and Milutin, were created. In 1331–1346, during the reign of King Stefan Dušan, the church expanded and took on characteristics of a cathedral, expanding the art and decorations seen in the exo-narthex of the church. In 1335–1371, it is presumed that the fresco paintings of the church were completed, evidenced by painting styles seen in other nearby churches. In 1370–1375, the first example of repainting was evidenced in the church, and the copying of Sopoćani works created the Sopoćani style which spread and influenced other church paintings. And in the early 20th century, the art of Sopoćani served as an inspiration for modern Serbian artists. Art reconstruction In 1689, various factors contributed to widespread damage through the church. War with the Ottoman Turks led to the desecration of the monastery. In addition, inclement weather and prolonged sun exposure led to damage of much of the art. There were two periods in the early 20th century (1925-1929, and 1949–1958) in which reconstruction campaigns began on a large scale. Notably, the color and clarity of the paintings were restored, but much of the gold-leaf outlines remain difficult to discern in the frescoes of the church. Notable art and techniques Paintings The frescoes in Sopoćani were painted in a similar style to that of Byzantine artists, however the origins of the artists themselves remain unknown. There was a rigid set of steps (setting of plaster, designing with charcoal, application of opsis in various layers, etc.) that were usually followed by these artists. However, there were exceptions to this method, as is the case with the Dormition, which was painted over visible division lines that are usually erased. Some historians believe this to be the result of an oversight on the part of the artist. The Dormition is another example of a late Komnenian fresco, characterized by its use of a rambling narrative linear style. Some of the more prominent frescoes in the church had gold-sheet tesserae applied in their outlines, a decision that was made by Stefan Uroš I to provide a greater sense of visual grandeur. Iconography A demand was created for portable icons due to Byzantine influence and the introduction of iconostasis in churches. The icons in Sopoćani largely represent a matriarchal ideology, depicting the life and death of the Virgin Mary, among others. The portraits of these icons incorporated techniques and symbolism from Byzantine, and earlier Roman style, which emphasizes