Umetnost i liturgijski ritual: bogoslužbeni predmeti u srpskoj vizuelnoj kulturi 19. veka

Abstract

Fokus istraživačkog postupka usmeren je na sagledavanje crkvene umetnosti iz ugla artificiranih bogoslužbenih predmeta. Uloga umetnički oblikovanih predmeta u artikulaciji izgleda pravoslavnog bogosluženja pripada domenu proučavanja vizuelne kulture. Liturgijska funkcija predmeta određuje im morfološke karakteristike i način vizuelne dekoracije. Piktoralne predstave na liturgijskim predmetima pojašnjavaju njihovo značenje i simboličku ulogu. Istovetnost ikonografskog repertoara i tema povezuje proučavano polje crkvenih slika sa svetom liturgijskih objekata i materijalnih predmeta. Svedeni na sopstvene predstave bogoslužbeni predmeti nose amblematska značenja sinonimna ključnim teološkim pojmovima poput bogosluženja, Evharistije ili Novog zaveta. Složena bogoslovska značenja materijalizovana su sistemom oblika, formi i vizuelnih predstava na njima. Materijali kojima su opredmećeni liturgijski objekti nosioci su odgovarajućih samostalnih značenja dopunjujući tako poimanje predmeta koje grade. Uloga bogoslužbenih predmeta kao „instrumenata za vršenje Svetih tajni“ bila je tokom XIX veka snažna i posrednička, oblikujući religijsku stvarnost unutar složenog sistema recepcije određene relacijama sveštenika i vernika. Temporalni okvir proučavanog fenomena je razdoblje „dugog“ XIX veka čija unutrašnja dinamika podrazumeva niz kulturnih promena i modela različitog ili uporedog trajanja. Topografski istraživanje obuhvata crkvenu teritoriju Mitropolije beogradske odnosno prostora autonomne i potom samostalne srpske države. Kulturni simptomi karakteristični za XIX vek uporedno su kontekstualizovani sa drugim društvenim mehanizmima koji utiču na razvoj umetnosti poput patronatskog, dinastičkog i državno-političkog. Bogoslužbenim predmetima tokom trajanja XIX veka sakralizovani su važni istorijski događaji i nacionalna stvarnosti. Osporavajući hijerarhiju pokretnih objekata istraživanje se oslanja na multidisciplinarnost kao mogućnost širokog i individualizovanog sagledavanja sačuvanog sloja materijalne kulture bez namere da prouči svaki crkveni predmet. Isključujući binarne podele i suprotstavljena uopštavanja mogućih modela kao što su varoške spram seoskih crkava ili manastirske prema parohijskim umetnički oblikovane predmete sagledavamo u okvirima vizuelne kulture epohe tragajući za njihovim mestom unutar prepoznatljivog „liturgijskog ambijenta“ karakterističnog za razdoblje XIX veka. Uže posmatrani spram istorijsko-umetničkih krarakteristika, bogoslužbeni predmeti nastajali od kasnog XVIII do ranog XX veka su artefakti koji svedoče o postepenom napuštanju poznobarokne pravoslavne kulture i prihvatanju aktuelnih vizuelnih i kulturnih tokova centralnoevropske umetnosti klasicizma i bidermajera. Najpre kroz import a potom od strane domaćih majstora i radionica koji počinju potom da stvaraju autentične predmete vezane za kulturu istorizma. Istovremeno viša srpska crkvena jerarhija sledila je model ruskog pravoslavlja koje napustivši barokne okvire sopstvene crkvene kulture stvara rusko–vizantijski stil kao varijaciju evropskog istorizma. Nakon otvaranja niza pitanja vezanih za pravoslavnost srpske crkvene umetnosti i formulisanja nacionalnog stila krajem XIX veka, aproprijacija ruskog modela posredovana je u značajnoj meri uvozom bogoslužbenih predmeta. Rana industrijalizacija i proizvodnja crkvenih utvari u domaćim radionicama nastaje kao odgovor narastajućih zajedničkih potreba pravoslavne klijentele rasute između Osmanskog carstva i Dvojne monarhije, zabrinute za očuvanje verskog identiteta. Uvažavajući, bez razlike, sve rečene modele i predmete koji koegzistiraju u crkvenoj stvarnosti XIX veka otvara se mogućnost njihove uporedene analitičke klasifikacije. Vraćenjem iznova na povest oblika i slika kontekstualizovano polje materijalnih objekata postaje predmet samostalnih strukturalnih i ikonoloških tumačenja unutar crkvene vizuelne kulture.

The focus of the research process is aimed at viewing the church art from the aspect of artistically formulated liturgical objects. The role of thеsе objects in the articulation of the orthodox liturgy belongs to the domain of the visual culture study. The liturgical function of the objects determines their morphological characteristics and the manner of visual decoration. Pictorial representations on liturgical objects explain their meaning and their symbolic role. The exactness of the iconographic repertoire and themes brings together the studied field of sacral images with the world of liturgical items and material objects. Brought down to their own depictions, liturgical objects carry emblematic meanings synonymous to the key theological notions such as the liturgy, Eucharist or the New Testament. Complex liturgical meanings have been materialised through a system of shapes, forms and visual depictions on them. The materials used to create liturgical items are carriers of the relevant independent meanings thus supplementing the comprehension of the objects they create. During the 19th century, the role of liturgical objects as “Instruments for the celebration of the Sacred Mysteries” was powerful and mediating, constructing religious reality according to a complex reception system as established by the relations between the clergy and the congregation. The temporal framework of the studied phenomenon is the period of the “long” 19th century, the inner dynamics of which entailed a number of cultural changes and models of different or parallel duration. In terms of topography, the study includes the church territory of the Metropolitanate of Belgrade, that is, the territory of the autonomous and later independent Serbian state. The cultural symptoms characteristic of the 19th century were contextualised parallel to the other social mechanisms that influenced the development of arts, such as the ktetorship, dynastic and the state and political ones. In the course of the 19th century, the liturgical objects were used to sacralise important historical events and the national reality. While questioning the hierarchy of movable items, the research relies on a multidisciplinary approach as a possibility for achieving a broad and individualised view of the preserved layer of material culture with no intention to study every single church object. Excluding binary divisions and generalisations of the possible models such as urban versus rural churches and monasteries’ versus parishes’ churches, we view the artistically shaped objects within the scope of the visual culture of the epoch searching for their place in the recognisable “liturgical setting” typical of the period of the 19th century. When observed more narrowly against the backdrop of their historic and artistic characteristics, the liturgical objects created from the late 18th century to the early 20th century constitute artefacts that bear witness to the gradual abandonment of the late Baroque orthodox culture and to the acceptance of the current visual and cultural trends of the Central European Classicism and Biedermeier arts. First through import and then by the domestic masters and workshops that then started to create authentic objects linked to the culture of Historism. At the same time, the senior Church hierarchy followed the Russian orthodox model which, having left the Baroque realm of its own church culture, created a Russian-Byzantine style as a variation of the European Historism. After the opening of a number of questions related to the orthodoxy of the Serbian church art and the formulating of the national style at the end of the 19th century, the appropriation of the Russian model was mediated to a significant degree through the import of liturgical objects. Early industrialisation and production of liturgical objects in national workshops appeared in response to the growing joint needs of an orthodox clientele torn between the Ottoman Empire and the Dual Monarchy, and concerned about the preservation of their religious identity. Taking into account, without any differentiation whatsoever, all of the said models and objects that coexisted in the church reality of the 19th century, there appears a possibility of their parallel analytical classification. Returning again to the history of shapes and images, the contextualised field of material ecclesiastical objects is becoming the subject of independent structural and iconological interpretation within the scope of the church visual culture.