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Via Egnatia


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5
Grabar, Andr. Recherches sur les sources juives de lart
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6
, / (6 ) , 34-35 (2009 ), 77-81,.
7
Procopii Caeseriensis Opera Omnia, red. J. Hurs, ed. G.
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4

, 1,
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9
Riard Krauthajmer, Slobodan uri, Ranohrianska i
vizantijska arhitektura, Gradjevinska Knjiga, Beograd 2008.
10
J. P. Sodini, C. Barsanti, A. G. Guidobaldi, La sculpture
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8

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Krauthajmer, uri, Ranohriscanska i ranovizantijska
arhitektura, 137-156.
12
Sodini, Barsanti, Guidobaldi, La sculpture architecturale, 303.
11

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300, 320 ..
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Blaga Aleksova, Cyril Mango, Bargala: A Preliminary
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4-6 ,
.30 ( II)
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25
, , 318.
26
William R. Caraher, Church, Society and the Sacred in
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27
, , 318.
28
, , 20,
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29
, , 13, 2000, 73.
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, MPC, 2006, 257268, 261. K 2001 .
1961 , . , 1967, 257-266.
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21
, , 35-36, 97112, 110.
22
C. Snively, Dacia Mediteranea and Macedonia Secundain
the 6th C., the question of influence on church architecture,
3, 213-260, 2005, 221.
23
C. Snively, Shaping Community: The Art and Archae142

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, Kamenot II, 835.
33
Ibid, 594.
34
, , 29,
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35
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36
, . , , , Acta Archaeologika 16, 245-257, . 2.
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38
Aleksova, Loca Santorum, 322.
39
. ,
, , , Fruchristlicher kirchenbau in der \s. R.
Macedonien, CORSO XXXIII, Ravena 1986, 221-251,
abb. 8; . 1990 . , , : , , 961.
40

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(361-363).

K. Hattersley-Smith, The Early Christian churches of


Macedonia and their Patrons, BF, 1995, 229-234.
48
Ibid., 232.
49
, -, 16, 307-321, . 9,
314. . , , ,
, 1969, 75-86. ,
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B. Aleksova, Loca Sanctorum Macedonia, Skopje 1997,


41-78, 165.
43
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1999, 312.
52
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, II
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54
, Heraclea Lyncestis-fontana, , Skopje
2003, 191-205. , , 306.
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, Loca Sanctorum Macedoniae, 1995,
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59
Caraher, Church, Society and the Sacred in Early
Christian Greece, 311-312.
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Alison Frantz, Early Christian Ornament in Greece,


Byzantine East, Latine West, Princenton University, New
Yersey, 1995, 41-45; 42.
61
, Early Christian Ornament,45.
62
, , 79. .

, , 320.
Blaga Aleksova, Loca Sanctorum Macedoniae, 1997,
132-137, . 7-17., 77, 109.
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Ibid., 135.

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Sofia 2000 (kataloque), 12, fig. 22.1.
67
, , , 1978, 8-78.
68
Panagiota Asemakopolus Atcaka, The early Christian
mosaic pavements of Eastern Ilyricum, ACIAC 10, n.1.,
Thessaloniki 1984, 442.
69
Vera Bitrakova Grozdanova, Lychnidos a lEpoque
paleochretien et son noyau urbain, Mosaque Grcoromaine IX, vol. 1, Rome 2005, 23-36, 36.
70
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75
S. Mucaj-M. P. Raynaud, Les mosa ques des glises
protobyzantines de Byllis (Albanie), La mosaique Grecoromaine IX, Volume I, Rome 2005, 389, fig.4a.
71

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Caraher, Church, Society and the Sacred, 153-154.
81
H. Maguire, Magic and geometry in Early Christian floor
mosaics and textiles, JOB 44 (1994), 265-274, 157.
,
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82
, , 263. , ,
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(), 450-460 .,
6 . ,
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i ranovizantijska arhitektura, 133, .92, 155, .117. , 6 .
, , 329, . 204.
84
, , 361, . 235.
79

KAIKA
TAPATHSIS
LEONTAKAI
DRAKONTA
( )
8 . . ,
, Novi Sad 1973, . 5.
77

Charles Puech, Le Cerf
at le Serpent, Note sur le symbolism de la mosaique au
baptisterire de lhenchir mesaouda, CA IV, Paris 1949, 32.
78
Tu marcheras sur le lion et sur laspic | Tu fouleras le
lionceau et le dragon, -
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,
, 32, 36.
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The Early Christian fragmented wooden Relief from
the site Bargala, near tip, Proceedings of the 21st International Congress on Byzantine Studies, London, 2006,
volume III, 315-316.
91


, .
, 5 . Nezih Firatli,
La sculpture Byzantine figuree Au Musee archeologique
DIstambul, Paris 1990, 154, f. 305. I Andre Grabar, Sculptures Byzantiens I, Paris 1963, p 52., pl. XV, 3.
92
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150

Sneana FILIPOVA
THE EARLY CHRISTIAN CULTURAL CENTERSIN REPUBLIC OF MACEDONIA
ALONG THE VIA EGNATIA
Summary

The countries of the Eastern world where the oriental


traditions long ago merged with the Hellenistic ones
had a large influence on the Early Christian art in the
4th 5th centuries. During the developed 6th century
Alexandria, Antioch, Jerusalem and Ephesus were
significant cultural centers that spread their influence
via diptychs, book covers, reliquaries and liturgical objects.1 A great number of medieval ecclesiastic monuments in R. Macedonia were erected above
older temples from the Early Christian and Antique
period, and are testimonies for the repetitive choice
for a cult site. The newer edifices are also the best indications for older buildings, and likewise represent
a certain type of a museum for their decorative sculpture which had been reused for same functions or for
different means. The strongest and stylistically most
distinct are the monumental and the public buildings
erected during the period of Justinian I, and the decorative sculptures and mosaics that embellished these
edifices. Vast changes are perceived in the constructions of the edifices as well as the capitals. The impost and the Ionic impost capitals begin to dominate,
as well as combined types of capitals, while the decoration had shifted from one technique in to another,
from one type of decorative sculpture in to another.
The forms of the apses, the emphasis of the sanctuary
and the crypts, as well as the many martyriums address the development of cults of the saints. Around
about the year 600 according to written sources the
ecclesiastic life in north Macedonia declined, while
in the south it was threatened by the Slav and Avar
attacks. A distinct center where terracotta reliefs were

produced and mining and pottery developed was Vinica. The last excavations at Bargala in 2009 uncovered a kiln for glass and metal. According to the outer
enhancing layer of the pottery kiln it is evident that
the remaining decoration at Bargala was produced by
a local workshop. On the Balkans, for the author Atcaka the most important mosaic centers were found
at Amphipolis, Stobi, and Heraclea where groups of
mosaic artisans had worked for several decades2. At
Lychnidos as result of the repetition of similar geometric, floral and figure depictions on the mosaics
the scholar Vera Bitrakova beliefs that a respectable mosaic workshop existed in the town itself. For
Mikuli the relief scenes depicted on the decorative
sculpture at Konjuh display an influence from the art
of Ravenna created in the 6th century.
Consequently this broad palette of artistic influences is incorporated in to a unique quality of artistic
yearning and values which portray the Province of
Macedonia as an important segment of the Empire
that conveys the impact from the capital and of the
artistic centers close to Constantinople.

Riard Krauthajmer, Slobodan uri, Ranohrianska


i vizantijska arhitektura, Gradjevinska Knjiga, Beograd
2008.

151

Panagiota Asemakopolus Atcaka, The early Christian


mosaic pavements of Eastern Ilyricum, ACIAC 10, n.1.,
Thessaloniki 1984, 442.

152

153

154

155

156

157

158