The remains of the Medieval Town Borač are located 7.5 km north of Knić, on top of the Borča Cliff. The first mentions of this town date back to the 14th century, but based on the context in which it was mentioned at that time and other indications at the site, it is assumed that the town existed much earlier. The earliest known data mentioning the town of Borač refer to the Hungarian invasion of Serbia in 1389 when Sigismund of Luxembourg captured the towns of Borač and Čestin. The next mention of the town is from 1405, when Despot Stefan issued a charter in which he confirmed earlier privileges for the Dubrovnik citizens. Since then, the town on the cliff has been referred to in sources as the ‘glorious town of Borač.’With the rise to power of Đurađ Branković, alongside the construction of the Smederevo Fortress, work began on fortifying other Serbian towns, including the town of Borač. The stone used in the construction of the town was brought from a nearby quarry. According to V. Petković, during the reign of Despots Stefan and Đurađ, the town of Borač was home to one of the greatest dignitaries of the time, Radič Postupović. During this period, the town maintained its regional and economic significance, serving as the seat of ‘power’. The importance of the town during the Middle Ages is also evidenced by the fact that it was included in the world map by the famous Venetian cartographer Fra Mauro.

The Turks first captured it in 1438, after which it was soon returned to Despot Đurađ, and finally, it was conquered by Mehmed II the Conqueror in 1459. Since there are no known records from the time of Turkish rule about the town of Borač, it is assumed that by that time, it had lost its strategic significance and was abandoned. The town was built at the top of a cliff, which is a natural geological phenomenon. At an elevation of 507 meters, it completely dominated the surrounding area. The steep cliffs over which the town rose provided control over the approaches, but at the same time, they dictated the irregular foundation of the town, which was entirely adapted to the terrain's configuration, giving it an irregular elongated shape. It stretches about 150 meters in the northeast-southwest direction and has a width of about 70 meters. Only minor remnants of the southern fortification wall are preserved, while on the northeastern side, parts of the walls, towers, and residential buildings are preserved in much greater extent.

All the walls were built from broken stone in lime mortar. Within the fortification, two separate sections were identified, separated by partition walls and different levels, representing the upper and lower towns. Among individual structures, the remains of a round-based tower and a smaller rectangular building, which is presumed to be a church in the upper town, are clearly noticeable. It is assumed that the upper town housed the military garrison and administration, while the lower town contained warehouses, living quarters, and other buildings. It also served as a refuge for the surrounding population during enemy attacks, as its position allowed it to withstand attacks for a long time.

Church of the Holy Archangels

Church of the Holy Archangels is located at the foot of the rock where the medieval town was built. The primary piece of information used to date this structure is an inscription in fresco technique on the lintel of the portal on the eastern wall of the narthex. The content of the inscription indicates the time of the church's painting – July 20, 1553 – but not the year of construction, which may have been much earlier.

The modest Borač church is a single-nave building with a compact, inscribed cross design. It is constructed from hewn stone blocks of various sizes, yet harmoniously integrated into the whole. By alternating pieces of characteristic colors and gradients, a unique effect was achieved. The apse on the eastern side is five-sided externally and semi-circular inside, with a diaconicon and proskomidion emphasized by semi-circular niches, which are only slightly larger than the similar ones on the northern and southern walls of the altar space. The naos, oriented from east to west, is vaulted with a semi-dome, which, together with the arches resting on stepped, profiled consoles, supports a low, centrally located, blind dome that is carved at the apex. In the second half of the 16th century, a narthex was built, also vaulted with a semi-dome, using the same method and material as the naos. Communication between the narthex and the exterior is achieved through two portals: the main entrance on the western side and a side entrance (currently used predominantly) on the southern wall. Both portals feature wooden decorated doors, created in different times, with various vegetal, wooden, and metal appliqués. Notably, the southern entrance doors, most likely made in the second half of the 18th century, stand out for their beauty and the quality of craftsmanship.

In the second half of the 19th century, the first restoration works were carried out on the church, specifically repairs that did not disrupt its authentic expression. During this time, an external narthex was added, which fully followed the architectural expression and form of the old church. The consistency with the earlier sections of the church was maintained even in the choice of materials, using hewn stone blocks. The ex-narthex was constructed in the form of a porch with a semi-domed ceiling supported by four massive columns made of stone blocks, on which semi-circular arches rest, connecting them simultaneously. The architectural decoration of the Borač church is modest in expression and materialization, and the monotonous stone façade surfaces were enlivened by friezes of blind arcades on the northern and southern sides. Narrow, profiled monophora windows are placed, one each on the northern and southern walls of the narthex and naos, and one on the altar apse. The entrance portals, although step-wise in composition, lack any stylization. The church of St. Archangel Michael is also recognizable due to its step-wise roof planes, which are currently covered with tiles, replacing the original lead or stone slabs.

The frescoes in the church have been preserved in the lowest zone of the altar, naos, and the eastern wall of the narthex, and partially in the second zone on the southern and western walls of the main part of the temple.

The group of about twenty icons of the altar screen, created around 1870, stylistically points to the work of Dimitrije Posniković. The iconostasis in the Archangel Michael temple does not deviate in any way from Posniković's modest painting style, with weaker drawing and perspective, but with much surer use of color, and with the arrangement of icons closer to traditional solutions.

The Old Cemetery in Borač

The Old Cemetery in Borač is located on the slopes of the Borački Krš, almost nestled between the village houses and the courtyard of the Borač Church. It is a logical continuation of the medieval cemetery, the remnants of which are found on the slope south of the church. The cemetery occupies an area of about half a hectare, where hundreds of tombstones of various shapes and sizes rise. Although they appear different at first glance, they all share common characteristics, evident in the ornamentation and form of the monuments, as well as the material from which they were made. The stone used for their construction was sourced from the quarries of the nearby Borački Krš, and the work was done by skilled stonemasons from Borač and surrounding villages. While they have certain specific features in terms of craftsmanship and appearance, the tombstones in the Borča cemetery are similar in type to those erected throughout the Gruža region during the 19th century. They have square bases, are narrow and elongated, generally topped with a cap that covers the monument. They are richly ornamented, even though the material used is hard. A distinctive feature of this cemetery is that it preserves a cross-section of exceptional examples from the first half of the 19th century to the 1930s, which has not been disrupted by new marble tombstones.