{"id":5287,"date":"2026-01-20T07:17:54","date_gmt":"2026-01-20T07:17:54","guid":{"rendered":"https:\/\/zavodimuzejstip.mk\/portfolio-items\/church-sv-spas\/"},"modified":"2026-04-04T11:52:37","modified_gmt":"2026-04-04T11:52:37","slug":"church-sv-spas","status":"publish","type":"avada_portfolio","link":"https:\/\/zavodimuzejstip.mk\/en\/portfolio-items\/church-sv-spas\/","title":{"rendered":"Church \u201cSt. Spas\u201d"},"content":{"rendered":"

The Church of \u201cSt. Spas\u201d was built in the second half of the 14th century, during which period it was also painted.<\/p>\n

According to the oldest record about this monument\u2014the charter of Konstantin Dragash (Dejanovich) dated 26.03.1388\u2014we learn that the church was built by the vojvoda Dimitar before 1388, which means that the church dates from the mentioned period of the 14th century and was painted. The same charter explicitly states that \u201cSv. Spas\u201d was a monastery church at the time of its restoration. Due to damage to the frescoes, in 1601 the church was repainted, as evidenced by an inscription on the western wall above the entrance door. This inscription also mentions that the church is dedicated to the Ascension of the Lord and to Sv. Spas, from which time the church begins to be known as \u201cSt. Spas,\u201d and in the 17th century it becomes a parish church.<\/p>\n

After the restoration of the church in the 17th century, regular church service continued, as evidenced by the carved inscriptions on the walls regarding the deaths of its priests: priest Jovan (1659), priest Ilija (1664), and archpriest Jefrem (1734).<\/p>\n

For \u201cSv. Spas\u201d there is little information that would allow its history to be reconstructed precisely. However, there is enough indication to assume that the church continuously \u201clived\u201d throughout the entire period of its existence. This is confirmed by the fact that the Zograf \u201cPomenik,\u201d which was carefully kept in the period 1527\u20131728, mentions many contributions from the Zograf monk. Such a wide monetary and devotional connection of the residents of Novo Selo is best illustrated by the fact that a minimum of 10 silver coins is recorded for 19 names to be entered in the \u201cPomenik,\u201d among them a craftsman\u2014abbot Boshko.<\/p>\n

The church is characterized by elaborate architectural forms, a modest but carefully executed facade, a proportionally large number of window openings, and painting of different quality, from various periods. According to historical information, the church architecture is preserved in its original state, except for parts of the roof structure which indicate repeated re-roofing of the church with the construction of eaves above the cornices.<\/p>\n

In plan, the church is a small single-nave building with a three-sided apse on the exterior and a semicircular apse on the interior, with dimensions 7.80 \u00d7 3.80 m and a height of 5.50 m. The foundations lie directly on the bedrock, which is especially visible on the northern side. It is built of green sandstone blocks and courses of brick. The northern, southern, and western facades are flat, articulated with shallow niches, while the eastern facade is broken up by the lower-set apse.<\/p>\n

The roof structure is designed as a semicircular vault covered with stone slabs, beneath which there is a dentil cornice that was originally plastered. The upper parts of the building above the cornice were raised at a later time when the church was re-roofed with stone slabs\u2014and according to some authors it is considered that it was originally covered with a lead sheet.<\/p>\n

On the eastern facade, above the low door through which the church is entered, there is a shallow niche with a semicircular top, built with a saw-tooth course of bricks, where a saint was painted to whom the church was dedicated; however, over time the fresco has been destroyed.<\/p>\n

Lighting in the church is minimal and is provided by one bifora on the eastern wall and one monophora on the apse, while the small window in the form of a monophora on the western side was closed at the time when the church was repainted, and today only its outline is visible. In the altar space, besides the altar apse, there is also a small niche at the place of the proskomidiya, while its counterpart at the place of the diakonikon does not exist.<\/p>\n

The floor in the church is made of stone slabs and is below the level of the ground at the entrance, so the church is entered via a stone stair.<\/p>\n

The fresco painting is from two periods. The first layer dates from the time of the construction of the church (14th century), and the second dates from the time of its renovation and repainting. The original painting from the 14th century is present on the semicircular vault above the pronaos, immediately below the vault, in the tympanum spaces on the eastern and western walls. The painting and fresco painting in Shtip are recognizable in the compositions of the \u201cTransfiguration,\u201d which has a classical palaeological theme\u2014visible in the treatment of the drapery of the figures and the correct forms of the heads. At the same time, the faces of the angels are shown in profile, with emphasized round and well-formed beards. The other faces are with distinct circularity, blackened pupils, a sad and calm expression, long faces with elongated appearance, large foreheads, strongly fleshy noses, arched brows, hair and beards, and a physically strongly built body.<\/p>\n

The depiction of the Holy Trinity with three heads, as in \u201cSv. Spas,\u201d is a very rare example from the 14th century. However, in the literature to date this painting has not been examined in detail or fully presented, and it is still only broadly defined, without confirmation as to whether the painting dates from the third quarter of the 14th century. The iconography is not of exceptional quality, but it indicates the painter\u2019s talent. With the ongoing research and conservation, it is expected that the frescoes will be more precisely stylistically determined.<\/p>\n

The later painting in the church dates from 1601 and is attributed to the zograf Jovan, as evidenced by a fresco inscription inside the church, written in the Slavic language above the western entrance. The painting includes a band of standing figures and two horizontal zones on the side walls. In the vault above the pronaos, the last and the \u201cDormition\u201d are visible. The zograf\u2019s painting shows a solid drawing and a skilful use of color, with a tendency toward cooler tones, typical of zograf painting from the 14th century. In places where the painting corresponds to the compositions from the 14th century, the zograf attempted to adapt his color palette to the original, which is why it is difficult to clearly distinguish between the two layers of painting.<\/p>\n

In the overall thematic program of the fresco painting, an adherence to the themes of wall painting from the 16th and 17th centuries in smaller churches can be observed. As in other churches, so in this one as well\u2014besides the standing figures\u2014the \u201cLast Judgment\u201d is painted. The large wall surfaces and Christ\u2019s Passion are also depicted, and in the dome vaulting the Great Feasts are shown, with one row of prophets on each side.<\/p>\n

Constituent parts of the cultural property:
Fresco painting from the 14th and 17th centuries.<\/p>\n<\/div><\/div><\/div>

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