The head of an unknown bishop, probably St. Methodius. The respective bishops of local eastern churches (such, for example, the Cypriot Archbishopric) and the prominent saints-Metroponosis its identification. The vault from the main altar Pros-Thor dominates the composition of Christ’s Ascension in heaven. In the demolished dome (in times of Ottoman interventions) are the Virgin with Christ, fresco in the apse of the cathedral church “St. Sofia, “Ohrid (ⅺ c.) Lithes of cities known by ancient Christian history. The greatest interest caused the discovery of the figures of six Roman popes, whose place was not disputed in the fierce dialogue between Constantinople and Rome. They are painted in the lower zone of the deaconicon on the east side. In the middle ship, the Eucharist is painted (the communion of the apostles) and the Virgin with Christ in the conch of the apse. To the Virgin, they approach both sides of angels, after five of the north and south. In the second zone of the altar, the legend of the righteous Avram and Isaac is painted in several scenes, and despite them on the north side is the Liturgy of St. Basil the Great, Jacob’s Lessons, the three Jews in a fiery furnace and another composition for which there are various opinions in the science of found remains of the figures of the evangelists. The whole Pros-thor of the prosthesis is dedicated to the fourty-seed martyrs cycle, while the deaconicon dominates the life of St. John the Baptist (tooo). In the lower zone of the nave, although very damaged, the figures of holy martyrs, St. Doctors, St. Constantine and Elena and other representations of the choirs of the saints. In the upper part of the nave of the great holidays, fragments of the valuing, Christ’s birth and the middle holiday of the Virgin in the temple were preserved. On the west side of the nave, in the second zone, the great performance of the Dormition of the Virgin is painted. Here are the figures of Old Testament prophets. In the lower part of the narthex, as well as in the vault, many of the sacred women are painted, and the composition is distinguished by the seven effects of sleeping boys. In the chapel formed above the deaconicon, the cycle of the sufferings of the apostles, which is dated in the science in ⅹⅰⅰ c. By ⅹⅴⅰⅰⅰ c. There are several figures, including the resignation of the Virgin in Concha, who speak of the permanent spiritual life in the temple. A larger painting whole of ⅹⅴⅰⅰⅰ c. He was discovered during the conservation of the Patos of Grigorial Gallery and the scene of Avram’s victim is recognized here. There are large painting and thematic units made in ⅹⅳ c. And that on the floor of the Narthex of “St. Sofia, “in the chapel of” St. John earlier “and the Cat of Grigorial Gallery. There is a large gallery of monks of all kinds of all kinds of narthex (wild poets, etc.). In this Pros-Thor, the cycle of the seven ecumenical shooters and the compositions of Sts. Peter Alexandria and David repentance. Over the vow of the same space there was coalote (there were opinions that it was a bell tower or a dome), where fragments of the composition that illustrates the Ascension of the Virgin according to the verses of St. John Damascene, who is painted as a conductor. In the composition repentance of David, the name of the painter of this ensemble, John Theoryian, was written on the match of the Archangel. In the chapel of Sts. John earlier, whose willitor was the despot John Oliver, is a painted with the family and cycle dedicated to the life of St. John earlier. This painting is dated around the middle of ⅹⅳ c. In the exonaratex, i.e. On the Cat of Grigorial Gallery, several cycles were painted: the terrible court, the history of beautiful Joseph, the canon for the soul of the body, a growing number of saints of saints from various choirs, including the characters of Sts. Clement and St. Naum. Above the front door in the exonaratex there are fragments of once the large-scale composition with rulership figures, probably from about 1355 to 1366. There are different opinions for their identification. “St. Sofia Ohridska “, besides” St. Sofia Kievan “, possesses the greatest ensembles on the Wall Painting by Byzantine style in ⅺ c. In Ohrid, several prominent masters who were engaged by senior representatives of the church hierarchy worked. The former research is pointed to the stylistic kindness of “St. Sofia Ohridska “with parts of the frescoes in” St. Sofia “and” Panagia Ton Hullkeeon “in Thessaloniki,” St. Leontius “in Vodoča and the cathedral temple” St. Nicholas “in Mira, i.e. In artistic orders of the high hierarchy. Their style has its basis in the renewal of art after rejection of iconodring (842), when the period of re-returning the ancient influence, which is probably based on the miniatures. The evolution appears a period of spirituality under the influence of the texts of the Holy Fathers, thus creating the throtting of ancient perceptions of the beauty of the body with a greater emphasis on the spirituality of painted figures. The best representatives of this regard the art are portraits of the bishops in the main altar space (St. Vasily Great, St. John Chrysostom, etc.). The ancient elements can be followed through the beauty of the forms in the characters of the angels that bow to the Virgin. They are painted with highlighted color and drapes, stabled according to older examples. These elements are also noted in the stage of the Dormition of the Mother of God, as well as in the birth of Christ, in which there are strong Hellenistic reminiscences. The science is estimated that several performances in the altar are conceptualized according to the suggestions of the Leo (León) suggestions, who was a direct participant in the polemic with the Roman church in front of the schism, and it is estimated that his views represented the Patriarch of Patriarch Mikhail Kerarolija. Of this species are the compositions of the Eucharist (Communion of the Apostles) and the Liturgy of St. Basil the Great, in the way of presenting the honest bread. The founder certainly insisted that the popes were painted to emphasize the unity of the Christian church through portraits that were in the eastern church highly respected. The second large ensemble of the narthex floor, along with the frescoes of the Grigorian Gallery, belong to the Atelian of John The Theory, which has its starting point in the frescoes of Mi-Hail and Eutychius. However, they are fresco: Ascension of Christ, “St. Sofia, “Ohrid (ⅺ c.) The evolution that has occurred in Eastern Christian art during the first half of ⅹⅳ c., With number of scenes, with quite narrative elements, vividness, architectural towers, landscape and painted details of life. Obviously, this workshop left big traces in other churches of Ohrid, and the masters of the high zones of Mark’s monastery arose from it. Through a string detail prof. C. J. Djuric notes the signs that penetrate the frescoes of Ohrid churches and chapels – in “St. The Virgin Hospital, “the chapels in” St. The Virgin Periblepta, “While the newer researchers painting Yo-Van The The Totian and” St. George “in Recica, Ohrid,” St. The Mother of God Pestanska “End the shores of Ohrid Lake, but also in some churches in the region of Tetovo and Kumanovo. This workshop greatly gives a seal of frescoes in Macedonia in time, while it was within the Serbian medieval state, as well as at the time of the reign of King Marko. In “St. Sofia Ohridska “In this paintings from the middle of ⅹⅳ c. Very several masters, but interesting is the fact that in the chapel of “St. John earlier, “which was ordered by the despot John Oliver, the workshop of John Theoryian is not recognized. Lit.: M. Evilmark, the age of churches of areas of Ohrid, an older, ⅲ, Belgrade, 1925; N. Okunev, Fragment de Peinusus de L’eglise Saeck Smoke D’Ohrid, Melanges Charles Deex, ⅱ, Paris, 1930, 117-131; Peter Miljkovic-Pop, materials for Macedonian medieval art: the frescoes in the Sanctuary of the church of Sts. Sofia in Ohrid, “Proceedings of the Archaeological Museum-Skopje”, and Skopje, 1956, 37-67; Svetozar Radoches ¢, fresco repentance Davidot U Ohridish St. Soffs, “Olderly” n. v., ⅸ-J, Belgrade, 1959, 133-136; Ibid., “Qin Bivaemi of the exclaimed souls from the bodies” U monumental I paint, ⅹⅳ, Zreva, ⅶ, Belgrade, 1961, 39-50; D. Boskoviuђ – K. Tomovski, medieval architecture in Ohrid, Proceedings, Ohrid, 1961, 71-100; Radivojee Lubby ¢ – Mirjana ‘¢ – Ivey ¢, medieval painting in Ohrid, Proceedings, Ohrid, 1961, 101-106, 110, 129-131, 136-137; C. N. Lazarev, paintings ⅺ-ⅹⅰⅰ century in Macedonia, ⅹⅰⅰ Congrès International Des Etudés Bdzantine, Rappports, Belgrade-Ozheride, 1961, 114-120; Petar Miljkovic-ash, materials for the history of medieval painting in Macedonia, ⅱ, the cycle of suffering Apostolic from St. Sofia in Ohrid, “Proceedings of the Archaeological Museum – Skopje”, ⅲ, Skopje, 1961, 99-105; Vojislav J. ™ Uri ¢, Church of Sophieu U Ohradu, Belgrade, 1963; Cvetan Grozdanov, Ohrid wall painting from the ⅹⅳ century, Ohrid, 1980; It, studies for Ohrid paint, Skopje, 1990. CH. Gr. – Cr. T.
Original article in Macedonian language Cyrillic alphabet
Кириличен напис главата на еден непознат архијереј, веројатно св