SV. KLIMENT
Ochrid


The Death of the Virgin


St. Nicholas

The paintings in the small church of Sv. Kliment, in the Macedonian city of Ochrid, represent a radical turning point in the history of the region's art, and for Byzantine art as a whole. Completed in 1295 by the artists Mihail and Eutihije, the frescoes show the first emergence of the last Byzantine renaissance, the so called "Palaelogan Revival', in the Balkans. Through a close observation of detail and expression the artists created a new realism that was a world apart from the oriental decorativeness of the style in Constantinople. It showed a growing awareness of classical motifs and understanding. New iconography and detail was used to break away from the past, and construct a new style with its own imperatives.

The roots of this turning point lie in the old churches of Macedonia, primarily painted by craftsmen from the Byzantine capitol. While these older churches mainly reflected the contemporary tastes of Constantinople they had also come to show the genesis of a local style. This trend was to reach fruition in the frescoes of Sv. Kliment in which, for the first time, a native Style is predominant. Following Sv. Kliment's, frescoes in other churches in Serbia and Macedonia were produced in this new style. Some were the work of Mihail and Eutihije, others were the works of artists who bore their influence. Through paintings in Prizren, Studenica, and numerous other towns, this Macedonian style became the prime influence on church painting in the Orthodox north Balkans in the late Middle Ages.


The Apse

The originality and importance of the church frescoes lies both in their stylistic and in their iconographic content. Whilst other, earlier, first-rate frescoes had been executed in the region, such as the eleventh century Sv. Sofija in Ochrid, and Sv. Pantelejmon in Nerezi, with its twelth-century works, these had been executed by masters trained in the manner of Constantinople and thus primarily reflect the style of the imperial capital. Sv. Kliment represents a radical turning point in that we see the emergence of a distinct, indigenous style being created by regional artists. Iconographically the church melds the old standard motifs of Byzantine art with new interpretations and themes, such as the Life of the Virgin cycle. These became a source for the Macedonian church paintings that were to follow, especially in the next thirty years.

The style developed here showed a new awareness of humanity, an approach that was to strongly shape the regional art which followed. For the first time the expressiveness that had already been developed as characteristic of the area's painting style was fused with an appreciation of naturalistic detail, creating a wholly new atmosphere. The art that was produced in Sv. Kliment was of a new level of sophistication, being the most refined to be produced in Serbia or Macedonia for hundreds of years. The mastering of space and emotion shown here, and in the churches to follow, were the first signs of a revived appreciation of classical modes in the Orthodox north Balkans.


Interior, looking towards the Death of the Virgin

The upper frescoes contain cycles depicting the life, miracles and Passion of Christ, as well as the Life of the Virgin. Along the lower levels of the naos are large figures of saints and holy men depicted with solemn dignity. These are surmounted on the north and south walls by the Life of the Virgin cycle. Tie south wall depicts the story of SS. Joachim and Anna, the miracle of Mary's birth and stories from her childhood, like the First Steps, whilst the north wall has scenes from the Virgin's adult life, such as the Annunciation at the Well and Mary with the Suitors. The zone above this dramatically illustrates the life of Jesus. These scenes contain great energy and emotion, conveyed in details like that of the tense eye-contact between Jesus and Pontius Pilate as Pilate symbolically washes his hands in the painting of Christ before Pontius Pilate, or the disregard of the soldiers throwing dice for Christ's robe as Jesus mounts the cross in the Ascent of the Cross. This heavy atmosphere distinguishes this cycle from the others depicted in the naos, giving it perhaps the greatest impact and force, whilst the Life of the Virgin cycle displays the tenderness and intimacy of which the artists were also capable.

The west wall is dominated by the great Dormition of the Virgin. Across from this is the altar and the east wall, with the impressive apse paintings. The apse has the Virgin Mary, standing with outstretched arms, above the Communion of the Apostles.

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