Culture and Religion
| “ | A new Ptolemy as he presented himself to them, but not in faith — in desire mostly, |
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— Praise to Tsar Simeon by an anonymous contemporary of the tsar |
During Simeon's reign, Bulgaria reached its cultural apogee, becoming the literary and spiritual centre of Slavic Europe. In this respect, Simeon continued his father Boris' policy of establishing and spreading Slavic culture and attracting noted scholars and writers within Bulgaria's borders. It was in the Preslav Literary School and Ohrid Literary School, founded under Boris, that the main literary work in Bulgaria was concentrated during the reign of Simeon.
The late 9th and early 10th century constitute the earliest and most productive period of medieval Bulgarian literature. Having spent his early years in Constantinople, Simeon introduced Byzantine culture to the Bulgarian court, but eliminated its assimilative effect by means of military power and religious autonomy. The disciples of Cyril and Methodius, among whom Clement of Ohrid, Naum and Constantine of Preslav, continued their educational work in Bulgaria, actively translating Christian texts, such as the Bible and the works of John Chrysostom, Basil of Caesarea, Cyril of Alexandria, Gregory of Nazianzus, Athanasius of Alexandria, as well as historic chronicles such as these of John Malalas and George Hamartolus, to Bulgarian. The reign of Simeon also witnessed the production of a number of original theological and secular works, such as John Exarch's Six Days (Šestodnev), Constantine of Preslav's Alphabetical Prayer and Proclamation of the Holy Gospels, and Černorizec Hrabǎr's An Account of Letters. Simeon's own contribution to this literary blossoming was praised by his contemporaries, for example in the Praise to Tsar Simeon preserved in the Zlatostruj collection and Simeon's Collection, to which the tsar personally wrote an addendum.
Simeon turned the new Bulgarian capital Preslav into a magnificent religious and cultural centre, intended more as a display of his realm's heyday and as a royal residence than as a military fortress. With its more than twenty cross-domed churches and numerous monasteries, its impressive royal palace and the Golden (or Round) Church, Preslav was a true imperial capital. The development of Bulgarian art in the period is demonstrated by a ceramic icon of Theodore of Amasea and the Preslav-style illustrated ceramics.
Read more about this topic: Simeon I Of Bulgaria
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