Boyana Church
The uprightness of Boyana temple is completely guaranteed. In 1917 a recreation center was made around the congregation, along these lines securing its instantaneous surroundings through being differentiated from the effect of current activity. The property has likewise remained whole from notable intrusions, and other dangerous dangers. Three divide zones are characterized in the property limits and support zone, through which suitable control measures are connected.
The idea, shape and improvement of the three constructional stages of the property, from the tenth eleventh; thirteenth; and nineteenth centuries, are plainly clear. Vital preservation and restoration works have been finished. Where sufficient confirmation existed, later exterior renders have been evacuated to uncover the definitive manifestation of dividers.
To shield and present the inward eleventh and twelfth centuries fresco sections, those from the thirteenth century, and the later 1882 increases in the vestibule, they were cleaned, refilled and saved. This work was finished in 2008. The property is presently cooled, and under consistent reconnaissance.
Throughout the Middle Ages the solid Bulgarian post of Boyana (Batil) stood on the more level inclines of Mount Vitosha in what is currently the Sofia suburb of Boyana. This name is specified without precedent in 969. Boyana was one of the 35 forts and settlements that structured the stronghold frameworks of the city of Sredets (Sofia). Boyana Church was assembled inside the post and is a sublime illustration of medieval building design and fantastic craft.
The congregation has experienced numerous conversion and developments, and accordingly its available complex volume varies extensively from the first ever. New structures have been added to the First (East) Church, structural conversions have been made, and the improvement has been adapted. At present Boyana Church comprises of structures from the eleventh, thirteenth and nineteenth centuries.
The most seasoned Boyana Church, the purported East or First Church, was planned and utilized as a church. It had a common Greek cross arrange with a vault, and a disguised inner cross without unattached uphold and without a narthex. It is assembled completely of block. The north and south fronts are enunciated on the outside with three visually impaired curves, each with the focal curve higher than the side ones; the curves are not identified with the structure of the building. The brickwork improvements are figural: archivolts with 'wolf's tooth' and concentric lines of blocks above the curves.
The arrangement of the inner part is reminiscent of a Greek cross and is insufficiently lit by long limited openings (one each on the north and south dividers, four on the arch) and also through one triforium on the apse. The whole inner part surface of the dividers and vault was secured with paintings. Some bigger pieces have been protected in the apse. As the First Church was painted again in the mid-eighteenth century, hints of the definitive sketches are recognizable just where the upper layer of paintings has been annihilated.
In the thirteenth century the feudal leader of the western district of the Second Bulgarian State, Sebastocrator Kaloyan and his wife Desislava, who were nearly identified with the imperial family, charged the development of the congregation. The makers included another two-storey building to the western divider of the First Church. The ground floor has steer access from the First Church and was proposed as a narthex. It is rectangular, secured with a round and hollow vault. Within, the dividers are finished just with two specialties on the southern and northern sides individually, presumably for a family tomb. The upstairs carpet of Kaloyan's Church has a very nearly indistinguishable design creation to the more seasoned building, fit as a fiddle of a Greek cross, and it was utilized as a family sanctuary. It was committed to the saint healer St Panteleimon. Access to the sanctuary is by an outside staircase along the southern divider. It is conceivable that the stairs joined the house of prayer with the house of the aristocrat. There are justification for accepting that in the occasion of threat, the portable staircase was uprooted, along these lines, the upstairs sanctuary could likewise be utilized as a defence tower.
The enunciation of the fronts is figural as in the First Church. The northern and southern fronts have four visually impaired curves each on the level of the second story. One of the curves on the southern divider is more extensive and was utilized as a passage to the house of prayer on the second story. The eastern veneer of Kaloyan's Church climbs above the top of the First Church. On the outside its surface is broken by a minor crescent apse. The western, passage front is the most agent and has a declared fantastic character. The new chapel, enlarged and reestablished by the group of the Sebastocrator, was beautified with depictions and blessed in 1259.
The Boyana frescoes are an early case of the symbol painting style which later on was received in wall painting and all things considered they stamp the start of particular characteristics which positively affected the Tirnovo imaginative school. The symbol style paintings that came to be boundless in the Serbian, Russian and Mount Athos religious communities throughout the fourteenth to sixteenth centuries are nearly identified with this improvement.
The idea, shape and improvement of the three constructional stages of the property, from the tenth eleventh; thirteenth; and nineteenth centuries, are plainly clear. Vital preservation and restoration works have been finished. Where sufficient confirmation existed, later exterior renders have been evacuated to uncover the definitive manifestation of dividers.
To shield and present the inward eleventh and twelfth centuries fresco sections, those from the thirteenth century, and the later 1882 increases in the vestibule, they were cleaned, refilled and saved. This work was finished in 2008. The property is presently cooled, and under consistent reconnaissance.
Throughout the Middle Ages the solid Bulgarian post of Boyana (Batil) stood on the more level inclines of Mount Vitosha in what is currently the Sofia suburb of Boyana. This name is specified without precedent in 969. Boyana was one of the 35 forts and settlements that structured the stronghold frameworks of the city of Sredets (Sofia). Boyana Church was assembled inside the post and is a sublime illustration of medieval building design and fantastic craft.
The congregation has experienced numerous conversion and developments, and accordingly its available complex volume varies extensively from the first ever. New structures have been added to the First (East) Church, structural conversions have been made, and the improvement has been adapted. At present Boyana Church comprises of structures from the eleventh, thirteenth and nineteenth centuries.
The most seasoned Boyana Church, the purported East or First Church, was planned and utilized as a church. It had a common Greek cross arrange with a vault, and a disguised inner cross without unattached uphold and without a narthex. It is assembled completely of block. The north and south fronts are enunciated on the outside with three visually impaired curves, each with the focal curve higher than the side ones; the curves are not identified with the structure of the building. The brickwork improvements are figural: archivolts with 'wolf's tooth' and concentric lines of blocks above the curves.
The arrangement of the inner part is reminiscent of a Greek cross and is insufficiently lit by long limited openings (one each on the north and south dividers, four on the arch) and also through one triforium on the apse. The whole inner part surface of the dividers and vault was secured with paintings. Some bigger pieces have been protected in the apse. As the First Church was painted again in the mid-eighteenth century, hints of the definitive sketches are recognizable just where the upper layer of paintings has been annihilated.
In the thirteenth century the feudal leader of the western district of the Second Bulgarian State, Sebastocrator Kaloyan and his wife Desislava, who were nearly identified with the imperial family, charged the development of the congregation. The makers included another two-storey building to the western divider of the First Church. The ground floor has steer access from the First Church and was proposed as a narthex. It is rectangular, secured with a round and hollow vault. Within, the dividers are finished just with two specialties on the southern and northern sides individually, presumably for a family tomb. The upstairs carpet of Kaloyan's Church has a very nearly indistinguishable design creation to the more seasoned building, fit as a fiddle of a Greek cross, and it was utilized as a family sanctuary. It was committed to the saint healer St Panteleimon. Access to the sanctuary is by an outside staircase along the southern divider. It is conceivable that the stairs joined the house of prayer with the house of the aristocrat. There are justification for accepting that in the occasion of threat, the portable staircase was uprooted, along these lines, the upstairs sanctuary could likewise be utilized as a defence tower.
The enunciation of the fronts is figural as in the First Church. The northern and southern fronts have four visually impaired curves each on the level of the second story. One of the curves on the southern divider is more extensive and was utilized as a passage to the house of prayer on the second story. The eastern veneer of Kaloyan's Church climbs above the top of the First Church. On the outside its surface is broken by a minor crescent apse. The western, passage front is the most agent and has a declared fantastic character. The new chapel, enlarged and reestablished by the group of the Sebastocrator, was beautified with depictions and blessed in 1259.
The Boyana frescoes are an early case of the symbol painting style which later on was received in wall painting and all things considered they stamp the start of particular characteristics which positively affected the Tirnovo imaginative school. The symbol style paintings that came to be boundless in the Serbian, Russian and Mount Athos religious communities throughout the fourteenth to sixteenth centuries are nearly identified with this improvement.