UNESCO SITES IN BULGARIA

Ancient City of Nessebar

Nessebar is one of the oldest towns inEurope, more than 3000 years old. At thebeginning of the 6th century BC, the citybecame a Greek colony. The city’s remainsinclude the acropolis, a temple of Apollo, anagora and a wall from the Thracianfortifications. Among other monuments, theStara Mitropolia Basilica and the fortress datefrom the Middle Ages, when this was one ofthe most important Byzantine towns on thewest coast of the Black Sea. Wooden housesbuilt in the 19th century are typical of theBlack Sea architecture of the period.

The Ancient city of Nessebar is a uniqueexample of a synthesis of the centuries-oldhuman activities in the sphere of culture; it isa location where numerous civilizations haveleft tangible traces in single homogeneouswhole, which harmoniously fit in with nature.

The different stages of development ofits residential vernacular architecture reflectthe stages of development of the architecturalstyle on the Balkans and in the entire EastMediterranean region. The urban structurecontains elements from the secondmillennium BC, from Ancient Times and theMedievalperiod.

The medieval religious architecture, modified bythe imposition of the traditional Byzantineforms, illustrates ornamental ceramics art, thecharacteristic painted decoration for this age.The town has served for over thousands ofyears as remarkable spiritual hearth ofChristian culture.

Criterion: The Ancient City of Nessebar is anoutstanding testimony of multilayered culturaland historical heritage. It is a place wheremany civilizations left their tangible traces:archaeological structures from the Secondmillennium BC, a Greek Black Sea colonywith surviving remains of fortifications, a

Hellenistic villa and religious buildings fromthe Antiquity, preserved churches (in some ofthem preserved only parts of archaeologicalstructures) from the Middle Ages. Nessebarhas demonstrated its historical importance asa frontier city on numerous occasions. Havingbeen a remarkable spiritual centre ofChristianity for a thousand years, today it is adeveloping and vibrant urban organism.

Criterion: The Ancient City of Nessebar is aunique example of an architectural ensemblewith preserved Bulgarian Renaissancestructure, and forms a harmonioushomogenous entity with the outstandingnatural configuration of the rocky peninsular,linked with the continent by a long narrowstretch of land.

Its nature and existence is a result of synthesisof long-term human activity, which haswitnessed significant historic periods - anurban structure with elements from 2nd

millennium BC, classical antiquity, and theMiddle Ages; the development of medievalreligious architecture with rich plastic andpolychrome decoration on its facades in theform of ceramic ornamentation typical for theperiod; the different stages in the developmentof the characteristic residential vernaculararchitecture, which testify to the suprememastery of the architecture of the Balkans aswell as the East Mediterranean region. Thevernacular architecture of the urban ensemble,dominated by medieval churches andarchaeology, together with the unique coastalrelief, combine to produce an urban fabric ofthe high quality.

History

Systematic archaeological studies,reinforcement, restoration and conservationhave preserved the material traces of historyin Nessebar more than anywhere else. Thesmall peninsula is a meeting place of bygonetimes. Nessebar has demonstrated on severaloccasions the significant historic position of afrontier city on the outposts of a threatenedempire. The millennia of uninterrupted human

occupation (the earliest traces of humansettlement date back to over 3,000 years ago)have produced an impressive culturaloccupation layer that is as thick as 6 m insome places.

Confined to a rocky promontory of theBulgarian coast, Nessebar is a rich city-museum with more than three millennia ofhistory. The Thracians were the first toestablish themselves on this natural defensivesite, as attested by numerous discoveries ofBronze Age objects. Strabo records,moreover, the legendary foundation by theThracian, Mena, from whom the city took itsoriginal name, Menebria. Dorian colonistsfrom Megara made it one of the oldest Greekcolonies of Pontus Euxinus (the Black Sea)under the name of Messembria: according toHerodotus it was already in existence in 513BC.

Nessebar lies nestling along a romanticisthmus. Its cobbled streets, well keptmedieval churches, and timbered houses fromthe 19th century illustrate its chequered past.Nessebar's churches can be best described as across between Slav and Greek Orthodoxarchitecture, and are some of the finest in thearea. One of the oldest towns in Europe, it stillexudes the spirit of different ages and peoples- Thracians, Hellenes, Romans, Slavs,Byzantines and Bulgarians.

The Greek city, whose acropolis rose on theeastern end of the peninsula, was defended onthe landward side by a 6th-century wall whichstill partially exists to the north. Vestiges ofthe agora, the theatre, and the Temple ofApollo were brought to light near buildingsconstructed during the period whenMessembria fell under Roman influence. Thecity was taken in 71 BC, but continued toenjoy numerous privileges, such as that ofminting its own coinage. When the death ofTheodosius (395) provoked the schism withthe Roman Empire, Messembria fell into theByzantine domain and it was not long beforeit became one of the most importantstrongholds of the Eastern Empire, and theobject of struggles between Greeks andBulgarians. It was successively held by firstone and then the other, depending on thefortunes of each army, until 812 when theBulgarian Khan Krum seized it after a siegeof two weeks.

Boyana Church

Located on the outskirts of Sofia, BoyanaChurch consists of three buildings. Theeastern church was built in the 10th century,then enlarged at the beginning of the 13thcentury by Sebastocrator Kaloyan, whoordered a second two storey building to beerected next to it. The frescoes in this secondchurch, painted in 1259, make it one of themost important collections of medievalpaintings. The ensemble is completed by athird church, built at the beginning of the 19thcentury. This site is one of the most completeand perfectly preserved monuments of eastEuropean medieval art.

There are several layers of wall paintings inthe interior from the 11th, 13th, 15-17th and19th centuries which testify to the high levelof wall painting during the different periods.The paintings with the most outstandingartistic value are those from 13th century.Whilst they interpret the Byzantine canon, theimages have a special spiritual expressivenessand vitality and are painted in harmoniousproportions.

Criterion: From an architectural point of view,Boyana Church is a pure example of a churchwith a Greek cross ground-plan with dome,richly decorated facades and decoration ofceramic elements. It is one of the mostremarkable medieval monuments withespecially fine wall paintings.

The Boyana Church is composed of threeparts, each built at a different period - 10century, 13th century and 19th century whichconstitute a homogenous whole.

The management is implemented by virtue of:

- Cultural Heritage Law (Official Gazette No19 of 2009) and subdelegated legislation. Thislaw regulates the research, studying,protection and promotion of the immovablecultural heritage in Bulgaria, and thedevelopment of Conservation andManagement plans for its inscribed WorldHeritage List of immovable culturalproperties.

- Instructions on the Protection andPreservation of the World Monument"Boyana Church" and its Protective Zonewere adopted by Official Cover LetterNo.RD-91-00-17, signed by the Chairman ofthe Culture Committee, and dated 10.08.1989.These Instructions are mandatory and set outthe responsibilities of the interested parties,including the state, local institutions andowners.

HISTORY

During the Middle Ages the strong Bulgarianfortress of Boyana (Batil) stood on the lowerslopes of Mount Vitosha in what is now theSofia suburb of Boyana. This name ismentioned for the first time in 969. Boyanawas one of the 35 fortresses and settlementsthat formed the fortification systems of thecity of Sredets (Sofia). Boyana Church wasbuilt within the fortress and is a magnificentexample of medieval architecture andmonumental art.

The church has undergone manytransformation and extensions, and thus itspresent complex volume differs considerablyfrom the original. New buildings have beenadded to the First (East) Church, architecturaltransformations have been made, and thedecoration has been changed. At presentBoyana Church consists of buildings from the11th, 13th and 19th centuries.

The oldest Boyana Church, the so-called Eastor First Church, was designed and used as achapel. It had a typical Greek cross plan witha dome, and a concealed internal crosswithout free-standing support and without anarthex. It is built entirely of brick. The northand south facades are articulated on theoutside with three blind arches, each with thecentral arch higher than the side ones; thearches are not related to the structure of thebuilding. The brickwork decorations arefigural: archivolts with 'wolf's tooth' andconcentric rows of bricks above the arches.

The plan of the interior is reminiscent of aGreek cross and is scantily lit by long narrowopenings (one each on the north and southwalls, four on the dome) as well as throughone triforium on the apse. The entire interiorsurface of the walls and dome was coveredwith murals. Some larger fragments have beenpreserved in the apse. As the First Church waspainted again in the mid-18th century, tracesof the original paintings are noticeable onlywhere the upper layer of murals has beendestroyed.

In the 13th century the feudal ruler of thewestern region of the Second Bulgarian State,Sebastocrator Kaloyan and his wife Desislava,who were closely related to the royal family,commissioned the extension of the church.The builders added a new two-storey buildingto the western wall of the First Church. Theground floor has direct access from the FirstChurch and was intended as a narthex. It isrectangular, covered with a cylindrical vault.On the inside, the walls are decorated onlywith two niches on the southern and northernsides respectively, probably for a familytomb. The upstairs floor of Kaloyan's Churchhas an almost identical architecturalcomposition to the older building, in the shapeof a Greek cross, and it was used as a familychapel. It was dedicated to the martyr healerSt Panteleimon. Access to the chapel is by anoutside staircase along the southern wall. It ispossible that the stairs connected the chapelwith the house of the nobleman. There aregrounds for believing that in the event of

danger, the mobile staircase was removed,thus, the upstairs chapel could also be used asa defence tower.

The articulation of the facades is figural as inthe First Church. The northern and southernfacades have four blind arches each on thelevel of the second floor. One of the arches onthe southern wall is wider and was used as anentrance to the chapel on the second floor.The eastern facade of Kaloyan's Church risesabove the roof of the First Church. On theoutside its surface is broken by a smallsemicircular apse. The western, entrancefacade is the most representative and has apronounced monumental character. The newchurch, extended and renewed by the familyof the Sebastocrator, was decorated withpaintings and consecrated in 1259.

The Boyana frescoes are an early example ofthe icon-painting style which later on wasadopted in mural painting and as such theymark the beginning of specific features whichstrongly influenced the Tirnovo artisticschool. The icon-style murals that becamewidespread in the Serbian, Russian and Mount

Athos monasteries during the 14th to 16thcenturies are closely related to this innovation.

Madara Rider

The Madara Rider, representing the figure ofa knight triumphing over a lion, is carved intoa 100-m-high cliff near the village of Madarain north-east Bulgaria. Madara was theprincipal sacred place of the First BulgarianEmpire before Bulgaria’s conversion toChristianity in the 9th century. Theinscriptions beside the sculpture tell of eventsthat occurred between AD 705 and 801. Briefsynthesis

The Madara Rider is a unique relief, anexceptional work of art, created during thefirst years of the formation of the BulgarianState, at the beginning of the 8th century. It isthe only relief of its kind, having no parallelin Europe. It has survived in its authentic

state, with no alternation in the past or thepresent.

It is outstanding not only as a work ofBulgarian sculpture, with its characteristicallyrealist tendencies, but also as a piece ofhistorical source material dating from theearliest years of the establishment of theBulgarian state. The inscriptions around therelief are, in fact, a chronicle of importantevents concerning the reigns of very famousKhans: Tervel, Kormisos and Omurtag.

Criterion: The Madara Rider is an exceptionalwork of art dating from the beginning of the8th century. It is the only relief of its kind,having no parallel in Europe.

Criterion: The Madara Rider is outstandingnot only as a work of the realist Bulgariansculpture but also as a piece of historicalsource material from the earliest years of theBulgarian state, since the inscriptions aroundthe relief chronicle events in the reigns offamous Khans. Management is implementedby virtue of:

- Cultural Heritage Law (Official GazetteNo.19 of 2009) and subdelegated legislation.This law regulates the research, studying,protection and promotion of the immovablecultural heritage in Bulgaria, and thedevelopment of Conservation andManagement plans for its inscribed WorldHeritage List of immovable culturalproperties.

In addition, secondary legislation, issued bythe Government in 1981 (Ordinance No. 22on Protection of the Historical andArchaeological Reserves of Pliska, Preslavand Madara, promulgated in the OfficialGazette No. 14 of 1981) also applies.

In order to ensure the conservation of therelief, there is a need to implement theproposed interventions drawn by the 2007International project.

HISTORY

The sculptor carved a relief of a majestichorseman 23 m above ground level in analmost vertical 100 m high cliff. Thehorseman is thrusting a spear into a lion lyingat his horse's feet, while a dog runs after thehorseman. In antiquity the Thracian tribesinhabited the plain. There was an ancientThracian sanctuary in the large open caveunder the rocks, which is known today as theNymphs' Cave.

The fortress and a large farm (VILLARUSTICA) prospered at the foot of the clifffor more than three centuries during Romantimes, until it fell into disuse with the declineof the Roman Empire. The pitched towers ofthe fortress were rebuilt when the firstBulgarian capital, Pliska, was establishednearby.

During the difficult times at the end of the 7thcentury the relations of the young Bulgarian

state and Byzantium were very complex. TheBulgarians won the right to establish theirstate in a victorious battle, but Byzantiumconsidered itself an heir to the Roman Empireand never gave up its claim on this territory.When the dethroned Byzantine EmperorJustinian asked for help from the BulgarianKhan Tervel, he was obliged to accept theBulgarian conditions. The Emperor wasreinstalled on the throne in Constantinoplethanks to the Bulgarian army. These eventstook place in the year 705: thus, only a quarterof a century after the Bulgarian state had beenfounded, it was not only recognized by butalso received tribute from Byzantium.

The Madara Horseman was carved at the verybeginning of the 8th century, about threedecades after the foundation of the BulgarianState (681). The sculpture marks a triumph:the Byzantine Empire had recognized the newstate. The relief is not an abstract symbolicscene but presents a particular image with itsown historical background and profoundsymbolism. The place chosen is such that thebulge of the rock allows some parts of therelief to project more than the rest. Otherelements of the composition are almost flatbecause they had to be accommodated in theslope of the rock surface.

The sculptor used three methods for thecarving of the figures. First he outlined theimages with a 1.5 cm wide and 2 cm deepgroove in the rock (only the lion is notsurrounded by such a groove). Then he hewed

out the surrounding surface so that the figuresproject from it. The third method used was tocover the figures in red plaster so as to outlinethem even better against the rock. Most of thisplaster has been destroyed by the elements,but some traces are still visible. The letters ofthe inscriptions were also filled with the sameplaster. The sculptor worked carefully on thecomposition in order to ensure that the reliefwould be seen clearly from a distance. Theelements of this skilful composition arearranged in such a way as not to distract butemphasize the impact.

The sculpture offers an original combinationof dynamic and static character, of formalgestures and realistic details. The image is ofa particular event but it implies a sense oftriumph beyond the limits of time. However,although this monumental work of artcombines the concrete with the abstract, theinscription cut in the left and right sides of thecomposition provided curt, precise and simpleinformation about the event and some of thecircumstances related to it. The profoundhistorical meaning of the relief is furtherclarified by the inscriptions around thefigures. These inscriptions were made in threeconsecutive stages and are related toimportant events. They are the earliest proto-Bulgarian inscriptions and the earliest writtendata on Bulgarian history.

However, these traditions began with the textson the Madara relief. These three texts notonly mark the beginning of the historic annalsbut are also related to the images and meaningof the relief, of the victorious scene presented.The existence of a state acquires its completemeaning only through its internationalrecognition, and these texts mark precisely theevents connected with the internationalrecognition of the state, with its introductioninto international relations as a respectedpartner.

Rila Monastery

Rila Monastery was founded in the 10thcentury by St John of Rila, a hermit canonizedby the Orthodox Church. His ascetic dwellingand tomb became a holy site and weretransformed into a monastic complex whichplayed an important role in the spiritual andsocial life of medieval Bulgaria. Destroyed byfire at the beginning of the 19th century, thecomplex was rebuilt between 1834 and 1862.A characteristic example of the BulgarianRenaissance (18th–19th centuries), themonument symbolizes the awareness of aSlavic cultural identity following centuries ofoccupation. In its complicated ten-centuryhistory the Rila monastery has been the hub ofa strong spiritual and artistic influence overthe Eastern Orthodox world during medievaltimes (11th-14th c.). Under Ottoman rule(1400-1878) the monastery influenced thedevelopment of the culture and the arts of allChristian nations within the Ottoman Empire.

With its architecture, frescos etc. it representsa masterpiece of the creative genius of theBulgarian people.

Architectural styles have been preserved onthe property as historical monuments ofconsiderable time span (11th-19th c.). Thebasic architectural appearance is now one ofthe peak examples of building craftsmanshipof the Balkan peoples from the early 19th c.As such it has exerted considerable influenceon architecture and aesthetics within theBalkan area.

Criterion: Rila Monastery is considered asymbol of the 19th Century BulgarianRenaissance which imparted Slavic valuesupon Rila in trying to reestablish anuninterrupted historic continuity.

The management is carried out on the basisof:

- Religious Affairs Law - Property Law

- Cultural Heritage Law (Official Gazette No19 of 2009), and the by-law normative act,regulates the research, studying, protectionand promotion of the immovable culturalheritage in Bulgaria, and the development ofConservation and Management plans for itsinscribed World Heritage List of immovablecultural properties.

- Legislative regimes for the preservation ofthe site and its buffer zone are in accordance,with a written statement from the 7.05.1992,of a Commission, appointed with an Order №RD-19-132/24.03.1992 of the Ministry ofCulture. In addition to regulating theprohibitions, this also identifies allowedactivities in the property and its buffer zone,and sets out the responsibilities of theinterested parties, including the state, localinstitutions and owners.

- The Protected areas Law (Official GazetteNo133 of 1998 with amendments) - NationalPark Rila; Natural Park "Rila Monastery";Rila Monastery Forest, was proclaimed fornatural reserve in 1986;

- Forest law (Official Gazette No125 of 1997with amendments);

- Management plan of Nature Park "RilaMonastery" has been operational since

2003.

History

Rila Monastery, the oldest in the Slav worldand still the largest active religious centre inBulgaria, is first and foremost anexceptionally fine artistic complex, in whicharchitecture and painting mergeharmoniously. Apart from this, it has been forcenturies the seat of the development,preservation, and diffusion of Slav religiousculture in all its various manifestations,including literary and artistic, and it becamethe symbol of Bulgarian cultural identity thatwas continually threatened by Turkishdomination.

The monastery stands about 120 km fromSofia, in the heart of the Rila Massif, locatedat the north-western extremity of the RodopiMountains, a mountainous system with peaksthat rise to almost 3,000 m. In this area, whichwas still covered by forest in AD 876-946,lived the hermit Ivan Rilski (Saint John ofMila), the evangelizer of the Slavic peoples.He was responsible for the construction of the

original nucleus of the coenobitic community,a short distance from the cave in which helived as an anchorite; this nucleus wascompletely destroyed in the 13th century byfire.

A new building was constructed a fewkilometres from the site of the firstfoundation, and it was completed in the 15thcentury thanks to the donations of StefanHrelyu, a powerful local prince who orderedin 1355 the construction of the tower that stillbears his name and a church dedicated to Johnof Rila, who had in the meantime beencanonized.

During the Ottoman Turkish domination ofBulgaria, the monastery took on the role of

bulwark of national identity in the face offoreign occupation. It became a destinationfor pilgrimages from all over the Balkanregion, especially after 1469, when the relicsof the saint were brought there.

The complex continued to serve this functionin the centuries that followed, especially inthe 18th and 19th centuries, when it becameone of the powerhouses of the BulgarianRenaissance. This period is documented bythe splendid cross that is still preserved in themuseum of the monastery, executed anddecorated with more than 100 biblical scenesby the monk Raphael, one of the leadingfigures of the movement.The existingstructures, with the exception of the HrelyuTower, date back to the 19th-century buildingproject. They occupy a vast area which formsan irregular square, provided with twoentrances, both decorated with frescoes. Thebuilding that surrounds it contains fourchapels, a refectory and some 300 cells, alibrary and rooms for the guests of themonastery. The complex has an interiorcourtyard overlooked by three- and four-storey constructions, embellished by orders ofarches set upon stone columns which unifytheir facades and form airy loggias. This isenlivened by the chromatic interplay betweenthe white of the plaster and the red and blackhues of the bricks.

The Hrelyu tower is a compact building 23 mhigh, square in plan. The highest of its fivestoreys contains a chapel dedicated to the

Transfiguration and decorated by a series offrescoes that were done in the second half ofthe 14th century: in the nave are depictedstories of Saint John of Rila.

Rock-Hewn Churches ofIvanovo

In the valley of the Roussenski Lom River, innorth east Bulgaria, a complex of rock-hewnchurches, chapels, monasteries and cellsdeveloped in the vicinity of the village ofIvanovo. This is where the first hermits haddug out their cells and churches during the12th century. The 14th-century murals testifyto the exceptional skill of the artists belongingto the Tarnovo School of painting.

The frescos of the Ivanovo churches reveal anexceptional artistry and a remarkable artisticsensitivity for 14th century painting andBulgarian medieval art; they are an importantachievement in the Christian art of South-Eastern Europe. Posterior to the Khoramonastery mosaics (Karia Djami) of 1303 -10, these frescoes, by their veryexpressiveness surpass any other historicalmonuments discovered, characteristic of the

Palaeologues style. Neo-classical in spirit andin elements of their subjects, the frescoesrepresent a departure from the canons ofByzantine iconography. They show close tieswith expressive Hellenistic art and a clearpreference for the nude, the landscape, anarchitectural background in a composition,drama, an emotional atmosphere - qualitieswhich combine to make an exceptionalmasterpiece of the Tarnovo school of paintingand monumental art.

The five historical monuments in this group(chapels, churches, etc.), dating from the 13thand 14th centuries, serve as examples thatpave the way for the distinctive characterdevelopment, and mastery in the art of theSecond Bulgarian State /1187-1396/. Therichness, the variety of the cells, chapels,churches, monastery complexes, the originalarchitectural solutions - all set in amagnificent natural environment - confirm thevalue of this extraordinary historicalgrouping.

Criterion: Many churches, chapels,monasteries and cells were cut into the naturalrock along the Rusenski Lom river, during the13-14th centuries. The "Church" frescoesreveal an exceptional artistry and aremarkable artistic sensitivity for 14th centurypainting and Bulgarian medieval art; they arean important achievement in the Christian artof South-Eastern Europe. Neo-classical inspirit and in elements of their subjects, thefrescoes represent a departure from the canonsof Byzantine iconography. They show closeties with expressive Hellenistic art and a clearpreference for the nude, the landscape, anarchitectural background in a composition,drama, an emotional atmosphere - qualitieswhich combine to make an exceptionalmasterpiece.

Criterion: The extensive complexes ofmonasteries were built between the time ofthe Second Bulgarian State /1187-1396/ andthe conquest of Bulgaria by the OttomanEmpire. The five historical monuments in thisgroup, dating from the 13th and 14th

centuries, the richness, the variety of the cells,chapels, churches, monastery complexes, theoriginal architectural solutions - all of that setin a magnificent natural environment -confirm the value of this extraordinaryhistorical grouping.

HISTORY

In the valley of the Roussenski Lom River, innorth-east Bulgaria, a complex of rock-hewnchurches, chapels, monasteries and cellsdeveloped in the vicinity of the village ofIvanovo. This is where the first hermits haddug out their cells and churches during the12th century. The 14th-century murals testifyto the exceptional skill of the artists of theTarnovo school of painting.

The period of the history of Bulgaria from thelast years of the 12th century, when for thesecond time the country became independent

from Byzantium, until the Ottoman Empireannexation in 1396, is known as the SecondBulgarian Empire. Independence fromByzantium could not be complete until theBulgarian clergy became dependents of thePatriarch of Costantinopoli. In 1204, theKaloyan Tsar signed an agreement with thePapacy in order to return as part of the RomanCatholic church. It was not to be a long-lasting agreement. During the reign of TsarIvan Ansen II, Bulgaria once again embracedOrthodox Christianity, but with its ownPatriarch, not subordinate to Costantinople.

The first Patriarch was the monk Gioacchino,who shared with Ivan Ansen the plan toexpand the Bulgarian church. Before takingover the Patriarchal throne he had lived as ahermit in a cave in the river Rusenski Lomvalley, not far from the village of Ivanovo.The monk achieved so high a level of sanctitythat Tzar Ivan Ansen entrusted to him theconstruction of a monastery, something whichcontributed to strengthen his image as a

merciful monarch. The convent was builtbetween 1218 and 1235 and had from theoutset a rocky character; all its buildings weredug into the limestone cliff gorge of the riverand its contributories.

In the years between 1331 and 1371 themonastery, thanks to further new royaldonations, acquired the best of its artisticpatrimony: the splendid frescoes attributableto the painters of the so-called TarnovoSchool.

During the conquest of the country by theOttoman Turks in 1396, the forgottenmonastery of Ivanovo fell quickly into ruinsand was abandoned. The solid limestone outof which it was carved and on which frescoeswere painted enabled it to resist to theinclemency of the weather. Along the twowalls of the Rusenski Lom river gorge there isa labyrinth of cells, of rooms, and above all ofchurches and chapels dug into the cliff facewhich were originally completely covered byfrescoes, but of which only five are still ingood condition.

Bearing in mind the fact that three of thesechurches go back to the reign of Ivan orimmediately afterwards, they constituteremarkable evidence of the revolution inpainting during the two centuries of theSecond Bulgarian Empire. In the churches ofthe first period, the human figures are paintedin the same realistic style, with oval faces andfleshy lips, and the colours of the clothing are

bright. The 14th-century frescoes by contrastare in the classical style of the Palaeologicperiod.The five churches and their frescoesare testimony to the Byzantine art influence inBulgaria. The creation and decoration of theserock-hewn churches is largely attributable tothe donations of the Bulgarian Tzars in the13th and 14thcenturies.

Thracian Tomb of Kazanlak

The Thracian Tomb of Kazanlak is a vaultedbrickwork tomb near the town of Kazanlak incentral Bulgaria. The tomb is part of a large

Thracian necropolis. It comprises a narrowcorridor and a round burial chamber, bothdecorated with murals representing a Thraciancouple at a ritual funeral feast. The monumentdates back to the 4th century. The murals arememorable for the splendid horses andespecially for the gesture of farewell, in whichthe seated couple grasp each other's wrists in amoment of tenderness and equality. Thepaintings are Bulgaria's best-preserved artisticmasterpieces from the Hellenistic period.

The Thracian tomb of Kazanlak is a uniqueaesthetic and artistic work, a masterpiece ofthe Thracian creative spirit. This monument isthe only one of its kind anywhere in theworld. The exceptionally well preservedfrescos and the original condition of thestructure reveal the remarkable evolution andhigh level of culture and pictorial art inHellenistic Thrace.

The Thracian Tomb of Kazanlak is themasterpiece of the Thracian creative spirit.

The Kazanlak frescoes testify to high level ofculture and pictorial art in Thracia.

The Kazanlak frescoes represent a significantstage in the development of Hellenisticfunerary art.

HISTORY

In 1942 a tomb dated to the 3rd century BCwas discovered near Kazanlak in the romanticValley of Roses, near the ancient city ofTeutopolis. The Kazanlak Tomb is a peak inthe development of Hellenistic art; it is asignificant contribution to the art of the entireHellenistic world.

The numerous burial mounds in the Kazanlakarea (more than 500), together with theremains of Thracian settlements, includingSeuthopolis, the only Thracian city that hasbeen completely excavated, preserved andresearched, show that the area was inhabitedby a large Thracian population, which reachedthe height of its cultural development duringthe 5th to 3rd centuries BC.

Seuthopolis was founded by the ThracianKing Seuth III at the end of the 4th centuryBC. The city was fortified, with a layoutbased on the principles of the Greek polis.Monumental works of Thracian architecturehave been found in Seuthopolis, such as thepalace-temple, with interiors decorated withmurals, and the temples of Dionysius and theGreat Thracian Gods. Seven brick tombs werediscovered in the necropolis, four of whichare of the beehive type. The use of brickworkin the making of tombs is typical for the areaof Seuthopolis: nowhere else in Thrace werebricks used so widely in building.

The tomb stands on top of a rocky hill, andhas been constructed without deepfoundations. It comprises the three chambersrequired by the Thracian cult of the dead: anantechamber for the chariot, horses, or slaveswhich accompanied the dead man in the after-life; a corridor (DROMOS), which was asmall room for the things needed in the after-life; and a burial chamber for the body itself.The three components have different shapesand dimensions.

The murals are the chief asset of the KazanlakTomb, because they are the only entirelypreserved work of Hellenistic art that has beenfound in exactly the state in which it wasoriginally designed and executed. They startfrom the antechamber. The walls are of a lightochre colour, against which large stones areoutlined with dark-blue lines, in imitation ofsquared stonework, thus creating a solemnatmosphere before entering the corridor andburial chamber. Only a small part of this

decoration is preserved, high on the east wallof the antechamber. The entrance to thecorridor has a painted dark-ochre frame.

The painting in the corridor and the burialchamber in fact represent a monumentalfacade. It begins with a high podium, above itfollows the neutral load-bearing wall, andthen the composition ends in architecturaldetails with pictures between them.

The artworks in the Tomb reach their peak inthe burial chamber. The floor is coloured inPompeian red. The podium stands on thecircle of the plinth and is covered on the topwith a wide black band. The plinth imitatespink marble with light blue veins. The podiumconsists of eight squares divided with groovesimitating marble facing. The load-bearingwall coloured in Pompeian red follows abovethe black band. The composition in the burialchamber is designed with great skill and

knowledge of the architectural elements of theIonic entablature. The painter, however, hasintentionally infringed the Ionic proportionswith the large figure frieze. He thus achievedan exceptional impact by enclosing the entirecomposition in a colourful frame ofarchitectural motifs.

The murals were executed on the basis of apreliminary design drawn upon the final finelayer of plaster. Even today faint lines incisedon the wet plaster can be distinguished,marking out the plinths and the contours ofthe vault. The pattern of the Kazanlak Tombmurals shows that they were not paintedspontaneously: the paintings are a result ofcarefully premeditated artistic compositionexecuted in accordance with a precise project.The architecture and the pattern of thecomposition were prepared together as anintegrated work of art. It is clear that bothwere the work of one person - an artist-architect.

Thracian Tomb of Sveshtari

Discovered in 1982 near the village ofSveshtari, this 3rd-century BC Thracian tombreflects the fundamental structural principlesof Thracian cult buildings. The tomb has a

unique architectural decor, with polychromehalf-human, half-plant caryatids and paintedmurals. The 10 female figures carved in highrelief on the walls of the central chamber andthe decoration of the lunette in its vault are theonly examples of this type found so far in theThracian lands. It is a remarkable reminder ofthe culture of the Getes, a Thracian peoplewho were in contact with the Hellenistic andHyperborean worlds, according to ancientgeographers.

The Thracian Tomb near Sveshtari is anextremely rare and very well preservedmonument of the sepulchral architecturecontaining remarkable elements in terms oftheir quality and style sculpture and painting.The Tomb is also remarkable for the fact thatit represents local art, inspired by Hellenism, arare case of an interrupted creative processwhich possesses specific characteristics.

Criterion : The Thracian Tomb near Sveshtariis a unique artistic achievement with its halfhuman, half vegetable caryatids enclosed in achiton in the shape of an upside downpalmette. The fact the original polychromyhas been preserved with its ochre, brown,blue, red and lilac shades adds to thebewitching charm of an expressivecomposition where the anthropomorphicsupports conjure up the image of a choir ofmourners frozen in the abstract positions of aritual dance.

Criterion: The tomb is exceptional testimonyto the culture of the Getes, Thracian peoplesliving in the north of Hemus (contemporaryStara Planina), in contact with the Greek andHyperborean worlds according to the ancientgeographers. The Tomb is also remarkable forthe fact that it represents local art inspired byHellenism, a rare case of an interruptedcreative process, which possesses specificcharacteristics. This monument is unique in itsarchitectural décor and in the specificcharacter of the funeral rites revealed by theexcavation.

Themanagement is implemented under:

- Cultural Heritage Lawandsubdelegatedlegislation. This lawregulates the research, studying, protectionand promotion of the immovable culturalheritage in Bulgaria, and the development ofConservation and Management plans for itsinscribed World Heritage List of immovablecultural properties.

- The Instructions of the Ministry of Cultureand the Ministry of Construction,Architecture, and Public Works onpreservation of culture monuments andterritory usage of the Historical-Archaeological Reserve "Sboryanovo" and itsprotection area (Letter No.RD-91-0010/25.04.1990 of the Ministry of Culture);

- The Spatial Planning Act and subdelegatedlegislation relates to spatial and urbanplanning, investment projects and buildings inBulgaria. It also determines particularterritorial and spatial protection, and theterritories of cultural heritage.

HISTORY

The discovery in 1982 of the Thracian tombof Sveshtari was one of the most spectaculararchaeological events of the 20th century. Thetomb itself is a unique artistic achievementwith its half-human, half-vegetable caryatidsenclosed in chitons in the shape of invertedpalmettes. The fact the original polychromyhas been preserved with its ochre, brown,blue, red and lilac shades adds to the

bewitching charm of an expressivecomposition where the anthropomorphicsupports conjure up the image of a choir ofmourners frozen in the abstract positions of aritual dance. The tomb is an exceptionaltestimony to the culture of the Getae, aThracian people living in the north of Hemus,in contact with the Greek and Hyperboreanworlds according to ancient geographers.

The tomb is located in a region declared anarchaeological reserve, near the town ofRazgra between the villages of MalakPorovetz and Sveshtari in Isperihmunicipality, in the river Krapinetz canyonand on the hills around. The time when theSveshtari tomb was built (mid-3rd centuryBC) coincided with the period of a greatpolitical, economic and cultural upsurge of theThracian tribe of the Getae. The richdecoration and perfect architecture of thetomb demonstrate the political power of theruler.

Under a tumulus 11.5 m high and roughly70 m in diameter, geophysical prospectingrevealed, to the south-east, the monumentalentrance to a hypogeum of exceptionalinterest, including a dromos, an antechamber,and two rectangular funeral chambers. Thelayout of this Thracian king's tomb, which isvery different from that of Thracian tombswith cupolas such as that of Kazanlak, fits aHellenistic model to be found in Macedonia,Asia Minor and Egypt. The tomb of Sveshtariis, however, unique in its architectural decorand in the specific character of funeral ritesrevealed by the excavation.

The tomb consists of a corridor (DROMOS)and three square chambers: antechamber,lateral chamber, and main burial chambercovered by a semi-cylindrical vault. The planof the building provides a new interestingexample in Thracian building practice. Thedecoration of the tomb is executed in the spiritof the contemporary Hellenistic architecture.Its entrance is flanked by two rectangularcolumns (ANTAE). Above them there is anarchitrave plate with a frieze in relief,consisting of stylized bovine heads(BUCRANIA), rosettes and garlands. Tenbeautiful female figures with hands raisedhigh like caryatids are impressive. The figuresare about 1.20 m tall, presented frontally,wearing long sleeveless dresses (CHITONS)tied with a thin belt below the breasts.

Two funerary beds, human bones and graveofferings were discovered in the centralchamber. From the scattered stone details itwas possible to reconstruct the facade of thetomb (AEDICULA), consisting of pilasters,cornice and a pediment, and closed with threestone doors. Being situated in front of thelarge funerary bed as a symbol of theboundary between life and death, theAEDICULA isolated the grave of the deifiedruler (the most sacral part of the tomb) fromthe rest of the place. In the centre of thecomposition the goddess is offering a goldwreath to the ruler, depicted as a horsemanfacing her. On both sides of them there areprocessions of servants and armour-bearerscarrying different gifts in their hands.Thelayout of the central chamber which containedtwo stone funeral beds and an aediculaimitates the arrangement of a peristyle house:five half-columns and ten sculpted femininecaryatids in high relief on limestoneflagstones support the architrave barrel-vaulted Doric frieze with its triglyphs andmetopes spanning the room at mid-height.

Pirin National Park

Spread over an area of over 27,000 ha, at analtitude between 1008 and 2914 m in the PirinMountains, southwest Bulgaria, the sitecomprises diverse limestone mountainlandscapes with glacial lakes, waterfalls,caves and predominantly coniferous forests. Itwas added to the World Heritage List in 1983.The extension now covers an area of around40,000 ha in the Pirin Mountains, andoverlaps with the Pirin National Park, exceptfor two areas developed for tourism (skiing).The dominant part of the extension is highmountain territory over 2000m in altitude, andcovered mostly by alpine meadows, rockyscrees and summits.

The World Heritage property covers an areaof around 40,000 ha in the Pirin Mountains,southwest Bulgaria, and overlaps with the

undeveloped areas of Pirin National Park. Thediverse limestone mountain landscapes of theproperty include over 70 glacial lakes and arange of glacial landforms, with manywaterfalls, rocky screes and caves. Forests aredominated by conifers, and the higher areasharbour alpine meadows below the summits.The property includes a range of endemic andrelict species that are representative of theBalkan Pleistocene flora.

Criterion : The mountain scenery of PirinNational Park is of exceptional beauty. Thehigh mountain peaks and crags contrast withmeadows, rivers and waterfalls and providethe opportunity to experience the aesthetics ofa Balkan mountain landscape. The ability toexperience remoteness and naturalness is animportant attribute of the OutstandingUniversal Value of the property.

Criterion : The principal earth science valuesof the property relate to its glacialgeomorphology, demonstrated through a

range of features including cirques, deepvalleys and over 70 glacial lakes. Themountains of the property show a variety offorms and have been developed in severaldifferent rock types. Functioning naturalprocesses allow for study of the continuedevolution of the landforms of the property,and help to understand other upland areas inthe region.

Criterion : The property is a good example ofthe continuing evolution of flora, as evidencedby a number of endemic and relict species,and the property also protects an example of afunctioning ecosystem that is representative ofthe important natural ecosystems of theBalkan uplands. Pirin’s natural coniferousforests include Macedonian Pine and BosnianPine, with many old growth trees. In total,there are 1,315 species of vascular plants,about one third of Bulgaria’s flora, including86 Balkan endemics, 17 Bulgarian endemicsand 18 local endemics. The fauna of PirinNational Park includes 45 mammal species,including brown bear, wolf and pine marten,and 159 bird species. Pirin is also home toeight species of amphibians, eleven species ofreptiles and six fish species. Although theforests are affected by some historical use, thenatural functioning of the ecosystem ensuresthe protection of its regionally significantbiodiversity values.

HISTORY

Extending over an area of 27,400 ha and lyingat an altitude of 1,008-2,914 m in the Pirinmountains, south-west Bulgaria, PirinNational Park has a limestone Balkanlandscape, with lakes, waterfalls, caves andpine forests. The rugged mountains, withsome 70 glacial lakes scattered throughoutthem, are home to hundreds of endemic andrare species, many of which are representativeof the Balkan Pleistocene flora. Themountains also have diverse and uniquelandscapes of great aesthetic value.

Pirin Mountain stretches from north-west tosouth-east between the valleys of the Stroumaand Mesta rivers. There are many rivers andwaterfalls. Winter in the upper parts is coldand long with snow cover remaining for fiveto eight months. Summer is cool and short.

The presence of limestone rocks, the southerlyposition of the range and close proximity tothe Aegean, coupled with its relative isolation,have made Pirin Mountain an importantrefuge for many species. Forests in the parkare mainly coniferous with endemicMacedonian pine being widespread andforming the timberline in the granite part ofthe mountain. Endemic Bossnian pine occursin the highest zone of the karst area. Uniquestands of PINUS PEUCE and PINUSLEUCODERMIS , up to 250-300 years oldand 30-45 m high, are found in BaiouviDoupki-Djindjiritsa Reserve. Some individualPINUS LEUCODERMIS trees are over 500years old. Silver fir, Austrian pine, spruce,Scots pine and beech form a mixed coniferousforest type.

Generally, the timberline has developed as aresult of human interference over a longperiod and descends as low as 2,000 m, but insome places reaches 2,200-2,300 m. In thesubalpine zone there are thickets of dwarfmountain pine and JUNIPERUS SIBIRICA .Above 2,400-2,600 m is a layer of alpinemeadows, stony slopes, screes, rocks, etc. The flora of Pirin, comprising as it does many

rare species, is of great interest and beauty.One of the most active flora speciation in

Bulgaria is situated in the limestone part ofthe mountain. Pirin has a mixture of centralEuropean, Alpine, Balkan mountain and sub-Mediterranean species, but in addition thereare about 30 local endemic species.

There is a wide variety of animal speciesincluding many endemic species and glacialrelicts among the invertebrate fauna.Threatened bird and mammal species includebrown bear, grey wolf, pine marten, rockmarten, polecat, badger, otter, wild cat, reddeer, roe deer, wild boar, Balkan chamois,golden eagle, capercaillie, hazel grouse, eagleowl, black woodpecker and three-toedwoodpecker.

Srebarna Nature Reserve

The Srebarna Nature Reserve is a freshwaterlake adjacent to the Danube and extending

over 600 ha. It is the breeding ground ofalmost 100 species of birds, many of whichare rare or endangered. Some 80 other birdspecies migrate and seek refuge there everywinter. Among the most interesting birdspecies are the Dalmatian pelican, great egret,night heron, purple heron, glossy ibis andwhite spoonbill.

Srebarna Nature Reserve protects a lake andwetland ecosystem of 638ha located near tothe village of Srebarna on the west bank of theDanube River. The reserve includes the lakeand the former agricultural lands north of thelake, a belt of forest plantations along theDanube, the island of Komluka and theaquatic area locked between the island and theriverbank.

Srebarna Nature Reserve is an importantwetland on the Western Palaearctic birdmigratory flyway. It provides nesting groundsfor 99 species of birds and seasonal habitat toaround 80 species of migratory birds. Theproperty is surrounded by hills which providea natural boundary and offer an ideal meansfor observing the waterfowl.

Criterion : Srebarna Nature Reserve protectsan important example of a type of wetlandthat was widespread in Bulgaria in the past. Itshelters a diversity of plant and animalspecies, which are increasingly threatened.The wetland is an important breeding, stagingand wintering site for a large number of birds.Floating reedbed islands and flooded willowwoodlands provide important bird breedingareas. In the lake's northern end the reedbedsgradually give way to wet meadows. In thenorth-western end of the lake and along theDanube there are belts of riverine forest withsingle old trees of White Willow.

The rich bird life supported by SrebarnaNature Reserve is the basis for itsinternational significance. The property holdspopulations of birds that are consideredcritical to species survival. It hosts the onlycolony of Dalmatian Pelican in Bulgaria, aswell as the largest breeding populations offour more globally threatened species: PygmyCormorant, Ferruginous Duck, White-tailed

Eagle and Corncrake. Srebarna is also ofEuropean value importance in supportingLittle Bittern Night Heron, Squacco Heron,Little Egret, Great White Egret, Purple Heron,Glossy lbis, Spoonbill and Ruddy Shelduck.Three species of terns also occur here.Globally threatened Pygmy Cormorant andRed-breasted Goose winter in the Reserve,and the wintering populations of White-fronted Goose, Greylag Goose and Fieldfareare also notable.

In total the property provides critical habitatthat supports 173 bird species, 78 species ofwhich are of European conservation concern,and nine being listed as globally threatened.

HISTORY

The Srebarna Nature Reserve is a freshwaterlake adjacent to the Danube and extending

over 600 ha. It is the breeding ground ofalmost 100 species of bird, many of which arerare or endangered. Some 80 other birdspecies migrate and seek refuge there everywinter. Among the most interesting birdspecies are the Dalmatian pelican, great egret,night heron, purple heron, glossy ibis andwhite spoonbill, white-tailed eagle, littlecormorant.

The reserve was set up primarily to protect therich diversity of wildfowl, the bird speciesrepresent half of the Bulgarian avifauna.Species found in Srebarna include mute swan,a variety of geese and ducks, red-neckedgrebe, two of the three European species ofmarsh tern, and bearded tit. Otter isoccasionally found in the reserve. White-fronted goose, red-breasted goose and bluethroat have become established as winteringspecies.

Some 67 plant species can be found inSrebarna Nature Reserve, including water lilyand a number of rare marsh plants. Reedsoccupy two-thirds of the reserve and form athick barrier around the lake. They form reed-mace islands which birds use for nesting.

This freshwater lake is situated on the floodplain of the River Danube, to which it wasconnected until 1949. The disconnectionprevented annual flooding and the level oflake falls 1 m per year. However, the lake wasreconnected by canal in 1978 with the Danubeto prevent water levels from becoming toolow and to restore the lake's fish population.

The reserve is affected by a rapid andabnormal development of successionprocesses due to annual sedimentation oflarge reed-mace vegetation in the reserve, aswell as the insufficient water influence of the

Danube. Consequently, the reed-mace islandsare extended and increased in thickness sothat wild boars, foxes and jackals now pose athreat to both individual birds nests andcolonies. A series of upstream interferences,including the Iron Gate Dam, havepermanently altered the natural hydrology ofthe Danube River in this region and that ofSrebarna.

The property is protected by a 673 ha bufferzone which was created in 2008. This consistsof a portion of the Srebarna Nature Reservethat is not part of the World Heritage propertyand 419 ha of land surrounding the SrebarnaNature Reserve, which is located within anadjacent protected area known as Pelikanite.The aim of this buffer zone is to prevent andreduce negative human impacts on thereserve.

MADE BY THE POLISH TEAM