Pogreb i posthumni portret mitropolita Pavla Nenadovića - crteži Teodora Kračuna i Zaharije Orfelina

Abstract

Pogreb mitropolita Pavla Nenadovića 1768. godine imao je oblik barokne simboličke manifestacije sa religiozno-političkim značajem. Uprkos tome što se radilo o jednoj od najvažnijih i najuticajnijih ličnosti tog doba, nije ostalo puno podataka kako je taj događaj izgledao. Jedan sačuvani opis, koji je načinio Zaharija Orfelin, kao i crteži, koje su izradili on i Teodor Kračun, objašnjavaju koncept arhijerejske reprezentacije u kontekstu kulture sećanja. Pogreb u kojem je kroz Sremske Karlovce proneseno i pogrebeno mitropolitovo telo, kao i posthumne predstave na kojima je ono prikazano, imali su za cilj da učvrste njegovu sliku u kolektivnom pamćenju. U tekstu se razmatra pogreb mitropolita Nenadovića i nastanak Orfelinovog i Kračunovog crteža. Takođe se analizira problem kreiranja sećanja na počivšeg mitropolita kroz simboličku prezentaciju njegovog tela u kontekstu memorijalne kulture Srba u doba baroka.

The question regarding the funeral of the metropolitans of Karlovac in the 18th century has only sporadically been on the agenda of the Serbian historiography. Most of the published sources dealt with the description of the funerals of the bishops of Timisoara which then served as a source for the study and understanding of this issue. The later-date researchers mostly focused on the rite carried out during the funeral of the Serbian bishops in the 18th century, starting from the concepts of the Baroque culture's theatrics, and as a comparison they used similar Catholic ceremonies from the 17th and the 18th centuries. The funeral of Metropolitan Pavle Nenadović in 1768 had the form of a Baroque manifestation filled with political symbolism while his body was at the same time both the subject and the object of the representation. The insignia and symbols displayed on the coffin or carried in the procession marked the symbolic presence of the metropolitan, just as they used to serve that function during his life time. Such a parade had a very clear and specific political connotation with the aim to strengthen the religious patriotism among the Serbian population. Just the very presence of the people marked a symbolic confirmation of the loyalty to the institution of the metropolitans of Karlovac which the body in the procession represented. Despite the fact that this concerned one of the most important and most influential persons of that time, not a lot of data have been preserved as to what this event looked like. The only kept description provided by Zaharija Orfelin, as well as the drawings made by him and Teodor Kračun, explain the concept of the episcopical representation in the context of the culture of remembrance. The goal of the funeral in which the funerary body of the metropolitan was taken through Sremski Karlovci, as well as the posthumous representations in which it was shown, was to strengthen his image in the collective memory. Taking into consideration the chronological links between the events, the death of the metropolitan and the Orfelin's and Kračun's portraits, it is clear that this is about the representation of the body in the context of creating public remembrance. Although the issue related to the representation of body is usually linked within the modern history's culture with the concept of social power, the posthumous portrait must unquestionably be put within the frameworks of the collective and individual memories. This particularly refers to the body of the metropolitan that in the political sense of meaning symbolised the collective body of the orthodox nation in Hungary, which precisely Orfelin and Kračun represented in their drawings.