original appearance and they have never been painted over.

In the lower section of the painting is King Milutin as ktetor, holding a model of his memorial church in his hands, accompanied by his wedded wife Simonida, together with Saint Joachim and Anne, the parents of the Virgin Mary.

On the opposite wall, there are represented king Milutin’s forefathers – Saint Simeon and Saint Sava, and the Holy Virgin Herself with Jesus Christ. Magnificent in every aspect, the series of images from the King’s Church are the masterpieces of Serbian and Byzantine art dating from the 14th century.