NATIONAL REVIVAL IN BULGARIA
In the middle of 17th century the feudal Ottoman empire, incapable of reforming itself in the spirit of the new times, sank into a deep economic and social crisis which was never overcome. The decline of the Ottoman Turkish state was one of the strongest incentives for the economic upsurge of the Bulgarian people. Exempted from participation in the imperial armies, the Bulgarians did not suffer great losses of manpower and, gradually, especially after the plague epidemics the Bulgarian Christian population considerably outnumbered the Muslims in the whole of the country. In some towns the Turkish population was represented, only, by the families of the local administration.
In the new conditions the enterprising Bulgarians, quite unexpectedly, turned out to be much better off than the sparse Muslims. Slowly but steadily, craft manufacture passed into the hands of the Bulgarians. Crafts industry was reorganized on a new basis. The economic development speeded up after the Crimean War, when, Turkey's allies from France and Britain demanded that the Ottoman empire should be opened up to western European trade. The Ottomans were forced to grant extensive privileges to craftsmen as a class and to allow their organizations, a self-government. A great part of the Bulgarian peasant craftsmen settled in the towns, where, they became independent and defended by their guilds.
International trade was chiefly carried out by Bulgarian merchants, whose, newly accumulated capital was invested in the expansion and modernization of their enterprises. Bulgaria began to export wool, cotton, hides, cloth and foodstuffs. Bulgarian merchants took their goods to the markets of Europe and Asia. Regions with extensive sheep-breeding developed crafts such as weaving, tailoring and skin-tanning. A large number of places in the Sredna Gora and the Balkan Mountains became flourishing centres of crafts industry. The first factories were established in the 1830s.
Upon the official abolition of the feudal system of land ownership, the bourgeois style of production penetrated in agriculture, too. The peasants started buying their land back from the Ottoman authorities or from Muslims, nearly ruined, and got down to organize prosperous private farms. Big farms, called "chifliks", occupied themselves with wholesale food production. Toward the end of the Ottoman rule "chifliks" comprised about 25 % of the Bulgarian land and of the total agricultural produce.
The intensive economic relations within the country, the influence of the advanced free nations, along, with the interests of the newly created middle class and revived the national consciousness of the Bulgarian people. In the 18th and 19th centuries Turkey was defeated by Russia several times. The thought that Turkey could be beaten raised Bulgarian hopes for liberation. The Bulgarians, from all walks of life, were interested in restoring the country's independence and building up a modern Bulgarian state. The struggle for national liberation flared up with two parallel actions launched, almost, at the same time - the movement for national enlightenment and for independent Bulgarian Church.
Protests against the Greek Patriarchate, whose, policy was one of assimilation /i.e., it controlled all ecclesiastical affairs in the country with most of the schools, as well/ and boiled down to requests for the replacement of the Greek priests with Bulgarian ones plus for the use of Bulgarian language in church services. The Patriarchate in Constantinople was relentless - a fact which, made Bulgarian people claim full independence of the Bulgarian Church. Riots, in which the local Greek priests were chased out of town, were a popular feature of mid-nineteen century life. In Constantinople, a national center took shape around the Bulgarian community attracting eminent writers and public figures. The centre took up the leadership of Church Independence struggle. On 3 April 1860, during Easter Sunday service in Constantinople, the Bulgarian bishop Illarion of Makariopol expressed the will of the whole Bulgarian people by solemnly proclaiming the separation of the Bulgarian Church from the Patriarchate in Constantinople. However, the campaign for church autonomy continued for another 10 years and was finally rewarded in 1870, when, a decree of the Sultan permitted the foundation of the Bulgarian Exarchate - a stunning success which encouraged the Bulgarians to extend their struggle, further, into the political sphere.
The most important event, which, dates the beginning of National Revival in Bulgaria is the writing of the Slav-Bulgarian History by the monk Paisii in the year 1762. It is one of the most celebrated works of all Bulgarian literature. Circulated in manuscript form, it was a book which inspired generations of patriots and became the spiritual cornerstone of the Bulgarian Renaissance. There is nothing extraordinary in the fact that the prophet of the Renaissance should be a monk. It was in the monasteries that the written Bulgarian language and its literature were kept alive. In their libraries, the precious old Slavonic manuscripts were preserved and carefully copied by the monks, who also, compiled anthologies and composed new works. In the monastery schools, monks and even lay people learned to read and write in Slavonic, and in the monastery churches the Slavonic liturgy was in regular use. There were about one hundred such monasteries and of these the most important were the Rila monastery in Bulgaria and the Zograf monastery and Hilendar monastery on "Mount Athos" in Chalkidon, Greece.
Sofronii Vrachanski, or to give him his secular name, Stoiko Vladislavov, was another great figure of the Bulgarian Renaissance who drew his inspiration from Paisii. Sometime, between 1770 and 1774, he acted both as a priest and a teacher. He gradually introduced the use of Bulgarian in place of Greek in his little school in the town of Kotel - a cause to which he devoted twenty years of his life. In the years following the Crimean War a nationwide wave of cultural activities overflowed the country. The first Bulgarian school was started in Gabrovo in 1835, followed by many others until there were few sizeable villages without a school. In many cases, the teachers in the Bulgarian schools were supporters of the Revolutionary Movement and the schools were, therefore, cradles of national consciousness. In addition, reading rooms or "chitalishta" were established with the aim to fight illiteracy among adults. The first Bulgarian newspapers and periodicals, also, appeared at that period. The first Bulgarian poem, Naiden Gerov's "Stoyan and Rada" was published in Odessa in 1845. The real father of modern Bulgarian verse was P. R. Slaveikov of Turnovo, whose, works included humorous, patriotic, love poems and fables. Two other writers, who, though best known for their prose, were also poets, were Lyuben Karavelov and Ivan Vazov. The latter, began writing verse under the influence of Pushkin and Lermontov. His most famous work is the novel "Under the yoke", which, has been translated into many languages and has been filmed. By far, the greatest poet of the period was the revolutionary Hristo Botev. The first real Bulgarian playwright was Vassil Drumev. His historical drama "Ivanko - assassin of Assen", appeared in 1872 and is still performed. Undoubtedly, the finest pre-Liberation prose writer was Lyuben Karavelov, whose, stories confirmed the realistic, humanistic trend of Bulgarian literature.
Art, in general, which appeared during National Revival period differed considerably from the medieval one, but, it was nevertheless rooted in it. During the 19th century, Bulgarian painting broke free from the traditions of Byzantium as a result of its exposure to all pervasive influence of the West European and Russian painting. An increase in church building led to the flowering of ecclesiastical painting. Three schools of icon-painting were founded, the most celebrated of which was the Samokov school. Its most famous representative was Zakhari Zograf, some of whose most interesting icons can be seen at the Preobrazhenski monastery, near Turnovo, and at the monasteries of Bachkovo and Rila. In his religious paintings there are true-to-life elements. For example, in his fresco of the "Last Judgement" at the Bachkovo monastery, he painted the portraits of some rich people from Plovdiv among sinners and dressed some of the adulteresses in the fashion of the day. Zakhari Zograf painted a number of fine portraits and landscapes, working with watercolors, on paper and oils on canvas. This is how we got the portrait of the enlightener and spiritual giant of the Bulgarians - Neophit Rilski; his self-portrait and the portrait of Christiania. Another painter, Stanislav Dospevski, was one of Bulgaria's finest portraitists of the period. He studied in Russia and, therefore, was much influenced by Russian art. Although, his works include icons as well as portraits and landscapes, he represents a step forward in the development of secular art. Among his most valuable works are the portraits of "SS Cyril and Methodius", portraits of his contemporaries and few historical scenes. Very influential painter of the period was Nikolai Pavlovich. Some of his most renowned pictures are scenes from Bulgarian history, including "Khan Asparoukh crossing the Danube", "Khan Kroum sacrificing before the walls of Constantinople" and others. He was the first Bulgarian artist to see the important role that art could play in the education of younger generations, also, he appealed for art to be included in the curricular of the schools.
Bulgarian Revival architecture represented a mixture of building traditions with skillfully introduced new elements borrowed from other countries. The master builders of those times were self-taught architects, who, considered architecture not merely a technical skill but above all an expression of their own way of thinking and national belonging. The buildings created by them were real masterpieces - clocktowers, schools, churches and private houses. One of the most renowned master builders of the period was Nikola Fichev of Dryanovo, who, constructed many private and public buildings in Northern Bulgaria. Among his finest works are: the covered bridge in Lovech, the bridge over Yantra in Byala and various buildings in Turnovo, including, the inn of Hadzhi Nikola.
Now, that there were no longer strict restrictions or prohibitions against church building, many large churches were built, including: the church in Pazardzhik, the church of St. Nedelya in Sofia, the churches of a number of monasteries were rebuilt, etc. The brightest jewel of the Renaissance architecture is undoubtedly the Rila monastery - rebuilt in 1834-37 after it had been almost totally destroyed by fire in 1833. The economic boom characteristic of the 18th century brought about new consciousness in Bulgarian craftsmen, merchants and industrialists. Their prosperity and a new social status changed their mode of life. The commercial relations with other countries and their contacts with other European cultures helped them acquire new habits and a more universal outlook, which, had an effect upon the building activities and most of all upon the construction of new, improved types of houses. The look of the towns in Bulgaria changed. The features of a local architectural Baroque appeared. The purely wooden structures, which, made such a gloomy impression on travelers in the 16th century and disappeared entirely. The Bulgarian asymmetrical house became the main element of town architecture. The monuments of architecture, dating from that period, fall into 3 categories:
1. Early Renaissance house - built in the 18th c.
2. Typical Renaissance house - built from the middle of the 18th until the middle of the 19th centuries.
3. Late Renaissance house built in the second half of the 19th c., with features as follows:
- with an open "verandah"
- with a closed parlour and an inner staircase
- with shops on the ground flour
- with foreign architectural elements
Wood-carving is another craft of applied and artistic nature, which, has a long-standing tradition in Bulgaria. During the National Revival Period wood-carving flourished and official schools of woodcarvers were established: Tryavna, Debur, Samokov and Bansko schools. They produced excellent craftsmen, who, continued a tradition previously expressed in stone. The wood was turned into delightful flowers, twigs, birds, and human figures interwoven in complex Biblical compositions. Each school of carving developed its own style. Characteristic features of the Bansko technique are lace-like, background, interwoven with vegetable patterns, human and animal figures. Typical of the Debur school of carving are high-relief, smaller human and animal figures in groups, surrounded by a general composition of larger branches, leaves and flowers. High-relief, interwoven, patterns of flowers, fruits, wheat ears and birds were most favored by the representatives of the Tryavna school. Patterns of vines and roses characterize the works of masters from the Samokov school. Masterpieces of woodcarving are the intricate iconostases in some churches /Rila Monastery, "Church of the Assumption" in Pazardzhik, "Church of St. Marina" and "Church of SS Constantine and Helena" in Plovdiv, "Church of the Virgin" in Samokov, et cetera/. The finest product of the Debur school is the walnut iconostasis of the "Church of the Assumption" in Pazardzhik, whose, craftsmen endeavored to show the psychological relationship between human figures, rather than, fill the icon screen with plant and animal motifs in the manner of the Samokov woodcarvers. The latter are responsible for the carving of the splendid iconostasis in the Principal Church at the Rila Monastery. This huge walnut structure, 11 metres high and 10 metres wide, was ordered in 1839 and took 5 years to complete. Later it was gilded and 16 kg of gold were used for the purpose.
Craftsmen working in iron, copper, gold and silver had their heyday during the 18th - 19th centuries, when, methods of decoration became more numerous. The artifacts were intended to meet the increased demand for handworked items by Christian Church /crosses, Bible bindings, icons, candlesticks, cups/, as well as, for the household agriculture, hunting, fishing, etc. The wrought iron and copper vessels are a combination of skillful use of different techniques: beating, deep and shallow engraving, relief, open work and incrustation. The artisan's preference for pure forms is explicit in the objects for the household - coffee pots, trays, cauldrons and dishes. The inextravagant decoration - with geometrical, floral and animal figures - retains the symbolism of ancient metalwork and Old Bulgarian forms and ornaments in which one can, also, find some influence of the Orient and Asia Minor. Today, the talented successors of the old smiths are continuing to develop the traditions of the centuries.
Having inherited the rich traditions of the Thracians, the Bulgarian goldsmithery attained a perfection of the form and an exquisite finish, mainly, by means of granulation, filigree and the combination of the two. Although this art was subjected to outside influence - particularly, that of West European Baroque - the plant and geometric ornament, as well as, the composition retain their national characteristics. The Period of the National Revival greatly stimulated the development of the goldsmith's craft. Big centres, with clearly discernable local styles, developed in places like Vidin, Chiprovtsi, Panagyurishte, Plovdiv, Sofia, Vratsa, Koprivshtitsa, etc. It is hard to describe the great variety of wrought, engraved, enameled, incrusted or filigreed - forms such as - earrings, bracelets, pendants, clasps, rings, hairpins and other trinkets. Folk style trinkets, worn in the past as magical, and Christian amulets, in the good tradition of St. George the Conqueror, have not lost their aesthetic attraction to this day.
In the past stock-breeding was the principal livelihood for the rural population in many parts of the country. The abundance of high-quality wool, favored, general development of weaving, embroidery and knitting. Sheep's and goat's wool was used with its wide range of natural colors. Large centers for carpet-making were established during the National Revival Period - Kotel, Chiprovtsi, Samokov, Panagyurishte, etc. It is difficult to encompass the decorative diversity of the Bulgarian carpet, but on the whole, the Kotel carpet features large, orderly patterns and the Chiprovtsi carpets tend to have small patterns. The rugs are fleecy, with woolen tassels brought out on one side. The rugs from the Rhodope mountains are woven in wide strips of white, brown and yellow - their long woolen fringes softening the contour and adding warmth to the decoration. Rugs with short fringes were known in the Balkan Peninsula as "Yambolii", after, the name of the Bulgarian town of Yambol. They feature large patterns and contrasting colors on a white background.
Until the beginning of the 20th century embroidery was associated exclusively with clothing. The oldest preserved embroidery dates from the second half of the 19th century. In its rich ornamentation one can find traces of the complex ethnic origin of the Bulgarians and the creative capacity inherent in all Bulgarian women. The structure of the wool, hemp and cotton fabrics - woven by the women - determined to a large extent the variety of stitches, which were made with homespun woolen or silk threads. The technique give preference for plant and geometric patterns. The artistic effect of the embroidery is achieved through the interplay of colors - ranging from the soft shades of autumn gold to the dark infusion of walnut leaves, from pale to bright color combinations. Still, the red always prevails. Modern embroidery has preserved the exquisite beauty of the patterns and is an expression of the artistic taste and skills of the Bulgarian woman.
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