Трансформація іконографічного канону на прикладі українських маріологічних ікон типу “Одигітрія” XVIII–ХІХ століть

Abstract

У статті досліджено еволюцію канонічних принципів іконографічного канону. Автор орієнтувався на богородичні зразки українського національного церковного мистецтва XVIIІ−XІХ століть. Охарактеризовано основні іконографічні елементи маріологічної іконографії типу “одигітрія/дороговказниця”. Окреслено загальноприйняті у церквах візантійської традиції живописні тенденції, дотримання яких регламентовано мистецькою, богословською і літургійною практикою та окреслено межами канону. Висвітлено іконографічні образи Богородиці-Одигітрії в українській іконографічній церковній традиції у типологічному зв’язку з класичними, канонізованими офіційною церквою, зразками цього відомого сакрального сюжету. Одигітрія в українському культовому мистецтві – найпоширеніший, враховуючи ХХІ століття, іконографічний тип.

В статье исследована эволюция канонических принципов иконографического канона. Автор ориентировался на богородичных образцах украинского национального церковного искусства XVIIІ−XIХ веков. Охарактеризованы основные иконографические элементы мариологической иконографии типа “Одигитрия/Путеводительница”. Определены общепринятые церквями византийской традиции живописные тенденции, соблюдение которых регламентировано художественной, богословской и литургической практикой и определяется пределами канона. Освещены иконографические образы Богородицы-Одигитрии в украинской иконографической церковной традиции в типологической связи с классическими, канонизированными официальной церковью, образцами этого известного сакрального сюжета. Одигитрия в украинском культовом искусстве − самый распространенный, учитывая XXI век, иконографический тип.

This research papertakes a deeper look into the canonical iconography of the Virgin Mary Odigitria (Hodegetria). Giving the position of Byzantine aesthetics we can distinguish seven basic iconographic canonical types of Mariological icons. Тhe most famous and recognized canonical iconof the Virgin Mary is the Constantinople Odigitria. The icon served not only as spiritual and prayerful image, but also an aesthetic and didactic one. The iconographic tale of Our Lady of Odigitria is filled with legends and traditional church folk tales. The most widespread idea about the authorship of the icon goes back to the 1st century. The artist who painted the first image of Mary is considered to be the evangelist Luke. The author of the article points out that numerous iconographic specimens belong to this canonical type. Among the most famous in Ukraine are: Vyshgorodska (Vlodymyrskа), Goshivska, Stanislavivska (Ivano-Frankivsk), Belzska (Czestochow), Bohorodchanska Icons Mother of God. All of them are made according to the canonical models of the Byzantine “Hermine” iconic principles. It is clear from research that this canonical iconographic specimen includes well-known icons worshiped within the Eastern Churches. For example, in Greece, there are Xenophonic, Iberian, Zografic icons. In Russia there are Tikhvinska, Kazanska, Smolenska and many other Odigitriasamples. According to the Byzantine iconographic tradition, the following canonical elements of the typological icon of the Virgin-Odigitria areused: – the body of the Blessed Virgin Mary assembled into the composition should be depicted frontally in order to maintain a “prayer dialogue”; – the head of the Mother of God should be turned slightly to the left; – the head of Christ should be located at the level of the shoulders of the Virgin; – the sight of the saints must be directed to the prayer-bearer; – the right hand of the Virgin is closely pressed against the body and points to the Savior; – on the forehead and shoulders of the Blessed Virgin Mary are three stars (symbol of purity and integrity); – the bangles of the Blessed Virgin symbolize service to the Church; – the Halo is a symbol of holiness; – the gospel in the hands of Jesus Christ is a symbol of new teaching; – the general background of the icon is gold (symbol of the Kingdom of Heaven). This most festive icon became a classic in the Ukrainian art of the 18th–19th centuries. According to N. Kondakov, in the Slavic Orthodox East during the XII century, the canonical model was the Ephesian (Toropetska) icon of the Mother of God, which was brought to the city of Polotsk for public worship. Traditionally, the image of Odigitria was attributed to evangelist Luke. The author suggests that this canonical original could serve as an example for writing further little-known icons of Mariological typological scenes of the period. Throughout the research, the author provides an example of icons with canonical, rhetorical and genre features from the collection of the Carpathian museum of Art. To be reassured in church sources, regarding the origin and approval of the iconographic rules for Mariologicalicons of the Byzantine style, the author cites iconic rulings of The Quinisext Council in 692 (the Sobor (council) summarized the activities of the previous Ecumenical councils: The Fifth in 553 and Sixth in 680−681) and the Seventh in (787). Based on the results obtained, it should be noted that the Eastern Church has issued warnings and punishments for those who dare to teach and preach (and probably add something of their own) the opposite of the Council’s ordinances and traditions. Thus, the canons of The Quinisext Council and the Seventh Ecumenical Council constitute the true and genuine iconographic canon on which the Mariological iconography of the Odigitria type is formed. Iconic rules are also called the Byzantine canon or Byzantine style because it was produced by the Byzantine Church; but only this decalogue of canons, is valid for the Ukrainian Churches, where the practice of iconographic painting is widespread. Therefore, to determine the canonical norms for Theotokos, we should refer to the iconographic decrees of the church councils and the commentaries of the authoritative fathers of the Church. The authors research paper is based on personal research and other credible sources. He also references to art samples from the stock collection of the Carpathian Museum of Art.