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............................................................................................. 3
.................................................................................................. 5
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The Holy Virgin Church in Donja Kamenica ............................... 11
........................................................................ 39
Bela Crkva in Karan ........................................................................... 45
...................................... 83
The church of the Purification
of the Virgin Mary in the Velue ..................................................... 87
.................................................. 115
The church of Saint Nicholas in Ramaa ..................................... 122

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10

The Holy Virgin Church in Donja

Kamenica
There are almost no preserved sources on the Holy Virgin Church in Donja
Kamenica, and purely documented historical studies on the Church and its late resto)
ration has brought about that some more founded opinion has not been formed until
the recent times. All conclusions on its history and founders (patrons) are based on
the untrue historical facts, with the result that the Church architecture has been com)
pletily inaccurately evaluated, and the painting has been considered to be the illustra)
tion of the Trnovo painting school from the 14th century, which is also absolutely not
true. For this reason, the Bulgarian scientists, first and foremost, did all to proclaim
some Bulgarian emperors from the middle of the 14th cebtury the founders (patrons).
So some non)existans historical personalities were invented: despotes Michael, the
son of the tsar Michael Shisman or despotes Michael, the son of the Bulgarian tsar
Michael Asen. In order to be able to solve the problem of Donja Kamenica in a valid
manner, it was necessery to make review and revaluation of the historical sources,
regarding the Serbian and Bulgarian medieval states, their territories, dynastic rela)
tions and origins, and the ineoendent despotate of Vidin.
The shaping of the space of the future Despotate of Vidin seems to have its strong
prehistory in ancient times by the appearance of the tertitories of the Triballian)
Dardanic tribe Timahi and later of the Tribbalian)Slavic tribes Timokians, Kuchans
and Moravians that had a unique Dukedom with Borna at the top. The Serbian claims
to this area were taken Back after the fall of the First Bulgarian empire in the
11thcentury and the Serbian)Byzantine war 1072)1074 when Bodin proclaimed him)
self emperor, having his seat in Ni. It seems that the king Bodin handed over his con)
trol over these regions to his grand chieftains of Raka (veliki upan Rake) Vukan
and Marko and their successors. The region around the Stara Planina (Old Moun)
tains, latin Haemus), from Ni to the Danube, under the name of dendra (the Forest)
was transerred to their successors, and from the 12th century to the Serbian grand
upan (chieftain) desa and his successors: the son nemawa, the grand)son Tehomil,
the great)grandson Michael III Shisman. Tehomils sister Jelena, the nun Evgenia,
was married to Jovan Asen, one of the first rulers of the Second Bulgarian empire.
Konstantin Teh and Michael III also beceme the tsars of Bulgaria, and some of Kon)
stantin Tehs sons also became the rulers of Walachia and Bessarabia.

11

As absolutely true were accepted the facts that upan Desa had the fojjowing chil)
dren: Miroslav, Konstantin, Nemanja, Zavida and an unknown daughter; of the son
Nemanja he had the following grandsons: Tihomil and Simeon and the granddaugh)
ter Jelena, and of the son Zavida: the grandson Miroslav; of the grandson Tehomil he
had the great)grandson Konstantin Teh (the Bulgarian tsar), respectively a great)
great)grandson Michael (despotes of the Vidin region). It is also evident that upan of
Raka Uro II had the sons: Tihomil (Tihomir) and udomil, and of the former (of
Tihomil) the great)grandsons: Zavida (David), Konstantin (Stracimir), Prvoslav and
Nemanja. So it has come to be known that the upan Stefan Vukan, father of the
grand upan Stefan Nemanja, is a born brother of the upan Uro I. Their father was
the upan Marko (Miroslav) and their mother was the sister of the Serbian king
Bodin, who was also the Bulgarian tsar under the nam of Petar Bodin for some time.
The upans Miroslav (Marko) and Vukan have their origin from the upan of Raka
Tehomil from the age of the Serbian ruler aslav (927)950).
The very important knowledge is formed on the fact that the upan Desa ruled
over Dendra, the region east and northeast from Ni, as well as his son Nemanja,
grandson Teho(mil) and great)grandson Konstantin Teh who became the Bulgarian
tsar, with the support of his relative, the Serbian king Uro I. Despite being the vassal
of Serbia, Konstantin cedes this expanded region of Bulgaria under the name of the
despotat of Vidin. The architecure of the church in Donja Kamenica near Knjazevac
with two towers, that are distinctive for the churches of Raka (byzantine)Roman)
style towards the end of the 12th century and at the beginning of the 13th cebtury,
also backs up this opinion. The renewal of the claims to the heritage to the region of
Dendra was also accompanied by the rebuild of the Church and the Church painting
in Donja Kamenica, done by the family of the rulers of Vidin. The founder (patron) of
the rebuild of the Church and the Church painting was the Lord Belaur (Bela Uro),
the brother of the despot and the future tsar Michael III Shishmans. The tsar of Vidin
and Bulgarian Michael III, the descendant of Konstantin Teh in the second genera)
tion, wanted by attacking Serbia of Stefan Deanski to take over the claims to ruling
the grandfathers and fathers throne on the grounds of the direct claims to the her)
itage.
The understandings of the past of the Church in Donja Kamenica has been
increased by archeological investigations. The grave of the monk was found in the
nortern part of the narthex, and the grave of the patroness, the wife of the Lord
Belaur, was found in the exonartex whit the fragments of the gilded diadem with
which she was painted on the western wall of the nartex storey. The foundations
remnants of the built altar were also discovered. In the Church yard were discovered
the foundations of the larger monastery complex, the necropolis and the dry)wall (a

12

wal without morter), that represents the remnants of the built fortress which pro)
tected the Church with the kings palac, and the monastery.
The specific architecture of the Church with the two towers classifies it in the
church building style of Raka towards the end of the 12th and at the beginning of the
13th century. The nave base in the form of the simple, some radial and irregular cross
hints the search of the analogies with the churches of the 9th and 10th centuries, in
times of the duchy of Timokians. In all, the Church was built, ot the two towers were
only added at that time, at the begining of the 13th century, ar time of Tehomil
Vukanovic. In the windows of then nave were preserved the parts of the geometrical
ornaments of the painting of the 13th century. The fragments on the eastern wall of
the nartex storey, and mostly those on the small pillars of the of the lunette bespeak
this older painting.
The Church was renewed by the Tehomils grandsons, Bela Uros Belaur and
Michael III, the despot of Vidin, and painting by them about the year 1320. Further)
more, the Lord Belaur built additionally a wooden storey exonarthex and for that rea)
son reconstructed the towers, so that the story could be built. The masterbuilders,
who were engaged for this work, were the pupils, successors and very good painters
from the Serbian kings taif of Michael and Eutohie. After a couple of years, about
1325, one of these pupils, a slightly less solid painter, was engaged to paint the storey
of the narthex and the interior walls of the towers.
The painting of the Church in Donja Kamenica bears all characteristics of Staro
Nagorichane, a village in the Kumanovo region, and those of the small churches from
the age of King Milutin: The Kings Church in Studenica, the monastery St. Nikita in
Chucher (uer), near Skopje, and Mushutishte in Kosoovo. As excellency are
emphasized the scenes and details in the nave: Agnus in the altar, The Virgin nursing
the infant Jesus, St. Georgios Diasoritis, The Virgin Mary Ascension, The Last Supper
and The Mourning; in the narthex: St. Theodor Stratilat and Tiron on the horses, St.
Demitrius on the horse, The Blessed Virgin Mary Odigitria with the large foinikias
(circular applications on the shulders); and the unified program of the Holy Saint
Petka on the storey and in the southern tower. The most individual art achievement
and with mostly specific details was realized by the painter of the Nave in the scene
The Mourning.
On the grounds of all facts that were presented in this book comes out that the
Church in Donja Kamenica belongs to the Serbian cultural Milieu, both according to
the architecture and to the Painting that belongs to the court style of the King Milutin
and of the taif of Evtichie an Michael. It is quit understandable taking into account
the Serbian origin of the founders (patrons), who come from the line of descent of the
Grand upan desa, uncles branch of Family Tree of the rulers descending from the

13

Grabd upan Stefan Nemanja, who realized their claims to the throne of Bulgaria
through the long)term common policy.

: ,
Translated into English by: Bratislav Sreckovic, professor

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44

Bela Crkva in Karan

Karan, with its church, is located in a tame area of Zupa, on the slopes of Uzicka
Crna Gora, with the natural and the traffic spine ) the valley of the river Luznica.
These areas, in the Middle Ages belonged to Moravica, that territorially matched the
new founded episcopate Moravica of the autocephalous Serbian Orthodox Church.
Karan village is located in the parish valley of the Luznice river and is located on the
gentle slopes that descend from the west, the mountains of Jalova Gora and Buara
and, to the east of the Crnokosa (802). Luznica rises from under Jakasnica ina Jelova
Gora (926), on the one hand, and the Srebrno Brdo under Drmanovina (1023) on the
other. Then it flows through the village Ribasevina, and then in the village of Trnava
it receives the river Raskovica. At the entrance to Karan, Luznica flows through the
field Rosulje through a river terrace in the center of the village, is the Bogorodicina
Church of the rector Brajan. Appart from Srebrno brdo and Rosulja, very interesting
toponyms are Grad na Dramanovini, Gubin Do in Ribasevini, Granica, Gradina,
Zlostup, Grad and Brezov Grad on Crnokosa. Towards Uzice, on the slopes of Buara
there are toponyms Demir Kapija, Zboriste, Stitari and Gradine. The fertile valley and
the mountainous back represent excellent combination of life conveniences in
medieval times: conveniences for agriculture and cattle breeding, resources of wood,
stone for building, bee cultivation and honey and beeswax production, conveniences
for hunting and forest fruit collecting.
The villages around Luznica were considered to be the most fertile and richest in
the area around Uzice. They always represented the granary of Uzice and the extra
grain that was harvested was sold in Pozega. The river Luznica was rich with water
which was a precondition for developing watermills, millstones, sawmills and
blacksmiths coinage in Middle Ages. The existence of the toponym Srebrno Brdo
(Silver Hill) nearby, indicates the existence of significant income by exploiting
precious metal. The position of Luznica, near Crna Gora, at the foot of the mountains
Maljen and Povlen, the hilltops of which presented the northern border of Serbia
towards Hungary for centuries, made it very significant in strategic way, and it led to
building of more fortifications.
In the village Karan, beside the road that from Kosjeric descends from Crnokosa
and continues in one way towards Uzice, and in the other towards Pozega, on a high
terrace of the right bank of the Luznica there is a Bogorodicina Crkva (Virgins
Church) dedicated to Annunciation, among people also known as Bela Crkva (the
White church). It used to belong to the Eparchy of Moravica, and now belongs to
Eparchy of Zica. Appart from the church of St, Ahilije in Arilje and Uzice fort,
45

Bogorodicina Crkva in Karan is one of very rare and preserved monuments in the
area of Uzice and Moravica and with its relatively well preserved frescoes is a
monument that lasts in Serbian culture for over 670 years.
The discovery of an antique necropolis and remains of a cult object where
Bogorodicina Crkva was built point to a very rare history of this area and toponym
Rosulje where until recently church and folk gatherings and fairs were held for the
day of The Holy Trinity (Duhovi), Annunciation and Assumption speak of a long
continuity. Even in Antique times there was a temple and a necropolis where the
celebration of the holiday Rozalije was held for the festival of the dead. This day is in
Christianity dedicated to the holiday Duhovi ) The Holy Trinity, and if the church in
Karan had an older phase, before this, known to us by Prefect Petar Brajan, it was
dedicated to this festival. The Prefect of Moravica ) Luznica, Petar Brajan, the
restorer and new founder, dedicated the new temple to the Virgin and Annunciation.
Apparently, the area around the basin of the river Luznica belonged to a medieval
region with its center with the same name ) Luznica, and later Karan. The Turks took
over the town of Uzice and this area around 1445 and the name of the place was
changed. With the first Turkish index the place is mentioned with the name Karan,
and that name was kept until today.
The complete refund of the medieval history of the Moravica land, episcopacy
Moravica, the nobility Voinovo and Rastislac as well as qualitative new reading of the
frescoes as a whole in Bogorodicina Crkva in Karan, and especially founders and
rulers ensemble, leads to creating of completely new interpretations of Serbian
history, its rulers and high nobility in the 14th century. The church in Karan was a
significant spiritual center and thus had a high influence to the people of the area. For
a long time there was a monastery here, testified by many notes, inscriptions on
frescoes and where a priest Vuk wrote and decorated the famous four Gospels in
1608. Up until nowadays in the area of Rosulja around this church were many
gatherings and fairs held.
Bogorodicina Crkva in Karan in architecture is organized as a single nave and
single dome building with a basis of a cross. The Church is with a lengthened basis
with semicircular altar apse. The facade has no architectural or plastic decorations.
Two pairs of pilasters divide the nave and of three unequal transepts and hold the
arches carrying the dome.
The relation between the width and length of the Karan temple basis was
conducted almost perfectly: 1 : 2 and the same is the case with the height and length,
1 : 1 Chief architect raised in the calotte of the dome to the height of 3 modular
diameter and then there was a subsequent rise of the dome and the conical roof at a
height of 4 modular diameter. Modular diameter ) inner diameter of the dome ) the
module is identical to the square of the tambur kare. The module is contained in the

46

internal length of the temple three times, and the width and length of the nave were
compared 3 : 5.
On the eastern pilaster is organically linked altar partition whose fresco icons are
almost completely preserved. On)site poles of the iconostasis are painted by one six)
winged Seraph on the pilasters and the Virgin and Christ Pantokrator. On the back of
the iconostasis, the altar the deacons serving in the liturgy are painted. Medium
height masonry iconostasis originally had three passes and was later walled south
entrance to the altar. Thus, in the southern passage and niche was formed by an
unknown nun subsequently commissioned a fresco icon of the Virgin Trojerucica.
Based on this, an assumption has been established that the unknown nun, for all the
family of count Bryan conducted a new consecration of the church of the Virgin
Trojerucica.
The iconographic program of the Bela Crkva in Karan is not extensive but typical
of Byzantine painting: Great Feasts, Madonna's hagiography, the individual figures
and portraits of saints and symbolic liturgical themes. The only exceptions are the
four Great Festivals of the composition in the tambour of the dome. Developed cycle
dedicated to the Virgin, whose many scenes begin and end at the altar, extend
throughout the nave and then mature in the dome area. In the lower part of the nave
are painted standing figures of saints and secular figures. The most important
historical scenes painted on the Bela Crkva in Karan are in the lower reaches of the
west bay of the nave, then in the northern part of the altar apse, and in also
subsequently added and painted niche in the south passing through masonry
iconostasis.
In the north, south and west wall of the west bay family members and patrons of
the ruling family of Serbian King Dusan with his holy ancestors are painted. The
quality and realism of the portraits of secular figures say that the artist was from
their proximity. Although the portraits of historical figures characterization carried
out more flatly and monochrome. The ruler and his family were painted idealistic
and symbolic in function of their glorification. Large number of holy warriors testify
of the status of to patrons, and membership to the military nobility. Except with the
help of the holy warriors endowed by the allusion to the high military status
expressed by setting above its founder's composition Miracle scene udo na jezeru
sa sevastijskim muenicima stratilatima. The saturation of the sacred and the
profane is fully realized in Bela Crkva was established as an ideal mausoleum
memory. Great narration and the number of historical figures is almost beyond the
definition of the Orthodox Byzantine frescoes.
Painters knew well cults and iconographic solutions that are a tradition in the
south of the Serbian state and that spread under the influence of the Serbian court
and church. Paintings were performed two or three assistant masters. One was

47

painting the altar and altar area with barrier and, probably, the fresco)icon of the
Virgin with Christ before the patron. Another master of the painted middle zone,
cycle the Virgin holidays, the story of Abraham, Forty Martyrs all standing figures in
the first zone. The painters of Karan churches are most likely from the area Morava
Bishopric based in Arilje. The figures are drawn bold and safe, with flexible, broad
and powerful strokes. There is often easy, even a virtuoso drawing. The booty of pure,
delicate, rich shaded and fresh colored. Tendency to the genre scenes and intimate
interiors are in the context of expressed narratives.
Later historical records engraved on the surface of the frescoes in the apse of the
altar area, especially the eastern brick wall iconostasis, in the aisles and in the lower
part of the first zone of frescoes of the nave. The most important records are located
around the lower parts of vestments of St. Euplos. There are signs Diako Petko and
Diako John, presumably John the monk, from the time of count Nikola Altomanovic
(1363 to 1374) who was situated in Uzice. Below this text is the record of the monk
Sava, probably from the late fourteenth century. The record with the name of Pavo, is
found in the Turkish census from 1476. Ptriarchs Scribe Zun in Emperor Jovan
Nenads time, mentioning of the monastery Paramun and dedication to Subota Vrli,
the treasurer and palatine of the self)proclaimed Serbian Emperor, is extremely
important. The writings of Karan priest Vuk testify of the times of patriarch Jovan
(1502)1615) priest Vuk, son of the head priest Raleta from Karan, had historically been
confirmed in the inscription which was made at the famous Karan four gospels, in
the 1608. In Bela Crkva you can find and a large number of names engraved lines
near vertical lines or horizontal lines of stitches. This is one of the oldest ways of
writing the primitive tally ) a score, and is related to recording service for the repose
of the souls of relatives or the health of donors whose names are written.
The Duke of Moravia Petar Brajan as founder with his wife Struja and four
daughters is drawn on the north wall and the northern part of the Western Wall.
Youthful Struja was a second wife of Brajan and the youngest daughter is their child.
The other three daughters are from his previous marriage. From his first marriage
were most likely the two priests painted in the altar apse socle as well. The founder
family also included an unknown monk Jovan and an older nun in deep proskynesis
who are somehow involved in the building of the church, either as a contributor or as
a founder who is a contributor to painting Trojerucica expressing her gratitude for a
miraculous help.
On the south wall and the southern part of the west wall a painting of founder's
suzerain was painted: the king Dusan with his son, his wife Jelena and holy
ancestors: St. Simeon Nemanja, St. Sava and St. King Milutin. Marital crisis that
broke out between King Dusan and Jelena, 1335)1336 has its traces in the content of
the ruler ensemble at Bela Crkva in Karan. The striking separation of Dusan and boy

48

and his wife Jelena Asen suggests that in this way, metaphorically indicated that it
was a son of Dusan but it's not the Uros from his marriage with Jelena Asen. Some
former "sin" of Jelenas, it seems to be, was metaphorically presented through the
presence of the Holy. Marina who kills the devilwith a hammer.
A generally accepted anticipation that Bela Crkva in Karan was painted around
1341)1342 is rejected. We can not accept any claim that the boy painted next to king
Dusan was a courtier, or that this could be Duke Brajans son, but we can claim that
Bela Crkva in Karan was built 1338. Dense symbolic and menologium structure can
be observed in the scenes of the Western transept of the nave: Mladenci (March 9),
Annunciation (March 25), Vrbica ) Lazarus Saturday, Palm Sunday ) Entry of Christ
into Jerusalem, Maundy Thursday ) The Crucifixion and Resurrection. This symbolic,
allusive and conceptual structure of scenes, menologium organization of immovable
and movable holidays reliable "reading" dismiss the overall idea of the founder that
arose from specific events in a particular time and that clearly indicate a fixed
calendar date.
Such calendar concentration and "overlapping" happened 1339th when the
Annunciation (the 25th 03), church dedication, and the Celebration of its Saint, "fell"
on Holy Thursday (25 03), preceding them by Mladenci (9 03), Vrbica )Lazarus
Saturday (20 03) Palm Sunday) Entry of Christ into Jerusalem (21 03) and Easter (28
03), all in connection with the wedding of a couple: a young, barely of age, the
daughter of Brajan and the son of the Serbian King Dusan from his first marriage.
The event had evidently happened here, at the time resurrect week (20th )
28thMarch) 1339th (6847.), and then perpetuated in the artwork of Bogorodicina
Crkva in Karan. So, painting of Church in Karan was created by the end of summer
1339. Based on the above, we can say that this church was built and painted in 1338)
1339.
King Dusan was first married was married to the daughter of the great despot
Ivania and in this marriage had a son Lazarus, later Grand Duke and Serbian ruler.
Lazar was born about 1325 and, therefore, it indicates that during the painting of Bela
Crkva in Karan Lazar was about 14 years old and that he was painted here next to his
father Dusan in ornate and carries a scepter that usually as uncrowned ruler's sons
have. When there had been significant changes after the ouster of Stefan of Decani
and upheaval in Bulgaria, in 1331, Dusan banished his first wife, Mary, who had the
title name Jelena, to marry a Bulgarian princess who also the same title name. Stefan
Nemanja Uros V, son form the current marriage of the ruler, became the first father's
heir through whom was still legally established Serbian vertical ruling line.
From Lazars first marriage was son Dobrovoj who is regularly mentioned in the
sources. When, for some reason, unknown to us, Dusan had Lazar married for a
second time, to distant cousin, Milica, the first wife after divorce became a nun she

49

returned to Karan, in the area of Count Vladislav, her cousin and had the southern
entrance of iconostasis of Bela Crkva built and had the Virgin with Three Hands
painted and at her feet, her own portrait in proskynesis.
The founder of Bela Crkva in Karan, Duke Petar Brajan is the oldest of three
brothers from a prominent and powerful family Rastislalic. Brajan's two younger
brothers were Radoslav and Branko. Branko had a son Radic, whose brother, or son
was Vuk Brankovic (Rastislalic). Radoslavs son was, by all accounts, Prince Vladislav
of Uzice and ruler of the country Moravica.
Linking the grave of the Duke Vladislav through luxury gold ring found at the
church in Karan with Petar Brajan and the graves in his memorial church, direct us
that these are two Rastislalic: Brajan and his nephew Vladislav. After the death of
Brajans father in law and Vladislav Rastislalia, PrinceLazar had the rights to their
area. These rights he finally claimed when he defeated Nikola Altomanovic and took
the city Uice and region Moravice and "scattered" Radic Brankovic Rastislalic who
ruled Kucevo and Branicevo. It can be assumed that their ancestors certain Rastislav,
whose son, Junak, a sevast toKings Dragutin and Vladislav II. This Rastislav could be
the first Galician Prince Rostislav ) Rostislav Mikhailovich, son of Hungarian King
Bela IV, who ruled Macva, Belgrade, Kucevo and Branicevo. Serbianized descendants
of Prince Rastislav, got the lands from the hinterland Uzice to the Danube where they
have admitted the authority Stefan of Decani at the time of Emperor Dusan and they
became a part of his most powerful nobles.
: ,
Translated into English by: Mirjana Marusic, professor

50

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86

The church of the Purification of

the Virgin Mary in the Velue
The monastery with the church of the Vavedenje Bogorodice (Purification of the
Virgin Mary) in the village Velue is located besides the little river Srebrnica which
flows down the slopes of the mountain Go toward the right riverbank of the river
Zapadna Morava, on the right side of the road Kraljevo)Trstenik)Kruevac. It is
located in the region which belonged to the tribal states Rasina and Joanica in the
Middle Ages near the silver and copper mines. This region is rich in ore, farming,
vineyard and farming land and land with lots of forests was a compact economical
and administrative unit in the possession of the powerful Serbian Czar Despot Ivani.
The church is mentioned for the first time in the authentic Charter which was
issued to the monastery of St. Panteleimon on the Holy Mount Athos by the Prince
Lazar in 1380)1381 and in the Charter of this widow, nun Jevgenija and her sons from
1395 and 1400. The church is also mentioned in the Turkish census from 1536)1576
and it was restored in 1833)1836 during the rule of the Duke Milo Obrenovi when
the name Velue also appears for the first time. On that occasion the upper faade of
the church was painted in a nave and not high quality way with the subjects that
were in the function of defense against demonic forces. Despite that, the decoration
on the faade of Velua represents uniqueness.
Bogorodiina Church in Velua was built by the Czar Despot Dejan and his wife
Teodora before 1370 and they had it painted form 1370 to 1371, as a family memory
and the mausoleum in the inheritance territory of his parent, Despot Ivani. In this
way the whole chronology of Moravia architecture had been changed as well as
duration of its forming in the time of Serbian Medieval State: Naupar (cca. 1350),
Drena (cca. 1355), Lepenac, Melentija (cca. 1360) Velue (Before 1370).
Tsar Despot Ivani was a father in law to Duan, and grandfather to Prince Lazar,
on his mothers side. In the first zone of frescoes in the nave and the narthex a
horizontal genealogic picture of the founders is presented and it is in the direct line
with the portraits of St. Simeon Nemanja and St. Sava and missing the current
Serbian ruler, Czar Stefan Nemanja Uro V: Despot Ivani with his wife, Despot
Dejan and his wife Teodora, Despot Jovan Dejan Draga, Duke Dimitrije, Mister
Konstantin Draga with his wife Tamara Asen and their son Oliver, who died young.
The archeological researches have confirmed the existence of tombs in the nave and
the narthex belonging to the members of the founding family.

87

The idea of a family tomb of Nemanji character has been thoroughly and
thoughtfully conducted in Velua. The position of the tomb was also clearly
conducted by their hierarchical comprehension of the church space. The founder of
the temple used to be buried in the western part of nave, primarily on the south or
west side.
In the first case, the honorary spot in the northern part belonged to one of the
closest members of the family. The other members of the rulers family were buried
in the narthex. The tomb of the founder in the west part of the nave represents an
important quality of the ruling funeral that had been conducted with Serbs without
exception.
With the bell tower that was there over the narthex, trefoil base, with alternate
building of cut stone and bricks and the specific rich stone plastic, the church has all
the typical building characteristic of Morava architecture. The narrowed trefoil with
a dome over the nave and the narthex the church is of the mausoleum type of church
of the rulers or high nobles. The time of construction and the exceptional similarity
with the church St Stefan in Kruevac marks the Bogorodiina Church in Velua the
model for construction. A specific uniqueness of the church of St Bogorodica (Virgin)
is its orientation with a 43 degrees deviation off the direction west)east. The old
iconostas had not been kept, and the present one has been built around 1854 and has
no significant artistic value.
In the beginning of the painting works, while painting the dome space, the
renowned founders found a very good painter, but he, for some reason ended his
work never finishing the job. Around 1370 the founders did not have an opportunity
to find a good painter, so they hired a group of painters from the Seacoast that had no
qualities. Their drawings were much more simplified and painting procedure quite
poor. The flat portraits and bodies without volume with thin arms are weightless.
And in combination with poor colouring they clearly stand aside compared to the
total medieval Serbian painting. By style, but spatially very far away, the similarities
can only be found in the paintings of Georgia.
On the other hand, the total ideological and theological creation of the painting
program is on a very high level and undoubtedly expresses the spirituality of the
founder and the local episcope. The symbolical connection had been set and between
cycles where all the saints of the church year were presented together with the
composition of the The Doom. The organic connection has been established with the
whole content of Christian dogma and the earthly history of the founder and his
family. The program narration has strong messages on multiple family and legal
belonging to the ruling house of Nemanji.
The orderer of the Velua paintings had their own ideal vision that was connected
to the rulers program and being well informed and with the theological

88

eschatological understanding of their own religion and church of the Second Coming
of Christ and the just judgment of the whole humanity. Therefore The Doom, done in
detail and presented in the narthex, is organically connected to the whole contents of
Christian dogma in the nave of Velua, from the incarnation of Christ, Passion and
Resurrection to the return and direct connection to St Simeon Nemanja and St Sava
through painting narration he told the believers of the basic ideological idea of the
founders family of the multiple connection to the ruling house of Nemanji.
It is quite visible that great percentage of the painted scenes of Velua frescoes are
directly connected to the monuments of narrative styles of Serbia in the first half of
the 14th century and not Moravska Serbia: the emphasis of Nemanji cult in full
figure in a very prominent place, the Passion of Christ under The Assumption of
Virgin in the west wall of the nave; the Doom in the narthex painted in Nemanji
endowments until 1371; the founders family included in the fresco of the Doom, such
as the ones in Studenica, Mileeva, Sopoani, Graanica, Bogorodica Ljevika and
Deani; the day of Prepolovljenje (May, 5th) in the sub dome part as in St Archangel
in Kuevite; common usage of clothes decorated with letters as in Old Nagoriin,
Anderas, Markos monastery and Matej, the placing of Deisis in the northern part of
the of the nave as in Markos monastery, St Atanasije in Kostur and Zaum; The
Presentation of Virgin analog to the Markos monastery; St Peter and Paul next to the
entrance to the nave with the direct analogy in Deani, Kueviste and Lesnovo; angel
Pahiel that can be seen in Old Nagoriin, Bogorodica Perivlepta in Ohrid and
Bogorodica Ljeviska.
If we talk about Serbian areas, The Doom was painted in the narthexes of the great
endowments of Nemanjas descendants. Such is the case exclusively with the
churches of the monumental and narrative styles: Bogorodiina Church in Studenica,
in 1209; Vaznesenje Hristovo in Mileeva (King Vladislav) 1222 to 1228; Bogorodiina
Church in Moraa (Prince Stefan Nemanja)Vukans) 1251)1252 and Sveta Trojica in
Sopoani (King Uros I Nemanja) 1260; Bogorodica Ljeviska in Prizren 1307)1313 and
Bogorodicina Church in Graanica, 1320 (King Milutin), and Vaznesenje Hristovo in
Deani (king Stefan Nemanja Deanski and King Duan), 1342)1346; in Grigories
Gallery of St Sophia, 1365 and in the southern narthex of Virgin Privlepta (1364)1365)
Thus, the striking presentation of The Doom in Velua should be interpreted as
rulers and tsars iconography and setting of the divine rights of earthly rule of the
founders, their parents as suzerains and their descendants. The allegorical language
of The Doom is the most suitable for making the rulers ideas and the rights that come
from the blood and the Lineage popular. It could also be the allegory of the divine
providence and wisdom in connection with a specific horizontal dynasty image this
family.

89

The Doom is in symbolical function with the rulers iconography and setting of the
divine rights of the earthly rule of the founders their parents as suzerains and their
descendants. The symbolism of The Doom in Velua is not only symbolical but it
contains some historical reality. As a mausoleum building Velua has an overall
painting program of funerary character that fits into all traditions that were set in the
beginning of the 13th century by the archiepiscope Sava I. that is why the Phase
concept of in the narthex of the family memory is connected to the death of the
youngest and early deceased Oliver, the grandson of the founder and the descendant
of this lineage of rulers. The way of virtue was allusively presented, that he was
treading accompanied by saints in order to reach Heaven. The point of Olivers death
had been ideally, symbolically and artistically well presented through phases by the
choice of the saints who clearly mark the calendar of the destiny of death and burial
of young Oliver: St Archangel Gabriel, Jully 13th, St Kilik and Julita, Jully 15th, St
Marina, July 17th.
The painting of the Veluas narthex, for the first time in the Serbian narrative art
of its age has a painting program where the deceased, young gentleman Oliver, then
his uncle Jovan Draga and Father Konstantin, allusively presented through phases
connected with saints who represented the dates declaration, July 13th, their death
July 15th and funeral, July 17th where over their graves their portrait would be
painted, that associates on incurable grief of the whole family.
The exquisite narrative of the frescoes in Velua has a direct analogy in the
monuments of Serbia in the first half of 14th century and the age of the Empire and
thus it threads forcefully together with the chronology of its founders. In accordance
with that, it can naturally be stated that the frescoes of Velua stand out from the
Moravski style by style and iconography and joins the narrative style, and the
architectural features mark this church as a predecessor of building style in the age of
Prince Lazar.
: ,
Translated into English: by Mirjana Marusic, professor

90

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121

The church of Saint Nicholas in

Ramaa
The village Ramaca and the Church of Saint Nicholas are situated on the eastern
slopes of the mountain Rudnik, at the foot of the Big and Little Peak, known as the
Peaks of Ramaca. It is a question of the region which all along belongs to the broader
region of Lepenica, being named after the river of the same name. Lepenica is
mentioned for the first time in the year 1198 when the Grand Zupan Stefan
Nemanja, after having liberated it, integrates it in his state as a border Zupa towards
Hungary. The mineral resources and the important medieval road directions made
the Upper Lepenica a strategically important stronghold of the medieval Serbian
State.
The region of Ramaca borders to the west on the former rich, but not so large, area
abundant in ore deposits in the confluence of the river Srebrnica which flows into the
river Jasenica. On its mouth the dispersed town of the same name of Srebrnica with
the square was developed. This was the town where the Court of Duke Nikola Zojic
was situated and his Court Church as well. When he was dislodged, around 1400,
Despot Stefan Lazarevic took over his Court and the Church belonging to it and
Srebrnica became one of his capitals. The Serbian State)Church Council was held in
it where Despot Stefan Lazarevic declared his nephew Djuradj Brankovic his
successor in the year 1426. According to the fact that the village Zlovsnica, as a
possession of the Grand Logotet Stefan Ratkovic, was under the authority of
Lepenica, it follows that Srebrnica belonged to Lepenica. First under the Turks, after
the year 1459, Srebrnica was separated from Lepenica and subordinated to Ostrovica
and Rudnik.
The church is not mentioned in the medieval sources. For the first time the village
Ramaca is mentioned with this name in the diary of a Turkish military leader from
the year 1521, and afterwards, not until the year 1718, in the Austrian census. Right to
the middle of the 19th century there was in the vicinity also the village Kumani
which became the integral part of Ramaca. The church in Ramaca is not mentioned
in the medieval sources; it is mentioned for the first time in the first half of the 18th
century. The Church of Saint Nicholas is often called Ramaca, but from ancient times
it is known as Kumanica by the people.
The Turanian pagan peoples, Pachenegs and Cumans migrated to the Balkan in
greater waves from the end of the 9th to the end of the 13th century. After the

122

naturalization, adopting of the Orthodox Christianity and language Cumans were

assimilated by the Serbs, Bulgarians, wallachians and Greeks. Even two Serbian
empresses were of the Cumanic descent. The Hungarian Cumanic princess Katalena
was the spouse of King Dragutin and the Bulgarian princess Ana Terter, a member of
Royal House, was the second spouse of King Milutin. The numerous place names that
have been preserved until today on the whole Serbian ethnic space, from Lika in
Croatia to Kumanovo in Macedonia witness that the Cumans were a numerous and
significant population. Although being Christians, the Serbs adopted the Cumanic
custom of wearing their hair long and gathered up in a queue, and stopped wearing
it from the year 1805. To this Serbian)Cumanic corpus, to all appearances, belong also
the churches retained in the peoples mind under the names of Kumanica near
Brodarevo, and especially in Ramaca where the Founders of the church, a priest and
his brother, or his older son were represented with the queues and characteristic
beards and moustaches.
The first major reconstruction of at that time monastery church with the narthex
was made in the year 1830 by Sima Milutinovic Pastrmac from Ramaca, Duke of
Prince Milos Obrenovic, who was also buried on the south side of the church. The
former monastery complex has been preserved quite well until today: the church of
Saint Nicholas with the narthex, nearly rectangular yard enclosed with the low stone
wall, monk necropolis, shelter, and tower belfry. Besides the Church and its painting,
all other objects do not have any architectural values.
Concerning the period of the building of Saint Nicholas Church in Ramaca, we got
to know it on the basis of the exploration of its architectural condition during the
reconstruction in the years 1975)1977. The contemporary, reconstructed appearance
of the church is different from the appearance of the church on the model in the
hands of the Founders. First of all, it can be seen on the model that the Church and
the cupola were covered with ceramics and that the church had a gable roof. On the
basis of the found lead fragments and rivets, the covering of the roof and cupola was
reconstructed of lead. It came to light that there were more architectural phases with
the considerable chronology. In accordance with it, it was presented the thesis on its
building in the 14th century and demolishment and partly destruction up to above
the arches and vaults in the year 1439 and the reconstruction and painting after the
year 1444 as well.
The Saint Nicholas Church in Ramaca belongs to the temple churches with the
basis of the condensed inscribed cross with one cupola which is supported by
pilasters and arches. The pilasters divide the nave into three areas ) called traves. The
space of the traves is related to the funerary practice. Since the west trave of Ramaca
is narrow, the burial space with the founders` composition is placed in the south part
of the middle trave. The tambour of the cupola is semicircular from inside and eight)

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sided from outside with alternately glazed and exceptionally narrow windows. The
windows and their portals are simple and without any profiling and plastic
decoration what is unimaginable in the Moravian architecture so that this church
gets a distinguishing feature by it. It was built of the stone and then plastered with a
thin layer of lime mortar without using bricks and ceramic and plastic elements. A
simple entrance portal and only three windows is a characteristic of small churches
of the ascetic maximalism which as revived at the time before the end of the
period of Moravian Serbia. So, the church of Saint Nicholas in Ramaca is classified to
the group of the Moravian Serbia monuments which distinguish the style of the
much older school of Rascia. The analysis of the church architecture shows a high
level of the mathematic and theological knowledge and building skills. The observed
projecting principles which were applied in the renovation of the church in the 15th
century show that the.
Builder managed by his knowledge to put into effect the building principles of his
time and to build on the discovered fundament the church of the exceptional
slenderness taking the third Heaven to the height of 4.5 modular diameters. The
protomaster used the already established model of the single nave and single cupola
church with the compact base of the inscribed Cross defined and canonically
prescribed back in the 11th century by which it was applied the module of the circle
derived from the circle which defines the total sacral length of the temple. This old
model of churches of this type understands the minimal sacral circle drawn from the
center of the projected cupola circle on which all outer vertexes and apse edges must
be placed. It was adopted the module which represents the diameter of the cupola
and by which it is defined in advance the inner nave length to the nave width in
proportion of 2:1.
The churches of this type had a certain limited practice and in order to be used for
the celebrating of the General Liturgy, a number of building parts were broadened for
that purpose.
The substructure which supports the cupola of the church in Ramaca is square
reflecting the projecting rule based on the theological understanding of the Christian
model of the Universe. The proportion of the width to the length of the church in
Ramaca is 1 : 1.5, and the church height to its total sacral length is approximately
more than 1 : 1. The diameter of the vaulted cupola to the width of the nave is in the
proportion of 2 : 1. The same proportion is established between the width and the
length, and such a proportion is also between the total width and the height of the
temple. The inner diameter of the cupola to the inner nave length is in proportion of
1:3. The centre of the sub)cupola arches, or to be precise vaults is located at the height
of the module, or to be precise at 18 feet. The geometrical centre of the church in
Ramaca is situated in the point which is projected on the floor, representing the

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centre of the cupola circle. From this point can be drawn the circle which
encompasses almost ideally the dimensions of the church, or rather all external
angles and the apse.
By the analysis of the base and the segments of an older architecture, from the 14th
century and by the application of the church proportions of the older periods as well
that is to say the proportion of the internal nave length to the height of the great
circle of the cupola 1 : 1 the theoretical reconstruction of the appearance of the
church was accomplished. In regard to the younger church, the older one was,
probably, about one third lower. That church looked, therefore, more elongated and
robust approaching the appearance which it had on the painted model.
On the basis of the preserved segment of the upper zone of the former built
iconostasis in the church in Ramaca and according to the model of the only
completely preserved low built iconostasis in Bela Crkva in Karan, it was
accomplished the reconstruction of its entire architectural structure and of the
implemented painting program as well. The northeast pilaster of the church is
discovered to be cut in the shape of an arch and it was so conserved by the architect
who explored and reconstructed the design and the style of the building.
Disregarding the existence of the former built iconostasis, the architect had the
southeast pilaster, which was also cut in the shape of an arch, walled up, thinking
that it was partly destroyed on that segment. Actually, here was the south passage
through the iconostasis which is unjustifiably closed by the act of the walling up. The
middle entrance to the altar, the Beautiful Gates were formed by two pillars which
ere destroyed long ago, most probably during the reconstruction in the year 1830
when the new wooden iconostasis was placed, preserved in part. On the west sides of
the disappeared pillars of the built iconostasis were the precedent fresco)icons of
Christ and Virgin Mary holding little Christ.
The iconostasis from the year 1830 was painted by Janja Stergijevic the Painter,
professionally a beautiful work, but without artistic qualities. The better work of art
represents the Holy Rood and the wood)carved Royal Gates with the medallions. The
present day wooden iconostasis after the reconstruction has no southern entrance in
the altar, which is not the reflection of the former condition.
The scene Devotion of the Angels to the Blessed Virgin Mary makes an
anachronistic feature of the painting in Ramaca. Also the depiction The dead live
Christ in the niche of the Proscomidy is also a distinctiveness. A large number of
deacons were painted in the apse so that Ramaca belongs to the group of the
Moravian churches with the greatest number of them. On the southern side of the
altar space the big busts and figures of the Holy Hierarchs are noticeable, as well as
the figures of a monk on whose pictures one insisted especially.

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As in the other churches of the Moravian style, also in Ramaca striking to the eye
is a horizontal tier of bust portraits that consisted of 26 medallions at that time. The
chosen personalities belong to the circle of the great Egyptian and Sinai Desert
Fathers who were related with the same ideas and life principles. Their attendance
and powerful messages relating to their extraordinary acts of asceticism and life of
solitude are in use of the act of salvation and future intention of the Founder a
priest who wants to enter into a monk order. St. Macarius the Great, as a theological
model and monastic primordial form of the Founder is especially elevated. The light
blue and light red bases of the medallions are in function of showing the light that
emanates from inside. The light yellow wall surfaces of the apse and the light fields
of the medallions in harmony with the intensive color richness emanate the powerful
light and in this sense Ramaca stands between all other Moravian churches, on one
side, and solitary Kalenic on the other.
The Founders of Saint Nicholas Church in Ramaca are a nameless priest and his
brother, or maybe his older son. The boy in front of him is, certainly, his son, or to be
precise his older son. The priest has a large, quite long beard, specific, long and
straight moustaches, and very long hair which he gathered up in a pigtail ) queue.
The identical appearance and hairstyle has also his older son. Such an analogous
appearance and hairstyle cannot be found in the whole Byzantine painting. The
hairstyle was characteristic for the Cumans, indicating that the Founder was of the
Cumanic descent. In the Serbian medieval painting we record the appearance of the
white priest only in Bela Crkva in Karan, from 1337)1340. However, parish priests
were often successors or privileged holders of the church manors and founders of
smaller churches in the system of the Serbian medieval State.
The intertwining of the sacred and profane that is emphasized by the program
of the ruler and the State is closely connected with the local bishop and rulers family.
The hope of the proper salvation in the prayer of the Founder is founded on the
temple as a pledge that is offered to God by mediation of Saint Nicholas as a patron.
The uniqueness of the depiction of the saint patron lies in his appearing from the
Lunette on Heaven, and such a depiction appears more often from the second half of
the 15th century by the Serbs. To the Founders` composition and tier of medallions is
related a composition of the numerous Holy warriors who metaphorically express
their essence of the arms of God. The Holy warriors of Ramaca are even finer and
subtler in relation to the other Holy warriors of the Moravian churches. With the
graceful and soft movements, elegant agility, refined and dynamic combat attitudes,
but transcendentally absent and contemplatively calm, with white bands and pearl
wreathes in hair they bring to light the idea of the painters and Founders to draw
them near the archangels and angels, the warriors of the Heaven army.

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It is conspicuous the absence of the Holy Archangels Michael and Gabriel, as well
as the Holy Founders of the Nemanjic dynasty, St. Simon and St. Sava, which
indicates that the Founders were distant from the lineage of Nemanja`s family. The
depiction of the Archdeacon and First Christian Martyr Stefan, which is repeated
several times, points out that the suzerain of the Founder had a personal reason for
such a depiction, which indicates certain identifications, first of all, his name or the
meanings of his name.
The cycle of Saint Nicholas in Ramaca excels in its interesting subject matter and
numerous scenes (11). There are four miracles for each that Saint Nicolas performed
during his lifetime and after death. It is conspicuous the absence of a greater number
of scenes from the Life Cycle, and especially absence of the Miracle of Returning the
Sight to King Stefan Decanski that was obligatory in the Serbian painting because of
its popularity. Also the scene The Saint Nicolas saves Vasilije from the Saracen
captivity in two pictures represents a distinctiveness, the Saint being represented on
the horse, and the text written in the Turkish (Cumanic) language in the Serbian
transcription. This scene, which came into existence in the first half of the century, is
connected with the interpretation of the Byzantine conflict with the Arabs. The only
analogy to such a representation of Saint Nicholas and to the text in the Turkish
language can be found in the painting of Saint Nicholas in Brezovo near Ivanjica
from the first half of the 17th century.
The painting of Ramaca does not represent the integrated stylistic whole. There are
two understandings that are established, the coloristic one and the toning one. The
coloristic technique is applied to the less numerous figures of the low temple zone in
the Founders` and suzerains composition, implemented by a very competent painter
and prior of this not so large taifa. The saints, hermits and monks in the medallions,
as well as some Holy warriors with the schematized and reduced faces, were painted
by a less competent painter, the faces being schematized and reduced. To this
painting taifa of the rulers` surroundings in Smederevo belonged the painters of
different competence in painting, those who were competent to paint excellent works
of art, and those with less competence, being able to do only mediocre and poor ones.
Therefore, although the painting of Ramaca belongs to the routinely accomplished
task on the local level, it is directly related to the Smederevo style which is
characterized by the hoops of the medallions, decorated with the simple, black, tooth
ornament, standing on the opposite side of the decoration of the Resava medallions of
the rainbow net. The black and white tooth and rectangular wavy ornaments of the
medallion bands in Ramaca are, one can say, the uniqueness in the whole medieval,
Christian)Orthodox painting. This simple ornamentation exists in the western
Romanesque and Gothic painting, but on the Byzantine culture region it is used only
in the external decoration of the facades with the ceramic and plastic elements. The

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stylistic and chronological analogy of such a simple ornamentation of the Ramaca

medallions is present only on the towers of the town Smederevo from the years 1430
and 1480. Such ornamentation on the buildings has theprotective, apotropeic
functionandpower. The picturesque, branched and flowered vine scroll, which frames
the medallions, are created on the model of the miniature painting of the fourteenth,
and especially fifteenth century or on the prototype of the Monastery of Christ of
Hora, in Istanbul, called also Karije mosque.
The painting of Ramaca is under the influences of the different regions as Kosovo
and Metohija, Macedonia and Morava river basin, the models of which it reflects;
however, it follows, first of all, the achievements of the Moravian)Resavian painting
which inherits the true theology in colours.
The analysis of the narrowed and pointed Serbo)Slavic letters in the inscriptions in
Ramaca shows the resemblance to the inscriptions in Koporin and Josanica, 1430, and
especially to the letters of the tombstones in the period of 1427)1436. In the following
times the monks of the monastery made several interesting records written down
with the Serbo)Slavonic cursive writing, dark brown ink, goose feather or by
engraving with a sharp object around 1720 and 1818.
The absence of the inscriptions in the Founders and rulers composition and the
lack of any historical sources about the church of St. Nicholas caused the
identification of the historical personalities in the former period to be completely
hypothetical. Many authors connected the Founder and Ruler from Ramaca with
Duke Nikola Zojic, basing their anticipations on failing to see the clear facts of the
valid sources that he did not have male children and that he entered into the monk
order with his wife and four daughters, or rather that he could not become a priest.
Therefore, Duke or monk Nikola Zojic is not portrayed in Ramaca at all and the
church in Ramaca, thereupon, cannot be equated with his church St. Nicholas in
Srebrnica at the foot of Rudnik and last but not least, the painting of the church in
Ramaca did not come into existence at the end of the fourteenth century if we also
consider its style characteristics.
We have been proving that the Suzerain of the Founder of Ramaca is the Logothete
and Grand Logotet of the Serbian Despotate, Stefan Ratkovic with his spouse. We
relied on the Charter of the Bosnian King Stefan Tomas that he issued to Logotet
Stefan, by which he was entitled to the villages of Lepenica)region Zlovsnica, Kutlesi
and Draginovci in which his Court was situated. All these villages are in the close
vicinity of Ramaca. By the same Charter Stefan was also entitled to the village
Vrbova, together with the church of St. Nicholas of priest Vrlo. We have determined,
by bringing forward the evidence, that the former village Vrbova is the present day
village Mala Vrbica which borders on Ramaca. For that reason it was made the
recognition of the former village Draginovac in the region of Ramaca, the

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neighboring village Dobraca and St. Nicholas church, as the Court Church of Stefan
Ratkovic, which he renovated after the liberation of Serbia in 1444. In accordance
with the so established chronology the personalities of the suzerain and ruler on the
west nave wall were identified: Metropolitan of Smederevo Atanasije, Despot
Djurdje, Great Logotet Stefan Ratkovic and his spouse of the unknown name. It
results that the successors of Stefan Ratkovic did not leave Serbia after the Fall to the
Turks, in the year 1459. Bearing in mind the contents of the census of Zlovsnica,
Srebrnica and Rudnik from the years 1476)1525, we see that Stefan Ratkovic is only a
priest Stefan, and his son Stefan, a goldsmith, and his grandson, also a goldsmith, are
very wealthy Turkish feudal lords in Rudnik and Zlovsnica. As they are not
mentioned in the census of 1556)1560 any more, they moved to Hungary between
1525 and 1559.
By discovery of Novak Vrlo, most probably the son of Priest Vrlo, who was a priest
in the Court Church in Srebrnica, in the year 1476, and his sons Oliver and Kuzma as
well, and then numerous descendants among who there were also priests, one lighted
upon the final solution which is based on the sources and chronology. It became
evident who the priests and his two sons are, that is who the Founders of St. Nicholas
church in Ramaca are. It is a question of the priest Novak Vrlo and his two sons, older
Oliver and younger Kuzma. Novak renovated the church of St. Nicholas in Ramaca,
after 1444, and after 1459 he was given the Court Church of Duke Nikola Zojic and
Despot Stefan in Srebrnica.
: ,
Translated into English by: Bratislav Sreckovic, professor

129

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