Catalog - Eng

8/21/2019 Catalog - Eng

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Societ Editoriale ARPANet

Centro Studislavo-bizantiniIvan Dujcev

Biblioteca AmbrosianaIstituto EcclesiasticoStorico Archivistico

Ministerodegli Affari Esteri

Repubblica di BulgariaIstituto Stataleper la Cultura

Galleria Nazionaledi Belle Arti di Sofia


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Copyright 2007 Societ Editoriale ARPANetPrima edizione: marzo 2007

ISBN 88-7426-031-7via SantOrsola, 520123 Milanotel. +39.02.670.06.34

[email protected]

utti i diritti su testi, marchie immagini sono riservati.

CoordinamentoPaco Simone

Progetto graficoFrancesca Fasoli

In copertina

Il concilio degli ArcangeliAutore sconosciutoTempera su legno (sec. XIV)123 x 76 x 3,5 cm.Provenienza: Monastero di Backovo

LA TRADIZIONE ORTODOSSA DELLA BULGARIA

ICONE E MANOSCRITTI DAL XIV AL XIX SECOLO

Milano, Pinacoteca Ambrosiana

30 marzo - I luglio 2007

Una produzione

per la Cultura

Enti promotoriIstituto Statale per la Culturapresso il Ministero per gli Affari Esteri

della Repubblica di Bulgaria

Galleria Nazionale di Belle Arti di Sofia

Centro Studi slavo-bizantini Ivan Dujcev

Istituto Ecclesiastico Storico Archivisticopresso la Chiesa Ortodossa Bulgara

Biblioteca Ambrosiana

Si ringrazianoMons. Gianfranco Ravasi; arch. Elena Fontana;ing. Massimo Introzzi; dott. Boris Danailov;dott. Georgi Gerov; dott.ssa Aksinia Dzurova;prof. Umberto Rinaldi; dott.ssa LjudmilaDimitrova; dott.ssa Iva Panzeri; Vanya Krasteva;

Dimitar Racev; Emidio Colombo;gli sponsor e tutti coloro che hanno contribuito,con amicizia ed entusiasmo, alla realizzazionedella mostra e del catalogo.


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Te present image of a country is profoundly bounded with its tradition, history and culture.From todays perspective, when Bulgaria is a member of the European Union its national identitybecomes more valuable and tangible. o be appreciated by Bulgarias European partners, thisidentity should not only to be preserved and respected, but also visualised through the bestachievements in the centuries old culture in the Bulgarian lands. I am honoured to be a patron of the exhibition Te Orthodox radition of Bulgaria: Iconsand Manuscripts from the 14th to the 19th Century, on display at one of the oldest and mostrespective institutions - the Library Ambrosiana. We regard the opportunity to exhibit Bulgarian

icons and manuscripts in the exhibition halls of the Ambrosiana as an acknowledgement ofBulgarias contribution to European civilization.

Te debate on Europes cultural diversity, on the preservation of identity and on the pursuitof inter-cultural dialogue figures high on the European agenda. Te Bulgarian exhibition at acultural institution, which has preserved its identity for 400 years of existence and has alwaysbeen a media for inter-cultural dialogue, I do consider as an important event for uniting of thecultures with one and the same historical origin.

Ivailo Kalfin Deputy Prime Minister

and Minister of Foreign Affairsof the Republic of Bulgaria


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Notwithstanding the importance of Milan in the history of Christian art, the exhibition of theOrthodox tradition of Bulgaria, through dramatic icons and seven precious Slavic manuscriptsis majestic. It is part of the collection of Ecclesiastical History and Archives Institute of the HolySynod of the Bulgarian Orthodox Church from the 14 th through the 19th centuries.

In the age of modernity, the monks of the larger Balkan monasteries continued to copyand illustrate manuscripts in the medieval style. In this exhibition from the Sofia region arecontemporary manuscripts from the Rila Monastery as well as Etropole and Kratovo.

Te decorations are distinguished by ornaments with Byzantine origins; the features of Balkan

art interlaced with Venetian style in Slavonic incunabula and with elements of Ottoman-Persianart, typical of the Rumi style.

Te collection of icons from the National Gallery of Fine Arts of Sofia covers, with invisiblevariations, an arch of time spanning fi ve centuries. Besides the Virgin and St. John the Evangelist,a repeating theme is St. George the dragonslayer, whose heraldic iconography seems to escape therepetition of Bulgarian art modules. Tis is far from the concept of modernity expressed throughItalian art of the same centuries.

It is a parallel between worlds that are connected to the Christian tradition.

Tis exhibit is the vision of that tradition. Bulgaria recognizes its cultural identity embraced inChristian origin - both in art and in the social fabric of the region: We cannot say that we arenot Christians.

Vittorio Sgarbi Councillor for Culture of Milan


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Within the magnificent framework of Milans Pinacoteca Ambrosiana, the exhibition oficons and manuscripts from Bulgaria is a cultural and artistic event of great impact. A precioustestimonial with scripts and images provides the catalogue here presented.

Te choice of Milan, which is an excellent site to host an event of such importance is surelynot casual but appear as a consequence of the vocation of this city, a symbol and a paradigmof the proudly ambrosianian vitality linked to its international vocation of which is a generousinterpreter.

Te exhibition proposes itself to diffuse through the rich collection of icons and manuscripts

from the National Gallery of Fine Arts of Sofia and, respectively, from the Ecclesiastical Historyand Archives Institute of the Holy Synod of the Bulgarian Orthodox Church, the knowledge ofthe cultural, artistic and spiritual values of Bulgaria: values related to the Byzantine and Slavonictradition of the East which are knitted to those western especially today, when the state is betweenthe new members of the European Union, to which its history fully belongs.

In between the most signifi cant aspects of the following particular review brings interest theproper continuity of traditions that rooted in Bulgaria since the Medieval, had been then preservedas Boris Danailov, the Director of the National Gallery of Fine Arts of Sofia during the centuries

not as anachronism but as a part of the social tension concerning the national identity.I am convinced that this fascinating century travel through icons and manuscripts from Bulgaria

will mark itself not only for the accuracy of the scientifi c work which constitutes its base, butalso and especially for the intrinsic aspect of the east European orthodox tradition theme. Tis

will be a real discovery for many: a moment of high culture which, I am certain, has inside anyreason to attract, to fascinate and to seduce, proposing to the public documents and memories ofan antique age otherwise confi ned to the severe pages of the history books.

Massimo ZanelloCouncillor for Cultures, Identities and Autonomies of Lombardy Region


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Te National Gallery of Fine Arts of Sofia and the manuscripts from the Ecclesiastical Historyand Archives Institute of the Holy Synod of the Bulgarian Orthodox Church can be defined as acontact with a centuries-old artistic and librarian tradition.

Te reason lies not only in the chronology of the items exhibited which collocate in a period ofabout five hundred years, but especially in the continuous line of tension as how the civilizationprocess can be called. Its beginning is marked much earlier with an intensity and dynamics thatcan be rarely found during the Medieval - the creation of a young state institution, the Bulgarianone, in Europe (the beginning is in the year 681), an abrupt and fast passage from Paganism to

Christianity and the creation of an independent church (854). Trough this, in the furrow of theChristian tradition, the Word or Logos receive a new meaning, but the plastic tradition of thelate antiquity and Byzantium inserts itself into it. In this way the main problem of the culture

which is the coincidence of word and writing, realized during those antique ages is completedand reinforced by the holiness of the plastic image.

Tis union gives birth to the distinctive stroke of the fundamental exhibitions theme which isthe deep significance of the tradition and the continuity. By this, based on a system of alreadyaccepted and accessible values and through universal method of communication (religion and

writing, same as the spoken language), the plastic art consolidates in a lasting material formulationsthat seem to position themselves outside the time.

Te fact that the Bulgarians today can still read without any special preparation the writingson the icons and the gospels brings real amazement. It is not less important the fact that theplastic orthodox tradition continues to live in its full value also during the XIX century, not as ananachronism, but as a part of a social tension related to the national identity.

Tis is the other name of the cultural identity, the fundamentals on which the basic ideas ofa community can be constructed, of the capability to distinguish from the others and of the

research of the proper difference, but on the other hand the possibility to penetrate the culturaland artistic systems in other words to the abovementioned civilization process.

Boris DanailovDirector of the National Gallery of Fine Arts of Sofia

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Tis exhibition is comprised of 33 works and is conceived with two objectives. Te first is therepresentation of the progress of the Bulgarian Orthodox art for quite a long period from the14th to the 19th century. Te second one is to acquaint the Italian viewer with the diversity offorms within the Orthodox iconography and miniature.

Te earliest works in the exhibition are from the 14th century. Tis is the last time of floweringof the Byzantine art, a period of unparalleled uplift and creative momentum in architecture, artof painting, iconography, miniature, and applied arts. Te masters of that age revived particularelements that were founded upon the Classical Antiquity. Tus, the experts define the art of

the Late Byzantium as Paleologus renaissance. Tis very age is represented with two icons Te Council of Angels and St. Demetrius, whose artistic achievements are characteristic of thattime.

During the last quarter of the 14th and the whole 15th century, the Ottoman urks graduallyconquered the Balkan peninsular. Te great Byzantine cultural centres were put to an end Constantinople, Tessaloniki, and Mistra. Nevertheless, Orthodox art was almost near ruin on theBalkans, but almost. Te artistic life began its revival during the second half of the 15th century,

when the realities became more stable. Certain artistic schools resumed their activities Kostur,

Ohrid, etc, as well as the monastery scriptoriums (Rilla Monastery, etc.). Te St. Geotge slayingthe dragon icon from Boyana and the Four Gospels of the Kremikovtzi Monastery signature

works of art from that age.Te sixteenth century revived the classical trends in the Balkan Orthodox art (the St. Haralambos

and Desis icons). Particularly influential were the representatives of the Cretan school workingon the commissions by the great Orthodox monasteries and bishops centres Teophanis theCrete, Zorzis, Antonius. Many imitated their art. We are talking about a perfect in the technicaltreatment art in which the skills of the Peleologus era co-exist with elements belonging to the

Italian artistic tradition. One of the most prolific scribers and decorators of manuscripts of the16th century is the priest Ioan Kratovski (of Kratovo) represented at this very exhibition withone of his Four Gospels.

During the 17th and the first half of the 18th century Balkan art is dominated by a newartistic trend. Te means of the art of painting became simpler the line prevails over shadow-and-light forms, the clean and vivid colour combinations predominate, the proportions and the


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movements of the figures are unnatural.Te masters of the age concentrated their efforts on the attaining of greater decorative effect.

Woodcarving is more frequently used in the iconography. ypical of the 17-18th century artexamples are the icons St. George slaying the dragon of the Kremikovtzi Monastery, FortyMartyrs and St. Pantaleon with scenes from his life, the crucifixion head of the iconostasis crownfrom Boboshevo, and the rhipidions with the Virgin of Sorrows and St. John the Evangelist.

During the second half of the 18th century and the 19th, this trend gradually faded. A numberof important art school appeared and strengthened their position ryavna, Samokov, Bansko,

etc, Te iconographers of Northern Greece, Tessalonikim and Mount Athos were also renowned.Here in the art of the second half of the 18th and the 19th century we are able to recognize director indirect borrowings from the West European art. Tese borrowings affected the decorationand from time to time Western prints were used as models, for example the Judgement of PontiusPilate icon.

Tere are different works of the iconography at the exhibition. Some of them the crucifixionhead from Boboshevo are an integral part of the Orthodox iconostasis.

Others are different by type and function great icons, portable feast icons, domestic icons,

parts of triptychs, and double-sided tablets.Te exhibited manuscripts are altar Four Gospels. Te altar gospel rests on the Holy table and

represents Christ the Word of God. It is of an enormous sacrosanct importance. Hence itsprecious plating and decoration with exquisite miniatures, headpieces, and titles.

Georgi Gerov PhDDirector of Ancient Art Section

at National Gallery of Fine Arts of Sofia


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Te exhibited seven manuscripts are but a small part from the second largest collection ofSlavonic manuscripts in Bulgaria, preserved at the Ecclesiastical History and Archives Institute(EHAI) of the Holy Synod of the Bulgarian Orthodox Church. Te St. St. Cyril and MethodiusNational Library is a repository of about 1000 Slavonic manuscripts from the ninth to the 19ththe century. Te collection of the Church Institute of Archives and History could be assessed aslimited as far as the time is concerned in view of the fact that it consists mainly of manuscriptsfrom the 14th to the 19th century. Te collection spans some 372 manuscripts, which for themost part are described as liturgical: Four Gospels, Lectionaries, Psalters, Menelogions, etc. Te

Four Gospels were commissioned by outstanding members of the society for personal usage ormore often than not for the building of a church or monastery.After the downfall of urnovo in 1393 and Vidin in 1396, Bulgaria had been a part of the

Ottoman Empire for five centuries and regained its freedom as late as 1878 following theoutcome of the Russian-urkish war. Te historical realities established since the 14th centurypreserved the Late Middle Ages on Balkan peninsular literally until the end of the 19th and thebeginning of the 20th century. Te period is characterized with the religious unification of theOrthodox people and the art bound with it, as they represented the national identity. Te notion

of a union of the Orthodox people, which in particular had developed since the 14th centuryin art, retraced the tendency for tradition and canon preserving of the High Middle Ages. Teinnovations following the Renaissance in Europe and represented by the old print Slavonic booksare on a small scale. Tus, the book had been perceived as the body of the Logos Word of God,a notion of the High Middle Ages that existed literally until the 19th century. Te manuscript

was still viewed so far as an object of worship, veneration, and admiration, expressing the onlypossible truth, and not as an instrument of knowledge.

Even five centuries after the invention of the printing press by Gutenberg, and as far as the

middle of the age of modernity - 20th century - the parish priests and the monks in the greatmonasteries throughout the Balkan peninsular continued copying out manuscripts at that all toooften from printed editions in accordance with the mediaeval postulate of the sacrosanctity of thehand-written word and of the painted icon.At the present exhibition we have included manuscripts from the 15th to the 17th century created

in the most distinguished centres of learning found mainly in Western Bulgaria Sofia region,


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Rilla monastery, Etropole, Cherepish, Kratovo, etc. Some of these Gospels were commissioned asaltar Gospels for the church and are richly decorated with plates of silver and gold gilding.

On the one hand, their decoration is distinguished for the combination of the elements ofthe classical Byzantine and Slavonic ornamenting styles, i.e. the Byzantine (floral), teratological,Balkan (interlaced), and the introduced with the first old print Slavonic books from Venice(1494) innovations. On the other hand, there are the elements of the Ottoman-Persian art with itsopulent ornamental repertory and Eastern stylization displayed in the so-called Rumi style.

Axinia Durova PhDDirector of Slavonic-Byzantine Study Centre

Prof. Ivan Dujcev of St. Cl. Ohridsky University of Sofia


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1.S. Giorgio uccide il drago

Autore ignoto; 1667; temperasu legno; 87,3/61/2,3 cmProvenienza: Chiesa diSan Giorgio, Monastero diKremikovtsi.

Licona proviene da unMonastero che ha perpatrono San Giorgio.Rappresenta limpresapi famosa del Santoguerriero: la sua vittoriasul drago. Limmagine un buon esempio delle

tendenze dominanti nellartepostbizantina del XVIII sec.:stilizzazione, trattazionelineare e piatta delle forme,preferenza dei toni purie chiazze di colori vivaci,decorazione accentuata.

1.Saint George slaying the dragon1667; egg tempera on wood

panel; 87.3/61/2.3 cmProvenance: Saint GeorgeChurch, Kremikovtzi

Monastery.

Te icon originated froma monastery that had hadSaint George for its paitron.Te Saint-warriors mostfamous deed of valour isshown his victory over thedragon. As far as techniqueis concerned, the rendering

follows the iconographictype of the prevailingtrends in the field of thepost-Byzantine art of the17thcentury for stylization,linear-unidimensional form,preference for clean shadesand lurid colourful hues, andenhanced decoration.

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2.Deisis

Autore ignoto; fine XVI- inizioXVII sec.; tempera su legno;129,5/109,2/3 cmProvenienza: Nessebar.

radotto dal greco, deisissignifica preghiera.Nelliconografia ortodossa iltema viene associato allidea

del Giudizio Universale.Cristo il Giudice chegiudica i giusti e i peccatori,mentre la Vergine eS. Giovanni Battistaintercedono presso di lui peril genere umano. Nellicona,Ges rappresentato sedutosu un trono e vestito daarcivescovo, come re dei ree primo fra gli arcivescovi.Licona opera di un artistache lavor a Nessebar allafine del XVI e allinizio delXVII sec.Egli appartiene allaScuola pittorica di Creta.Probabilmente si era recatoa Nessebar dopo aver gilavorato allisola di Patmo.Si tratta di un abile artista,che possiede un forte senso diraffi natezza del disegno e delcolore.

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2.Desis

Anonymous painter; ca. theend of 16th c. beginning ofthe 17th c.; egg tempera onwood panel; 129.5/109.2/3 cmProvenance: City of Nessebar.

Desis or deisis (ODCA)from the Greek word whichliterally means humble

petition. In the iconographythe subject is the depiction ofthe Last Judgement - Christseated in judgement of theBlessed and the Damned, asthe Madonna and Saint Johnthe Baptist are intercedingfor the human race. HereJesus Christ is enthroned anddressed in bishops vestment,i. e. as all-sovereign Lordof the universe and greatprelate. Te icon is a workby an iconographer whohad worked in the city ofNessebar circa the end of the16th and the beginning ofthe 17th century. He was arepresentative of the Cretanschool and probably came toNessebar after he had beenon the island of Patmos. Teiconograher had been a veryskilled master with a verykeen sense for the refinementof line and colouring.


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3.S. Pacomio il Grande

Autore: Krastiu Zahariev diriavna; 1824; tempera sulegno; 91,5/60/4 cmProvenienza: Chiesa dellaSanta Vergine, Kazanlak.

Krastiu Zahariev uno degliesponenti pi noti dellagrande famiglia di artisti diriavna. In questa icona haraffi gurato S. Pacomio, uneremita egiziano, fondatoredei cenobiti. Licona fueseguita su commissionedellassociazione degliartigiani di passamaneria.Durante il periodo delRisorgimento bulgaro (secc.XVIII-XIX) accadeva spessoche associazioni professionalicommissionasserocollettivamente unadeterminata opera darte.Nel caso concreto particolare il fatto chesia stata immortalata lastessa arte dei donatori: laparte inferiore delliconarappresenta la produzionedella passamaneria, dettaglioche non ha nulla in comunecon il suo contenutoprincipale.

3.Saint Pachomius the Great

Khrustio Zahariev fromryavna; 1824; egg tempera onwood panel; 91.5/60/4 cmProvenance: Te Blessed VirginChurch, Kazanlak.

Khrustio Zahariev isone of the most famousmembers from a family oficonographers originatingfrom the city of ryavna.Here he depicts SaintPachomius an earlyEgyptian ascetic andfounder of the cenobiticmonasticism. Te icon wascommissioned by the guildof the woollen braiders.During the Bulgariannational revival (18-19 c.) ithad been a common practicefor the various guilds tocommission a work of arton a certain subject. Herewhat is of particular interestis the perpetuation of thevery trade of the donors (Gr.ktitor) woollen braiding isdepicted in the lower part ofthe icon a detail that hasnothing in common with themain subject of the work.

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4.Cristo Pantocratore

Autore sconosciuto; sec.XVII; tempera su legno;107,5/72,5/3,8 cmProvenienza: racia

Meridionale.

una delle raffi gurazioni pidiffuse di Ges Cristo. Nellanostra icona il Pantocratoreimpressiona con il suoascetismo e con la sua forzaespressiva. Il cromatismo abbastanza povero. Leffettoartistico ottenuto grazie

soprattutto allopposizionedrammatica fra luce e ombranellimmagine del Salvatore.

4.Christ Pantokrator

Anonymous painter; 17 c.;egg tempera on wood panel;107.5/72.5/3.8 cmProvenance: Southern racia.

Tis is the most commoniconographic depiction ofChrist. Te ascetism andthe expressive quality ofthe icon of the Ruler of allare monumental. Te useof colours is rather limitedbut the artistic impressionis focused mainly within the

dramatic contrast betweenlight and shade on the face ofthe Salvator Mundi (Saviourof the World).

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5.Santa Vergine (ripidio delcrocifisso delliconostasi)

Autore sconosciuto; XVII sec.;tempera su legno scolpito;54/26/3 cmProvenienza sconosciuta.

Su questo ripidio dipintala Vergine Addolorata. Lei testimone delle sofferenzedel figlio crocifisso e tutto ilsuo aspetto tradisce la forteemozione a cui sottopostoil suo cuore di madre. La sualunga quasi eterea figura si

trova in un elegante triplicearco che simboleggia la Santarinit.

5.Te Blessed Virgin (rhipidionof iconostasis crucifixion)

Anonymous painter; 17 c.;wood, egg tempera, wood-carving; 54/26/3 cmProvenance: unknown.

Here on this rhipidion ofthe iconostasis crucifixion isdepicted the grief-strickenStabat Mater. She witnessesthe Crucifiction of her Sonand all her being speaks ofthe supreme sorrow thatgrips the mothers heart. Te

elongated and seeminglyotherworldly figure is situatedin a stylish triple archsymbolizing the Holy rinity.

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6.Vergine sul rono che allattail Bambino

Autore sconosciuto; XVIII sec.;tempera su legno; 23/18,2/1,6 cmProvenienza sconosciuta.

Questo tipo di iconografia,pur essendo uno dei piantichi, pittosto raro perlarte ortodossa. Esso ponelaccento sulla natura umanadi Cristo che, come tutti glialtri uomini, viene allattatocon il latte materno. Licona opera di un artista del

XVIII sec. che fu attivo aSalonicco o al Monte Atos. tipica labbondanza deimotivi floreali nel tronoe nella cornice dellicona,che rendono ancor piornamentale questa operapreziosa, uscita dal pennellodi un perfetto miniaturista.

6.Te Enthroned VirginGalaktotrophousa (Milk-giving)

Anonymous painter; 18 c.;egg tempera on wood panel;

23/18.2/1.6 cm

Provenance: unknown.

Tis is one of the oldestimages in the iconographicdepiction but is unsualfor the Orthodox art. Itaccentuates on the humannature of Christ who alongwith all the other human

beings had been nursed withhis mothers milk. Te iconis painted by a master, thatworked in the 18th centuryin Tessaloniki or MountAthos. Te exuberance offloral decorations on thethrone and the frame ofthe icon is typical. Teornamentations represent anadditional decorative effectto this exquisite work of art,painted by the cultivatedbrush of a master-minituarist.

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7.Santi quaranta martiri

Autore sconosciuto; XVIII sec;tempera su legno; 32/23,5/2,5 cmProvenienza sconosciuta.

Licona rappresenta il martiriodi quaranta soldati romani,periti nelle acque del lagovicino alla citt di Sevastiaper non aver rinunciato allafede cristiana. Il tema moltopopolare nellarte ortodossa.Lo e anche la composizioneiconografica in cui i quarantamartiri formano un gruppocompatto. Giovani, maturio anziani, sono tutti quasinudi a tremare nelle acquegelide. In primo piano ce nuno che gi perde i sensi conil compagno vicino che cercasostenerlo. Altri si lamentanodel loro amaro destino.Dal cielo invece scendonocorone, simbolo della lorovittoria. Lingenuita latrattazione convenzionaledelle forme rafforzano leffetto

espressivo dellicona.

7.Forty Martyrs

Anonymous painter; 18 c.; eggtempera on wood;32/23.5/2.5 cmProvenance: unknown.

Te icon depicts the martyrsdeath of forty Roman soldiersin the lake near Sebaste, inLesser Armenia who did notrenounce their Christian faith.Te subject is fairly popular inOrthodox iconography. Andthe very iconographic design,too. Te Forty Martyrs aredepicted as a whole group.Young, middle-aged or ageing all of them half-nakedand shivering with cold inthe freezing waters. Oneof them in the foregroundhad lost consciousness whileanother next to him is tryingto support him. Te rest arebemoaning their cruel fate.Crowns, symbolizing theirmartyrs victory, descend fromthe heavens. Te navet andconventionality of the forms

handling exalt the effect ofexpression of the icon.

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8.rinity of the Old estament(middle part of a triptych)

Anonymous painter; 18th c.,egg tempera on wood panel;

33.5/23.5/1.5 cmProvenance: unknown.

In the 18-19 c. a great numberof triptychs had been paintedbut this subject is rather rare.Here we have the story told inGenesis, chapter 18, i.e. threeangels visited Abraham andSarah and announced that theywould bear a child who wouldbe the forefather of a numerousand elect people. In Orthodoxart, the three angels are held tosymbolize the Holy rinity. Teangels bless Abrahams tableand the gesture of blessing hasa liturgical symbolism. Teconditionality of depiction,great stylization, and linear-undimentional handling ofthe forms are characteristic fora great number of icons fromthe 18th century, which are

described as primitive. Mostof them are painted by mastersbelonging to the ryavnaSchool.

8.rinit dellAntico estamento(parte mediana di un trittico)

Autore sconosciuto; sec. XVIII;tempera su legno; 33,5/23,5/1,5 cmProvenienza sconosciuta.

Nonostante nei secc. XVIII-XIXfossero stati dipinti tantissimitrittici, il soggetto che vediamoqui pittosto raro da trovare.Esso rappresenta la storia,raccontata nella Bibbia (Genesi,cap. 18), in cui compaionogli angeli che annunciano adAbramo e Sarah che avrannoun figlio che sara il capostipitedi un numeroso popolo, elettoda Dio. Nellarte ortodossai tre angeli simboleggiano laSanta rinit. Essi benediconola mensa di Abramo e questogesto ha un valore simbolicoliturgico. La convenzionalitadella raffi gurazione, la fortestilizzazione e le forme piatte elineari sono tratti caratteristicidi un grande gruppo di opereiconografiche del sec. XVIII,

definite come primitive.La maggior parte appartiene adartisti della scuola di riavna.

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9.Te Virgin Eleousa(Compassionate and loving)(triptych central piece)

Anonymous painter; 18th c.;egg tempera on wood panel;

31/21/3.2 cmProvenance: unknown.

Tis is one of the mostpopular subjects in theiconographic art for thedepiction of the Virginwith the Christ Child. Tebase chord is the emotionalrelationship between theMother and the DevineInfant. Te little andoverwhelmed with love Jesustenderly presses close his face

against the face of his mother.Most probably, the work is bya master from Mount Athosand was painted the 18thcentury when the leadingiconographers of MountAthos had been trying torevive the almost forgottenduring the previous century

Byzantine tradition.

9.

().; 18..; ,

; 31/21/3,2 cm

..

-.

.,

. - V,

.

9.Vergine Madre (partemediana di un trittico)

Autore sconosciuto; sec. XVIII;tempera su legno;

31/21/3,2 cmProvenienza sconosciuta.

Esempio di una dellecomposizioni iconografichepi popolari nellaraffi gurazione della Madonnacol Bambino. Il tema centralesono i rapporti di affettofra Madre e Figlio. Pienodamore il piccolo Gespreme dolcemente il proprioviso a quello della Madre.Con ogni probabilita loperafu eseguita da un pittore del

Monte Athos e risale al sec.XVIII, quando i miglioriartisti locali cercano di ridarevita alla tradizione bizantina,dimenticata nel secoloprecedente.

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10.Vergine Addolorata (ripidiodel crocifisso delliconostasi)

Autore sconosciuto; sec. XVIII;tempera su legno; 39/24/2,6 cmProvenienza sconosciuta.

10.Te Virgin of Sorrows (StabatMater) (rhipidion of aniconostasis crucifixion)

Anonymous painter; 18th c.;egg tempera on wood panel;

39/24/2.6 cmProvenance: unknown.

10.().; 18.; ,

: 39/24/2,6 cm

.

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Catalog - Eng

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Transcript of Catalog - Eng