Hvostan epitaphios (burial shroud)

Begin between 01.01.1300 and 31.12.1350
End between 01.01.1375 and 31.12.1390
ID 133025
System Class
Artifact Shroud
Case Study Beyond East and West: Sacred Landscapes Duklja and Raška
Stylistic Classification Byzantine

The Hvostan epitaphios (burial shroud) is called after the Monastery of the Mother of God in Hvosno, 20km from the Patriarchate of Peć, where it was found (discovered).
Unlike other medieval epitaphios made with the embroidery technique, this was made using painter's colors. It is considered to be the work of Byzantine masters.
It dates back to the 14th century (scholars date it differently).
During the Turkish time, the shroud was hidden under the ruins of the Church of the Mother of God in Hvosno, and was discovered in the 20th century.
Today it is kept in the treasury of the Patriarchate of Peć.


Places (1)
Name Class Begin End Description
Hvosno, Monastery of the Mother of God Place between 01.01.1220 and 31.12.1230 Monastery of the Mother of God in Hvosno is situated 20km from Peć, not for from the village called Studenica, which is why this place is known by the name Studenica Hvostanska or Little Studenica. This cult place was known from the Early Christian period with the remains of a three-nave basilica that was discovered in its close proximity. During the founding of the autocephalous Serbian archbishopric in 1219, the seat of the sixth (Hvostanska), of the seven Serbian bishoprics, was located here. At that time the Monastery was erected. In the 14th century it became a metropolitan archdiocese. After 1690 (the First Great Migration of the Serbs) this place was abandoned and destroyed. The material from the Monastery was used in the construction of mosques and other buildings. The building was erected following the plan of the Žiča Monastery, probably around 1220. It was a single nave edifice with three bays and a dome, an apse that was semicircular on the inside and rectangular on the outside and a narthex with two bays. In 1230 (when the temple was about to become a cathedral seat of the Serbian Orthodox Eparchy of Hvosno), following the ground plan of the Žiča Monastery, two paracclesia were added on the Northern and Southern sides of the narthex, two towers with chapels (each had an apse) and exonarthex with six bays. Some researchers believe there was a catechumeneon at the upper floor of the exonarthex. The Church is in compliance with the Raška architecture. In the Monastery researchers found remains of the dwelling-house, fortifications, nearby cemetery and a cast bell in which two shrouds were hidden (one from the 14th century and the other from the 16th century, the work of the famous artist monk Longin). Both are being kept in the treasury of the Patriarchate of Peć (Peć Monastery).