The Kardzhali were organised bandits, many were ex-soldiers from the Ottoman army. They used their military knowledge to lay siege, robe and plunder towns and villages in the Balkans. Szlataritsa was raided, I would suggest in the early 1600s. Because, in 1622 the town was granted derbentjii status. This status came with many privileges, critically the right to bear arms and defend the town form attacks. The people of Zlataritsa, as it was in the Second Bulgarian Empire, are, again, tasked with guarding the pass and prevent attacks on Veliko Tarnovo and the region. But why did the Kardzhali targeted Zlataritsa?, In my video in Arbanasi, I tell you that the Kardzhali attacked the town to rob the wealthy merchants. Zlataritsa in more recent times is mainly known as an agricultural area, but the clue is in the name. Many historians think that the name Zlataritsa derives from Zlato. Zlato means gold. And there is historic evidence that the river sand contained gold, and there were many goldsmiths in the town.

Zlataritsa geographical position is again centre stage during the Russo-Turkish war of 1877-1878. Or the Bulgarian war of Independence, I tell you about it in my video at the Shipka.

Suleiman Pasha’ forces are checked at the Shipka Pass, the other route for the Ottoman forces to join the regiments at the battle for Pleven is through Elena. Fighting around Elena is raging. If Elena falls, the Ottoman army must be stopped at Zlataritsa. Russian forces march through snow and ice to Zlataritsa, among them is the Narves Hussar Regiment commanded by colonel Alexander Alexandrovich Pushkin. This school becomes the headquarter of Alexander Alexandrovich. The Regiment participated in the battles for Elena and Kotel. Alexander Alexandrovich is remembered as a true gentlemen and a kind and witty man, both him and his regiment were awarded medals of bravery. If the surname sound familiar, Alexander Alexandrovich was the son of the great Russian poet Alexander Pushkin.

The central square is dominated by the sculpture of the Mother of Bulgaria, behind her there is a memorial to the people the town lost in the first and second world wars.

During the communist era that followed the second world war, the main economic activity was agriculture, but in 1971 the Promkombinat – Zlataritsa factory was set up to produce steel castings for household goods. In 1984 the factory was renamed the Steel Foundry “Twenty-Third September”, in memory of the September uprising of 1923. The Uprising was organized by the Bulgarian Communist Party. It aimed to “establish a workers’ and peasants’ government” in Bulgaria. This uprising failed.

The factory was closed down, according to my research, in 1997. But please a comment below if you have better data.

The factory’s products were moved on the railway. The railway line connected Gorna Oryahovitsa a major rail transport hub to Elena. Trains stopped taking passengers in 2002.

The line was meant to connect Gorna Oryahovitsa to Sliven in Southern Bulgaria. Building began in 1924. The line reached Zlataritsa in 1949, and finally Elena in 1974. The gaps are the result of 2 world wars and the political upheavals the followed. And the geography, it is a mountains region, and the line has 16 bridges crossing rivers. In its heyday, diesel engines pulled trains up and down the line to Elena. Beside workers and tourist, the line was used to transport timber from the lumber mills and glass from the factory in Elena, and the metal components made in the factory in Zlataritsa as well as local produce, such as fruit, vegetables, meat and dairy products. A combination of the factories closing down, and depopulation led to the decision to close the line in the early 2000s.

Like many other small towns in Bugaria, Zlataritsa has suffered from depopulation. Many people have moved to bigger towns and abroad, but the connection with the home town have not been severed. Father Peter remembers that money was sent from abroad to help with the renovation of the church.

This is the church of “St. Nicholas”, it was built between 1860 and 1884, with donations from the people of the town. The project was started by Kolyo Ficheto, and it shows some similarities with the master’s church in Dryanovo, link at the end to my video in Dryanovo. But it was completed by his student Usta Georgi from Novo Selo. Usta Georgi’ influences, in my opinion, are very noticeable in the shape and height of the windows, the layout is inspired by the traditional 3 nave basilica but the windows have a hint of Gothic.

After the Kardzhali’s raid, a Chappel was built in 1614 and this stone marks the spot. But it was demolished at the time the new church was built.

The Iconostasis is by artists from the Tryavna school. And the icons mostly date from 1882-1887. Bulgarian’s aesthetics set the Tryavna school apart from other traditions in the Orthodox Iconography. The colours are not always used in accordance to the old rules. The faces are rounder and softer than in the Greek tradition, for example, and the eyes are a soft almond shape.

This Icon dates from the 15th century or early 16th century, it depicts St. Archangel Michael; and it is an example of the early Tryavna school. The icon was restored, and I assume that the restoration was done well. The Archangel Michel with the sward depicts Michel as the Defender of the Faith. In the other hand he holds a medallion, it depicts the crucifixion; it symbolizes the Christ’s human journey through trials and tribulation to the ultimate triumph. Both his ears are visible, this tells us that he is always listening to god’s commands. But contrary to tradition the two white ribbons close to the archangel ears, or Toroki, are missing. The choice of red for the cloak, roots back to pre-Christian times, when red was the imperial colour. There is blue in the vest. I would say this is lapis-lazuli blue. Blue means ‘the heavens’ and blue is, traditionally used only in the garments of divine beings, and humans very close to God, such as the Holy Mary. The halo is a bit confusing. I would expect to see either gold leaf or even a thin sheet of embossed gold covering it. But this Icon has survived, plundering, rebellions and wars, so anything could have happened. This is a walking Icon, in my opinion. What I mean by ‘Walking Icon’: is that the priest will hold it in front of the congregation, and take it on procession. Walking Icons must be big enough for people to be able to see the subject, and traditionally there is only one main subject in these icons; but these icons must not be too big; the priest must be able to carry and lift them up.

The church was declared a cultural monument in 1981, which is good, on one side, because any work on the church must meet conservation standards. On the other side, the extra paperwork often results in delays. And delays, when a roof needs some urgent attention are causing a little bit of frustration in the congregation.

And there is one more thing. This thing. No, your eyes are not deceiving you, this is a MiG-17, and if you know why it is here, please comment below, I’d love to know.

The MiG-17 (NATO’s code-name: Fresco) was a Soviet single-seater jet fighter. Compared to the MiG-15, the MiG-17 is about 50 km/h faster, it has better manoeuvrability at high altitude, but the performance at take-off and landing is not as good. This one belonged to the Bulgarian Air Force.

Between 1960 and 1970 the Soviet Union delivered 110 of these to Bulgaria.

In the past, some decommissioned military equipment was used in patriotic monuments, but there is no information of such a project in Zlataritsa.

Sources:

Town:

https://www.dnesbg.com/obshtestvo/tsarkvata-v-zlataritsa-pazi-unikalen-stenopis-s-obraza-na-ruski-imperator.html

https://isda.archives.government.bg:84/Process.aspx?type=Fund&agid=17&flgid=42398

https://www.borbabg.com/2023/05/11/zlataritsa-gradt-na-zlatoto-i-na-horata-ss-zlatni-srtsa/

https://bulgarche.eu/index.php/rubriki/na-ekskurziya-s-az-sam-balgarche/sela-i-gradove/179-zlataritza

https://ablebump.com/златарица/

Великотърновски университет “Св. св. Кирил и Методий”

http://journals.uni-vt.bg

MiG-17

https://www.airhistory.net/photo/703866/132?__cf_chl_tk=Uc.6tJ1JclYNtO3XlcLeBmeQVBffeL0b7jZ2THKOuU0-1771646829-1.0.1.1-Csk3CYl7_vyfbgNG5rTiPTP9G7B7Kf5NQxwQnImJj.U

https://pan.bg/view_article-30-963-Mig-17-v-Bylgariq.html

O.z. Colonel Stoyan Petrov

https://bg.wikipedia.org/wiki/МиГ-17

Church:

https://www.dnesbg.com/obshtestvo/tsarkvata-v-zlataritsa-pazi-unikalen-stenopis-s-obraza-na-ruski-imperator.html

https://bg.wikipedia.org/wiki/Свети_Никола_(Златарица)

Rail:

https://bg.wikipedia.org/wiki/Републикански_път_III-4004

https://www.dnesbg.com/pari-i-vlast/zlataritsa-iska-imoti-ot-transportnoto-i-voennoto-ministerstvo-za-investitori.html

https://www.energy-review.bg/bg/otkriha-fotovoltaichnite-parkove-zlatarica-i-samovodene/13/349/

Alexander Alexandrovich Pushkin and the Russo-Turkish war

https://rusofili.bg/руско-турската-война-боевете-за-елена/

https://www.en.tryavna-museum.eu/tryavna-iconographic-school-orthodox-icons

https://ru.wikipedia.org/wiki/Пушкин,_Александр_Александрович_(1833)

https://danybon.com/interesno/sin-pushkin-svoboda-bulgaria/#:~:text=Александър Александрович Пушкин е син на руския,Пушкин и красивата му съпруга Наталия Гончарова.

https://danybon.com/interesno/sin-pushkin-svoboda-bulgaria/#:~:text=Александър Александрович Пушкин е син на руския,Пушкин и красивата му съпруга Наталия Гончарова.

https://ru.wikipedia.org/wiki/Пушкин,_Александр_Александрович_(1833)

https://zlataritza.wordpress.com/история/памет/

Music:

Music: “get it inst mix ab oz” provided by mobygratis #mobygratis

Music: “a’s inst mix ab oz.mp3” provided by mobygratis #mobygratis

Music: “bright night inst mix ab oz.mp3” provided by mobygratis #mobygratis

Novite Lozia (“New Vineyards”), the Bulgarian wine revival, local grape varieties, ancient rituals, and the folklore of Saint Trifon Zarezan. From vine pruning, festive bread, roast chicken, and barrel races, a little taste of Bulgarian culture, history, and winemaking traditions.

Novite Lozia (“New Vineyards”) on FaceBook: https://www.facebook.com/thenewvineyardsltd

#TrifonZarezan #BulgarianWine #WineFestival #BulgariaTravel

#WineCulture #VineyardLife #AncientTraditions #VelikoTarnovo

Sources:

https://www.facebook.com/thenewvineyardsltd

Sources:

https://bulgarianhistory.org/trifon-zarezan/

https://bg.wikipedia.org/wiki/Трифон_Зарезан

https://old-news.bnr.bg/en/post/100140649/saint-trifons-day

https://ikonen-mautner.com/en/glossary-term/trifon-tryphon/

https://en.wikipedia.org/wiki/Trifon_Zarezan

https://www.bta.bg/bg/news/bulgaria/regional-news/veliko-tarnovo/970770-lozaro-vinarski-atraktsion-novite-lozya-kray-velikotarnovskoto-selo-arbanasi-o

Music: “friday heretic inst mix ab oz.mp3” provided by mobygratis #mobygratis

Music: “dog fast inst mix ab oz.mp3” provided by mobygratis #mobygratis

#TrifonZarezan #BulgarianWine #WineFestival #BulgariaTravel

#WineCulture #VineyardLife #AncientTraditions #VelikoTarnovo

There is a legend about the Tundzha, the Maritsa, and the Arda. Maritsa, Arda and Tundzha are three sisters. The sisters argue and fight every day. Finally, the parents got very angry and cursed them. The three sister are turned into rivers, but that does not stop them from arguing. One day, they start arguing about which one is the fastest. The three sisters agree to spend the night in Edirne, and at the first light the following day they would race to the sea and the first one to reach the Aegean Sea would be declared the fastest. They agree that the first one to wake up in the morning would wake the other sisters so that they could start the race together. But Tundzha, she is the youngest sister, stays up all night and even before sunrise she begins to race towards the sea. The other two sisters eventually wakeup and realise that Tundzha has already left. They get very angry with their younger sister and curse Tundzha so that her path would be filled of obstacles. Tundzha has to forge a path through mountains and dense forests, she is tiered but the sea is not far. Suddenly she realises that her two sisters are just behind her. Maritsa and Arda have used the path created by Tundzha, and they are still strong and fresh. Maritsa and Arda overtake the tired Tundzha and Maritsa wins the race. And, to this the two sisters Arda and Tundzha flow into their big sister Martisa, and became part of the Maritsa, the winner of the race.

The history of Bulgaria and hydroelectric power begins after independence. In the early 1900s Bulgaria embarks on the ambitious project of electrifying the whole country. Electrification is key to industry, transport, and urbanization and the development of a dynamic modern economy. It also has as a symbolic value. Electricity means stepping out from the darkness of superstition and servitude into the dazzling electric lights of sovereignty, of science, and technology, into modernity. The development of the hydro-power network in this period is enthusiastic, but not always well planned. The wars slow down progress, but from the late 1940s the building of dams and hydroelectric power plants resume in earnest. In the 1950s the Ministry of Electrification and Improvement is given the task to rationalize the electric network and oversee the construction of large hydro power projects. The system is rationalized, from education, with specialized courses at Sofia Polytechnic and training in the Soviet Union, to the establishment of a reliable energy and materials supply-chain. A system of training and security-checks for all workers on site as well as anyone involved in the planning and execution of this mega-projects is created. This is the communist era and dams and hydroelectric plants are of strategic importance so a careful vetting system goes hand in hand with education and training of the work-force.

Some of the projects completed under the new Ministry are four of the largest dams in Bulgaria.

The Iskar Dam on the river Iskar. It was officially opened in 1954, and it serves Sofia, the Koprinka Dam, completed in 1956, on the river Tundzha, it is near Kazanlak. The Dospat Dam completed in 1968, in the Rhodope Mountains. The Vacha Dam, completed in in 1975, on the Vacha river. And, Zhrebchevo Dam.

Back then some of these dams had different names. The Iskar dam was called the Stalin dam, and soviets engineers were heavily involved in the planning and construction.

The Koprinka Dam was named after “Georgi Dimitrov,”. Dimitrov was the General Secretary of the Central Committee of the Communist Party of Bulgaria. In 1946, Dimitrov triggered a referendum to abolish the monarchy, then declared Bulgaria a people’s republic. And later that year, became Prime Minister.

The Vacha Dam was called”Antonivanovtsi” after the partisans from the “Anton Ivanov” detachment who died in the area in February-March 1944.

As I walk about there are pieces of bricks and broken masonry on the ground. Three villages were lost in the creation of the reservoir. Dolno Panicherevo, Zapalnya, and Zhrebchevo.

This is the church of the village of Zapalnya. The church was built at the end of the 19th century. It was built on a hill, which is located just above the village.

The church had been partially submerged for many years, but in recent years the water level in the reservoir has gone down and now you can walk around. At the time of the dam construction, there was an order to destroy the church. But the local priest Dragan Stoykov fought off anyone trying to carry out the demolition order. He was the last to leave the village in early 1966.

Once the church became accessible again, people started to visit it. The church is a symbolic link between generations. The younger generations may have heard about the villages from their grandparents or parents, and visiting the church is a way to remember and connect with loved once that may have left us. Also, the atmosphere is peaceful. The pools mirror the blue sky, sunshine twinkles off the stream, dense forests crown the edge of the reservoir, the place invites thoughtfulness and contemplation.

What life was like in the now underwater villages?. The Bulgarian writer, artist and historian, Chudomir describes Dolno Panicherevo as a little corner of paradise on earth. Mimi Tsoneva, remembers her father and grandparents talking about Zhrebchevo, once called Atlare. A beautiful village of meandering narrow roads. Nearly every house had fruit trees and rich vegetable gardens. Mimi tells of how her grandfather made stilts for her, so she could image using them to cross the Tundzha. There was no bridge across the river nearby, and the people used their knowledge of the river to cross safely, stilts to cross where the river is shallow and a rope-ferry where the river was deep and fast-running.

I put the link to Mimi’s website in the description below, where you can read a lot more about life in the village of Atlare- Zhrebchevo.

Links:

Mimi Tsoneva website :

https://www.atlare.com

https://www.podvodata.com/sunken-villages

https://www.ern.org/wp-content/uploads/sites/52/2020/02/HYDROPOWER_BALKANS_bd.pdf

The Shipka Peak (1,326 m) in the Balkan Mountains near Gabrovo, Bulgaria, home to the iconic Monument of Freedom (Паметник на свободата). As we climb toward the monument, we explore the history behind the Battles of Shipka during the Russo-Turkish War of 1877–1878, a decisive moment in Bulgaria’s fight for independence.

Through the ideas of the Enlightenment, the rise of a Bulgarian national identity, and the lives of key figures like Paisii Hilendarski, Georgi Rakovski, and Vasil Levski, this video traces the road to revolution, the tragedy of the April Uprising of 1876, and the courage of Bulgarian volunteers who defended the pass against overwhelming Ottoman forces.

This is a journey through history, sacrifice, and the people who shaped modern Bulgaria.

📍 Shipka Pass | Balkan Mountains
🏛️ Monument of Freedom

For Samara Flag: Substack : see my video

and Samara flag on this post: The Samara Flag

Music: “airports inst mix ab oz.mp3”provided by mobygratis #mobygratis

Sources:

https://bulgarianhistory.org/aprilskoto-vastanie/

https://en.wikipedia.org/wiki/Russo-Turkish_War_(1877%E2%80%931878)

https://en.wikipedia.org/wiki/Batak_massacre

https://kotel.bg/vidni-lichnosti-rodeni-v-kotel/georgi-stoikov-rakovski/

https://www.shipkamuseum.org/

https://bg.wikipedia.org/wiki/Шипка_(връх)

https://bulgarianhistory.org/bitkata-pri-stara-zagora/

https://militarymuseum.bg/Pages/Vestnik/Vestnik_August-September_2010/Svetovni_bitki/02-2.html

https://bulgarianhistory.org/istoria-slavianobulgarska/

https://bulgarianhistory.org/vasil-levski-apostola-na-svobodata/

http://www.promacedonia.org/en/vt/index.htm

Enlightment and French Revolution:

https://www.historycrunch.com/enlightenment-impact-on-the-french-revolution.html

https://www.historycrunch.com/declaration-of-the-rights-of-man-and-of-the-citizen.html

#ShipkaPass #BulgarianHistory #DanielaExplores #RussoTurkishWar #VasilLevski #BulgarianIndependence #HistoricalTravel

The Recap:

On the 20^th of November, Assen Vassilev, the leader of the ‘Continue the Change’ party (Продължаваме Промяната), had a mock pig placed in front of the parliament, as a form of protest against the 2026 budget the government was rushing through parliament.

This act became a catalyst for a general sense of frustration, dissatisfaction and in some cases anger towards the government. Protests began to be held in the evenings across Bulgaria.

Some politicians and their parties tried to position themselves as the leaders of the protests but were firmly rejected by the people.

Protesters goatherd in Sofia, the capital of Bulgaria, in front of the parliament, between the end of November 2025 and December 2025, protestors gathered, also, in front of the regional or Obshtina (Община) buildings in many municipalities across the country, the main slogans of the protests were, ‘(government) resign’ and ‘Mafia Out’.

The protests were peaceful, and were attended by a cross section of the population, students, young families with their children, middle age and older people. Protests occurred in the evenings, as people would gather at the end of the working day. The protests of the 10^th of December, were followed by the government resigning on the 11^th of December.

The Dangerous Idea:

During a vox-pop a student said something very simple but also extremely dangerous, in my opinion, ‘I don’t want to have to go abroad to have a life, I want to be able to make a life for myself in my homeland’ (rough translation). Ideas like this can spark a revolution, because of what they imply: If you do not want to emigrate, than you have to take down the systems and practices that you feel are stopping you from achieving your goals in your country.

This is a problematic idea: across Europe, people are forced to move in search of work and better opportunities, if a large proportion of these people chose to force change at home, they could end up taking down politicians and institutions across the continent up and included the EU. For some time, the unspoken rule has been across European national and super-national institutions that the systems of governance, clientelism and nepotism are unchangeable and unchallengeable in any meaningful way, the implication was that, the only options are to accept the status quo or emigrate. The idea put forward by the students challenge this understanding, the status quo can and should be challenged.

Imagine, if the people that every day board a bus, a train an air-plane or even a dingy, turned around and decided that it is not them that should go, but the people, institutions, and practices that are forcing them to emigrate in search of a better life. This simple idea, is a dangerous idea, in my opinion, but as I write this my ‘social media feeds’ are already filling up with re-inventions and repacking of events, so all is well that ends well, and we are all encouraged to move on and forget.

What follows is ChatGPT understanding of the above text, the prompt asked the AI to isolate and explain core concepts in the text:

1. Symbolic Protest as a Trigger

Concept: A symbolic act igniting broader unrest.
Explanation:
The placement of a mock pig in front of parliament by Assen Vassilev served as a provocative symbol against corruption and fiscal irresponsibility related to the 2026 budget. While small in itself, the act resonated with existing public frustration and became a catalyst for wider protests. This shows how symbolic gestures can concentrate diffuse dissatisfaction into collective action.

2. Widespread Public Dissatisfaction with Governance

Concept: Accumulated frustration erupting into protest.
Explanation:
The protests reflected long-standing anger toward perceived corruption, rushed decision-making, and unaccountable governance. The slogans “Resign” and “Mafia Out” indicate that protesters viewed the government not just as ineffective, but as structurally corrupt.

3. Grassroots Nature of the Protests

Concept: Popular mobilization without formal leadership.
Explanation:
Although political parties attempted to claim leadership, protesters rejected them. This suggests a deep mistrust of political elites and a desire for genuine civic expression rather than party-driven movements. The protests were decentralized, spontaneous, and citizen-led.

4. Broad Social Participation and Peaceful Action

Concept: Inclusive, non-violent civic engagement.
Explanation:
Participants came from across age groups and social backgrounds, gathering after work hours. The peaceful character and mass participation strengthened the protests’ legitimacy and helped maintain public support, contributing to political pressure without escalation into violence.

5. Protest Success and Political Consequence

Concept: Direct impact of civic pressure.
Explanation:
The government’s resignation one day after a major protest illustrates the effectiveness of sustained, peaceful mobilization. This outcome reinforces the idea that public protest can still meaningfully influence political outcomes.

6. The “Dangerous Idea” of Staying and Fighting

Concept: Challenging emigration as the default response.
Explanation:
The student’s statement—wanting a future at home rather than abroad—rejects the long-standing assumption that emigration is the only solution to systemic failure. The author labels this “dangerous” because it implies active resistance and structural change rather than individual exit.

7. Emigration as a Safety Valve for Systemic Failure

Concept: Population movement preserving the status quo.
Explanation:
The text argues that European systems have implicitly relied on emigration to relieve social pressure. By leaving, dissatisfied citizens avoid confronting entrenched systems of nepotism and clientelism, allowing those systems to persist unchallenged.

8. Threat to Political and Institutional Stability

Concept: Collective refusal to emigrate as revolutionary potential.
Explanation:
If large numbers of people across Europe demanded change instead of leaving, existing political institutions—including national governments and even the EU—could face destabilization. This reframes migration not just as an economic issue, but as a political stabilizer.

9. Narrative Control and Collective Forgetting

Concept: Repackaging events to neutralize their impact.
Explanation:
The author suggests that media and social platforms quickly dilute the radical implications of such protests, encouraging people to move on. This reflects how disruptive ideas are often absorbed, softened, or forgotten to restore normalcy.

Core Insight (in one sentence):

The text argues that Bulgaria’s protests were not just about a budget or a government, but about challenging the deeply ingrained belief that ordinary people must leave their country rather than change it—and that idea has revolutionary implications.

The Samara flag is a Bulgarian battle flag, and one of the most important military symbols of the Bulgarian Army. It was created by nuns from the city of Samara, Russia, and was donated to the Bulgarian militia during the Russo-Turkish War (1877 – 1878).

The idea for the flag was proposed by Piotr Vladimirovich Alabin (later governor of Samara) and his wife. The couple believed that a regiment flag would become a powerful symbol that would inspire the Bulgarian volunteers to fight on.

The flag became famous during the Battle of Stara Zagora. During the battle the flag-bearers were killed. A number of Bulgarian volunteers rushed in to save their flag and the symbol of their commitment to continue fighting to liberate Bulgaria, among them was Nikola Korchev.

In 1902, a grand celebration was organised to mark the 25th anniversary of the battles of the Shipka, a turning point in the Russo-Turkish war and the Liberation of Bulgaria. Survivors of the battle were invited to take part. Nikola Korchev, as the savoir of the flag was entrusted with flying the Samara flag.

At this event Yaroslav Veshin sees Nikola Korchev. The image of Korchev holding the flag stays with Veshin, and in 1911 he invites Korchev to pose for the painting. By the time Veshin paints Korchev, Korchev is an old man, but the artist catches beautifully Korchev pride and strength.

Jaroslav František Julius Věšín ( 1860 – 1915) was a Czech painter. He studied at the Prague Academy of Art, then he moved to the Art Academy in Munich. After graduation, he lived and worked in Munich and Slovakia, most of his painting depicted rural life in Slovakia. In 1897 at the invitation of the Minister of National Education, Yaroslav Veshin moved to Bulgaria. He was a senior professor at the National Academy of Art until 1904, then he joined the Ministry of War as a War Artist.

His style belongs to the realism movement of the 1880s. Realism emerges as a rejections of the melodramatic and the picturesqueness. Artists such as Věšín turn their attention to the depiction of everyday live, especially in rural or semi-rural setting. Věšín is known for his depiction of life in the Bulgarian countryside, as well as for his work as a war artist.

Further Readings:

http://bgklub.cz/rodenglas/PDF/1301/RG1301_13.pdf

Lyubomir Hristov Dalchev (1902 - 2002)

The man:

Lir Hristov Dalchev trained in Sofia, Rome and Paris. Against all advice he left Paris, and returned to his beloved homeland, Bulgaria. Back in Sofia, he encountered a lot of residence, but Dalchev was hard working and determined, and eventually his skill as a painter and later a sculptor, won him many supporters.

He taught at the Academy of Arts in Sofia. Dalchev years at the Academy were difficult, his belief that artists should be allowed and even encouraged to go beyond accepted canons and be free to explore put him on a collision course with both the cultural and political establishment.

Dalchev was repeatedly accused of breaking the canons of social realism and in 1960 he had to leave his post at the Academy.

Out of work and without a studio, Dalchev found himself in a difficult situation, but he kept working, his reputation as an artist kept growing, especially abroad, and he managed to establish his own studio.

Although some of his work was accepted by the authorities, Dalchev in an interview remembers how, in the 1970’s he was advised to produce work more in keeping with the political climate of the time, specifically art that looked like the pieces he had produced in the 1940’s. Such a suggestion, went against what Dalchev believed the artist’s path should be, a path of evolution, discovery, and above all honesty to one’s art and mind. Unsurprisingly, Dalchev found such advice impossible to follow.

The political climate in Bulgaria at the time, probably, contributed to Delchev’s decision to leave.

In 1979, Dalchev was exhibiting in Vienna, and from there he went to the US with his wife, Ana Dalcheva, a renowned artist in her own right, and son. Leaving Bulgaria was a very painful decision for Dalchev, in my opinion. Dalchev was 77 years old when he left for the US. He could have chosen to live out his life in comfort with a few compromises in Bulgaria, instead he chose to start again in a new country. As, a parting gift. Dalchev donated all the works in the Vienna Exhibition and the works in his studio to the Bulgarian State. He died in 2002, without ever returning to Bulgaria.

The work: “The Prodigal Son”

The Prodigal Son is a wonderful example of Dalchev’s work. A riots of emotions is expressed through the manipulation of the human figure that can be achieved only through a deep understanding of human anatomy.

The human figure is deformed just enough to convey the subject’s feelings. The shoulders of the father are raised beyond what is natural as if to form a protective shelter around the kneeling son, the arm muscles are accentuated, implying the readiness to fight off anyone and anything threatening his son, and yet the hands look caring and gentle; one hand rests on the son’s head, the other on his back, the size and positioning of the hands convey the desire to protect and reassure. The inclination of the head, with the face touching the head of the son, instantly communicate joy, love and an immense sense of relief at having his son safe and in his arms. The kneeling son: the way he buries his face in his father chest, tells of relief at being accepted, forgiven and loved. All doubts, all worries, all recriminations melt away in the moment of the embrace.

Sources:

https://въпреки.com/post/изложбата-неспокойният-дух-в-сгхг-преклонение

https://kultura.bg/web/любомир-далчев-син-баща-ми-не-е-човек/

https://slavimirgenchev.info/?p=5440

https://nuancegallery.bg/en/artists/lyubomir-dalchev/

https://kultura.bg/web/творчество-и-действителност-2/

https://bg.wikipedia.org/wiki/Любомир_Далчев

https://въпреки.com/post/171487605441/рефлексии-един-малко-известен-паметник-за

Iglika is a small village in the Gabrovo region of Bulgaria. The village is known for its stone houses or ‘duvars’. The traditional stone built houses and walls, play host to another great Bulgarian tradition, the KILIM, the Bulgarian carpet.

Carpet weaving began at home and the skill was passed down from mother to daughter. Most households needed to be self-sufficient and that included making textiles for the family and the home. Over time carpet weaving became also a source of income. Bulgarian carpets were traded across the Ottoman empire. The main centres of carpet production in Bulgaria were Chiprovtsi and Kotel. Another famous centre of carpet production in the Balkans is Pirot, in Serbia.

Bulgarian carpets have a practical function, they make the home cosy, but also offer spiritual protection and tell the story of the family.

The carpets are and expression of female creativity, like poets use words, women weaved traditional symbols to tell the story of their family, their love, hopes and desires. This is true especially in the older carpets.

The symbols and the colors

The Makaz is a family of symbols. The basic geometric pattern is the triangle, which evolves into a rhomboid. The geometrical forms combine in ever more intricate patterns. The Makaz symbols are closely related to the family, from the union of man and woman, to the arrival of children, to the extended family, to the clan, at each step the Makaz becomes more complex and elements are added.

The dominant colours in the carpets, also tell of the woman’s hopes and desires, red is the colour of love, strength and courage. It brings fertility and prosperity and protects against the evil-eye. Black is the colour of Mother Earth and tells of hopes of stability and security.

The “Golyam Makaz” symbolizes a wedding.

The “Kanatitsa mark” the arrival of children in the new family.

The “Big Kanatitsa” tells of the family growing.

The colour of the Kanatitsa, also, tells about the mood of the woman weaving it.

A green Kanatitsa is about hope, joy, growth and renewal. Yellow expresses optimism and happiness. Blue is the colour of strength, and dignity, and respect for the family. The Kanatitsa are in a field of red, suggesting hopes of prosperity and fertility, and it is surrounded by a design called Granny’s teeth, in green, which tells of hopes of fertility and growth.

The Kanatitsa motif is also a stylized image of a butterfly, which is considered a guardian of the home and family.

The “Karakachka”, or the ‘black-eyed bride”, is thought to be the symbolic representation of a fertility goddess.

The “Heavenly Turtle” is an ancient Proto-Bulgarian sign used for protection. It is also known as the, the Cosmic Turtle or the Braid. It is believed to be the symbol of the God Tangra, the main deity of the proto-Bulgarians.

The Heavenly Turtle depicts perfection, balance and interconnectedness in the Universe.

“The Cross”: before the adoption of the Christian faith, the sign of the cross served as a protection against misfortune, illness and curses. Later it became a symbol of God.

The “Rooster”, has different meanings, depending on context. The rooster is associated with weddings. It illustrates fertility, male and female principles.

The other meaning is protection from evil forces. This interpretation comes from an ancient belief that the crowing of roosters in the morning drives away all vampires and scoundrels roaming the earth at night.

The “Horse” symbolizes freedom, strength and masculinity. And it connects people with heavenly forces.

The “Vine” motif is believed to relate to the arrival of Christianity in the Bulgarian lands. It symbolizes youth, fertility, peace, longevity and love.

The “Elbetica” represents the four directions in the world (north, south, west and east), and the natural cycle.

The “Tree of Life” illustrates the connection between heaven and earth.

When a loved one had to travel, he would, often, be given a small carpet to take with him. The small carpet was a reminder of the love of his family as well as an amulet for good luck and protection.

Natural dyes

Traditionally only Natural dyes were used. This were made at home. Black is made from the bark of the fir tree, yellow from wild wormwood, brown from black hawthorn, blue is made from cornflower and the bark of the white ash, violet is from cornflower and wild poppy, and the green colour is from the leaves of the sycamore (Isatis indigotica) and wild apple. Rubia tinctorum, or the rose madder and the bark of the hawthorn can be used for red, but the information about the making this colour is limited.

Bulgarian carpets combine beauty with the history of the people that woven them, from the ancient traditions of the Proto-Bulgari through the arrival of Christianity and to present day Bulgaria as the symbols are being updated to tell the stories of today's' Bulgaria.

Ref:

English:

https://openspacebg.com/embroidery-en/ https://bnr.bg/en/post/101111346/the-beauty-of-chiprovtsi-kilim-decoration-motifs-and-their-modern-application-in-loretta-velkovas-works https://bnr.bg/en/post/100127902/the-tradition-of-carpet-weaving-in-bulgaria https://elisarugs.com/rug-making-history https://bnr.bg/en/post/100189244/the-symbolism-of-colors-in-bulgarian-folk-tradition https://visit.gabrovo.bg/en/iglika-eco-trail/

Bulgarian:

https://chakardakova.com//българските-шевици-история-символи https://bnr.bg/radiobulgaria/post/100234121/kotlenskite-kilimi-izraz-na-duhovnite-tyrseniya-na-bylgarkata https://kilim.bg/kilimi-istoria https://ucreate.bg/български-шевици-значение-символика/ https://bg.wikipedia.org/wiki/Български_шевици https://babinarakla.bg/blog-babinarakla/pametta-na-shevitsite https://vezba.bg/pages/елбетица https://eniovche.bg/populiarni-bulgarski-shevici/ https://crafts.suizku.com/SimvolikaIZnachenie.html https://crazy2002-tcvetelinka.blogspot.com/2009/07/blog-post_29.html https://visit.gabrovo.bg/event/iglika-kilim-fest-2025/ https://visit.gabrovo.bg/ekopateka-iglika/

A Brief Overview

It is thought that Heraclea Sintica was founded between 356 and 339 BC, during the reign of Philip II of Macedonia.

Heraclea Sintica probably started as a fortified town. These type of towns were built in the area of the Middle Struma Valley as a way to repopulate the region. Population numbers had crashed due to army recruitment drives and wars.

The Macedonian ruler Cassander in 310 BC settled a significant number if Ilyrians in the town, but the majority of the population was comprise of Greeks, Macedonians and Sinti.

The identification of the site as the town of Heraclea Sintica was confirmed by the finding of a stele (2002) with a transcription of a letter from Emperor Galerius and Caesar Maximinus II in 308 AD, to the people of Heraclea Sintica. In the letter the rulers agree to restore Heraclea Sintica city rights.

The name “ Heraclea ex Sintis”

Towns named Heraclea (or Herakleia) were dedicated to the mythological hero Heracles (also known as Hercules), Sinti because it was located in the Sinti tribal lands. The Sinti were a Thracian tribe.

With the arrival of the Romans, around the 2^nd Century BC, new cultural codes related to language, religion and social customs, are absorbed into and adapted to the existing blend of Greek, Macedonian and Thracian culture. However, Greek remains the preferred language by the city administrations as well as for memorials.

The site (highlights)

The town had a large central square, or agora, forum. Shops and workshops as well as taverns and pubs lined one side of the square, the civic basilica dominated one side of the square.

The Basilica was a versatile space, it served as a meeting place, here merchants could exchange money, judges would be presiding over court-cases, and if you needed a permit or wanted to present a petition you went to the Basilica.

At the end of the portico on the northern part of the forum, there is the sanctuary of Nemesis. Nemesis was the goddess of swift retribution who together with Themis ensured justice prevailed.

It is believed that the cult of Nemesis was introduced in Macedonia in Roman times.

A trading and manufacturing town

Heraclea Sinti was on one of the main routes to and from the Agean Sea, and it was in the heart of a very fertile area and there were metal and other mineral deposits nearby.

This favorable position on major trading routes and access to raw materials, gave birth to a thriving pottery industry. This industry was so important to the economy of the town that after a great fire in the mid-3rd century AD, the workshops were rebuilt and production re-started almost immediately.

A range of pottery has been excavated, among them are seven terracotta masks, they date from the 3rd century, some were used during theatrical performances and others were for decoration. The masks have provided an insight in the glazes and colors used by the local artisans.

There are traces of white, red, yellow and blue paint. Glazes in antiquity were mainly produced by using compounds such as lead oxide, the crystals of which are yellow or red in colour; they are prepared by melting the lead in a kiln or hearth and the resulting oxide layer is picked up. For Lead white, lead shavings are immersed in vinegar until the lead turns white. For red and orange colors they used Minium, and Galena for greyish-blue to silver-grey.

Another interesting find is the bust of Dionysus, it is on display at the Petrich History Museum along with the masks and other examples of Heraclea Sinti pottery. The bust was not glazed but painted, and only minute traces remain. The bust was painted in Kaolin white, ochre was used for the grapes, umber for his tunic and Egyptian blue was used on the diadem and the right section of the chest. Egyptian blue, also known as calcium copper silicate or cuprorivaite, is considered the first synthetic pigment; it was traded across the Roman Empire, and it was a premium product.

Another major industry was the production of textiles. The artisans quarter extends up the hill. Terraces were cut out into the rock, to serve as foundations for houses and workshops.

Access to these premises from the agora was through a narrow and steep staircase, ending into a strong door. This suggests, that the craftsmen producing fabrics might have been women; this is supported by the finding of numerous bone hairpins. Female manufacturing associations are widespread, especially in the late Roman imperial period. The steep staircase and the strong door served as a deterrent against unwelcomed visitors.

Life in the Good Times

The steles found in the nearby necropolis give some hints of what life was like in ancient Heraclea. Trade and manufacturing were booming, life overall was good, people could afford to commemorate departed family members with tombstones, and invest in decorative statues for both private and public buildings.

Examples of the Small Herculaneum type were found in the site. These type of statues were often erected in honor of men in important positions. The female version is also an honorific portrait, often representing members of the civic elite, or proclaiming the domestic virtues of the woman: daughter, wife, mother. These statues, with their traditional Greek apparel are a continuation of the Hellenistic tradition of honorific family monuments.

In the museum the statue of the girl is placed along examples of the Small Herculaneum type, however Arina Korzun, suggest that this is a statue of the Goddess Nemesis. The statue was found near the sanctuary dedicated to Nemesis.

Hermes and Nemsis

Chief archaeologist Professor Dr. Lyudmil Vagalinski and his team found a nearly intact statue in the Cloaca Maxima, the Roman sewage system , in July 2024.

The statue is made from a single marble block, likely dating to the 2nd century AD. The archaeologists identified him as the God Hermes. It is worth noting that Hermes was, also, the god of trade and commerce as well as the patron god of roads and travelers. Trade was booming, but there were risks, some of the steles tell of a family member robbed and murdered on the road by bandits. It would not be unusual for traders to ask for the God’s protection before setting out on a long journey, and if something terrible should happen, it would not be strange for the relatives of the victims to pray to the Goddess Nemesis to visit merciless retribution on the culprits.

The Archaeology: a complicated jig-saw puzzle

The town existed for centuries, and with time it grew and contracted, therefore the archaeology is multilayered, and beside war, Heraclea suffered fires, a major earthquake and flooding. Across the site different periods have been pushed together or turned upside down, this makes the work of the archaeologists challenging. In addition, although Heraclea seems to fade from the records, local knowledge of the town persisted and there is evidence that for a long time the town was used as a source of building material by the local population; as recently as 1857 stone material from the site was used to build the church of the Holy Virgin in the town of Petrich. By extension, it would not be unreasonable to assume that the lack of high value coinage found on the site until now, could be more an indication of human activity rather than of the wealth of the town in ancient times.

Conclusions

The archaeological excavations and surveys continue in Heraclea Sintica, and as I am writing Professor Vagalinski and his team have uncovered a nearly intact burial and gold jewelry. As the investigation continues, Heraclea Sintica will offer further interesting insights in the Roman Empire in the Struma valley in Bulgaria, and its unique blend of Thracian, Macedonian, Greek and Roman culture.

Although this is an active archaeological site, most of the site has been equipped with paths and information boards to make it as user-friendly as possible for visitors of all ages and mobility.

References:

Restoration and Socialization of Heraclea Sintica

https://baa.kab.bg/en/submissions/restoration-and-socialization-of-heraclea-sintica/

The Struma Valley Revisited: Cultural Encounters in Roman Times on the Balkans (the Epigraphic Data)

Mirena SLAVOVA (RCHAEOLOGIA BULGARICA XIV, 2 (2010), 39-51)

Heracleia Sintica ( a brief presentation) by Lyudmil Vagalinski

https://www.bg-numismatic-readings.com/heracleia-sintica/

From Portrait to Divine Image: Two Statues from Heraclea Sintica in Roman Macedonia

Archaeologia Bulgarica ХХVIII, 2 (2024), 1-13 by Arina KORZUN

HERACLEA SINTICA: FROM HELLENISTIC POLIS TO ROMAN CIVITAS

(4th BC - 6th AD )

Proceedings of a Conference at Petrich, Bulgaria, September 19-21, 2013

Edited by Lyudmil Vagalinski and Emil Nankov

Exceptional marble statue uncovered in Heraclea Sintica

by Dario Radley July 4, 2024

https://archaeologymag.com/2024/07/marble-statue-uncovered-in-heraclea-sintica/

A Verse Epitaph and Other Unpublished Inscriptions from Heraclea Sintica

by Nicolay SHARANKOV (Archaeologia Bulgarica ХХI, 1 (2017), 15-38)

https://www.archaeologia-bulgarica.com/wp-content/uploads/2018/05/Sharankov.pdf

Once again on Augustus Galerius’ and Caesar Maximinus Daia’s letter to Heracleians and the location of Heracleia Sintica

by Georgi Mitrev

https://www.academia.edu/2131566/Отново_за_писмото_на_император_Галерий_и_цезар_Максимин_Дая_до_хераклейците_и_местоположението_на_Хераклея_Синтика_Once_again_on_Augustus_Galerius_and_Caesar_Maximinus_Daias_letter_to_Heracleians_and_the_location_of_Heracleia_Sintica

This is a companion script to my video

Versione del video in Italiano: il 16 Luglio

Версия на видеото на български език, на 17 юли

http://www.youtube.com/@daniela-explores

The Battle of Kleidion.

The history books tell of the terrible Battle of Kleidion of 1014, and the victorious Byzantine Emperor Basil II ordering the blinding of 15,000 Bulgarian soldiers; and how Tsar Samuil at the site of his blinded warriors had a heart attack and died, marking the end of the First Bulgarian Empire.

This version of the events of 1014, raises a few questions, but first a bit of back-ground.

Byzantium's Balkan policy (in brief)

Byzantium's traditional policy in the Balkans consisted of offering prestigious titles to the leaders and rulers, sometimes land, privileged access to the lucrative markets of the empire and favourable tax arrangements, in exchange for swearing allegiance to the Empire, or signing agreements of non-aggression with Byzantium. This was the ‘Carrot’ part of the strategy, the ‘Stick’ was the Byzantine Army.

When conflict erupted among local rulers, the empire provided support to one faction or the other, depending on which one could offer the most strategic beneficial alliance or was less likely to become a threat to the Empire. It was a complicated diplomacy of moving parts, designed to ensure that no strong power would emerge that could challenge the Byzantium. (Geopolitics is a very old game, the players may change, the rules not so much 😏)

But sometimes the political juggling went wrong and in in 976, the Byzantine Emperor Basil II was fighting a rebellion inside the empire as well as the Bulgarians lead by Samuil.

Tsar Samuil

Samuil was tsar of the First Bulgarian Empire from 997 to 1014.

Tsar Samuil was the son of one of the powerful Bulgarian family, a Boyar (noble), he took advantage of a power vacuum at the top, to take the crown. Samuil, had little to no dynastic right to claim the crown, so he had to convince the Boyars in charge of the Komitas to support him.

Technically the Tsar was an absolute ruler, his second in command was the Kavkan or the tsar top general, and the Tabare mostly likely foreign minister or ambassador. The Tsar was advised and, to an extent, answered to a Council of Nobles. The Bulgarian state was subdivided in Komitas, or regions, the tsar appointed the head of the Komitas, or Komte, the leaders were generally chosen from the noble families, commonly called Boyars. The Komitas were key to the smooth running of the empire, and the Tsar depended on their support.

Tsar Samuil was a skilled warrior, but also a strategist and a skilled politician. Samuil could be ruthless also, he ordered his brother and his entire family executed after discovering that his older brother Aron was having peace talks with the Byzantines behind his back. Samuil’s son Gavril Radomir begged his father to spear Aron’s son Ivan, and Samuil agreed. The story is reported by Ioannes Scyllitzes/Skylitzes a Byzantine historian of the late 11th century. (His writing are the base for most of the history of the battle, and the blinding of the Bulgarian soldiers.)

Samuil extended the Bulgarian Empire into Serbia, Croatia, northern Bulgaria, Albania, and Greece. He formed an alliance with the Magyars and sealed it by marrying his son Gavril Radomir to the daughter of the Hungarian Grand Prince Géza.

Tsar Samuil perfected traditional Bulgarian fighting tactics: surprise

attacks, ambushes, and the strategy of cutting off all supplies to strongholds and let hunger and thirst do the job, or lure the defenders away from the fortress and ambush them. The Bulgarian army fighting style points to Samuil not having access to a strong cavalry or war engines. This suggests, that Samuil had an agile and effective army, but not necessarily a huge one.

Samuil was often on the battlefield and came close to death or capture a number of times including during the battle of Kleidon in 1014. At the time of this battle Samuil was 56 years old. The Bulgarian army is defeated. With the help of his son, Samuil evades capture. Gavril Radomir takes his father to the city of Prilep. From there, Samuil returns to his capital Prespa (*believed to be Samuil’s capital), in North Macedonia.

Meanwhile, Gavril Radomir goes to Strumitsa and defeats the advancing Byzantine army.

The question

The question is, in my opinion, if Basil II had disabled 15,000 Bulgarian soldiers, with what men did Gavril crushed the Byzantine army led by Basil’s top general?

By middle-ages standard, 15,000 men is a huge army, assuming the Samuil had a huge army, which considering Samuil’s preferred fighting tactics of surprise and ambush, and the apparent absence of war-engines in his arsenal, he probably did not have, but even if he had over 15,000 to deploy in the battle of Kleidion, the loss of so many should have crippled the Bulgarian army at least for some time, however Gavril Radomir wins at Strumitsa. This also implies that Samuil had split his forces, making the 15,000 number of soldiers taken prisoners after the fearsome battle of Kleidion even less likely.

And I might add, that from a practical point of view, blinding 15,000 men takes time and effort.

This is not to suggest that Bulgarian prisoners were not blinded, this was an effective way to disable soldiers and, it was considered a better option than killing fellow Christians.

The battle of Kleidon is celebrated as the end of the first Bulgarian Empire. However, under Gavril Radomir, the Bulgarian Empire defeats the Byzantines in a number of battles, the turning point comes later.

Gavril is assassinated by his cousin Ivan Vladislav in 1015.

Ioannes Scyllitzes the Byzantine historian, tells us that byzantine agents turn Ivan against Gavril, they convince Ivan that he his the rightful ruler and he should not accept to serve under the son of his father’s killer.

After Gavril’s death, Ivan takes the crown and the fighting continues, but he is killed during the siege of Dyrrhachium, present-day Durrës, in Albania, in early 1018. There is no commander with enough support among the Komitas or experience to take the lead. Basil II wastes no time, and begins to negotiate peace treaty with the Bulgarian Boyars, he offers them very good terms, the Boyars keep their lands and titles, they are also offered lands in the east, and friendly taxation. Not the terms that a victorious Basil II, Slayer of the Bulgarians, would have felt the need to offer to a defeated and devastated enemy.

To paraphrase Durkheim, the victors get to write down the story.

So why the story of the crushing defeat of Kleidon, and the subsequent inevitable fall of the Bulgarian Empire, well the historical sources for the event come from Constantinople and the archives in Mount Athos.

After the Battle of Kleidion, Basil II quickly sends news of his glorious victory over the troublesome Bulgarians to Constantinople. At this time Basil II position as emperor is weak, he needs a big victory to shore up support among the powerful military families of the empire. Basil is a general, but also a man of letters, he knows the power of the written word.

The best wars are the ones you win without deploying a single soldier.

In later years, Basil II cultivates his reputation as ruthless general, ‘Slayer of the Bulgarians’. This reputation serves him well when negotiating alliances and treaties with local lords on the borders of the Byzantine empire.

Conclusion

This article is a companion to my video at the historic park Samuliova Krepost, I did not set out to challenge the accepted version of the event, and it could still be that the accepted version is the correct one, but, I am of the opinion that it is, often, worth casting a critical eye on stories or explanations that seem to be somewhat lacking in evidence or internal logic or just detached from the constraints of the physical world and human nature.

The sources that most inform this article are:

• “Byzantium in the Year 1000”, by Paul Magdalino, https://dinitrandu.com/wp-content/uploads/2018/11/217424991-Byzantium-in-the-Year-1000-Edited-by-Paul-Magdalino.pdf

• “Byzantium's Balkan Frontier: A Political Study of the Northern Balkans, 900-1204”, by Paul Stephenson, https://smerdaleos.wordpress.com/wp-content/uploads/2014/09/byzantium-s-balkan-frontier-a-political-study-of-the-northern-balkans-900-1204.pdf

• “The Making of Byzantium, 600-1025”, by Mark Whittow , https://smerdaleos.wordpress.com/wp-content/uploads/2014/09/mark-whittow-the-making-of-byzantium-600-1025-pdf.pdf

• “A history of the First Bulgarian Empire”, by Steven Runciman

  Appendix V : Bulgar titles, https://macedonia.kroraina.com/en/sr/sr_app5.htm#:~:text=The%20main%20class%20of%20the%20nobility%20was,mid%2Dninth%20century%20there%20were%20twelve%20Great%20Boyars.

• “Tsar Samuel Against Emperor Basil II Why Did Bulgaria Loose the Battle With the Byzantine Empire at the Beginning of the 11 th century”, by Ivelin Ivanov, University of Veliko Tărnovo, p. 205-212 , https://www.uni-vt.bg/userinfo/518/pub/9943/tsar%20samuel%20against%20emperor%20basil%20ii%20why%20did%20bulgaria%20loose%20the%20battle%20with%20the%20byzantine%20empire%20at%20the%20beginning%20of%20the%2011th%20century.pdf