{"id":3237,"date":"2025-01-28T00:42:09","date_gmt":"2025-01-28T00:42:09","guid":{"rendered":"https:\/\/umetnickifaktor.rs\/2025\/01\/28\/stories-from-and-about-oplenac\/"},"modified":"2025-02-04T13:32:36","modified_gmt":"2025-02-04T13:32:36","slug":"stories-from-and-about-oplenac","status":"publish","type":"post","link":"https:\/\/umetnickifaktor.rs\/en\/stories-from-and-about-oplenac\/","title":{"rendered":"Stories from and about Oplenac"},"content":{"rendered":"

There is a story about me that my father loves to tell<\/strong>, especially if I introduce you to him first. Personally, I don\u2019t remember it<\/strong>, but I\u2019ve heard it so many times that I can almost see the scene unfold<\/strong>:<\/p>\n

In front of the church on Oplenac<\/strong>, a four-year-old girl with tousled hair tied in a ponytail<\/strong> stands next to her father. She holds his hand with one of hers while pointing at the church with the other, saying that \u201c\u010cika Pera\u201d is buried there.<\/strong><\/p>\n

At that moment, a woman approaches them and tells the man with the little girl<\/strong> that she is embarrassed<\/strong>\u2014because the child knows more about the Kara\u0111or\u0111evi\u0107 dynasty than she does<\/strong>. The man simply smiles gently<\/strong> and runs his hand through his daughter\u2019s hair<\/strong>.<\/p>\n

\"\"<\/p>\n

Among a booklet about Donald Duck<\/strong>, a collection of fairy tales<\/strong>, and Jova Zmaj\u2019s Riznica<\/em> (The Treasury)<\/strong>, my mandatory childhood reading<\/strong> also included three volumes of Golgota i Vaskrs Srbije 1914-1918<\/em> (The Golgotha and Resurrection of Serbia)<\/strong>. In those books, the mentioned \u201c\u010cika Pera\u201d<\/strong>\u2014actually King Peter I<\/strong>\u2014was the main protagonist<\/strong>.<\/p>\n

In addition, Topola and Oplenac<\/strong> were less than a half-hour drive<\/strong> from Ra\u010da<\/strong>, the town where I was born and raised (for those just tuning in). Weekend strolls through Oplenac\u2019s forests<\/strong> were a tradition<\/strong> for us, always accompanied by a visit to Kara\u0111or\u0111e\u2019s town and the Church of St. George<\/strong>.<\/p>\n

Before I dive into the architecture of the Kara\u0111or\u0111evi\u0107 mausoleum<\/strong>\u2014whose harmony, simplicity, and monumentality never fail to amaze me<\/strong>\u2014I\u2019d like to tell you one more story<\/strong>.<\/p>\n

Lately, Sofija and I<\/strong> seem to be retracing our personal history through the lens of art history<\/strong>, and that\u2019s all we\u2019ve been posting on the blog<\/strong>. And yes, that is true.<\/p>\n

But isn\u2019t that exactly what a blog is for<\/strong>? Wouldn\u2019t you agree?<\/strong><\/p>\n

\"\"<\/p>\n

If my sister<\/strong> were to tell you this story, she would probably burst out laughing<\/strong>\u2014even though it\u2019s about a presentation I gave in college<\/strong>. You might wonder why my older sister, a law student at the time, was sitting in an art history lecture in the famous Room 401<\/strong>\u2014she was there to listen to me talk about the construction of the church on Oplenac<\/strong>, simply because it meant so much to me.<\/p>\n

At the time, we were preparing presentations on Serbian architecture<\/strong> as part of our coursework, each meant to last 15 minutes<\/strong>. But I ended up speaking about Oplenac for at least half an hour, maybe even 45 minutes<\/strong>.<\/p>\n

What my sister always highlights<\/strong>, through tears of laughter<\/strong>, is how after class ended and our colleagues started filing out of the room<\/strong>, I kept going<\/strong>, adding:<\/p>\n

“Just one more thing!”.<\/strong><\/p>\n

\"\"<\/p>\n

And now, years after those college exercises<\/strong>, Sofija and I have started a blog<\/strong>, where we can finally write at our own pace<\/strong>\u2014I can go on about Oplenac as much as I want<\/strong>, and she can focus on her own interests.<\/p>\n

Just kidding, of course! \ud83d\ude04<\/p>\n

In the next section, you\u2019ll find a concise<\/strong> account of the construction and architecture of the church<\/strong>, and I will take this opportunity to apologize<\/strong> to my classmates and our assistant, Vladana, for not respecting their time<\/strong>.<\/p>\n

But in my defense<\/strong>\u2014it was my first chance to give a lecture on the first great work of art I had ever encountered in my life<\/strong>.<\/p>\n

Why Oplenac?<\/h3>\n

Topola<\/strong> was etched into history by Kara\u0111or\u0111e\u2019s uprising<\/strong>. After his early victories over the Ottomans<\/strong>, Kara\u0111or\u0111e transformed the town into the center of the liberated part of Serbia<\/strong>.<\/p>\n

Between 1811 and 1813<\/strong>, he built a fortified town<\/strong>, featuring three-story defensive towers, two residences<\/strong> (one for guests and one for his family), and a church<\/strong>.<\/p>\n

After the collapse of the First Serbian Uprising<\/strong>, the Ottomans devastated Kara\u0111or\u0111e\u2019s town<\/strong>, and the power struggle between the Kara\u0111or\u0111evi\u0107 and Obrenovi\u0107 dynasties<\/strong> led to further destruction. Following the Topola Rebellion of 1877<\/strong>, the Obrenovi\u0107 dynasty<\/strong> ensured that the fortress was completely leveled<\/strong>.<\/p>\n

Today, at the foot of Oplenac<\/strong>, we find the protected heritage site of Kara\u0111or\u0111e\u2019s town<\/strong>, consisting of:<\/p>\n

    \n
  • Kara\u0111or\u0111e\u2019s konak (residence)<\/strong><\/li>\n
  • The Church of the Virgin Mary<\/strong><\/li>\n
  • The old school building<\/strong><\/li>\n
  • A grand monument to Kara\u0111or\u0111e<\/strong>, erected in the 1930s<\/li>\n<\/ul>\n

    For everything else, we rely on illustrations from passing travelers<\/strong>, who captured what was lost to time.<\/p>\n

    \"\"<\/p>\n

    The key moment<\/strong> in Topola\u2019s transformation<\/strong> into a place of remembrance<\/strong> for the fearless Kara\u0111or\u0111e<\/strong>, founder of the Kara\u0111or\u0111evi\u0107 dynasty<\/strong>, came with the return of his grandson, King Peter I<\/strong>, to Serbia following the May Coup of 1903<\/strong>. This event left the Serbian throne vacant<\/strong> and marked the end of the Obrenovi\u0107 dynasty<\/strong>.<\/p>\n

    The arrival of a little-known, elderly man<\/strong> to the throne of the Kingdom of Serbia<\/strong> made it necessary to revive the memory of his famous ancestor<\/strong>\u2014the man who had led the Serbian people into their first fight for freedom from the Ottomans<\/strong> a century earlier.<\/p>\n

    To legitimize his rule<\/strong> and establish a symbolic connection with Serbia\u2019s revolutionary past<\/strong>, a lavish coronation<\/strong> was organized for Peter I Kara\u0111or\u0111evi\u0107 in 1904<\/strong>. That same year, Serbia also celebrated the centennial of the First Serbian Uprising<\/strong>.<\/p>\n

    That was also the year Peter I began fulfilling a vision he had nurtured during his years in exile<\/strong>\u2014the construction of a church-mausoleum<\/strong> where all members of the Kara\u0111or\u0111evi\u0107 family<\/strong> would be laid to rest.<\/p>\n

    \"\"<\/p>\n

    The hill above Kara\u0111or\u0111e\u2019s town<\/strong>, which physically dominates the \u0160umadija landscape<\/strong>, was named Oplenac<\/strong> after the wooden yokes (oplen) for ox carts<\/strong>, which Topola\u2019s villagers crafted from the oak trees growing on its slopes<\/strong>.<\/p>\n

    At the top of this hill<\/strong>, nestled among oak and linden trees<\/strong>, rise the five domes of the Oplenac Church<\/strong>, their bluish roofs adorned with gilded ribs<\/strong>.<\/p>\n

    Yet, beneath these magnificent vaults<\/strong>, more than just the history of a dynasty is preserved<\/strong>\u2014within these walls, lies the glorious yet tragic history of the entire Serbian people<\/strong>.<\/p>\n

    \"\"<\/p>\n

    The Architectural Vision for the Church on Oplenac<\/h3>\n

    Seeking to build a dynastic tomb<\/strong> inspired by the crypt of French kings at the Abbey of Saint-Denis<\/strong>, as well as other royal burial sites he had encountered across Europe<\/strong>, King Peter I<\/strong> launched a design competition<\/strong> for a new church in Topola at the end of 1903<\/strong>.<\/p>\n

    It was immediately stipulated that the church \u201cmust be monumental and built in the Serbian-Byzantine style.\u201d<\/strong> This was a personal royal endeavor<\/strong>\u2014the project was entirely funded from Peter I\u2019s private finances<\/strong>, rather than the state treasury<\/strong>.<\/p>\n

    The evaluation committee<\/strong> consisted of distinguished architects and cultural figures:<\/p>\n

      \n
    • Mihailo Valtrovi\u0107<\/strong>, former director of the National Museum<\/strong> and an architect<\/li>\n
    • Andra Stevanovi\u0107<\/strong>, professor at the Technical Faculty<\/strong> and a renowned builder<\/li>\n
    • Dragutin \u0110or\u0111evi\u0107<\/strong>, architect at the Ministry of Construction<\/strong> and designer of Belgrade\u2019s Third Gymnasium<\/strong><\/li>\n<\/ul>\n

      However, the first competition failed<\/strong> to yield a satisfactory design, despite the highly regarded architects<\/strong> who submitted their proposals.<\/p>\n

      The first prize<\/strong> was awarded to Nikola Nestorovi\u0107<\/strong> for his design \u201cZadu\u017ebina\u201d<\/strong>, which was reminiscent of Gra\u010danica Monastery<\/strong>, enriched with Moravian-style ornamentation<\/strong>\u2014a characteristic feature of Serbian-Byzantine architecture<\/strong>.<\/p>\n

      Yet, this design was met with sharp criticism<\/strong>. Architectural critic Dimitrije T. Leko<\/strong> described it as follows:<\/p>\n

       <\/p>\n

      \u201cThis attempt to embellish the forms of Gra\u010danica with ornamentation from later periods failed; instead of monumentality, the result is the impression of a pigeon coop…\u201d<\/em><\/p>\n

       <\/p><\/blockquote>\n

      Due to insufficient historical records<\/strong>, the exact sequence of events<\/strong> in the construction of the Oplenac Church<\/strong>remains unclear. However, based on documentation from the cornerstone-laying ceremony<\/strong>, it appears that construction initially began using the second-prize-winning design by architect Vladimir Popovi\u0107<\/strong>\u2014only for this design to soon be abandoned in favor of another.<\/strong><\/p>\n

      \"\"
      First prize-winning sketch “Endowment” by Nikola Nestorovi\u0107<\/figcaption><\/figure>\n

      The foundation stone<\/strong> for the Church of St. George<\/strong> on Oplenac<\/strong> was ceremoniously laid on September 24, 1907<\/strong>, on the feast day of Saint Simon<\/strong>\u2014the monastic name of Stefan Prvoven\u010dani, the first Serbian king<\/strong>.<\/p>\n

      This choice was not accidental<\/strong>\u2014it was yet another symbolic move<\/strong> by King Peter I<\/strong>, aimed at strengthening his connection<\/strong> with medieval Serbian kingship<\/strong>. Beyond the architectural revival<\/strong> of Serbia\u2019s golden age<\/strong>, the carefully chosen date<\/strong> reinforced the dynastic and historical continuity<\/strong> between the Kara\u0111or\u0111evi\u0107 family and Serbia\u2019s medieval rulers<\/strong>.<\/p>\n

      The charter placed in the church\u2019s foundations<\/strong> bore the signatures of:<\/p>\n

        \n
      • King Peter I Kara\u0111or\u0111evi\u0107<\/strong><\/li>\n
      • Metropolitan Dimitrije<\/strong><\/li>\n
      • Prime Minister Nikola Pa\u0161i\u0107<\/strong><\/li>\n
      • Minister Andra Nikoli\u0107<\/strong><\/li>\n
      • Architect and \u201cChief Master Builder\u201d Vladimir Popovi\u0107<\/strong><\/li>\n<\/ul>\n

        However, Vladimir Popovi\u0107\u2019s name<\/strong> soon disappeared from both the history of Oplenac Church and Serbian architecture<\/strong> altogether. The reasons remain unclear<\/strong>, but what followed was yet another shift<\/strong> in the architectural vision for the grand royal mausoleum.<\/p>\n

        \"\"
        Model of the Oplenac church by Kosta J. Jovanovi\u0107, published in the book “Serbian architect”<\/figcaption><\/figure>\n

        The Kara\u0111or\u0111evi\u0107 Mausoleum<\/strong> was ultimately built according to the design of Kosta J. Jovanovi\u0107<\/strong>, who was still a student nearing graduation<\/strong> when he submitted his project for Oplenac<\/strong>. The three-member committee<\/strong>, consisting of Mihailo Valtrovi\u0107, Andra Stevanovi\u0107, and Kosta A. Jovanovi\u0107<\/strong> (replacing Dragutin \u0110or\u0111evi\u0107), unanimously<\/strong> agreed that his concept\u2014a church with five domes arranged in a cross shape<\/strong>\u2014was the most original and best suited for a royal mausoleum and parish church<\/strong>.<\/p>\n

        The change in plans<\/strong> likely occurred in 1909<\/strong>, and by 1910<\/strong>, the church was being constructed based on Jovanovi\u0107\u2019s design<\/strong>.<\/p>\n

        \u201cAll the Workforce Was Sent to the Battlefield\u201d<\/strong><\/h3>\n

        The construction of the Kara\u0111or\u0111evi\u0107 Mausoleum<\/strong> coincided with the period of Serbian suffering during the Balkan Wars and World War I<\/strong>. However, King Peter I<\/strong> was determined to fulfill his parents\u2019 dying wish<\/strong> and return their remains to their homeland<\/strong>.<\/p>\n

        Work on the church progressed rapidly<\/strong>, and by the fall of 1912<\/strong>, the structure was almost complete<\/strong>. The previous year, the remains of Prince Alexander and Princess Persida<\/strong> had already been transferred to the new church<\/strong>.<\/p>\n

        The church was consecrated for the first time<\/strong> on September 24, 1912<\/strong>, again on the feast day of St. Simon<\/strong>, even as Serbia was preparing for war against the Ottoman Empire<\/strong>.<\/p>\n

        However, further work came to a halt in September 1913<\/strong>. The Building Committee<\/strong> noted:<\/p>\n

        \u201cAll the workforce was sent to the battlefield.\u201d<\/em><\/p><\/blockquote>\n

        With no manpower and no resources<\/strong>, construction on King Peter\u2019s endowment<\/strong> was forced to stop<\/strong>.<\/p>\n

        Although the church was nearly complete before the start of World War I<\/strong>, it did not remain untouched<\/strong> by the conflict<\/strong>.<\/p>\n

          \n
        • Austro-Hungarian soldiers<\/strong> looted the crypt<\/strong>, searching for royal documents<\/strong>.<\/li>\n
        • They stripped the copper roofing<\/strong> from the church domes<\/strong> and removed the bells and copper portal coverings<\/strong>.<\/li>\n<\/ul>\n

          At one point, plans were made to inscribe the names of fallen Serbian soldiers<\/strong> on the interior walls of the church<\/strong>. However, after World War I followed the Great War<\/strong>, the number of casualties became too vast<\/strong> for the walls of the mausoleum to contain<\/strong>.<\/p>\n

          After the war, the Building Committee reconvened in 1919<\/strong>, but by the time work resumed, King Peter I had passed away in 1921<\/strong>, never seeing his final legacy completed<\/strong>.<\/p>\n

          Responsibility for finishing the endowment<\/strong> fell to King Alexander I<\/strong>, who in 1922<\/strong> commissioned a group of Russian artists and architects<\/strong> to design the church\u2019s mosaics and interior decoration<\/strong>.<\/p>\n

          Under Alexander\u2019s patronage<\/strong>, the church would finally take its magnificent, completed form<\/strong>\u2014a jewel of Serbian-Byzantine architecture<\/strong>, a royal resting place<\/strong>, and a symbol of an entire nation\u2019s history<\/strong>.<\/p>\n

          \"\"
          Austro-Hungarian soldiers in front of the church in Oplenac<\/figcaption><\/figure>\n
          \"\"
          King Petar I Kara\u0111or\u0111evi\u0107 in front of his endowment<\/figcaption><\/figure>\n

          The Architecture of the Church and Its Distinctive Features<\/h3>\n

          The young architect Kosta Jovanovi\u0107<\/strong> managed to create a modern ecclesiastical structure<\/strong> that still rested on traditional medieval influences<\/strong>. The white marble cladding from the nearby Ven\u010dac mountain<\/strong> is responsible for its monumentality<\/strong>, while the cross-shaped base, the gradation of masses through domes, and the rhythm of the roof cornices<\/strong> introduce a sense of dynamism and elevation<\/strong>, seamlessly integrating with the church\u2019s prominent geographical position.<\/p>\n

          The architectural composition is marked by a deliberate restraint in ornamentation<\/strong>, with the first two levels remaining unembellished<\/strong>, allowing the sheer whiteness of the marble to define the building\u2019s majesty. Only in the third zone<\/strong> do decorative window openings and rosettes<\/strong> appear, adding subtle yet refined details to the upper section of the fa\u00e7ade.<\/p>\n

          An intriguing element can be noticed on the southern apse<\/strong>, near the southwestern rosette<\/strong>, where a chessboard pattern<\/strong>was partially carved in relief. This motif, characteristic of medieval Serbian churches<\/strong>, also became a key element of the national architectural style<\/strong>. The residence of King Peter I<\/strong>, situated just across from the mausoleum<\/strong>, prominently features this pattern. However, incorporating such a strong geometric motif on the church\u2019s marble fa\u00e7ade<\/strong> could have disrupted its monumental purity<\/strong>, which is likely why the idea was abandoned\u2014leaving behind this unfinished yet revealing detail<\/strong> of the architectural vision behind Oplenac<\/strong>.<\/p>\n

          \"\"
          Detail of the facade with the starting chessboard<\/figcaption><\/figure>\n
          \"\"
          Kara\u0111or\u0111e instead of Saint George and the coat of arms of the Kara\u0111or\u0111evi\u0107 dynasty above<\/figcaption><\/figure>\n

          The most fascinating detail on the church\u2019s fa\u00e7ade is located above the main entrance portal<\/strong>\u2014a depiction of Saint Djordje<\/strong>, the church\u2019s patron saint, whose face has been given the likeness of Kara\u0111or\u0111e<\/strong>. As the founder of the Kara\u0111or\u0111evi\u0107 dynasty<\/strong> and the namesake of the church\u2019s protector<\/strong>, Kara\u0111or\u0111e is shown on horseback, piercing the dragon<\/strong>. This mosaic was designed by Paja Jovanovi\u0107<\/strong> and crafted in Murano glass in Venice<\/strong>.<\/p>\n

          Inside the church, one of the most striking architectural features is the four massive columns<\/strong> supporting the smaller domes<\/strong>, made of Carrara marble<\/strong>, the same stone from which Michelangelo\u2019s David<\/strong> was sculpted. One of the primary goals during the church\u2019s construction was to ensure it “reflects the national identity of Serbia,”<\/strong> which is clearly evident in the heraldic symbols of the Kara\u0111or\u0111evi\u0107 dynasty above the main portal<\/strong>, as well as in the Serbian coat of arms and the double-headed eagle<\/strong>, both of which are incorporated throughout the church\u2019s design.<\/p>\n

          Dominating the interior space<\/strong> is a grand bronze chandelier<\/strong>, measuring 9 meters in diameter<\/strong> and weighing 1,500 kg<\/strong>. Designed in the shape of an inverted royal crown<\/strong>, it symbolizes mourning for the suffering of the Serbian people<\/strong>, giving the church not only a monumental aesthetic<\/strong> but also a deep historical and emotional significance<\/strong>.<\/p>\n

          \"\"
          Carrara marble columns<\/figcaption><\/figure>\n
          \"\"
          Column detail<\/figcaption><\/figure>\n
          \"\"
          Bronze chandelier<\/figcaption><\/figure>\n

          The Church of Saint Djordje<\/strong> on Oplenac<\/strong> is a unique architectural and spiritual ensemble<\/strong> in Serbia, offering an experience that begins from the very approach through the forest<\/strong>. The first encounter with the church\u2019s radiant whiteness<\/strong>, set against the lush greenery of the woods<\/strong> and the blue sky over \u0160umadija<\/strong>, is truly striking.<\/p>\n

          Perhaps the most awe-inspiring<\/strong> part of the experience comes in the final stage\u2014the vivid mosaics<\/strong> inside. I can only wish for you to see them bathed in the opulent summer light<\/strong>, allowing you to fully appreciate these \u201cpaintings for eternity\u201d<\/strong>, as the mosaic technique is often described.<\/p>\n

          Oplenac will always be special to me<\/strong>\u2014not only because of childhood memories<\/strong> or the first solo drive I took there after getting my driver\u2019s license as a teenager<\/strong> but also because it remains an essential stop whenever I introduce people to my homeland<\/strong>.<\/p>\n

          And \u0160umadija\u2014Serbia\u2019s Tuscany\u2014has its very own Gesamtkunstwerk<\/strong>, a total work of art<\/strong>, embodied in Oplenac<\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"

          There is a story about me that my father loves to tell, especially if I introduce you to him first. Personally, I don\u2019t remember it, but I\u2019ve heard it so many times that I can almost see the scene unfold: In front of the church on Oplenac, a four-year-old girl with tousled hair tied in […]<\/p>\n","protected":false},"author":2,"featured_media":3115,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[32],"tags":[],"class_list":["post-3237","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/posts\/3237","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/comments?post=3237"}],"version-history":[{"count":2,"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/posts\/3237\/revisions"}],"predecessor-version":[{"id":3432,"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/posts\/3237\/revisions\/3432"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/media\/3115"}],"wp:attachment":[{"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/media?parent=3237"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/categories?post=3237"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/umetnickifaktor.rs\/en\/wp-json\/wp\/v2\/tags?post=3237"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}