Fjoralba Prifti is the director of the National Museum of Medieval Art in Korça, Albania – one of the most significant museums of post-Byzantine art in the Balkans. The text published here was presented during the International Academic Conference Art History Readings 2025, Old Art module (April 3–4, 2025, Sofia), which Mrs. Prifti attended at the invitation of the organizers.

The National Museum of Medieval Art (NMMA) was established in 1980 and houses one of the richest collections of medieval art, including Byzantine and post-Byzantine works, as well as non-religious objects. The collection comprises approximately 8,200 items, of which around 6,400 are icons, all recorded in the museum’s inventory and stored on display shelves in its depot. Other objects include stone fragments from basilicas, carved wood, iconostasis elements, and various metal and textile items, both religious and secular in nature. Owing to the unique circumstances of its establishment, the NMMA possesses one of the largest collections of Byzantine and post-Byzantine art in the world.

Albania has endured a long and turbulent history marked by wars and a persistent struggle for survival. Throughout this time, various ruling powers sought to conquer its territory and suppress its cultural heritage, including in more recent history under a dictatorial regime. This was a difficult long period (500 years) following the fall of the Byzantine Empire and the establishment of Ottoman rule.

During the Ottoman period, the Orthodox faith became a consolidated factor, and art continued to develop as a continuation of Byzantine culture. As a result, post-Byzantine artistic heritage acquired great importance for the country.

In 1967, however, all religious institutions and objects were abandoned, destroyed, burned, or looted, along with their contents, in the name of “Communist atheism,” which prohibited all forms of religious expression. This period marked one of the most difficult and destructive episodes of the 20^th century, representing a severe wave of iconoclasm.

During the dictatorship, when religion and belief were under constant attack, the destruction of religious objects became a primary objective. A few years after 1967, a group of researchers and academics—at great personal risk—traveled across Albania in a heroic effort to save religious monuments and objects in the name of cultural heritage preservation. Among them were Theofan Popa, whose family was later persecuted, as well as Victori Puzanova and Dhorka Dhamo. These individuals played a crucial role in identifying churches, dating their construction, documenting inscriptions, and attributing frescoes and icons to their respective authors. They also contributed to reconstructing the history of religious life and practices across the centuries, while working to collect and preserve religious artifacts, especially icons.

All of these objects were gathered and placed in the former cathedral in the city of Korça, which served as a central repository for items originating from surrounding churches. In 1980, the National Museum of Medieval Art was established within one of the city’s most important churches, the “Life-Giving Spring,” which played a vital role in safeguarding this significant cultural heritage for the people of Albania.

The same individuals also enriched the museum’s inventory and exhibitions with numerous ethnographic objects, including traditional costumes, in order to balance the extensive collection of icons and other religious artifacts. They chose the name “National Museum of Medieval Art” as a way to protect the collection and to make it accessible to the wider public, particularly younger generations—demonstrating that the country possesses a deep religious history and a strong Byzantine tradition. These objects were presented as expressions of artistic wealth and cultural heritage, as well as valuable sources for the study of art history.

The museum’s permanent exhibition displays around 400 icons, selected for their artistic and historical significance. These works represent different periods and artistic schools. While many are by anonymous artists, others belong to well-known iconographers from Albania and the broader region. The remaining objects and icons are preserved in the museum’s inventory under appropriate conservation conditions.

Since 2016, the NMMA has been housed in a contemporary building that meets modern standards for exhibition, conservation, and restoration. This new space ensures the proper preservation of its valuable collections while offering an enhanced visitor experience. Medieval art is presented in harmony with contemporary architecture, where Byzantine style colors and spiritual atmosphere combine to create a distinctive and memorable experience for visitors.

The Collection

The collection of the NMMA begins with a considerable number of early Christian artefacts, including carved stone elements from basilicas dating from the 5^th to the 11^th centuries in the Albanian region. These objects—such as stone capitals and fragments of iconostases—originate from sites in Durrës, Lin, Fier, and other areas.

The earliest surviving examples of ecclesiastical painting are frescoes dating to the 11^th century, along with portable icons from the 13^th to the 15^th centuries. The iconography of this period is predominantly in the Palaeologan style, distinguished by its elegant yet expressive lines, as well as a refined harmony of colors and striking contrasts. These works are both evocative and deeply mystical, embodying significant artistic value. Notable examples include icons such as the Archangel Michael and the Virgin and Child, discovered in the Hermit’s Cave and in churches in the Prespa region. Although these works remain anonymous, they are remarkable for their artistic quality and spiritual intensity.

The icon of the Archangel Michael is one of the most valuable works in the museum’s collection. It originates from the Church of St. Mary in Mborje, Korçë, and dates to the 14^th century. The author remains anonymous. The Archangel Michael is depicted wearing military armor and a red imperial tunic, emphasizing his role as commander-in-chief of the Celestial Army. The composition is carefully balanced, combining a powerful yet refined drawing with striking color contrasts. Red and silver-gray tones dominate, while sharp, angular lines are harmoniously interwoven with more elegant, curved forms. The figure conveys both the strength and severity of a warrior and the divine nature of an angel. The refined modeling links the icon to the distinguished Palaeologan tradition of the 13^th–14^th centuries.

The 15^th – 17^th Centuries

These centuries are associated with some of the most important names in Albanian iconography and figurative art, including Onufri the Great and his son, Onufri of Cyprus, Marko Batha, and others. The period also produced highly artistic icons from Postenan and the decorative works of Vithkuq, such as those by icon painter Constantine, executed in an anticlassical spirit. The works displayed in this hall reflect the diverse artistic tendencies of the time and the evolution of post-Byzantine painting as it developed in Albanian territories.

The NMMA holds the largest collection of icons created by Onufri, the greatest master of post-Byzantine art in Albania, who is honored with a dedicated display. Eleven of his works are exhibited, each more stunning than the last. These icons originally formed part of the iconostases of the churches of the Holy Trinity, the Annunciation, and Sts. Constantine and Helena in Berat.

Onufri flourished in the 16^th century as a painter of frescoes and portable icons, producing works across many churches both within Albania and beyond. He is recognized as an artist of extraordinary talent, deeply rooted in the Byzantine tradition while also well-versed in Western art. His mastery of composition and color is unmatched, with red serving as a particularly striking element, radiating vividly against golden backgrounds and harmonizing with greens and deep blues. His works are distinguished by beautifully integrated landscapes, expressive portraits with strong contrasts, and the skillful combination of multiple scenes within a single frame, all of which mark Onufri’s art as unique and incomparable.

Seven icons and the Beautiful Doors from the Church of St. Archangel Michael in Vithkuq—a significant artistic center in the 17^th century (Fig. 6)—are displayed in the Museum. These icons were produced by a local workshop associated with the painter who signed his works as “Teacher Constantine,” an uncommon practice among post-Byzantine masters. Over 27 additional icons have been identified as belonging to the same painter. The evolution of post-Byzantine painting after the 16^th century is clearly evident in these works, showing a return to certain Byzantine features. The style is notably harsh, a characteristic shared with works from southeastern Albania and northern Greece of the same period. Figures exhibit strong volume but tend to flatten almost completely, while colors are restrained and increasingly decorative. The drawing is primarily linear, and the overall spirit of these icons can be classified as anticlassical. These evocative icons often deviate from strict proportional conventions, emphasizing expressive power and individuality. Faces are rendered simply, yet with a strong graphic presence. On the brown preparation layer, highlights are applied in warm ocher, with minimal tonal transitions toward the final lights. Golden backgrounds vividly enhance reds, deep blues, and greens. Integrated frames feature intricate carvings, while aureoles are rendered in relief with floral motifs. Calligraphy on open parchments is executed with precision, adding further elegance to the compositions.

The icon of St. Parascheva with scenes from her life, was created by an anonymous painter in the 16^th century and originates from Postenan, Ersekë. The saint is depicted in considerable scale, shown frontally, holding a cross in her right hand while her left hand rests over her chest. The background is gilded, and her aureole is rendered in relief. The sides of the icon feature scenes from the saint’s life, illustrating the sacrifices that led to her sanctification. She is depicted wearing a blue ketone and a cherry-colored himation. Artistically, the icon demonstrates exceptional skill in both composition and color. The portrait is characterized by elegantly interwoven lines, creating a harmonious and balanced design. Her large, expressive eyes convey a blend of innocence and spiritual purity, while the overall composition is original, thoughtfully conceived, and strikingly unique, far removed from conventional template models.

The Icons from the late 17^th – 18^th Centuries

These centuries are represented by prominent names in Albanian iconography and icons of exceptional artistic quality. The exhibition features works by Hieromonk Constantine, Constantine of Shpat, David Selenica, Constantine and Athanas Zografi—the two brothers from Korça—the Katro (Çetiri) brothers, and many others.

Hieromonk Constantine (Kostandin Jeromonaku), originally from Korça, is renowned for his masterful portable icons that once adorned the iconostases of churches in Voskopoja, St. Naum, Ohrid, and beyond. Many of his icons are preserved in the Museum. Among them, his icon of the Holy Mother of God, dating to the late 17^th or early 18^th century, is particularly remarkable. It demonstrates precise and refined drawing, exquisite modeling of the hands and face, and meticulous attention to detail in the clothing, throne, and calligraphy on the parchment held by the Virgin. Gold is applied extensively, covering the engraved background, the throne, and the ornaments of the Virgin’s attire. This icon is especially unusual and unique for its depiction of the Virgin as pregnant—a rare motif in iconography. Her large, expressive eyes, finely arched eyebrows, and the richness of warm and cool tones create an impression of thoughtful contemplation. She appears as a pregnant woman, conveying both anxiety and concern for her child’s future, giving the image a profoundly human and meditative quality.

Another notable painter, Constantine of Shpat (Kostandin Shpataraku), hailed from the village of Shpat in the Elbasan region. His icons adorned the churches of St. Peter in Vithkuq, St. Parasceve in Kavaja, the Monastery of the Birth of the Virgin in Ardenica, and other sites. Kostandin was also an accomplished miniaturist, often incorporating elements from everyday life into his works.

His icon of the Coronation of the Virgin and the Akathist Hymn, originating from the Monastery of the Mother of God in Ardenica and dating to the 18^th century, is a rare example of his extraordinary talent as a miniaturist. In this work, he demonstrates mastery in rendering portraits with remarkable precision, even at extremely small scales. At the center, the scene of the Virgin’s coronation is depicted, surrounded by twenty-four scenes from the Akathist Hymn, each painted within a regular square. A deep blue predominates throughout, creating a striking contrast with the golden and warm tones. The figures are drawn with precision and elegance, and every detail is executed with exceptional care, reflecting the artist’s refined skill and attention to composition.

The atelier of the two brothers, Athanas and Konstadin Zografi (Constantine and Athanas Zografi), was among the most productive of the 18^th century, not only in Albania but also abroad. Their artistic activity extended between the Korça region, and the Holy Mount Athos in Greece. In contact with artists from across Europe, they mastered the Byzantine painting tradition while also absorbing influences from Western art, particularly the Rococo style, which was widespread throughout Europe. These influences are clearly visible in the works exhibited in the Museum. Their icons are notable for their densely populated compositions, featuring figures in dynamic movement, expressive gestures, floral motifs, and rich symbolic elements. The artistic legacy of Athanas and Konstadin was continued by their sons, Tërpo and Eftim Zografi, establishing a dynasty of painters that persists in Korça to this day.

The icon All the Saints was painted in 1776, by Athanas, originating from the church of the Life-Giving Spring in Korça. The meaning of the composition All Saints is associated to the meditation on salvation at the Last Judgment. Another beautiful icon – The Mother of God on the throne – is painted in a very elegant way by the Zografi brothers in 1760 and comes from the iconostasis of the Monastery of Sts. Peter and Paul in Vithkuq, Korça. The magnificent icon of the First Ecumenical Synod (council)comes from the church of the Life-Giving Spring in Korça, dating in 1765. It depicts two episodes from the life of Emperor Constantine the Great: The First Ecumenical Synod and the Vision of the Cross over the Milvian Bridge.

Among their remarkable works, the icon All the Saints, painted by Athanas in 1776 and originating from the Church of the Life-Giving Spring in Korça, reflects meditation on salvation and the Last Judgment. Another outstanding icon, The Mother of God on the Throne, created in 1760 by the Zografi brothers, comes from the iconostasis of the Monastery of Sts. Peter and Paul in Vithkuq, Korça, and exemplifies their elegant style. The magnificent icon of the First Ecumenical Synod, dating to 1765 and also from the Church of the Life-Giving Spring in Korça, depicts two episodes from the life of Emperor Constantine the Great: the First Ecumenical Synod and the Vision of the Cross over the Milvian Bridge.

The 19^thCentury Icons

The 19^th century in Albania was marked by a profound movement toward cultural and national self-definition, characterized by a desire to separate from the Oriental world, assert Albanian identity, achieve freedom from Ottoman rule, and pursue national unification, state formation, and societal progress. This movement is known as the “Renaissance,” and its proponents were called “Renaissance men.” Painters of the 19^th and early 20^th centuries were part of established and well-known ateliers of iconographers, primarily from Korça. Among them was the “Zdruli” workshop, from the village of Dardha, Korça, that developed on Mount Athos. Icons from this atelier were distributed across Albania, Greece, Bulgaria, Ukraine, and beyond. Artists from Dardha represent one of the last generations dedicated to traditional iconography while introducing significant innovations and new concepts to visual art. In this spirit of Renaissance, one of the most distinguished figures was Vangjel Zengo, who produced a large number of icons and frescoes for prominent churches. More than 600 icons from this period have been identified in the collection of the NMMA, reflecting the creativity, technical mastery, and evolving artistic vision of this era.

Museum Activities

Since its founding in 1980, one of the main activities of the Museum has been the Icon Research and Restoration Laboratory, which provides comprehensive facilities for conserving, restoring, consolidating, researching, studying, and publishing icons. The laboratory coordinates its work closely with other museum activities and is staffed by restoration specialists and researchers. Each year, the team prepares a schedule for the icons to be restored, prioritizing those selected for temporary exhibitions, study, research, or publication, as well as those most urgently in need of conservation. Since 1980, more than 2,500 icons have been restored, chosen for their artistic, historical, and cultural significance, including their period, origin, painting style, authorship, and historical context.

The Museum publishes the annual magazine Mbi Artin Mesjetar (“Medieval Art”), which features scientific articles and studies by academics and scholars. The first issue was launched in 2022, with the aim of documenting and referencing all of the Museum’s activities over the course of the year, including research, for those interested in medieval art.

The NMMA continues to collect, preserve, and interpret the artistic and historical heritage of Albania. Through various programs, permanent and temporary exhibitions, and educational activities, the Museum engages the public—particularly children and students—providing opportunities for study, research, and publication. Utilizing both social media and other digital platforms, the Museum actively positions itself as a cultural education institution that enhances and enriches the cultural life of the community.

Each year, the NMMA organizes two or more temporary exhibitions drawn from its collection, with the aim of increasing public interest and promoting the value of cultural heritage. The Museum also collaborates with institutions in Albania and abroad. Notable projects include partnerships with Byzantine institutions in Cyprus, such as The Art of Nature and Miraculous Icons and Holy Relics in the Balkan Countries (temporary exhibition organized in collaboration with the Bulgarian Embassy in Tirana), as well as a four-year project with the Byzantine Museum and the European Center of Byzantine and Post-Byzantine Monuments in Greece, which involved icon restoration, the publication of The Manual for Restoration and an album, and the organization of temporary exhibitions in both countries.

The NMMA maintains high departmental standards for the storage of its collections. Dedicated storage areas are designed for safe and secure housing of objects, with minimal structural penetrations and optimal thermal performance. The storage spaces are sufficient to accommodate the existing collection and allow for reasonable future growth. They are organized to ensure efficient use of curatorial equipment and techniques, facilitate access, and provide optimal conditions for preservation. Objects are stored in appropriate containers and packaging materials to ensure long-term protection and conservation.

Conclusion

The National Museum of Medieval Art was established as a symbol of the preservation of numerous religious objects and the history they represent. Having survived the destruction of time, the pressures of ideology and dictatorship, the Museum stands as a foremost indicator of Albanian heritage, carrying and transmitting the highest values of national identity, culture, and social development. Its collection on display includes some of the finest icons and artifacts, created over the centuries and reflecting key moments in the evolution of religious art in Albania, as well as the work of its most important artists. The Museum defines itself as a dynamic institution, continually enhancing its contribution to both the local community and the wider world, while striving for vitality and upholding the enduring values of art. Among its core priorities is the ‘Recognition, dissemination and promotion of inherited, cultural, artistic values, for younger generations, our society, as well as its introduction to other countries or cultures’. The National Museum of Medieval Art remains steadfastly committed to this mission, ensuring that Albania’s artistic and spiritual heritage continues to be preserved, celebrated, and shared.

Selected bibliography

Giakoumis 2018: Giakoumis, Kostantinos. Flora in Arts and Artefacts of the Korça Region (Twelfth century B.C. to Twentieth Century A.D.). Tirana.  Flora in Artworks and Artefacts of the Korça Region (12^th Century B.C. to 20^th Century A.D.) Background and Rationale Exhibition, 10-20.

Giakoumis 2022: Giakoumis, Kostantinos. Vërejtje mbi dy ikona të Shën Marisë të Kostandin Jeromonakut dhe Joan Çetirit nga Muzeu Mesjetar i Korçës: Dëshmi të shtegëtimit të njerëzvezve dhe ideve. – Mbi Artin Mesjetar. Muzeu Kombëtar i Artit Mesjetar / National Museum of Medieval Art, No. 1, 18-32.

Koçi 2022: Koçi, Dorian. Afresket e Vangjel Zengo në Kishën e Ungjillizimit Tiranë dhe piktura e Nolit në Muzeun Historik Kombëtar. – Mbi Artin Mesjetar. Muzeu Kombëtar i Artit Mesjetar / National Museum of Medieval Art, No. 1, 54-64.

Llukani 2022: Llukani, Andrea. Afresket e Motrave Zengo në Kishën e Ungjillizimit Tiranë. – Muzeu Kombëtar i Artit Mesjetar Revista. – Mbi Artin Mesjetar. Muzeu Kombëtar i Artit Mesjetar / National Museum of Medieval Art, No. 1, 65-73.

Llukani, Drishti 2021: Llukani, Andrea, Ylli Drishti. Arti i Ikonografisë në Shqipëri. Botuar nga Akademia e Shkencave e Shqipërisë. Tiranë.

Menkshi 2020: Menkshi, Edlira. Trashëgimia natyrore dhe kulturore e Qarkut Korçë. Vlerat dhe Përdorimi turistik. Promo Print, Korçë.

Muzeu Kombëtar i Artit Mesjetar (guide) 2023: Muzeu Kombëtar i Artit Mesjetar – National Museum of Medieval Art, Korçë. Korçë.

Muzeu Kombëtar i Artit Mesjetar – National Museum of Medieval Art, Korça, Albania. Database – Archive.

Palushi 2022: Palushi, Ahilio. Grigor Zdruli dhe ikona “Fjetja e Shën Nifonit” e relalizuar prej tij në Manastirin Dionidiu në Malin Athos. – Mbi Artin Mesjetar. Muzeu Kombëtar i Artit Mesjetar / National Museum of Medieval Art, No. 1, 74-78.

Popa 1974: Popa, Theofan. Ikona dhe miniature të periudhës Mesjetare në Shqipëri. Tiranë.

Popa 1998: Popa, Theofan. Mbishkrime të kishave në Shqipëri. Tiranë.

Prifti 2022: Prifti, Fjoralba. Muzeu Kombëtar i Artit Mesjetar. – Mbi Artin Mesjetar. Muzeu Kombëtar i Artit Mesjetar / National Museum of Medieval Art, No. 1, 6-17.

Prifti 2023: Prifti, Fjoralba. Një udhëtim disa vjeçar I Muzeut Kombëtar të Artit Mesjetar, në gjurmët e trashëgimisë kulturore, fondit të pasur dhe mundësive promovuese. – Mbi Artin Mesjetar. Muzeu Kombëtar i Artit Mesjetar / National Museum of Medieval Art, No. 2, 63-82.

Prifti 2024: Prifti, Fjoralba. Fillimi i Shek. XX: Korça, Patriotizmi dhe ndikimi perëndimor. In: Korça në Luftën e Parë Botërore: Vetëqeverimi dhe zhvillimet social-ekonomike. Përmbledhja e artikujve të Konferencës Shkencore Ndërkombëtare në përkujtim të 110-jetorit të fillimit të Luftës së Parë Botërore dhe 108-vjetorit të Vetëqeverimit të Korçës, 107-115.

Tourta 2006: Tourta, Anastasia (ed.). Icons from the Orthodox Communities of Albania. Collection of the National Museum of Medieval Art, Korça. Thessaloniki.