Predstave umirućeg, mrtvog i vaskrslog tela u vizantijskoj umetnosti od dvanaestog do petnaestog veka

Abstract

Ova doktorska disertacija posvećena je istraživanju vizuelnih artikulacija umirućeg, mrtvog i vaskrslog tela u kasnovizantijskom slikarstvu i preispitivanju poruka njihovog složenog idejnog sadržaja. Pristup istraživanju oslanja se na tradicionalne metode istorije umetnosi obogaćene iskustvom studija vizuelne kulture. S obzirom na to da je značenje slike neodvojivo od pitanja percepcije posmatrača, analiza se prevashodno oslanja na polazištima „antiikongrafije“ Majkla Kamila, „antropologiji slike“ Hansa Beltinga, kao i na drugim smerovima nove ikonologije koji omogućavaju razmišljanje o posmatraču kao nosiocu kulturnog i vizuelnog iskustva – iskustva koje je uslovljavalo percepciju značenja prikazane predstave. Takođe, kako je često reč o slikama koje su činile deo širih likovnih programa sakralnih prostora, u funkciji svojevrsnih „scenografija“ prilikom izvođenja ritualnih radnji, potraga za razumevanjem njihovog značenja uslovila je pribegavanje metodološkim smernicama „performativnog zaokreta“ u istoriji umetnosti, kao i sagledavanje iz ugla hijerotopije. Polazeći od osnovne premise hrišćanskog verovanja da identitet osobe počiva na psihosomatskom jedinstvu čoveka, u disertaciji se raspravlja o tome kako su slike bestelesne duše, poput minijatrue iz psaltira manastira Dionisijata (Cod. 65, fol. 12r), vizuelno upućivale na njenu nenarušenu vezu sa pogrebenim telom, pripisujući joj, paradoksalno, somatske karakteristike. Sa druge strane, pokazano je da su prikazi mrtvog tela sa konceptualnim nagoveštavajem procesa raspadanja insinuirali duhovno pročišćenje pokojnika, kao u slučaju freske naslikane u pirgu Sv. Đorđa manastira Hilandara gde preminulog monaha razdiru zveri. Zatim, utvrđeno je kako je smisaona sadržina navedenih predstava bila analogna ritualizovanom načinu življenja u manastirima, mestima gde je negovana praksa mortifikacije tela radi iskupljenja celokupnog bića. Slika telesnog vaskrsenja takođe je posedovala svoju paralelu u najvažnijem hrišćanskom obredu – evharistiji – i razmatrani su načini kojima su likovni programi crkava (prevashodno katolikona manastira Gračanice i Dečana) učestvovali u oblikovanju doživljaja vernika prilikom odigravanja datog događaja. Naposletku, pažnja analize usmerena je na tri idejne formulacije vaskrslih tela – idealnog, individualizovanog i prokletog. Zaključeno je da je slika idealnog vaskrslog tela bila saobražena Hristu, baš kao na fresci Lazarevog vaskrsenja u crkvi Bogorodice Odigitrije u Pećkoj patrijaršiji, dok je ona individualizovanog (zapravo izobražena nadgrobnim portretima pokojnika) trebalo da ukaže na opstanak suštinski neizmenjenog identiteta pojedinca po prihvatanju usavršene puti na kraju vremena. Nasuprot tome, vaskrsla tela osuđenika na večne muke zamišljana su kako neprestano trpe iskustvo podudarno sahranjenom lešu, o čemu svedoče scene pakla na brojnim kompozicijama Strašnog suda. Najzad, u zaključnom poglavlju disertacije, ustanovljeno je da vizantijska vizuelna kultura nikada nije prihvatila zapadne makabrističke predstave iz krajnje ideoloških razloga, budući da je reč o slikama koje su, između ostalog, promovisale novoozvaničenu dogmu čistilišta, odnosno učenje koje je naišlo na snažan otpor kod duhovnih predvodnika hrišćanskog Istoka.

This doctoral dissertation is devoted to the research of the visual articulations of the dying, dead and resurrected body in the late Byzantine painting and to the examination of their complex conceptual content. The approach of the research relies on the traditional methods of art history enriched by the experience of the visual studies. Taking into account that the meaning of an image is inseparable from the questions of viewer’s perception, the analysis relies on the notions of Michael Camille’s “antiiconography”, Hans Belting’s “anthropology of images”, as well as on some other currents of the new iconology that enable consideration of the viewer as the carrier of cultural and visual experience – the experience which fashion perception of the meaning of any depiction. Also, given that many of the discussed images are part of wider pictorial programs of the sacred spaces, functioning as particular “scenography” during ritual performances, the quest for their contextual interpretation is based on the methodologies that emerged out of the “performative turn” in art history, as well as hierotopy. Starting with the premise of Christian belief that identity of a person is structured upon the notion of man as psychosomatic unity, it is argued that representations of disembodied souls visually insinuated unbroken bonds with buried bodies by paradoxically depicting them with somatic qualities, as is the case with the miniature from the Cod. 65 that is cherished today in the Dionysiou monastery (fol. 12r). By contrast, pictures of dead bodies with conceptual implication of decay alluded to spiritual cleansing of the deceased, just like one fresco from the tower of St. George in Chilandar monastery did with its depiction of a monk’s corps being devoured by beasts. Furthermore, the discussed images are argued to have conceptually paralleled monastic way of life and its ritualized practice of bodily mortification as a means of achieving complete redemption. Representation of bodily resurrection also had a corresponding parallel in form of the most important Christian rite, the Eucharist, while further research explored how various church programs (primarily of Dečani and Gračanica) engaged their congregation into experiencing this event. Lastly, the focus is put on three distinct conceptual formulations of resurrected bodies, characterized as ideal, individualized and condemned. It is concluded that, in Byzantine imagination, the ideal resurrected body emulated Christ’s likeness, as in the case of the Resurection of Lazarus in Virgin Hodegetria church in the Patriarchal monastery in Peć, while that of the individualized (i.e. funerary portraits) attempted to imply endurance of an individual’s unchanged identity, despite the acceptance of perfected flesh. On the opposing side stood the resurrected bodies of those condemned to eternal pains, which were perceived as identical to the experiences endured by buried corpses (as can be seen on various depictions of Hell in the Last Judgment compositions). Finally, the concluding parts of the dissertation argue that, despite bearing conceptually familiar ideas, Byzantine visual culture never accepted western macabre imagery, because these representations, among other things, promoted the doctrine of Purgatory, a teaching that faced strong opposition from eastern Christian theologians.