The Modern Serbo-Byzantine architectural style, Neo-Byzantine architectural style or Serbian national architectural style is the style in Serbian architecture which lasted from the second half of the 19th century to the first half of the 20th century. This style originated in the tradition of medieval Serbian-Byzantine school and was part of international Neo-Byzantine style.
The beginning of the modern Serbian-Byzantine style lies in the romantic spirit, which was prevalent in Europe in the first half of the 19th century, and in the Serbian lands appeared by the mid-century and was alive to its last decades. The beginning of this style can be seen as "resistance" to newcomers' influences of the "western-style" (Classicism, Neo-Baroque) in the Principality of Serbia. [1] The style is characterized by forms and decorations from the Serbian-Byzantine architectural heritage. [1] This architectural approach is not strictly tied to the church architecture; in fact, the style was prosperous in secular architecture. It is also closely linked to the influence of Art Nouveau. [1]
The Modern Serbo-Byzantine architectural style consists of three periods: the first or early period represents a combination of "western-style" with elements of Byzantine architecture. A typical example is the Church of St. George in Smederevo, where the longitudinal basis (characteristic of the West) appears five domes in the form of so-called. "Greek cross". The second period is related to the expansion and strengthening of Serbia, now as a kingdom (1882–1914). During this period, the style is "determined". Numbers of churches are being built, rarely other forms of construction. Examples outside the territory of the Kingdom of Serbia are rare. The third and final period is related to the time between the two world wars, when there was a sudden expansion of the style across the whole of the Kingdom of Serbs, Croats and Slovenes, later Yugoslavia, although its presence was much more dominant in the east, "Serbian" (mostly Central Serbia) part of the work of the Kingdom. Examples of the western part of the Kingdom of Yugoslavia are rare and are mainly related to specific examples of church architecture of the Serbian Orthodox Church. In addition, there are examples related to the Serbs in the diaspora, like the Church of St. Spyridon in Trieste, designed by Carlo Maciachini. Buildings in this period are equally religious and secular.
The Second World War and after was a turning point; after the war with the advent of communism, all forms of historicism in Serbian architecture are discarded, including Serbo-Byzantine style. [1] After the fall of socialist Yugoslavia, Serbo-Byzantine style returned through the construction of new religious buildings such as churches and monasteries.
Prominent architects of this style are (ordered by the time in which they were active):
The Church of Saint Sava is a Serbian Orthodox church which sits on the Vračar plateau in Belgrade, Serbia. It was planned as the bishopric seat and main cathedral of the Serbian Orthodox Church. The church is dedicated to Saint Sava, the founder of the Serbian Orthodox Church and an important figure in medieval Serbia. It is built on the presumed location of St. Sava's grave. His coffin had been moved from Mileševa Monastery to Belgrade. The coffin was placed on a pyre and burnt in 1595 by Ottoman Grand Vizier Sinan Pasha. Bogdan Nestorović and Aleksandar Deroko were finally chosen to be the architects in 1932 after a second revised competition in 1926–27. This sudden decision instigated an important debate in interwar Yugoslavia which centered around the temple's size, design and symbolic national function. This was accompanied by a sizeable increase in the base area of the ambitiously conceived project. The new design departed from the competition guidelines issued in 1926, and was to replicate the dimensions and architecture of Hagia Sophia.
Neo-Byzantine architecture was a revival movement, most frequently seen in religious, institutional and public buildings. It incorporates elements of the Byzantine style associated with Eastern and Orthodox Christian architecture dating from the 5th through 11th centuries, notably that of Constantinople and the Exarchate of Ravenna.
Aleksandar Deroko was a Serbian architect, artist, and author. He was a professor of the Belgrade University and a member of the Serbian Academy of Sciences and Arts.
The architecture of Serbia has a long, rich and diverse history. Some of the major European style from Roman to Postmodern are demonstrated, including renowned examples of Raška, Serbo-Byzantine with its revival, Morava, Baroque, Classical and Modern architecture, with prime examples in Brutalism and Streamline Moderne.
Architecture of Belgrade is the architecture and styles developed in Belgrade, Serbia. Belgrade has wildly varying architecture, from the centre of Zemun, typical of a Central European town, to the more modern architecture and spacious layout of New Belgrade. The oldest architecture is found in Kalemegdan park. Outside of Kalemegdan, the oldest buildings date only from 19th century, due to its geographic position and frequent wars and destructions. The oldest public structure in Belgrade is a nondescript Turkish türbe, while the oldest house is a modest clay house on Dorcol, the House at 10 Cara Dušana Street from 1727.
The End of the Obrenović Dynasty is а Serbian historical drama television miniseries which depicts events that led to the May Overthrow and assassination of the last Serbian king from the Obrenović dynasty, Alexander, and his close family.
The Serbo-Byzantine architectural style or Vardar architectural school, is an ecclesiastical architectural style that flourished in the Serbian Late Middle Ages, during the reign of the Nemanjić dynasty. It was developed through fusing contemporary Byzantine architecture and the Raška architectural school to form a new style; by the mid-14th century the Serbian state had expanded to include southern Macedonia, Epirus and Thessaly up to the Aegean Sea. On these new territories Serbian art was even more influenced by the Byzantine art tradition. The architectural school was also promoted as a counter to the dominance of Western styles such as Neo-Baroque.
The House of Vuk's Foundation is the name of a historical building in Belgrade, built in 1879, that serves as the headquarters of the Vuk's Foundation. Located on the Теrazije at 2 Kralja Milana Street, it is one of the oldest structures in that part of Belgrade. Aleksandar Bugarski, a prominent 19th-century Serbian architect, designed the original building as a two-story house in the Academic art style of the day.
The Veterans' Club Building in Belgrade, at 19 Braće Jugovića Street, is a monumental building, today the Military Club of Serbia, whose basic activities are informing and education of the members of the Serbian Army and the civilian sector through numerous cultural activities such as: exhibitions, concerts, book promotions, public discussions, lectures etc. The premises of the club are also used for receptions, conferences, seminars, presentations, fairs, business meetings, cocktails, balls and fashion shows. The construction of the club was finished in 1931 after the design of the professor and architect Jovan Jovanović and Živojin Piperski. The building was built in the style of modernism with the elements of the еxpressionism. The lot for the construction of the club was donated by the Administration of the City of Belgrade, as a gift to former veterans. The Veterans' Club was built thanks to the donations of the members of the National Defence and the subventions given by the patron king Aleksandar the Unifier. Apart from the military purpose, many cultural associations which cherished patriotism and good relations between the army and the people, that is, the civilians. The most active associations were The Association of the reserve officers and veterans, The Association of the volunteers, Sokolska matica, Adriatic guard, the League of the friends of France etc. were also placed in the Veterans' Club. One part of the object was intended for the accommodation of the guests from the rest of the country. The Club obtained the character of a hotel mostly by constructing of the additional part towards Simina Street. The Veterans' Club has two parts, one built between 1929 and 1932, towards Braće Jugovića Street, and the other, added in 1939 towards Simina, Francuska and Emilijana Josimovića Street. After the invasion and occupation of the country in April 1941 this building was used by the German occupying authority. In August 1941 Wehrmacht officers moved in and the building became the Gestapo Headquarter for the entire Balkan. After the war, on the Victory Day, on 9 May 1946, it was officially established as the Yugoslav Army Club. The first post-war commander and the head of the club was a professor, a colonel, an academic painter and a graphic artist Branko Šotra. In 1984,based on the decision of the City of Belgrade Assembly, the building was designated as the cultural property. Since 2010 the club has become the seat of the Меdia centre "Defence" and the Artistic ensemble "Stanislav Binički".
Momir Korunović, was a Serbian architect best-known for his projects built in Serbo-Byzantine Revival. He was sometimes called the Serbian Gaudi. Although he designed some of the most beautiful buildings in Belgrade and was the leading architect of sacred buildings in Yugoslavia between the two world wars, today he is insufficiently known to the general public. Many of his works were destroyed or substantially altered during World War II and the period of communist dictatorship.
Dragutin Đorđević was a Serbian architect and university professor who worked during the last decade of the Belle Époque and the interwar period. He was a corresponding member of the Royal Academy of Arts and Sciences from 16 February 1920.. His work is characteristic of the academic art and eclectic styles in Serbia.
Branko Tanazević was one of the most famous Serbian architects of the Art Nouveau and Serbo-Byzantine Revival, also known as the Serbian national style, which he successfully combined in his works. He graduated from two faculties: the Technical Faculty in Belgrade, the Department of Mechanical Engineering and Architecture in Munich.
Đura Bajalović also spelled Djura Bajalović was one of the leading Belgrade architects of art nouveau in Serbian architecture at the turn of the 19th century. He was the younger brother of Petar Bajalović, also an architect and university professor.
Czechoslovakia–Yugoslavia relations were historical foreign relations between Czechoslovakia and Yugoslavia, both of which are now-defunct states. Czechoslovakia and the Kingdom of Serbs, Croats and Slovenes were both created as union states of smaller Slavic ethnic groups. Both were created after the dissolution of Austria-Hungary, itself a multinational empire unable to appease its Slavic populations or implement a trialist reform in its final years.
The Holy Trinity Cathedral is the seat of Eparchy of Niš. After the Church of St. Sava and the Church of St. Mark in Belgrade, the Cathedral Church in Niš is the largest in Serbia.