The wooden church, general view and detail
The village was recorded in 1387. The wooden church, named “T he Birth of Jesus Christ’s Mother”, was initial built as a monastery, mentioned around the year 1390. It was removed to the present site in 1665. The legend says that the reason of this removal was a strange happening, which happened to a girl named Calina. Her candle started burning all of a sudden, whenever she passed near the place. This was considered a divine sign and the in habitants of the village decided to build a church here.
The small construction was extended, later on, on the southern side, with a large porch supported by a structure of ten pillars vertical y mould in large accolades. The pillars are pointed to the upper corona by arches carved as half-circles, decorated with discs in high relief.
Under the eaves, along the sidewalls, we see a saw-tooth pattern.
The small entrance door, with access through the porch, is on the southern side. It has a
The doorframe of the entrance to the nave
solid frame decorated on the front only with a cross between two fir cones in high relief.
The roof all made in the same way is completed by the bell-tower, rising above the pronaos, with a watch-tower that has a balcony leaning on a row of 12 small pillars, fixed in arcades on the upper corona by semi-circled braces similar to the ones on the porch. A conical very pointed steeple ends with a three-arm cross that completes the structure.
The interior painting, recently restored, reveals scenes and faces enclosed in black and red frames. The panels are displayed in an impressive succession as if telling a story. The impact upon believers is huge, as they have important religious ethical and moral significance.
Detail of painting in the pronaos
On the walls of the pronaos, the scenes of “Doomsday” and ”The Wheighing of Souls” are impressive; “The Road to Heaven” is represented by a ladder on which the souls descend in order to be reunited with their bodies for the last judgment.
The walls of the nave reveal an interesting succession of scenes from the life of Christ. The content of each one is identified by inscriptions in a clumsy and distorted script. On the vault God, The Divine Father is surrounded by seraphs in a painting that connects with the scenes on the extremities of the side vault, where the first chapters of the genesis are presented.
In the Sanctuary one can see a row of seraphs holding a cross in the right hand and a
Detail of painting in the Sanctuary
censer in the left. Then there are scenes with “The Universal Exaltation of the Precious Cross” “Jesus, the True Vine”, “The Parable of the Pharisee and the Publican”, and Patriarchs like St. Sava and Simeon, John the Metropolitan of Moscow etc.
The Iconostasis has the first two row separated by colonnades decorated with geometrical motifs and individual arched panels with Slavonic inscriptions. The upper raw has the scene with Jesus on the Cross watched over by John and The Holy Mother, with the sun and moon with human features looking down on them. The church also houses a collection of old wooden icons.
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