„Maica Domnului Hodighitria înconjurată de arhangheli şi profeţi” - icoană ortodoxă din secolul al XVI-lea din Terlo, din colecţiile Muzeului Naţional din Krakow. Aspecte ale iconografiei, atribuţiei şi datării
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КРУК, Мирослав Пётр. „Maica Domnului Hodighitria înconjurată de arhangheli şi profeţi” - icoană ortodoxă din secolul al XVI-lea din Terlo, din colecţiile Muzeului Naţional din Krakow. Aspecte ale iconografiei, atribuţiei şi datării. In: Arta , 2013, nr. 1(AV), pp. 16-28. ISSN 2345-1181.
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Arta
Numărul 1(AV) / 2013 / ISSN 2345-1181 /ISSNe 2537-6136

„Maica Domnului Hodighitria înconjurată de arhangheli şi profeţi” - icoană ortodoxă din secolul al XVI-lea din Terlo, din colecţiile Muzeului Naţional din Krakow. Aspecte ale iconografiei, atribuţiei şi datării

The Virgin Hodigitria among some archangels and prophets» as the Orthodox icon of XVI th century of village Terlo (Ukraine) from the collection of Cracow National Museum. Some problems of iconography, attribution and dating

„Богоматерь Одигитрия в окружении пророков” - православная икона 16-того века из села Терло (Украина) в собрании Kраковского Национального музея. Проблемы иконографии, атрибуции и датировки.

CZU: 75.033.04"XV"

Pag. 16-28

Крук Мирослав Пётр
 
Институт культурного наследия АНМ
 
Disponibil în IBN: 3 iunie 2021


Rezumat

Identificată în localitatea Terlo (astăzi la graniţa polono-ucraineană) icoana Maica Domnului Hodighitria înconjurată de profeţi și arhangheli, loachim si Ana, păstrată în fondurile Muzeului Naţional din Krakow aparţine unor opere care suscită un interes deosebit. Drept model al imaginii multinaţionale şi culturale al dinastiei Jagiellonilor a fost arătată în cadrul unei expoziţii de lungă durată, „Europa Jagiellonica” şi demonstrată succesiv în Cehia, Polonia şi Germania. Desenul neobişnuit al icoanei ortodoxe constituit din arcaturi şi elemente gotice este un exemplu elocvent al influenţei artei vest-europene vis-a-vis de cultura creştinismului ortodox. Apare, atunci o întrebare firească: cărei arte aparţine icoana - celei ruse vechi sau artei medievale moldoveneşti? Până nu demult icoana era atribuită atelierului operelor de factură est-ruse (ucrainene). Arcatura în formă de crin inversat sugerează cunoscutul motiv al cristelniţei religioase din ambianţa Poloniei de Est. Desenul mauresc-ului însă, cu arce ascuţite, creează impresia imitaţiei unui baldachin gotic ajurat, prezent în numeroase opere din Europa Centrală, dar, în aceiaşi timp, ornamentul dm epoca goticului târziu a fost un motiv popular în arta moldovenească. Din punctul de vedere al particularităţilor iconografice şi al stilului se va pune în discuţie aspectul provenienţei posibile a icoanei, în calitate de operă, care a aparţinut unui zugrav din atelierele Moldovei medievale, ce a activat în prima jumătate a secolului al XVl-lea pe teritoriul limitrof al Poloniei.

The icon from Terło (Терло n. Хирів, Ukraine) is one of the most interesting examples of the icon painting preserved in the Ruthenia belonging to the former United Kingdom of Poland and Lithuania. It represents the complex version of a Hodegetria not only by Archangels but also by the Prophets placed in the side columns and at the bottom part of the frame, where in the centre Saint Joachim and Saint Anne hold an unrolled scroll with a kontakion of the hymn for the Nativity of the Mother of God festival. It seems that the richness of the content of the Western Ruthenian icons resulted from the transfer of the iconography present in the wall paintings onto the wooden substratum in the environment where there were no wealthy Orthodox patronage who could finance the sacred constructions of stone and brick with a full iconographic program. Thus, the weight of the presentation of the theological content was transferred into the icons, so they were much more complex than in the other centres of the iconic painting regarding the number of the meaning layers contained in them. The analogous icons in the reduced version, that is the depictions of the Mother of God with Jesus Emmanuel surrounded only by the Prophets were placed in the low row of iconostases in the Balkans area: in Greece, Serbia, Bulgaria, Wallachia, and Moldavia. The program of the icon has many threads: it constitutes the manifestation that through the act of the Incarnation, the Old Testament is fulfilled in the New Testament; it illustrated the hymns venerating that act and the role of the Holy Virgin Mary as a spiritual and living ladder on which the Highest climbed down the Earth, as Saint John of Damascus wrote; it is a figure of the Jesse Tree, thus the ancestors of Christ; it is the praise of the righteous (Prawiednych) parents of Mary, who “blossomed” as Aaron’s rod and deliver the flower, who subsequently bore fruits that redeemed the sin of Adam and Eve, as the predictions of Prophets and The Book of Psalms say, and what is fulfilled in the quote placed on the scroll kept by the parents of Holy Mary. Finally, in this type of an icon you can also see the apotheosis of the multiply dignity of Christ, manifested by the choice of the figures, quotes, and the names of Christ – the Saviour, Judge, King and the Highest Priest. The feature distinguishing the Terło icon is the late-Gothic relief ornament in the form of a tracery on which the arcature with the motif of upside-down lilies reminding the motif known e.g. from the baptismal fonts from Little Poland (Odrzykoń, parish church, 15th c; w.; Krościenko nad Dunajcem, 1493; Brzeziny, parish church, 1497; Połomia, parish church, 15th c.; Gogołów, parish church, 1st quarter of 16th c; Tymbark, parish church, 1541 and others) was employed. The tracery with the similar design of ogival arches making a kind of an imitation of a Gothic open-work canopy is present in the works so distant as the supraporta in the Calvinist church in Sfantu Gheorghe in Transylvania, Romania, as well as in the crowning of the tombstone of the Achacy von Trenck, the canon (deceased in 1551) in the Frombork cathedral. The adaptation of the Western ornamental forms is understandable and characteristic of the icons created in the zone of the intensive mutual influences of the Latin and Orthodox cultures, to which the annexation of Red Ruthenia to the Kingdom of Poland in the 14th century contributed. It should be emphasized that the popularity of Gothic traceries is also evidenced in the Orthodox art of Serbia and Moldova and at the same time the other stylistic features of the Hodegetrias from Bełz, Busko and the one from Terło described here, such as e.g. the way the Mary’s face was depicted, suggest the inspiration by the Balkan and Moldavian examples. The distinctive convex and relief nimbus belong to the Balkan and Moldavian features, regarding the workshop. In the iconographic layer, the icon is distinguished by adding two prophets in the low row, usually designed for hymnographers. Zechariah and Daniel are located in the lowest part of the icons from Bełz and Busko. After the addition of the pair of these prophets, their number in the icon was twelve in accordance with the oldest examples. The choice and placement of the prophets in this icon correspond exactly to the icon from Bełz, but here they are depicted in full-figure, and in the icon from Busko – in a three-quarter position, as it often happens in case of the icons from Moldavia. On the other hand, the inscriptions on the prophets scrolls show many features of the orthography.

Происходящая из местности Терло (ныне польско – украинское пограничье) и находящаяся в собрании Краковского Национального музея икона Богоматерь Одигитрия в окружении архангелов, пророков, Иоакима и Анны принадлежит к произведениям которые вызывают большой интерес. Как ещё один пример многонационального и многокультурного образа монархии Ягеллонов, она была демонстрированной на долгосрочной выставке „Europa Jagiellonica” и показана поочередно в Чехии, Польше и Германии. Необыкновенные украшения православной иконы в виде готических масверков и аркатуры являются ярким примером влияния искусства Запада на искусство восточного христианства. Появляется тогда вопрос: влияния на древнерусское искусство или на искусство молдавское? До сих пор к иконе относились как к произведению запaдно-русской (украиньской) мастерской. Аркатура в виде перевернутой лилии напоминает мотив известный в церковных купелях региона Малопольша. Масверк о похожем рисунке в виде проникающихся острых арок и создающих впечатление имитации готического ажурного балдахина присутсвует во многих произведениях Центральной Европы, в то время как орнамент эпохи поздней готики весьма популярный в искусстве Молдавии. С точки зрения черт касающихся иконографии и стиля вновь будет рассматриваться проблема возможного происхождения иконы. Поставленным будет вопрос: нельзя ли на икону смотреть как на произведение художника/мастерской из Молдавии, действующего в первой половине шестнадцатого столетия на территории Червонной Руси?

Cuvinte-cheie
icoană ortodoxă, dinastia Jagiellonilor, expoziţie, influienţe est-ucrainene, stil gotic târziu, motiv popular, Moldova medievală, atribuţie, iconografie, datare,

orthodox icon, Jagiellon dinasty, exhibition, East Slav influences, style Gothic, ornament, Medieval Moldova, task, iconography, dating,

православная икона, династия Ягеллонов, выставка, западно-украинское влияние, поздний готический стиль, народный мотив, средневековая Молдова, атрибуция, иконография, датировка