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The construction Bogorodica Ljeviška (The Church of the Holy Virgin of Ljeviška) in Prizren commenced in 1307 on the foundations of an ancient Byzantine basilica and, in the centuries that followed, transformed in appearance with each succession: from Ottoman to Serbian, to restoration in Socialist Yugoslavia. Its rediscovery was momentous within non-aligned Yugoslavia’s cultural sphere; it was visited and written about by many prominent figures. Departing from Oto Bihalji-Merin's essay on the medieval art of Bogorodica Ljeviška, and then contextualizing it with the works of Shkëlzen Maliqi and Marie-José Mondzain, this paper will claim a formalist and materialist approach to religious expression that will ground it in secular art.