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Á Ú Ë Ã À Ð È ß
KOVACHEVICA
B U L G A R I A
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3
Êîâà÷åâèöà
Âðúùàíå êúì
èñòîðèÿòà
“Äà óìååø äà ñå íàñëàæäàâàø
íà ìèíàëîòî çíà÷è äà
æèâååø äâîéíî”
Ìàðöèàë
7
Ôðàãìåíò îò ìðàìîðíà îëòàðíà ìàñà ñ ëîâíè ñöåíè –
III â. – Íèêîïîëèñ àä Íåñòóì (ÎÈÌ – ãð. Ãîöå Äåë÷åâ).
Fragment of a marble plate with hunting scenes – 3rd century
- Nikopolis ad Nestrum (MHM – Gotze Delchev).
During the period of its establishment, Kovachevitsa not only did it have
rich historical background, but also generous nature, rich natural
resources of the main construction materials of stone and wood that pro-
vided incentives to building solid, firm sites, lasting beyond time. All archi-
tecture details starting from the stone-made foundations reaching the
stone-made roof, covered by the famous Kovachevitsa tiles – tikli, were
created with a sense of moderation and solidity. The cordiality and cozi-
ness were achieved by using lavishly first-class materials selected of the
pine-tree, beech-tree and oak-tree woods in the vicinity.
The first settlers in Kovachevitsa according to historic local memories
were refugees of the Turnovo Kingdom defeated by the Turks (1393),
which were joined by emigrants from the Kostursko regions. They settled
in several hamlets scattered around on grand distance. Another significant
immigrant wave was associated with the excesses of the Turkish
Authorities during the period of violent conversion to Islam of the
Bulgarian population. After burning down the village of Ribnovo the sur-
vivors settled in the upper part of the present village around a water
spring, now being a large fountain referred to as “Tziganchitza”.
The legend that gave the name of the village – Kovachevitsa was asso-
ciated with the wife of a smith immigrant called Marco – Gina
Kovachevitsa (note: Smith in Bulgarian is Kovach). After his decease that
probably wise and strong-willed woman was sought for advice and assis-
9
ñåíà çà ñúâåò è ïîìîù îò ìíîãî ñâîè ñúñåëÿíè, òàêà ÷å ñòàíàëî íà-
ðèöàòåëíî äà ñå êàçâà: “Îòèâàì ïðè Êîâà÷åâèöà”, êîãàòî íÿêîé òðúã-
âàë îò äîëíàòà êúì ãîðíàòà ìàõàëà, êúäåòî áèëà êúùàòà íà êîâà÷à.
Òàêà ïðåäàíèåòî ñâúðçâà èìåòî íà ñ. Êîâà÷åâèöà ñ àâòåíòè÷íè ëè÷-
íîñòè, ðåàëíî ñúùåñòâóâàëè, çà êîèòî èìà çàïàçåí äúëáîê ñïîìåí â
íàðîäíàòà ïàìåò. Çà áúðçîòî ðàçðàñòâàíå íà ñåëîòî ñïîñîáñòâàëè
è ìíîãî âàæíè ôàêòîðè êàòî èçîáèëèåòî íà ïèòåéíà âîäà (íàä 15 èç-
âîðà è 12 ÷åøìè), ìåê êëèìàò, îáøèðíè ïàñèùà è áîãàòà ïðèðîäà, íà-
ñèòåíà ñ äèâîðàñòÿùè ëå÷åáíè áèëêè è ïëîäîâå (ãîðñêè ÿãîäè, ìàëè-
íè, êúïèíè, øèïêè, ëåøíèöè, áîðîâèíêè, ðèãàí, áúçîâè êîëîíèè è äð.).
Òåðàñîâèäíî ðàçïîëîæåíèòå íèâè, ëèâàäè è ãðàäèíè ñ ÿáúëêîâè, ñëèâî-
âè, ÷åðåøîâè, êðóøîâè è îðåõîâè íàñàæäåíèÿ, êîèòî ñúùåñòâóâàò è
äíåñ, íàïðàâèëè çåìëèùåòî ïðèâëåêàòåëíî çà íîâè çàñåëíèöè, òúðñå-
ùè ñèãóðíîñò îò çà÷åñòèëèòå ðàçáîéíè÷åñêè íàïàäåíèÿ â íèçèíèòå.
Íîâà ìèãðàöèîííà âúëíà îò áúëãàðè ÷àê îò Çàïàäíà Ìàêåäîíèÿ íà-
ìèðà ñâîÿòà îáåòîâàíà çåìÿ â ñ. Êîâà÷åâèöà îêîëî 1791 ã., êàòî çàñå-
ëÿâà äîëíèÿ çàïàäåí ðàéîí íà ñåëîòî. Äåñåòèíà, ïåòíàäåñåò ñåìåé-
ñòâà îò Äåáúðñêî, Êè÷åâñêî è Òåòîâñêî ïîñòðîÿâàò ñâîèòå êúùè,
îáîñîáåíè â ò. íàð. “Àðíàóòñêà ìàõàëà”, îêîëî ïðî÷óòàòà ÷åøìà “Àð-
íàóòñêèÿ ÷ó÷óð”, ÷èÿòî âîäà áèëà êàïòèðàíà (÷ðåç ñïåöèàëíè êåðà-
ìè÷íè òðúáè) îò ìåñòíîñòòà “Áóãàòà”. Íîâèòå æèòåëè íà ñ. Êîâà-
÷åâèöà âíàñÿò íîâè åëåìåíòè â áèòà íà íàñåëåíèåòî. Òåõíèÿò ïðî-
ôåñèîíàëèçúì â ñòðîèòåëñòâîòî íåñúìíåíî ñå å ïðîÿâèë â àðõèòåê-
òóðíèÿ îáëèê íà ñåëèùåòî. Òÿõíîòî ñàìî÷óâñòâèå íà îïèòíè äþëãå-
ðè (ñàìîóêè àðõèòåêòè è ñòðîèòåëè) ñå îòðàçèëî áëàãîòâîðíî íà
îáùèÿ äóõîâåí îáëèê, ïîâäèãàéêè íèâîòî íà îñòàíàëèòå æèòåëè,
ïðåäèìíî çåìåäåëöè è ñêîòîâúäè. Íàñåëåíî ñ êîìïàêòíî õðèñòèÿíñ-
êî íàñåëåíèå, ñ ÿðêî èçðàçåíà è îòñòîÿâàíà áúëãàðñêà èíäåíòè÷íîñò,
ñ. Êîâà÷åâèöà ïðîñúùåñòâóâàëà ïðåç öåëèÿ ïåðèîä íà Îñìàíñêî âëàäè-
÷åñòâî â Áúëãàðèÿ, êàòî çäðàâà êðåïîñò íà áúëãàðùèíàòà â Þãîèç-
òî÷íèòå Ðîäîïè.
Çàáåëÿçàíî è îòðàçåíî â îñìàíñêèòå äàíú÷íè ðåãèñòðè îùå â ÕV -
XVI âåê êàòî ñåëî Êîâà÷åâè÷å èëè Êîâà÷îâè÷å, îò 13 áúëãàðñêè, õðèñ-
òèÿíñêè äîìàêèíñòâà (õààíåòà), ñåëèùåòî ñå ðàçðàñòâà è ïðåç Âúç-
ðàæäàíåòî ðàçâèâà çàâèäíà ñòîïàíñêà äåéíîñò, îâöåâúäñòâî, äîñ-
òèãàùî ðúñò îò 20 000 ãëàâè è çàíàÿò÷èéñòâî: àáàäæèéñòâî, êèðàä-
æèéñêî è ïðî÷óòîòî äþëãåðñòâî. Çàïàçåíèòå ñâåäåíèÿ çà Òåòèì-êå-
õàÿ (Ñòîèìåí Òåòèìîâ), êîéòî èìàë íàä 5000 îâöå è ñîáñòâåíî ïàñè-
ùå â ìåñòíîñòòà “Âèùåðèöà”, äàâàò ïðåäñòàâà çà çàìîãâàíåòî è
ïðîöúôòÿâàíåòî íà ñåëîòî. Â êðàÿ íà ÕIÕ âåê, ïî äàííè íà Íåâðîêî-
ïñêàòà Ìèòðîïîëèÿ, íàñåëåíèåòî íà ñ. Êîâà÷åâèöà íàáðîÿâà âå÷å
1400 äóøè. Â ïåðèîäà ñëåä 1885 ã. íàñòúïâà ñåðèîçíà ïðîìÿíà â áèòà
íà ïî-çàìîæíèòå çåìåäåëöè è ñêîòîâúäè, êîèòî çàïî÷âàò äà ñòðîÿò
÷àðêîâå ïî ðåêà Êàíèíà è äà òúðãóâàò ñ äúðâåí ìàòåðèàë. Ñîáñòâå-
íèöèòå íà òåçè, ïîâå÷å îò 13 ÷àðêà, ôîðìèðàò ñîöèàëíà ãðóïà îò
10
Åæåäíåâèå â ñ. Êîâà÷åâèöà îò íà÷àëîòî íà XX âåê (Àðõèâíè ôîòîãðàôèè). tance by much of her fellow-villagers, so it became common to refer to it
Everyday in Kovachevitsa - beginning of the 20th century (photos of the records). as “I am going to Kovachevitsa” whenever someone was leaving from the
down hamlet to the upper one where the Smith’s house was located. Thus
the legend linked the name of the village of Kovachevitsa to real persons
that indeed existed and a marked note was kept in the local memories.
Numerous other factors contributed to the rapid expansion of the vil-
lage such as the abundance of drinking water (more than 15 springs and
12 fountains), the mild climate, vast pastures, rich nature full of wide med-
ical herbs and fruit (wild strawberries, raspberries, blackberries, briar,
hazelnuts, cranberries, wild marjoram, elder sprigs, etc.) The ledged field,
meadows and gardens with apple, plum, cherry, pear and walnut trees
that exist also today rendered the land attractive for new settlers looking
for security of the frequent robber attacks in the low lands.
A new migration wave of Bulgarians from as far as Western Macedonia
found its Promi in Kovachevitsa in around 1791 as they settled onto the
lower western part of the village. Ten to fifteen families from the regions
of Debar, Kichevo and Tetovo built their houses established in the so-
called Arnautksa Hamlet about the famous Arnautski Chuchur fountain the
water in which was impounded (via using special ceramic pipes) pf the
Bugata Place. The new settlers of Kovachevitsa introduced new elements
in popular customs. Their expertise in building undoubtedly stood out in
the architecture outlook of the village. Their confidence of being experi-
enced masons (self-made architects and builders) produced a favorable
impact on the general spiritual pattern elevating the other settlers most of
whom where prevalently tillers and stockbreeders.
Populated with compact Christians with a marked and defended
Bulgarian identify Kovachevitsa survived over the entire period of the
Ottoman Rule in Bulgaria being a strong fortress of Bulgarianness in the
Southeastern Rodopi mountain.
Noted and recorded in the Ottoman Tax Registers ever since the 15th –
th
16 century as Kovacheviche or Kovachoviche, starting from 13 Bulgarian
Christian households (haane’s), the village grew and during the
Renaissance developed noteworthy economic activities, sheep-breeding
reaching a level of 20 000 sheep and craftsmanship: homespun tailoring,
lodgery, and the famous masonry. The accounts recorded on Tetim-
chehaya (Stoimen Tetimov) who possessed more than 5000 sheep and an
own pasture in the Vishteritza Place gave an idea on the well-being and
the prosperity of the village.
At the end of the 19th century according to records of the Nevrocope
Bishopric the Kovachevitsa population numbered already 1400 people.
In the period following 1885 a significant change occurred in the
lifestyle of the wealthier tillers and stock-breeders who started construct-
ing cog wheels on the Kanina River and trading with timber. The owners
of those more than 13 cog wheels formed a social class of rich and suc-
cessful people of whom an entire generation of highly educated, notable
11
12
Æåíñêè öúðâóëè îò ñ.
Êîâà÷åâèöà ñ ïëåòåíè
âúëíåíè ÷îðàïè îò êðàÿ
íà ÕIÕ â. – ÷àñòíà
êîëåêöèÿ, ñ. Êîâà÷åâèöà.
Lady’s sandals from
Kovachevitsa with knit
wool-made socks of the
end of the 19th century
(private collection,
Kovachevitsa).
16
(Master) Angel Mitev and Toma Markov who was believed to be equal to in its Book Stock.
the legendary architect Usta (Master) Kolyo Ficheto as the latter name The establishment of the first Professional Village Masonry Association
was his nickname that was deserved by his great talent. The church bells in the Pirin region was another important fact. The latter took place in
were cast on the spot by skillful Goren Brod caster masters of materials 1873 with the active efforts on the part of the public teacher Nikola
donated by the entire community. Tens of bells (tunch’s), smaller bells, Kovachevsky. United in a professional league, the Kovachevitsa mason
metal-made vessels, golden and silver objects and ornaments were melt- craftsmen expanded the scope of their popularity and imposed further
ed. Memories are still kept that the bells were removed twice until the the style of the Kovachevitsa Architecture and Construction School all
masters extracted the finest sound of the metal alloy. The latter wonder- over Bulgaria.
ful sound is melodically spread even today under the Kovachevitsa sky, The Kovachevitsa community had a public-spirited mentality right
and in clear days – as far as the Nevrocope plain. from the foundation of the village. The strong sense of family belonging-
It was not accidental that such a community with a public-spirited ness (which rendered the workers come back each winter from distant
mind still praises the name of the public teacher Nikola Kovachevsky – a lands) and of Christian faith were passed on as the most important fam-
founder of the first New Bulgarian School in the Nevrocope Region in ily values from father to son. Therefore, the April Insurrection event in
1854. The date of the 27th of September when the young 22-year-old 1976 against the Ottoman Empire were supported by the bright village
Nikola opened the school in his own father’s house, adapted to become inhabitants via setting up revolutionary committees ready to fight.
a school by himself, his father Ivan Banev and a group of patriots, is still Though Kovachevitsa did not take part in the revolt, the tradition
vivid. In the newly created classrooms he presented for the first time the remained alive and later in 1895 a VMORO committee was established.
mutual-teaching training method and established a boarding school for The residents expressed their readiness for self-sacrifice in the name of
the incoming kids from the villages nearby. The school became a “dis- freedom by dedicated support of the bands of voivodes Slavko Voivode,
trict” one, not only by name, but also in terms of scope of the incoming Shimar Voivode, Yordje Voivode, and the well-known Todor Tetimov –
students. That apostolic and Enlightenment activities by continued by the Kanush Voivode.
teacher Yordje Dimitrov Djordjev who in 1982 built with his own funds a Rebel groups originated from Kovachevitsa also in 1903 during the
new two-floor school building that educated and provided knowledge to Ilinden-Preobrajenie Rebellion led by Dimitar Chulev, Stoyko Pashkulev,
generations of Kovachevitsa people as it preserved the name of its patron etc. After the burning down of the nearby village of Baldevo and the
until present. detentions and violations following the latter the Kovachevitsa people
Public life and cultural demand by the Kovachevitsa inhabitants were escaped temporarily to the Plovdiv and Pazardjik regions in order to sur-
encountered in the community center “Svetlina” (Light) established in vive.
1865, as its name remained unchanged for almost 140 years now. A As it is well-known the liberation of the Ottoman rule in the region
donation of 1500 books made by Stoyan Zlatarev in 1865 was recorded occurred as late as 1912. That was the period of the Balkan War in which
17
Äúðâàðè-ñåêà÷è îò ñ. Êîâà÷åâèöà èçâîçâàò äúðâåíè òðóïè çà äúñêîðåçíèöàòà
“Áåñëåò” - 1932-1935 ã. (Àðõèâíà ôîòîãðàôèÿ).
Woodchoppers of Kovachevitsa that transport timber for the Beslet saw-mill – 1932-
1935 (photo of the records).
18
Äúðâîðåçáåí òàâàí â åäíà îò íàé-ñòàðèòå çàïàçåíè êúùè â
ñ. Êîâà÷åâèöà îò ñðåäàòà íà ÕIÕ â.
Wood-carved ceiling in one of the oldest preserved houses in
Kovachevitsa of the middle of the 19th century.
19
íà ñòàâà åäâà ïðåç 1912 ã. Òîâà å âðåìåòî íà Áàëêàíñêàòà âîéíà, â êî-
ÿòî íåçàáàâíî ñå âêëþ÷âàò æèòåëè íà ñåëîòî êàòî äîáðîâîëöè, âî-
äåíè îò ïàòðèîòè÷åí äóõ, â ïîäêðåïà íà ìëàäàòà íè äúðæàâà.
Ìèðíèÿò ñëåäâîåíåí ïåðèîä 1913-1931 ã. áåëåæè ïîñòåïåííî çàïà-
äàíå íà õàðàêòåðíèÿ ïîìèíúê - äþëãåðñòâîòî. Çåìåäåëèåòî, æèâîò-
íîâúäñòâîòî è äúðâîäîáèâúò ñòàâàò îñíîâíî ïðåïèòàíèå íà áèâ-
øèòå äþëãåðñêè ðîäîâå, êîèòî âå÷å âëàäåÿò ãîëåìè ãîðñêè òåðèòî-
ðèè.  åäíà ñïðàâêà îò ïîçåìëåíèòå ðåãèñòðè ñå âèæäà, ÷å â íà÷àëî-
òî íà ÕÕ âåê çåìëèùåòî íà ñ. Êîâà÷åâèöà è âêëþ÷åíèòå êúì íåãî ïëà-
íèíñêè ìåñòíîñòè, îáõâàùàò îêîëî 300 êâ. êì îò òåðèòîðèÿòà íà
Çàïàäíèòå Ðîäîïè. (Â ïîñëåäíèòå äåñåòèëåòèÿ òåðèòîðèÿòà å ðàç-
äåëåíà íà îáùèíñêî çåìëèùå ñ ïëîù îêîëî 67 êâ. êì è äúðæàâíà
ñîáñòâåíîò îò 230 êâ. êì). Òàçè ãîëÿìà òåðèòîðèÿ îò çåìåäåëñêè è
ãîðñêè èìîòè ïîãúëíàëà ñèëèòå íà æèòåëèòå êàòî îñíîâåí ïîìèíúê.
Ñ ïðèñúùèÿò ñè äóõ íà òúðñåùè è îðãàíèçèðàíè õîðà, ìíîãîáðîé-
íèòå çåìåäåëñêè ôàìèëèè ó÷ðåäÿâàò ïðåç 1920 ã. Çåìåäåëñêî ñòîïà-
íñêî ñäðóæåíèå “Áðàòñòâî”. Ïðåç 1922 ã. ñå ó÷ðåäÿâàò è ãîðñêèòå
òðóäîâî ïðîèçâîäèòåëíè êîîïåðàöèè “Ðîäîïè” è “×åðâåí áîð”, à ïî-
êúñíî ïðåç 1932 ã. å ïîñòðîåíà è ìîäåðíà êîîïåðàòèâíà äúñêîðåçíà
ôàáðèêà (ãàòåð) â ìåñòíîñòòà “Áåñëåò”, çàäâèæâàíà ñ ïàðà.
20
village inhabitants immediately were involved as volunteers led by patri-
otic spirit in support of our young country.
The peaceful post-war period of 1913-1931 marked the gradual degra-
dation of the typical occupation – masonry. Tilling, stock-breeding and
timber industry became the main occupation of the former mason fami-
lies that already possessed large wood territories. In a record of the Land
Register one could see that at the beginning of the 20th century the land-
site of Kovachevitsa and the mountain localities included thereto encom-
passed approximately 300 km2 of the Western Rodopi territory. (Over the
last decades the territory was divided up into a public landsite with an
area of app. 67 km2 and a state-owned land of 230 km2). That vast terri-
tory of agricultural and wood estates absorbed the efforts of the inhabi-
tant as a main occupation.
Numerous tilling families established in 1920 the Agricultural
Economic Association “Bratstvo” (Fraternity) with their typical outlook of
organized people of the quest. In 1922 the timber labor manufacturing
cooperations of “Rodopi” and “Cherven Bor” (Red Pine-tree) were found-
ed, and later in 1932 a modern cooperative lumber mill was built in the
Beslet Place set in motion using heat. That manufacturing structure,
which the Kovachevitsa residents created, provided them with work
places on the entire operation line starting from the woodchoppers, tim-
21
Òàçè ïðîèçâîäèòåëíà ñòðóêòóðà, êîÿòî æèòåëèòå íà ñ. Êîâà÷åâè- âîòî è äà å ïðîèçâîäñòâî. Ìîæå áè ñïîìåíúò çà óíèêàëíîòî àðõè-
öà ñúçäàâàò, èì îñèãóðÿâàëà ðàáîòíè ìåñòà ïî öÿëàòà ëèíèÿ íà ïðî- òåêòóðíî áîãàòñòâî ùåøå äà ñå çàëè÷è îò âðåìåòî, àêî ïðåç 70-òå
èçâîäñòâî îò ãîðñêè ñåêà÷è, èçâîçâà÷è íà òðóïè äî äúðâîîáðàáîòâà- ãîäèíè íà ÕÕ âåê íå ñòàíà åäíî ïðåîòêðèâàíå íà òîçè “êàìåíåí ãðàä”
ùè ïîëóìàíèôàêòóðíè ñïåöèàëèñòè. Áàâíàòà, íî íåîáðàòèìà ìèãðà- îò ðîäíîòî êèíîïðîèçâîäñòâî. Íåêîëöèíà èíòåëèãåíòíè õîðà: ïèñà-
öèÿ íà íàñåëåíèåòî íà ñ. Êîâà÷åâèöà êúì ãðàäîâåòå çàïî÷âà îò 1946 òåëè, ðåæèñüîðè, õóäîæíèöè, ñöåíàðèñòè è îïåðàòîðè îòêðèõà çà õî-
ã. Âåëèíãðàä, Íîâè Êðè÷èì, Êàçàíëúê è äð. ïðèâëè÷àò ñ âúçìîæíîñòè ðàòà, íàé-ãîëåìèÿ çà Áúëãàðèÿ, ôèëìîâ ïàâèëèîí íà îòêðèòî. Äåñåò-
çà ïîâå÷å îáðàçîâàíèå è ðàçëè÷íè ïðîôåñèè. Ïîòîêúò îò ìëàäè õîðà, êè ôèëìè, çàñíåòè â ñ. Êîâà÷åâèöà, ðàçíåñîõà ñëàâàòà íà òîçè óíèêà-
íàïóñíàëè ñåëîòî ãî îáåçëþäÿâà. Îò íàñåëåíèå, íàáðîÿâàùî 2000 äó- ëåí êàìåíåí äåêîð ïî ñâåòà. Ðàçðàáîòâàíåòî íà “Áúëãàðñêèÿò Õîëè-
øè ïðè æèëèùåí ôîíä îò 300 êúùè, îùå ïðåç ïåðèîäà 1938-1940 ã. òî âóä” äîíåñå íà áúëãàðñêîòî êèíî íåïîäîçèðàí åñòåòè÷åñêè ïîòåíöè-
ñïàäà íà 1229 æèòåëè. Êàðòèíàòà ñòàâà âñå ïî-òúæíà ïðåç ñëåäâàùè- àë. Àâòåíòè÷íàòà àðõèòåêòóðíà ñðåäà íà ñ. Êîâà÷åâèöà ïðîâîêèðà
òå äåñåòèëåòèÿ. Èç÷åçâà ÷àðøèÿòà ñúñ ñåäåìòå êðú÷ìè, íÿêîëêîòî ÷ðåç ñâîÿòà íåïîâòîðèìà êðàñîòà àêòüîðè, ñöåíàðèñòè, îïåðàòîðè
êàñàïíèöè è äâàäåñåòèíàòà äþêÿíà, îáåçëþäÿâàò ñå êúùèòå, îïóñ- è ðåæèñüîðè êúì âèñîêî ïðîôåñèîíàëíà èçÿâà. Îòçâóêúò â áúëãàðñêî-
òÿâàò óëèöèòå. Äíåøíèòå æèòåëè ñà åäâà 50-60 äóøè, ïîâå÷åòî â òî îáùåñòâî, îò åìîöèîíàëíèÿ êîíòàêò ÷ðåç êèíîòî ñ îïóñòÿâàùî-
íàïðåäíàëà âúçðàñò, à îãðîìíèòå ãîðñêè âëàäåíèÿ íà ñåëèùåòî ñåãà òî ñåëî, ñå èçðàçè â ñïîíòàíåí îïèò íà ìíîãî èíòåëåêòóàëöè è ïàò-
ñà ïðèðîäíè ðåçåðâàòè è íå ìîãàò äà ïîñëóæàò çà ñúæèâÿâàíå íà êàê- ðèîòè çà ñïàñÿâàíå îò ðàçðóõà íà òàçè êðàñîòà. Òîâà ñòàíà áåç íàìå-
ñà íà äúðæàâíè èíñòèòóöèè, ïî åäèí åñòåñòâåí íà÷èí, íà çàêóïóâà-
íå, ðåñòàâðèðàíå è íàñåëÿâàíå, ìàêàð è ñåçîííî, íà óìèðàùèòå êúùè.
Òàçè ïîäàäåíà íà ìèíàëàòà àðõèòåêòóðíà ñëàâà íà Áúëãàðèÿ, ðúêà îò
ñúâðåìåííèöèòå íè å ìîðàëíîòî íèâî, êîåòî åäèíñòâåíî ìîæå äà ñå
ðàâíÿâà íà ñúòâîðåíàòà îò ïðåäèøíèòå ïîêîëåíèÿ êðàñîòà - ïðèêàç-
êà îò êàìúê è äúðâî ñ èìåòî Êîâà÷åâèöà.
22
ber transporters to wood-processing semi-manufacturing experts. The development of the Bulgarian Hollywood brought to the Bulgarian
The slow and yet irreversible migration of the population from cinema an unexpected aesthetic potential. The authentic architecture
Kovachevitsa to the urban centers started in 1946. Velingrad, Novi environment of Kovachevitsa provoked with its natural beauty actors,
Krichim, Kazanluk, etc. attracted by providing opportunities for more screen writes, cameramen, and directors to reach high professional levels
types of education and various occupations. The outflow of young people of expressions. The response in the Bulgarian society from the emotional
depopulated the village. From a population level of 2000 people under contact via cinema means with the deserting village expressed into a
residential stock of 300 houses as early as the 1938-1940 period the latter spontaneous attempt of numerous intellectuals and patriots to save this
declined to 1229 residents. The situation became even worse over the fol- beauty from ruining. The latter occurred without the intervention of state
lowing decades. The bazaar with the seven pubs, several butcheries, and institutions in a very natural way of purchasing, restoring, and populating,
twenty shops disappeared, and the streets became deserted. The popula- though on a seasonal basis, the dying houses.
tion at present adds up to only 50-60 people most of who at an advanced That hand extended to the past architecture reputation of Bulgarian by
age, and the vast wood mansions of the village are now nature reserves our contemporaries was the ethical level, which could be only compared
and could not serve to restoring any manufacturing whatsoever. to the beauty created by preceding generations – a tale of stone and
Probably the memory of the unique architecture richness would have wood by the name of Kovachevitsa.
been erased by time if in the 70s of the 20th centuries a re-discovery of
that stone town had not occurred by our local cinema industry.
A few intelligent people: writers, directors, artists, screen writers, and
cameramen revealed to the public the largest movie outdoor pavilion in
Bulgaria. Tens of movies shot in Kovachevitsa spread around the reputa-
tion of this unique stone setting worldwide.
23
Êàïñúçîâè êúùè.
The Kapsuzov Houses.
24
Áåëè÷åâà è Áàíãîâà êúùè.
The Belichev and Bangov Houses.
25
Ïðèêàçêà
îò êàìúê è
äúðâî
“Â ïðîñòîòàòà
å íàé-òúíêèÿò
âêóñ”
Îãþñò Ðîäåí
“Simplicity underlies
finest taste”
Auguste Rodin
32
tures of the roofs made of 10-15 m planks that impressed even the space and light. Such an interaction of volumes in the architecture
most critical eye with its master processing, added the new feeling of composition reached in the fraternal complexes did not have an ana-
warmth provoked by the noble color of timber. logue in the records of the Bulgarian Renaissance architecture
The abundance of timber of the finest quality in the vicinity gave thought.
several centuries the liberty of the craftsmen to create the unique It would not be hard to imagine the understanding among people
interior of the Kovachevitsa house. The timber-made couches, the and the participation of the entire working population in the process
embedded furniture, book shelves, closets, columns and anything of building each new house. The latter was the main reason for the
else required by the home customs and coziness passed through the synchrony reached between the mixture of complicated “Ï”-shaped
hands and the hearts of the original craftsmen from Tetovo, Kostur or “Ô-shaped rows and groups of houses that formed the compact
and Debar characterized by proverbial expression simplicity and carpet-like building of the village. Once again the main reason for the
beauty. Extreme ornateness and eclectics typical for Renaissance rich and extremely functional building was the lack of terrain. Scarce
houses in other regions of the country were not present here. No and steep, the latter imposed the differentiation of the residential
object existed unless having a functional purpose. Simply what was environment in Kovachevitsa into three zones: residential center
useful became beautiful as well. Harsh life and living of people for zone, a layer of agricultural premises (for weeding, granaries, etc.),
centuries were reflected in the modest, simple interior architecture and outside the latter also a zone of agricultural areas. That structure
even in the residential premises number, type and functionality. of the village was preserved for a long time since it was the most nat-
The famous Kovachevitsa houses referred to as “fraternal” reflect- ural and successful solution for adequate existence of the population.
ed the philosophy of input labor and equal relations in the family The Kovachevitsa houses similar to the Rodopi houses in general
and lineal patriarchal life. In the assembly of two to three houses were solid stone-made buildings with peculiar masterfully executed
none of them dominated. They situated on the terrain such as to masonry. The building technology was quite simple: mozaically
avoid hindering one another, competing, robbing one another of the arranged non-hewed stones cemented with soft soil. The solid
33
êàìúíè, ñïîåíè ñ ðàçìåêíàòà ïðúñò. Ìàñèâíèòå çèäîâå ñà èçêëþ÷è-
òåëíî çäðàâè è òðàéíîñòòà èì å ïðîâåðåíà îò ñòîëåòèÿòà, à êðà-
ñîòàòà íà ïðåëèâàùàòà îò òîïëà îõðà äî ñòóäåíî ñèâà êàìåííà ìî-
çàéêà å íåîñïîðèìà. Òúíêèòå, ïàòèíèðàíè îò âðåìåòî äúðâåíè êîøà-
öè, ðàçäåëÿùè êàìåííàòà çèäàðèÿ íà õîðèçîíòàëíè ïîÿñè, âíàñÿò ÷î-
âåøêè ìàùàá è äåêîðàòèâíà çâó÷íîñò íà ñòðîãèòå êàìåííè ïîâú-
ðõíèíè. Êîâà÷åâñêèòå äþëãåðè ñà îñòàâèëè ñâîÿ íåïîâòîðèì ñòðîè-
òåëåí ïî÷åðê è âúðõó äúðâåíèÿ ñêåëåò íà ïîêðèâíèòå êîíñòðóêöèè,
ïðîçîðöèòå, âðàòèòå, äúðâåíàòà åðêåðíà îáëèöîâêà è ðàçáèðà ñå,
âúðõó ñåìïëèÿ è ëàêîíè÷åí àðõèòåêòóðåí äåòàéë íà èíòåðèîðà. Åëå-
ìåíòèòå íà æèëèùíèÿ èíòåðèîð ñà çàâèñåëè îò ïðåäíàçíà÷åíèåòî
íà âñÿêî ïîìåùåíèå. Âëèçàéêè â òðàäèöèîííàòà êîâà÷åâñêà êúùà,
ïðîòîòèï íà ðîäîïñêàòà, ñå ìèíàâà íàé-íàïðåä ïðåç “ñóõèÿ” äâîð, â
ñúñåäñòâî ñ êîéòî ñå íàìèðà “ïîäíèêà” (îáîð) â íàé-íèñêèÿ ðåãèñòúð
íà ñãðàäàòà. Ïðè íàëè÷èå íà ñòîïàíñêè åòàæ, îáèêíîâåíî ðàçâèò íà
ïîëóíèâî, äî íåãî ñå äîñòèãà ÷ðåç ãîëÿìà äúðâåíà ñòúëáà. Ñëåäâàùè-
òå åäèí èëè äâà ãîðíè åòàæà ñà ïëàíèðàíè äà ïîáåðàò ìíîãîëþäíèòå
ñåìåéñòâà. Ïðè ïúðâîíà÷àëíèÿ òèï íà èçãðàæäàíå, ïðîäúëæèë äà êðàÿ
íà ÕVIII âåê, ãîëåìèòå ôàìèëèè ñà îáèòàâàëè îáøèðíà îáùà ñòàÿ ñ îã-
íèùå, êîÿòî èìàëà ôóíêöèÿòà íà ñïàëíÿ è êóõíÿ åäíîâðåìåííî.
Ïðåç ÕIÕ âåê ñòðóêòóðàòà íà ðîäîâèòå êúùè ïðåòúðïÿëà ñåðèîç-
íà ïðîìÿíà ñëåä îáîñîáÿâàíåòî íà îòäåëíèòå ñåìåéñòâà â ñàìîñòî-
ÿòåëíè ñòàè ñ îãíèùà. Èíòåðèîðúò ñå îáîãàòÿâà ñúñ ñïåöèàëèçèðàíè
ïîìåùåíèÿ, êîèòî áåëåæàò íàðàñòâàùàòà áèòîâà êóëòóðà íà êîâà-
÷åâñêîòî íàñåëåíèå. Íàé-ðàçïðîñòðàíåíèòå èíòåðèîðíè ïðîñòðàí-
ñòâà ñà: “ïîòîí” (êîðèäîð-ñàëîí) ñ ïðèëåæàùàòà êúì íåãî ñòúëáà, èç-
öÿëî èçðàáîòåíè îò äúðâî, ÷ðåç êîéòî ñå îñúùåñòâÿâà âðúçêà ñ âñè÷-
êè äðóãè ïîìåùåíèÿ, “âîäíèê” (ìÿñòî çà ñúõðàíåíèå íà âîäà çà áèòî-
âè íóæäè), “êüîøê”, òîàëåòíà, ñàìîñòîÿòåëíè ñòàè ñ îãíèùà è ïåù,
ïîíÿêîãà âêëþ÷åíà êúì ïîòîíà. Íàé-èíòåðåñåí è îò ñúâðåìåííà ãëåä-
íà òî÷êà èíòåðèîðåí åëåìåíò ñè îñòàâà ïîòîíúò. Îðèåíòèðàí âè-
íàãè êúì íàé-äîáðîòî èçëîæåíèå, òîé îïðåäåëÿ è âèçóàëíî-ïðîñòðàí-
ñòâåíîòî ðåøåíèå íà ãëàâíàòà ôàñàäà íà êúùàòà, êàòî ñå âïèñâà è
ìíîãî ÿðêî â àíñàìáëîâèÿ òèï íà “áðàòñêèòå” êúùè. Ðàçëè÷íèòå àð-
õèòåêòóðíè ñõåìè íà ðàçïîëîæåíèåòî íà ïîòîíà: íàäëúæíà, íàïðå÷-
íà, ñèìåòðè÷íà è öåíòðàëíî-íàïðå÷íà, îïðåäåëÿò è ðàçëè÷èÿòà âúâ
ôàñàäèòå íà êîâà÷åâñêàòà êúùà.
Òàëàíòëèâèòå ìàéñòîðè íå ïðåñòàâàëè äà âíàñÿò ðàçíîîáðàçèå
âúâ âñÿêà íîâà êúùà, êàòî èçíàñÿëè äîïúëíèòåëíî åäíîñòðàííî,
äâóñòðàííî èëè òðèñòðàííî ÷àðäàöè ñ øèðîêè ñòðÿõè. Îáîãàòÿâàëè
è àðõèòåêòóðíî-êîíñòðóêòèâíèòå åëåìåíòè ñ èíòåðåñíè äåòàéëè
ïî ïàðàïåòèòå è äúðâåíèòå “ñòåíè-ïåðäåòà” íà ñòðåõèòå. Ïåñòåëè-
âîòî èçïîëçâàíå íà ò. í. “ñòîëàðñêà” ðåçáà ïî òàâàíè, âðàòè, ìàíñàð-
äè è âúçãëàâíèöè íà êîëîíèòå âèäèìè îòâúí, å â ïúëåí ñèíõðîí ñúñ
ñòðîãèÿ õàðàêòåð íà èíòåðèîðà.
34
masonry was extremely firm and its duration has been verified by
time, and the beauty of the overflowing ochre to a cold gray stone
mosaic was indisputable. The thin patina-covered-over-time rein-
forcement (koshatzi) separating the stone masonry into horizontal
layers introduced a human dimension and a decoration response of
the austere stone areas. The Kovachevitsa masons left also their
unique construction mark on the timber frame of the top structures,
the windows, the doors, the timber oriel paneling and naturally on
the simple and laconic architecture detail of the interior.
Entering into the traditional Kovachevitsa house, a prototype of
the Rodopi one, one should first pass through the “dry” yard next to
which the podnik (cattle-shed) was situated in the lowest register of
the building. If an economic floor were present, usually developed at
a semi-level, one could reach it using a large timber step-ladder. The
following one or tow floors were designed to accommodate the
crowded families. In the initial type of construction that lasted until
the 17th century the large families inhabited a big room with a fire-
place that functioned both as a bedroom and a living room.
In the 19th century the structure of the family houses underwent
a significant change after the separation of separate families in indi-
vidual rooms with fireplaces. The interior was enriched by building
specialized premises that noted the advanced everyday manners of
the Kovachevitsa community. The most popular interior structures
were as follows: “ceiling — ponton” (salon – hall way) with an
adjunct step-ladder thereto fully made of timber via which a link
could be made with all other premises; vodnik (water storage for
daily necessities); kyoshk – resting room; independent rooms with
fireplaces and ovens sometimes linked with the ceiling. The ceiling
remains the most interesting interior element even from a modern
point of view. Always directed to the best view, the latter defined
also the visual and space solution of the main façade of the house,
as it integrated very strikingly in the assembly type of the fraternal
houses. Various architecture schemes of the situation of the ceiling:
longitudinal, cross, symmetrical, and central-transverse determines
the differences in the facades of the Kovachevitsa house.
The talented craftsmen did not stop importing variety into each
new house as they exported further one-sided, two-sided or three-
sided balconies with wide eaves. They also enriched the architecture
and construction elements with peculiar details on the parapets, and
the wooden wall-curtains of the eaves. The moderate use of the so-
called joiner’s fretwork on ceilings, doors, garrets, and column ends,
visible from the outside was in full harmony with the austere style of
the interior.
The flexible dynamics of the oriels exported above the stone
facades of the Daskalov House, the Sarafov House, the Bangov
35
Ïëàñòè÷íàòà ðàçäâèæåíîñò íà åðêåðèòå, èçíåñåíè íàä êàìåííèòå
ôàñàäè íà Äàñêàëîâàòà êúùà, Ñàðàôîâàòà, Áàíãîâàòà, Óðäåâàòà è
äð. êúùè, ñà îáðàçöè íà ðàííîâúçðîæäåíñêàòà ðîäîïñêà àðõèòåêòóðà.
Íåïîâòîðèìè ïî âúçäåéñòâèå è àðõèòåêòóðíî-õóäîæåñòâåíè êà÷å-
ñòâà ñà àíñàìáëèòå íà Äèøëÿíîâàòà, Øóìàðåâàòà, Ïèëàðåâàòà, Ãþ-
çåëåâàòà, Êþïîâàòà êúùà, êàêòî è ãîëÿìàòà Øèìàðîâà êúùà. Âñè÷êè
òå, êàêòî è îñòàíàëèòå êîâà÷åâñêè êúùè äúëæàò ñòèëíàòà ñè çàâúð-
øåíîñò íà êàìåííèÿ ïîêðèâ îò êðàñèâà ìîçàéêà îò ïðî÷óòèòå “òèê-
ëè”, ðèîëèòíè ïëî÷è, âñÿêà îò êîèòî å ñ ðàçëè÷íà ôîðìà, ïîëó÷åíà îò
ðú÷íà îáðàáîòêà è ñ åñòåñòâåíà ïðèðîäíà ïàòèíà. Áåç òîçè àâòåí-
òè÷åí àðõèòåêòóðåí ñòèë êîâà÷åâñêèòå êúùè íå áèõà áèëè õàðìî-
íè÷íî çàâúðøåíè êàòî àðõèòåêòóðíà öÿëîñò.
Ãîëåìèòå ñòðîèòåëíè ïîñòèæåíèÿ íà êîâà÷åâñêèòå äþëãåðè áåçñ-
ïîðíî ñå êîðåíÿò â ïðîôåñèîíàëèçìà, ïðåäàâàí êàòî ôàìèëíà òðàäè-
öèÿ, íî è â îáè÷àéíî-ïðàâíèòå íîðìè, ñïàçâàíè îò âñè÷êè, êîèòî ðå-
ãóëèðàëè âçàèìîîòíîøåíèÿòà â ãèëäèÿòà, ïî îòíîøåíèå íà éåðàðõè-
ÿòà, îðãàíèçàöèÿòà, ðàçïðåäåëåíèåòî íà òðóäà è ïå÷àëáàòà. Ïîñòå-
ïåííîòî íàâëèçàíå íà íàåìíèÿò òðóä ïîä ôîðìàòà íà “íàäíè÷àð-
ñòâî” â äþëãåðñêèòå äðóæèíè, â êðàÿ íà ÕIÕ âåê, å ïðåäïîñòàâêà çà
íîâ ñòàòóò è éåðàðõèÿ â ñòðîèòåëíèÿ åñíàô. Èçâåñòíî å, ÷å â ñ. Êî-
âà÷åâèöà ñå èçáèðàë óïðàâèòåëåí ñúâåò îò íàé-èçòúêíàòèòå ìàéñ-
òîðè, êîéòî ïðåäñòàâëÿâà ëèöåòî íà äþëãåðñêîòî ñúñëîâèå ïðåä îá-
ùåñòâîòî. Îòêðèâàò ñå äþêÿíè çà ñïåöèàëèçèðàíè èíñòðóìåíòè, à
êîíêóðåíöèÿòà ïîäòèêâà ìàéñòîðèòå äà ñè ñúçäàäàò òàåí åçèê
“ìåùðîâñêè” èëè “ìåùðîãàíñêè” îò òèïà íà ñîöèàëíèòå ãîâîðè,
áëèçúê äî áðàöèãîâñêèÿ è íàïúëíî íåðàçáèðàåì çà íåïîñâåòåíèòå. Çà-
ïàçåíèòå ïîâå÷å îò 300 ìåùðîãàíñêè äóìè è èçðàçè çâó÷àò ïðèáëèçè-
òåëíî òàêà: “Ìèùîïèÿòà å áîðàíà îò ãóðà è äðóíà” - êîåòî çíà÷è
“Êúùàòà å íàïðàâåíà îò êàìúê è äúðâî”, èëè “Âåïè åäíà äçèôóðà çà
ìåùðàòà” - “Äàé åäíà öèãàðà çà ìàéñòîðà”. Òàçè îðèãèíàëíîñò â ïîâå-
äåíèåòî íà ìàéñòîðñêîòî ñúñëîâèå å íàïúëíî ðàçáèðàåìà è îïðàâäà-
íà çà ñâîåòî âðåìå, íåçàâèñèìî ÷å ñåãà çâó÷è ìíîãî åêçîòè÷íî.
Îò áóðíèÿ ñòðîèòåëåí ïåðèîä íà ñ. Êîâà÷åâèöà ñà îñòàíàëè ìíî-
ãî ñïîìåíè, óñòíî ïðåäàâàíè îò ïîêîëåíèå íà ïîêîëåíèå. Çà ãîëÿìàòà
÷àðøèÿ “Âðèñ” â öåíòúðà íà ñåëîòî è çà äâàäåñåòòå äþêÿíà ïî íåÿ,
ðàçïîëîæåíè îò Øóáàëåêîâàòà ÷åøìà äî Ëàíäæîâèöà ÷åøìà, êðúñ-
òåíè íà ìåñòíè ðîäîâå, çà îòâîðåíèòå îò ñóòðèí äî âå÷åð âðàòè
íà êîâà÷íèöàòà, ñàìàðäæèéíèöàòà, æåëåçàðíèöàòà, îáóùàðíèöàòà,
àáàäæèéíèöàòà, ñëàäêàðíèöàòà, áàêàëíèöàòà, ìîæå äà ñå ÷óå ïî íÿ-
êîÿ äóìà è äíåñ. Òå îùå ñúùåñòâóâàò â ñïîìåíèòå íà ìàëêîòî îñòà-
íàëè ìåñòíè æèòåëè. Íÿêîè îò òÿõ ñà òè÷àëè êàòî äåöà ïî ÷àðøèÿ-
òà “Âðèñ” è ñà âèæäàëè íåäåëíèÿ ãîëÿì ïàçàð, íà êîéòî ñà ïðèèæäàëè
ñåëÿíè îò ñúñåäíèòå ñåëà è òúðãîâöè, çà äà ïðåäëîæàò ðàçííîîáðàç-
íàòà ñè ñòîêà. Ïðåç 50-òå ãîäèíè íà ìèíàëèÿ âåê, ïðîêàðàíèÿò íîâ
ïúò çà Áåñëåòñêîòî ãîðñêî ñòîïàíñòâî ñëàãà êðàé íà ïúñòðîòàòà è
36
House, the Urdev House, etc. exemplified the early Renaissance
Rodopi architecture. The assemblies of the Dishlyanov House, the
Shumarev House, the Pilarev House, the Gyuzelev House, the
Kyupov House as well as the large group of the Shimerov Houses
had a unique impact and architecture and artistic virtues. All of the
latter as well as the other Kovachevitsa houses owed their stylistic
completeness to the stone top made of a beautiful mosaic of the
famous tiles, riolyte plates, each one with a different shape obtained
by manual processing and having natural patina. The Kovachevitsa
would not have been harmoniously complete architecturally without
that authentic architecture feature.
The significant construction achievements of the Kovachevitsa
masons indisputably originated from the expertise passed on as a
family tradition, but also in the customary legal norms observed by
everyone that regulated the relations in the league in view of hierar-
chy, arrangements, labor distribution, and profit allocation. The
gradual introduction of hired labor under the waged-based form in
the mason groups at the end of the 19th century was a prerequisite
for a new statute and hierarchy in the construction guild. It is known
to me that in Kovachevitsa a Management Board used to be selected
of the most prominent masters that presented the image of the
mason profession in society. Shops for specialized instruments were
opened and competition rendered the craftsmen create a secret lan-
guage of theirs referred to as “meshtrovsky” or “meshtrogansky” of
the type of social dialects close to the Bratzigovo one and fully
incomprehensible to the uneducated ones, as more than 300
meshtrogansky words and phrases have been preserved.
Only memories passed on by word from one generation to the
next have remained from the tremendous construction times of
Kovachevitsa. One could hear a word or two even today about the
large Vris bazaar in the center and the twenty shops located there
from the Shubalekov fountain to the Landjov one, named after local
families, about the smithy, the packsaddle’s shop, the forge, the
shoemaker’s shop, the tailor’s shop, the confectionary, and the gro-
cery. They still exist in the memories of the few local residents. Some
of them used to run as kids on the Vris bazaar and used to enjoy the
unique big market on which villagers and merchants of the neigh-
boring villages used to come to offer their various goods. In the 50s
of the last century the new road built to the Beslet Forestry put an
end to the diversity and tumult because it passed right in the middle
of the bazaar destroying all commercial buildings. The unique inn
(the Bakalov House) that had used to be in the very center of the
bazaar was also demolished.
Fortunately, not all public sites were damaged. The public-spirited
community of Kovachevitsa saved the most precious monument of
37
Àâòåíòè÷íà êîâà÷åâñêà
ñåëñêà íîñèÿ îò êðàÿ íà ÕIÕ
â. (Àðõèâíà ôîòîãðàôèÿ).
Authentic Kovachevitsa Êîâà÷åâñêî ñåëñêî õîðî íà “Îðèùåòî” ïðåä ó÷èëèùåòî íà Éîðäæå
village costume at the end of Äèìèòðîâ îò íà÷àëîòî íà ÕÕ â. (Àðõèâíà ôîòîãðàôèÿ).
the 19th century Kovachevitsa village ring on the Orishteto in front of the Yordje Dimitrov’s school at
(photo of the records). the beginning of the 20th century (photo of the records).
38
Àâòåíòè÷íè ïîñðåáðåíè
æåíñêè íàêèòè îò êðàÿ íà ÕIÕ â.
(×àñòíà êîëåêöèÿ – ñ. Êîâà÷åâèöà).
Authentic silver-plated lady’s jewels at
the end of the 19th century (private col-
lection in Kovachevitsa).
Îðèãèíàëíè
Êîâà÷åâñêè æåíñêè
ïðàçíè÷íè íîñèè îò
ñðåäàòà íà ÕIÕ â.
(×àñòíà êîëåêöèÿ –
ñ. Êîâà÷åâèöà).
Original Kovachevitsa
ladies’ celebration cos-
tumes in the middle of
the 19th century
(private collection in
Kovachevitsa).
39
îæèâëåíèåòî, çàùîòî ìèíàâà òî÷íî ïðåç ÷àðøèÿòà, ðàçðóøàâàéêè óñëîâèåòî, íî çàïàçèëè ãîëåìèòå ìó ðàçìåðè âúâ âúòðåøíîòî
âñè÷êè òúðãîâñêè ñãðàäè. Ðàçðóøåíà å è óíèêàëíàòà ñòðàíîïðèåìíè- ïðîñòðàíñòâî (äúëæèíà , øèðèíà , âèñî÷èíà ). Çà âäèãàíåòî íà òîçè
öà (Áàêàëîâàòà êúùà), êîÿòî ñå å íàìèðàëà â ñàìèÿ öåíòúð íà ÷àðøè- Áîæèé äîì ñå òðóäèëî öÿëîòî íàñåëåíèå è ìîæå áè çàòîâà áàø-ìàéñ-
ÿòà. Çà ùàñòèå íå âñè÷êè îáùåñòâåíè ñãðàäè ñà ïîñòðàäàëè. Áóäíîòî òîðèòå ñà “çàáðàâèëè” äà âïèøàò èìåíàòà ñè â ïàìåòåí íàäïèñ âúð-
íàñåëåíèå íà ñ. Êîâà÷åâèöà å ñúõðàíèëî íàé-öåííèÿ ïàìåòíèê íà äóõîâ- õó ñòåíàòà ìó èëè ìîæå áè êòèòîðèòå áèëè òîëêîâà ìíîãî, ÷å å áè-
íîñòòà ñè, ñàêðàëíèÿ äîì íà õðèñòèÿíñêàòà ñè âÿðà - öúðêâàòà “Ñâ. ëî òðóäíî äà ñå ïîáåðàò íà öÿëà ñòåíà? Öúðêâàòà áèëà çàâúðøåíà è
Íèêîëà”. Èçãðàäåíà â òåæêèòå ãîäèíè íà òóðñêî ðîáñòâî ñ óñèëèÿòà îñâåòåíà ïðåç 1848 ã. Òðèêîðàáíàòà áåçêóïîëíà áàçèëèêà “Ñâ. Íèêîëà”,
íà öÿëîòî íàñåëåíèå, òÿ å áèëà ñèìâîë íà íàäåæäàòà çà ïî-äîáúð æè- åäíà îò ïåòòå íàé-ãîëåìè áàçèëèêè â Áúëãàðèÿ å èçãðàäåíà ïî òðàäè-
âîò, óïîâàíèå è çàêðèëà îò ñòðàäàíèÿòà. Çàòîâà ÿ ïîñâåòèëè íà ñâ. öèîííàòà çà Êîâà÷åâèöà ñòðîèòåëíà òåõíîëîãèÿ è ìàòåðèàëè, ñîëèä-
Íèêîëà, çàêðèëíèê íà ïúòíèöèòå, ãóðáåò÷èèòå è áåæàíöèòå, êàêâî- íè êàìåííè çèäîâå è ïîêðèâ, çàñòëàí ñ êàìåííè ïëî÷è “òèêëè”. Âçèäà-
òî â ñâîÿ êîðåí áèëî öÿëîòî íàñåëåíèå íà ñåëîòî. íèòå âèñîêî â ïîäïîêðèâíîòî ïðîñòðàíñòâî ïðîçîðöè îñèãóðÿâàò
Èñòîðèÿòà, ñâúðçàíà ñ òðóäíî âçåòîòî ðàçðåøåíèå îò òóðñêèòå äîáðî îñâåòÿâàíå íà âúòðåøíîñòòà íà õðàìà.
âëàñòè çà ñòðîèòåëñòâîòî íà õðàìà, ïðåâúðíàòà â ìåñòíà ëåãåíäà, Îãðîìåí òðèðåäîâ èêîíîñòàñ, èçöÿëî äúðâåíà êîíñòðóêöèÿ ñ èçê-
ðàçêàçâà çà èçâåñòåí êîâà÷åâñêè òúðãîâåö, êîéòî óñïÿë äà íàìåðè ëþ÷èòåëíî êðàñèâà öàðñêà äâåð ñ ïîçëàòåíà äúðâîðåçáà ïîñðåùà áîãî-
ïðèçíàíèå ÷àê â ñóëòàíñêèÿ äâîð â Öàðèãðàä êàòî èçêóñåí áðúñíàð. ìîëöèòå ñ ðåñïåêòèðàùîòî ñè âåëèêîëåïèå. Ñàêðàëíàòà ìèñòèêà íà
Êúì íåãî ñå îáúðíàëè ñúñåëÿíèòå ìó ñ ìîëáà çà ïîìîù, çàùîòî áèëî õðàìà ñå ïîäñèëâà îò ïîäðåäåíèòå â òðè õîðèçîíòàëíè ðåäà íàä ñå-
íåâúçìîæíî äà ïîëó÷àò ðàçðåøåíèå çà ñòðîåæ îò ñóëòàíñêàòà àäìè- äåìäåñåò èêîíè.
íèñòðàöèÿ (Âèñîêàòà ïîðòà). Òîâà ñòîðèë ëè÷íî ñóëòàíúò, êîéòî èç- Äâàíàäåñåòòå öàðñêè èêîíè îò ñðåäàòà íà ÕIÕ âåê ñà èçðàáîòåíè
äàë è ïîäïèñàë ôåðìàí çà ñòðîèòåëñòâîòî íà êîâà÷åâñêàòà öúðêâà îò íåèçâåñòåí èêîíîïèñåö, êîéòî íîñè ïî÷åðêà íà êúñíèòå çîãðàôè
êàòî áëàãîâîëåíèå è ïðèçíàíèå çà òàëàíòà íà êîâà÷åâñêèÿ áðúñíàð. îò Òðåâíåíñêàòà æèâîïèñíà øêîëà. Êîëîðèòúò, êîìïîçèöèîííèòå
Åäèíñòâåíîòî óñëîâèå áèëî òÿ äà íå áúäå âèñîêà, çà äà íå ñå âèæäà ðåøåíèÿ è æèâîïèñíàòà òåõíèêà ñà íåñúìíåíî äåëî íà äîáúð ìàéñòîð
îòäàëå÷å. Çàòîâà ñòðîèòåëèòå âêîïàëè õðàìà â çåìÿòà è èçïúëíèëè íà ÷åòêàòà, ñúçäàë óíèêàëíè îáðàçöè íà êúñíàòà âúçðîæäåíñêà èêîíî-
40
its spirit, its sacral home of Christian faith – the St. Nikola Church. sors were that numerous and it was difficult to fit onto one wall. The
Built under the harsh conditions during the Ottoman rule with the church was completed and sanctified in 1848. The St. Nikola basilica
effort of the entire community, it used to be a symbol of hope of bet- with a nave a two aisles, one of the five largest basilicas in Bulgaria,
ter life, confidence, and protection of suffering. Therefore, they ded- was built following the traditional Kovachevitsa technique and mate-
icated it to St. Nikola, a guardian of the strangers, workers, and rials, solid stone walls and top, covered by stone tiles tikli. The win-
refuges as the entire community originated thereof. dows were laid high in the sub-ceiling structure and provided fine
The story of the permit obtained hard from the Turkish Authorities lighting in the interior of the church.
to build the church turned into a local legend tells for a famous A vast three-row iconostasis fully made of wood with an extreme-
Kovachevitsa merchant that managed to receive recognition even in ly beautiful royal entrance welcomes the worshippers with its awe-
the Sultan’s Court in Tzarigrad as being a skillful barber. His fellow- some magnificence. The sacral mysticism of the church is reinforced
villagers asked him for assistance since it had been impossible for more than 70 icons arranged in three horizontal rows.
them to receive a construction permit from the Sultan Administration The twenty royal icons of the middle of the 19th century were cre-
(the High Gate). The latter was done by Sultan himself who issued ated by an anonymous icon-painter that bore the marks of the late
and signed a firman for the construction of the Kovachevitsa church icon-painters of the Tryavna Painting School. The colors, the compo-
as a sign of benevolence and recognition of the Kovachevitsa bar- sition solutions and the painting technique were undoubted execut-
ber’s talent. The only condition was that it should not be raised tall ed by a fine brush master the created unique images of the late
in order not to been seen from a large distance. Therefore, the Renaissance icon-painting. The apostolic and celebration row of
builders dug the church into the ground and yet preserved its large icons in the iconostasis was made by other anonymous icon-painters.
size in the interior. On the Northern and Southern walls close to the iconostasis were
The entire community worked to build this God’s temple and placed arcs of two extremely precious icons: St. George and a Horse
maybe that is the reason why the craftsmen forgot to engrave their and St. Dimitar and a Horse created by the hand of Georgi Stregyov
names in a commemorative tablet on the wall or probably the spon- in 1874 of the Balkan Artistic School.
41
Äîáðåâà êúùà.
The Dobrev House.
42
Øóìàðåâà êúùà. 1895
The Shumarev House. 1895
43
ïèñ. Àïîñòîëñêèÿò è ïðàçíè÷åí ðåä îò èêîíè â èêîíîñòàñà ñà äåëî íà
äðóãè íåèçâåñòíè çîãðàôè. Íà ñåâåðíàòà è þæíà ñòåíè â áëèçîñò äî
èêîíîñòàñà ñà ïîñòàâåíè â äúðâåíè êèâîòè äâå èçêëþ÷èòåëíî öåííè
èêîíè íà “Ñâ. Ãåîðãè íà êîí” è “Ñâ. Äèìèòúð íà êîí”, äåëî íà “Ðóêà Ãå-
îðãèÿ Ñòåðãþâ, ëåòî 1874” îò Áàíñêàòà õóäîæåñòâåíà øêîëà.
Öúðêîâíèÿò êîìïëåêñ å áèë íàïúëíî çàâúðøåí åäâà â 1900 ã., êîãà-
òî ñúáðàëè ñìåëîñò, à ñúùî è ñðåäñòâà, êîâà÷åâëèè èçäèãàò áåç îôè-
öèàëíî ðàçðåøåíèå è âèñîêà 12 ìåòðà êàìáàíàðèÿ â öúðêîâíèÿ äâîð.
 òàçè ÷åòèðèåòàæíà êóëà òå ïîñòàâÿò äâå ãîëåìè êàìáàíè, îòëÿ-
òè îò ãîðíîáðîäèíñêè ìàéñòîðè êàòî äàðåíèå îò áðàòÿ Àëåêñîâè.
Âúðõó èçòî÷íàòà ñòðàíà íà êóëàòà áèë ìîíòèðàí è ïúðâèÿò ÷àñîâ-
íèê, êîéòî îòìåðâàë âðåìåòî ñ óäàð íà ÷àñîâíèêîâîòî ÷óê÷å âúðõó
êàìáàíèòå. Òàêà êàìáàííèÿò çâúí ñ ìåëîäè÷íèÿ ñè çâóê ñúïúòñòâàë
êîâà÷åâëèè âñåêè ÷àñ â òðóäíèòå èì äåëíèöè è ðàçëèâàë áîãàò íàäïåâ
íà äâåòå êàìáàíè â ïðàçíè÷íèòå äíè. Çà ñúæàëåíèå ÷àñîâíèêúò íå
äîñòèãíàë äî íàøè äíè. Ñãðàäèòå íà öúðêâàòà “Ñâ. Íèêîëà”, Êèëèéíî-
òî ó÷èëèùå è Îñíîâíî ó÷èëèùå “Éîðäæå Äèìèòðîâ”, ñâúðçàíè â óíè-
êàëåí àðõèòåêòóðåí êîìïëåêñ, êàêòî è ìíîãî îò ñòàðèòå ñåëñêè êú-
ùè, ïðèòåæàâàò ñòàòóò íà Àðõèòåêòóðåí ïàìåòíèê íà êóëòóðàòà,
â ñúîòâåòñòâèå ñúñ Çàêîíà çà ïàìåòíèöèòå íà êóëòóðàòà è ìóçåè-
òå.
44
The church complex was fully completed as late as 1900 when the
Kovachevitsa people gained courage and money to raise without an
official permit a 12-m tall bell tower in the church yard. In the latter
four-floor tower they placed 2 large bells cast by Goren Brod crafts-
men as a donation by the Alexov brothers. On the eastern side of the
tower also the first clock was installed that measured time by the
beat of the clock hammer on the bells. Thus the ring sound with its
melodic sound accompanied Kovachevitsa people on every hour in
their hard days and spread a rich tune of the two bells on holydays.
Unfortunately the clock did not survive to our times.
The buildings of the St. Nikola Church, the Cell School and the
Elementary School “Yordje Dimitrov” linked in a unique architecture
complex as well as many of the old village houses have a status of
Architecture Culture Monuments in compliance with the provisions
of the Law of Culture Monuments and Museums.
45
Ìåë÷èíà êúùà.
The Melchin House.
46
Êàðàãåðãüîâà êúùà.
The Karagergyov House.
47
Õîðîçîâà êúùà.
The Khorozov House.
48
×èìóíèíà è Óðäåâà êúùà.
The Chimunin and Urdev House.
49
Êîâà÷åâñêèÿò
àðõèòåêòóðåí
ôåíîìåí è ïðèðîäíèòå
çàáåëåæèòåëíîñòè
â ðåçåðâàòà
“Ïðèðîäàòà å òâîðåö íà
âñè÷êè òâîðöè”
Ãüîòå
58
ty and culture that deserves to be protected, cherished and demonstrat- the latter program of restoration activities of the cobblestone pavement
ed to the world with dignity. in the center of the village, reparation works of the top structure of the
On 17. 10. 2002 a Committee of permanent resident and house own- St. Nikola Church and full restoration of the building of the elementary
ers in Kovachevitsa organized an official celebration and a church service school “Yordje Dimitrov” that remained unused and subject to destruc-
on the occasion of the 90th anniversary of the liberation of the village of tion over several decades.
the Ottoman yoke. Then an idea was conceived to establish an associa- By implementing the project a building that is an architectural monu-
tion that should mobilize the effort of everyone that loves and cherishes ment will be preserved for generations ahead – the elementary school
the village and also search for sources of collecting funding to preserve “Yordje Dimitrov” as well as the information and tourist bureau adapted
the cultural and historic heritage and to improve the image of to provide tourist services and products, a historical museum, an art and
Kovachevitsa as a historical and architectural reserve, and to provide photographic gallery and a hotel.
means of living to the local community by creating conditions to develop The Project includes also specific activities related to making the village
rural and cultural tourism. popular, training local hotelkeepers, restaurant holders, alpine guides
A month later on 17. 11. 2002 the Kovachevitsa Historical and and tourist guides, preserving and making popular local authentic folk-
Architectural Reserve Association was established that was registered by lore.
the Blagoevgrad District Court on 21. 01. 2003 under the provisions of the The members of the Association are confident that offering these new
Law on Non-Profit Organizations. tourist products as well as executing their future activities on preserving
As a first step for reach its goals the Association in collaboration with and improving the image of the Kovachevitsa historical and architectural
the Gurmen Municipality developed a project and applied under the reserve will contribute to the advancement of rural and cultural tourism
PHARE Program – Cultural Tourism in Bulgaria Project. The Project was in Kovachevitsa and the nearby region and will transform them in a pre-
awarded and the Association signed a grant for funding by the EU under ferred place of relaxation and tourism.
59
ì Ó‚‡˜Â‚ˈ‡î ìKovachevitsaî
»Á‰‡‚‡ Ò‰ÛÊÂÌË ì»ÒÚÓ˘ÂÒÍË Ë Published by Society ìHistorical
‡ıËÚÂÍÚÛÂÌ ÂÁ‚‡Ú and Architectural Reserve Village
ÒÂÎÓ Ó‚‡˜Â‚ˈ‡î Kovachevicaî
≈-mail: project@kovachevica.com ≈-mail: project@kovachevica.com
www.kovachevica.com www.kovachevica.com
»Á‰‡ÌËÂÚÓ Â Ò˙-ÙË̇ÌÒˇÌÓ ÓÚ Published with co-financial assis-
≈¬–Œœ≈…— »fl —⁄fi« Ë ¡˙΄‡Ëˇ tance of EUROPEAN UNION and
ÔÓ œÓ„‡Ï‡ ‘¿– BG 0102.03 Bulgaria Programme PHARE
Á‡ –‡Á‚ËÚË ̇ ÍÛÎÚÛÌˡ ÚÛËÁ˙Ï BG 0102.03 for Development of
‚ ¡˙΄‡Ëˇ. Bulgarian Cultural Tourism.
“‡ÁË ·Ó¯Û‡  ËÁ„ÓÚ‚Â̇ Ò ÙË̇ÌÒÓ‚‡Ú‡ This brochure has been drawn up with the
ÔÓÏÓ˘ ̇ ≈—. »ÁÎÓÊÂÌËÚ ‚ Ì¡ ‚˙Á„ÎÂ‰Ë financial assistance of the EC. The views
Ò‡ ̇ —‰ÛÊÂÌË ì»ÒÚÓ˘ÂÒÍË Ë ‡ıËÚÂÍ- expressed herein are those of Society
ÚÛÂÌ ÂÁ‚‡Ú Ò. Ó‚‡˜Â‚ˈ‡î Ë ÔÓ ÌË- ìHistorical and Architectural Rezerve Village
͇Í˙‚ ̇˜ËÌ Ì ÓÚ‡Áˇ‚‡Ú ÓÙˈˇÎ̇ڇ ÔÓ- Kovachevitsaî and can therefore in no way be
ÁËˆËˇ ̇ ≈‚ÓÔÂÈÒ͇ڇ ÍÓÏËÒˡ. taken to reflect the official opinion of the EC.