The examination of material and spiritual culture, as well as the art created in the territory of the Ohrid Archdiocese throughout its centuries-long existence, enables a stratigraphic overview of the cultural currents in the Balkans from the 11th to the 18th century. From the very foundation of the Ohrid church organization, its intercultural and multiethnic character is evident, traceable throughout its entire existence. Specifically, the Ohrid Archdiocese was rooted in ancient Christian traditions reestablished in these regions as early as the 4th century, but its administrative organization and structure were largely shaped according to the older church organization of Samuel’s State. It is evident that from its very beginnings, it represented an amalgamation of Byzantine and Slavic traditions in these regions. Throughout its eight-century existence, its diocese occupied different territorial boundaries with a diverse ethnic structure, often finding itself in different political contexts, contributing to the formation of unique cultural and artistic expressions. The epicenter of such phenomena was undoubtedly Ohrid, as the administrative center of the archdiocese, but no less significant was Kostur, which played a role as a kind of artistic center. The uniqueness and autochthony of the cultural traditions created in the territories under the ecclesiastical authority of the Ohrid Archdiocese are evident in almost all aspects of material and spiritual culture. Starting from church architecture and painting, through literary production, to applied arts and funeral rituals, characteristic manifestations can be traced, directly or indirectly dictated by the church organization. The primary goal of organizing this roundtable is to trace such cultural phenomena.
In this paper, the mortuary practices of the Byzantine and post-Byzantine period in the wider region of Macedonia are examined, with a chronological focus from the 11th to the 19th century. The analysis is based primarily on archaeological evidence, while historical sources are also considered where available. Particular attention is given to the location of…
The current architectural form and wall painting of the katholikon of the Treskavec Monastery, dedicated to the Dormition of the Theotokos, reflect centuries of structural additions, functional modifications, and subsequent repainting campaigns. These interventions, driven both by the needs of the monastic community and by the intentions of the patrons, span more than eight centuries….
In this paper, we will discuss the cultural history of the Pelagonian bishopric as one of the most remarkable dioceses of the Archbishopric of Ochrid. It was located at the junction of the Roman road of Via Egnatia and had a great cultural and artistic influence on the whole region. Its early Christian roots were…