Both the Serbs and the Turks honored the site of the battle with commemorative buildings.
Sultan Murat Türbe
In the Meşhed-i Hüdavendigar, part of Murad's mortal remains are kept.
Marble column Stefan Lazarevićs
Stefan Lazarević had a marble column erected on Kosovo Polje with an inscription that, in a solemn rhetorical narrative, portrayed Lazar in an antic manner as the "conqueror of the dragon" and celebrated his martyrdom. The inscription on the column, which was preserved until the end of the 15th century, has been handed down in the so-called "Turcica" in Constantine Mihailović's memoirs:
On the battlefield
"As a good shepherd and commander of armies, he commanded the wise lambs to arrive happily at Christ and that they might form a wreath around the fallen one and participate in the Heavenly Feast. Therefore he led us in immense numbers, our good and great Lord with brave soul and firm faith, as to a beautiful castle and a joyous wedding to face the enemy, to crush the real dragon, he killed the fierce devil and defeated the great enemy and the insatiable hell that swallows all, I tell you, Murat and his son, descendants of dragons and vipers, the foals of basilisks and lions and with you others and theirs not a few."
- Stefan Lazarević, Serbian Despot
Gazimestan Memorial
In 1953, in socialist Yugoslavia, instead of the controversial project of a monumental temple to the Field of Blackbirds, Aleksandar Deroko erected a simpler monument complex, with a tower in the shape of a medieval donjon at its centre. Called Gazimestan, it had little significance under the Communists, but became a symbolic site due to the 600th anniversary of the battle in 1989. During the Kosovo War and the administration of Kosovo by UNMIK, parts of the Gazimestan monument were damaged in 1999 and 2004. In particular, the staircase inside the tower was destroyed. In 2010, KFOR handed over guarding of the monument complex to the Kosovo authorities and the local police.
Vidovdanski hram
The greatest media publicity was given to the project of a national memorial to the Field of Blackbirds, which was first envisaged by the construction of a temple - Vidovdanski hram - during the reign of Aleksandar Obrenović before the First World War. The design came from the later court sculptor of the Karađorđević dynasty that succeeded the Obrenovićs, Ivan Meštrović. In 1905, he presented the project for a monumental basilica, in which numerous sculptures were to reflect the heroes of the Blackbird myth. The building project could not be concretized after Aleksandar Obrenović's assassination. Nevertheless, Meštrović had made most of the larger-than-life sculptures, including the Caryatids, the marble sculpture of Miloš Obilić (now in the Serbian National Museum), Miloš Obilić's bronze in the Royal Castle on Dedinje, Banović Strahinje (now in the Tate Gallery), as well as the marble sculptures Srđa Zlopogleđa and Male udovice, and as the central figure from the Kraljević Marko cycle, a now-lost monumental marble sculpture of a naked Kraljević Marko riding a horse, which today only gives the original impression as a smaller bronze. The figures of the cycle also include the representations of mothers and widows, of which the two sculptures of the mythological beauty Vukosava of Kosovo are shown as Secanje (Engl. Remembrance) in variants in the National Museum of Serbia, as well as in the Royal Castle on Dedije.
The sculptures of the Vidovdanski hram were first exhibited in Paris in 1908, the then completed cycle in 1910 at the Vienna Secession Exhibition, and the wooden model of the cathedral in 1911 at the exhibition in Rome in the Serbian pavilion together with the sculptures, where his work was awarded the gold medal, establishing Meštrović's world fame as a sculptor. The model was then in New York until 1968, after which it came to Kruševac, where it is now exhibited in the town's museum.
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Caryatids of the Vidovdanski hram, Ivan Meštrović
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Bronze of Miloš Obilić, Ivan Meštrović
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Sculpture of the mythological figure of Vukosava, Ivan Meštrović
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Figure from the cycle of mothers and widows in the Blackbird cycle, Ivan Meštrović
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Kraljevic Marko, plaster study of Ivan Meštrovićs 1909
Other national projects
Hram Svetog Save
A highly symbolic project reflecting the historical echo of the Battle of the Blackbird Field also became the Temple of St. Sava in Belgrade. Planned since the 1920s and started in 1935, the controversy surrounding the building idea, which lasted for decades, was constantly modified in its symbolism. In its spiritual dedication to Serbian medieval history, the building was based on Bratislav Pantelić's design of a symbolic center of national unity and national memorial. His idea is to be understood as: external manifestation of the sentiment of uniqueness (of Serbs) and following the right path with the axiom created on the Field of Blackbirds - and thus committed to the multiple references to the Field of Blackbirds myth. Therefore, due to the fact that further construction was prevented for a long time by the communist nomenclature, the resumption in 1985 with the celebrations of the 600th commemoration day of the Battle of the Field of Blackbirds in 1989, prepared in parallel, formed the modern climax in the awakening of national feelings. In the naming of the building as a temple, as in the abandoned project of the Vidovdan temple, its exceptional character was emphasized, which was further underlined by the addition of a memorial to the Battle of the Blackbirds in the form of a chapel, designed by the chief architect Branko Pešić, as the burial church of the Holy Martyr Prince Lazar (Grobna crkva svetog mučenika kneza Lazara), an integral part of the modified project.
The topos of the Battle of Amselfeld in the visual arts
In addition to Meštrović's sculptures, the themes and topos of the Battle of Blackbird and the heroic figures exaggerated in popular and epic tradition have also been addressed by other visual artists in Serbia and the former Yugoslavia. These include the realists Uroš Predić ("Kosovka dvojka"), Paja Jovanović ("Boško Jugović na konju" 1922, "Marko and the Vila") and the expressionist Petar Lubarda.
The latter created several studies of the Field of Blackbirds in the style of expressionism. Thus, on behalf of the Government of Serbia, he designed the "Kosovski boj", now considered a masterpiece in the pictorial topos of the "Battle of the Field of Blackbirds". It represented a true artistic sensation at its inauguration, as the depiction broke not only radically with tradition, but especially with the forms of Socialist Realism, and thus also contained a political statement. Preliminary studies for Lubarda's "Kosovski boj" can be found in the possession of the National Museum in Cetinje and the National Library of Serbia. The Central Work was intended as a wall fresco for the ballroom of the former Izvršno Veče Narodne Republike Srbije in the New Castle. Today the building serves as the official residence of the Serbian President.
Lubarda's "Kosovski boj" is a monumental 56 m² mural painting that ushered in a new epoch in Serbian painting through the figurative abstraction of details of the two armies falling on each other, the sometimes grotesque faces of people and horses, their partly sculptural depiction, and the use of bright colours in which red, purple and green dominate. Without descriptive means and literary allusion, the painting also uses universal symbols and sublimated impressions in the general depiction of the horror of war. Generally considered the main work of modern painting in post-war Yugoslavia, it is also the first modern battle painting in Serbian art.
A large-scale tapestry (5 × 3.33 m) of the 16th century depicting the battle (Bataille du Champs des Merles - La Bataille de Kosovo Polje) is found in the former French royal castle of Chenonceau. The tapestry, woven in Oudenaarde (Audenarde) in Flanders, is probably part of a pictorial cycle. Another one probably in the private collection of Yves Saint Laurent. The tapestry was completely unknown to previous researchers and historians and was discovered by chance by Jelena Bojovic. Depicted are Patriarch Spiridon blessing Princess Milica. Next to her her two sons Stefan and Vuk, Bosnian notables and Milos Obilic. In the left background the Ottoman army is depicted before the battle, on the right after the defeat with the dead corps Sultan Murat.
In isolated cases, the Battle of the Blackbird Field was also thematized by emigrants in the architecture of other countries, for example in the Palazzo Gopcevich built by a Serbian banker in Trieste in 1850.
Drama and film
Ljubomir Simović created the drama Boj na Kosovu in 1988 on the initiative of the Jugoslovensko Dramsko Pozorište. After the Serbian state broadcaster Radio Televizija Beograd (now RTS) wanted to adapt it into a series for the 600th anniversary of the battle, it was ultimately decided to make a feature film directed by Zdravko Šotra. In particular, Žarko Laušević was remembered in the role of Miloš Obilić. Simović returned to his drama in 2002, shortening the original 21 scenes to 11.
In 1989, Radio Televizija Beograd also produced a three-part documentary series (I- Najezda, II-Boj, III-Legenda), which was scientifically supervised by Sima Ćirković and Miroslav Pantić. The series, which was filmed in original locations, gives wide space to historical and literary documents.
