Мотив світового дерева в орнаментальних схемах декоративного оздоблення мацев

Abstract

У статті висвітлено розвиток традиційного єврейського мистецтва та меморіальної пластики мацев Східної Галичини XVI – першої третини XX ст. Розглянуто специфіку застосування мотиву Світового Дерева в єврейському традиційному мистецтві. Розкрито значення образу Світового Дерева як одного з домінантних символів у декоративному оздобленні меморіальної пластики – мацевах. Охарактеризовано особливості трактування мотиву дерева в орнаментальних схемах декоративного оздоблення мацев. Дослідження ґрунтоване на матеріалах натурних досліджень автора.

В статье освещено развитие традиционного еврейского искусства и мемориальной пластики мацев Восточной Галичины XVI – первой трети XX в. Рассмотрена специфика применения мотива Мирового дерева в еврейском традиционном искусстве. Раскрыто значение образа Мирового дерева как одного из доминантных символов в декоративном убранстве мемориальной пластики – мацев. Охарактеризированы особенности трактовки мотива дерева в орнаментальных схемах декоративной отделки мацев. Исследование основано на материалах натурных исследований автора.

This research is devoted to the study of traditional Jewish art and the memorial plastics of the Matsevahs of Eastern Galicia from the XVI to the first third of the XX century, in particular. The article deals with the specifics of the application of the World Tree’s motive in Jewish traditional art. The multifacetedness of the symbol, the depth of its origins have also resulted in a variety of executions. The meaning of the image of the World Tree is revealed as one of the dominant symbols in the decorative adornment of the memorial plastics – matsevahs. The plant motifs used in the decoration of the matsevahs cover a very wide range of symbols, mainly in the aspect of the “tree of life” and can represent an individual, the whole family, and also the people of Israel. The features of the interpretation of the motif of the tree in the ornamental patterns of decorative adornment of the matsevahs are described. Thus, male tombstones include the image of a tree that is marked by a powerful trunk, and a lush crown. The tree is no less popular as a motif on women’s tombstones. The traditional version of the image of a tree on female tombstones is a broken tree with baby birds, as an embodiment of the children’s longing for their mother. The use of the motif of the tree of life could also be tied to the name of the deceased person, which in translation from Hebrew or Yiddish represents a particular tree. The motif of a tree was most often situated in the upper section of the matsevah, and acted as a dominant element of symmetric, but could also be part of a complex multielemental asymmetric composition. Occasionally, a combination of the motif of the tree and the text of the epitaph in one composition of the upper section of the matsevah is encountered. At the same time, while analyzing the motif of a tree in Jewish art, one cannot ignore external artistic influences, in particular, imported artifacts of decorative-utilitarian art from the Middle East countries, in which trees, flowers and fruits form the basis of compositional elements. The motif of the tree is also a traditional decorative element of ancient Slavic and Ukrainian rites and ritual artifacts. Thus, given the close contacts between Ukrainian and Jewish communities, we can confidently speak about the mutual artistic influences. The article is based on materials of author's field studies.