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2020, br. 21, str. 191-207
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Predstava Crkve Svetog groba na Jerusalimu iz Crkve Ružice - primer vizuelne kulture u kontekstu verske prakse
Depiction of the Church of the Holy Sepulchre on a Jerusalem icon from Ružica Church: An example of visual culture in the context of religious practice
Keywords: erusalem; hajjis; the Church of the Holy Sepulchre; the Aedicule; palimpsest; gloss
Sažetak
Među malobrojnim hadžijskim ikonama (jerusalimima), sačuvanim u Beogradu, svojom neobičnošću i starijim vremenom nastanka ističe se primerak iz 1819. godine u Crkvi Ružici na Kalemegdanu. Na ovoj ikoni je najvažniji prikaz Crkve Svetog groba u Jerusalimu. U radu su određene i analizirane brojne neobičnosti ove predstave, pre svega ikonografskim i stilskim poređenjem s vremenski i stilski srodnim, a uobičajenim primerima hadžijskih ikona. Postupak ikonopisca je dodatno sagledavan kroz teorijsku prizmu palimpsesta i glose, razvijenu u novije vreme u istorijsko-umetničkim studijama. Utvrđeno je da je predstava u osnovi srodna drugim primerima koji nastaju posle požara Crkve Svetog groba 1808. godine, ali s nizom specifičnosti. One su pripisane reinterpretaciji arhitektonskih elemenata Crkve Svetog groba u Jerusalimu koje ikonopisac unosi na ikonu da bi time naglasio njenu svetost. Na osnovu analize zaključeno je da je ikonopisac bio lokalni palestinski majstor.
Abstract
Among but few icons brought back home by hajjis from their pilgrimage to Jerusalem (hence the name jerusalems) preserved in Belgrade, the one that stands out for its peculiarity and relatively early origin is the 1819 icon kept in Ružica Church in Kalemegdan. The most important element of the icon is the depiction of the Church of the Holy Sepulchre in Jerusalem. This paper presents and analyses numerous peculiarities of this depiction, before all by comparing its iconography and style with the usual kind of the Jerusalem pilgrimage icons of the same age. Th icon painter's method is additionally analysed through the theoretical prism of palimpsest and gloss, recently developed in art-historical studies. It has been concluded that the depiction is basically similar to that on other icons dating from after the 1808 fire in the Church of the Holy Sepulchre, but bearing an array of specificities that could be ascribed to the reinterpretation of architectural elements of the Jerusalem Church which the icon painter depicts to underline its holiness. The analysis points to a local Palestinian master as the author of the icon.
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