Ororots: stećci iz Armenije

Stećci iz Armenije Tombstones from Armenia

by Gorčin Dizdar

BOS ->

HISTORIJSKA POZADINA Armenija, danas zaboravljena država na maglovitim kavkaskim granicama Evrope i Azije, nekada je bivala neuporedivo moćnija: njeni vladari znali su upravljati teritorijom koji se prostirao od istoka Anadolije do Mezopotamije, od Kavkaskih planina do Sredozemnog mora, a njena nacionalna crkva, prva na svijetu, odigrala je jedinstvenu ulogu u razvoju i širenju kršćanstva. Jedna Sveta Univerzalna Apostolska Ortodoksna Armenska Crkva, kako se oficijelno naziva, pripada takozvanim orijentalnim crkvama, što znači da se doktrinarno razlikuje i od katoličanstva i od pravoslavlja. Davne 451. godine, na Kalcedonskom saboru, Armenski kršćani odbili su se složiti sa učenjem pape i Rimskog cara, po kojem je Isus Hrist imao dvije prirode, i ljudsku i božju, insistirajući da su u Sinu Božjem te dvije prirode postale jedno, po čemu su poznati kao monofiziti. Ovo naizgled marginalno teološko pitanje bilo je dovoljno značajno da dovede do prve velike podjele kršćanskog korpusa, na Rim i Bizant s jedne, te Armence, Sirijce i Kopte s druge strane.

Ali monofizitstvo nije bila jedina hereza kojom su se „zarazili“ notorno samovoljni Armenci. Na razmeđi civilizacija, prošlosti duboko ukorijenjene u perzijski zoroastrijanizam, Armenija je oduvijek bila pravo leglo hereze. U VII vijeku, u Armeniji je nastalo pavlikijanstvo, apostolski pokret sa primjesama gnostičkog dualizma, koji je vrlo brzo stekao političke dimenzije, kulminirajući u uspostavljanju nezavisne države u istočnoj Anadoliji što se preko 100 godina uspješno odupirala moćnoj Bizantskoj armiji. Potom još jedan dokumentovani heretički pokret, tondrakiti, učenja naizgled vrlo blikom pavlikijanstvu. Konačno, mesalijani, „molitelji“, poznati i kao entuzijasti ili plesači, pokret koji je, istina, nastao u Siriji, ali je svoje anti-intelektualno učenje, fokusirano na direktni doživljaj Boga molitvom ili svetom igrom, vrlo uspješno proširio po dolinama armenskog gorja.

ENG ->

HISTORICAL BACKGROUND In the past Armenia, now a forgotten country on the hazy Caucasian borders of Europe and Asia, was incomparably more powerful: its rulers governed a territory stretching from eastern Anatolia to Mesopotamia, from the Caucasian mountains to the Mediterranean, while its national church, the first in the world, played a unique role in the development and spread of Christianity. The One Holy Universal Apostolic Orthodox Armenian Church, as it is officially called, belongs to the so-called oriental churches, meaning that it differs in doctrine from both Catholicism and Orthodoxy. In the year 451, at the Council of Chalcedon, Armenian Christians refused to agree with the teachings of the pope and the Roman Emperor, according to which Jesus Christ had two natures, both human and divine, insisting that in the Son of God those two natures merged into one, which is why they are known as Monophysites. This apparently marginal theological question was significant enough to lead to the first great division of the Christian corpus, into Rome and Byzantium on one side, and the Armenians, Syrians and Copts on the other.

But Monophysitism was not the only heresy that „infected“ the notoriously independent-minded Armenians. At the crossroads of civilizations, with a past deeply immersed in Persian Zoroastrianism, Armenia has always been a true hotbed of heresy. In the 7th century, a heresy known as Paulicianism developed in Armenia, an apostolic movement with elements of Gnostic dualism that soon gained political dimensions, culminating in the establishment of an independent state in eastern Anatolia that resisted the powerful Byzantian army for over 100 years. A second documented heretical movement, known as Tondrakianism, apparently had a teaching very similar to that of Paulicianism. Finally, the Messalians, the “praying ones”, also known as the enthusiasts or dancers, a movement that originally emerged

BOS ->

Više puta, hiljade pripadnika ovih pokreta, prije svega militantih pavlikijanaca – dokumentovano je sve to u bizantskim spisima – preseljivano je na Balkan, na granice sa barbarskim Avarima, Bugarima i Slavenima. Najviše u Philippopolis, današnji bugarski Plovdiv, upravo tamo gdje je svoje viđenje Kristove vjere širio glasoviti pop Bogomil... Ne iznenađuje činjenica da je Ana Komnina, učeni teolog i kćerka bizantskog cara Alekseja I, u XI vijeku balkanske Bogumile opisala upravo kao mješavinu pavlikijanstva i mesalijanstva!

To su bili neki od motiva i izazova zbog kojih sam se odlučio na putovanje u Armeniju, nadajući se da će tamošnja srednjovjekovna umjetnost možda pružiti neke odgovore o kojima oskudni izvori uporno šute... Ono što sam našao daleko je nadmašila moja očekivanja. Na kraju, ipak, ostaje samo nijemi kamen i vječita pitanja o smislu i porijeklu čovjekovog bivstvovanja na ovom svijetu...

ENG ->

in Syria, but with its anti-intellectual teaching, focused on a direct experience of God through prayer or holy dance, found a multitude of followers in the valleys of the Armenian highlands. More than once, thousands of adherents of these movements, particularly the militant Paulicians – it is all documented in Byzantine writings – were moved to the Balkans, on the borders with the barbaric Avars, Bulgars and Slavs. Mostly in the region of Philippopolis, today the Bulgarian city of Plovdiv, exactly where the priest Bogomil would eventually spread his vision of Christ’s faith… It is not surprising that Anna Komnene, the famous scholar and daughter of the Byzantine Emperor Alexis I , writing in the 11th century, described the Balkan Bogomils precisely as a mixture of Paulicianism and Messalianism!

Those were some of the motifs and challenges that caused my decision to travel to Armenia, hoping that its medieval art may provide some answers to questions stubbornly ignored by written sources…

What I found surpassed my expectations by far. At the end, however, what remains is but the numb stone and the eternal questions about the meaning and origin of humankind’s existence in this world…

Najpoznatija armenska crkva Ahtamar, sagrađe-

The most famous Armenian Church Aghtamar,

na u X vijeku, nalazi se na malom otoku u Vans-

built in the 10th century, is located on a small

kom jezeru, u današnjoj jugoistočnoj Turskoj.

island in Lake Van in south-eastern Turkey.

Gravure biblijskih motiva na njenim zidovima

The engravings of biblical motifs on its walls

spektakularno demonstriraju neadekvatnost on-

spectacularly demonstrate the inadequacy of

oga što uvijek važi kao zvanična historija umjet-

what still counts as the official history of art,

nosti, po kojoj „uspavani Istok“ nikada nije bio

according to which the „slumbering East“ was

sposoban za originalnost, dok je svaki auten-

never capable of originality, while every authen-

tični impuls neminovno nastao na „kreativnom

tic impulse inevitably emerged in the „creative

Zapadu“. Tehničku virtuznost Ahtamara sredn-

West“. The technical virtuosity of Aghtamar

jovjekovna zapadnoevropska skulptura dostigla

was not reached by Western European medieval

je tek nekih dvije stotine godina kasnije, tokom

sculpture until some two hundred years later,

perioda zrele Romanike i rane Gotike.

during the periods of mature Romanesque and Gothic art.

Svoj najautentičiniji proizvod armenska umjet-

The most authentic product of Armenian art is

nost nalazi u hačkarima, isklesanim hiljadama

the khachkar, carved thousands of times in an

puta u isto toliko varijacija, jer nijedan hačkar

equal number of variations, because no khach-

nije imitacija već postojećeg, već vječita igra

kar is a copy of a pre-existing one, but an eter-

umjetnika sa izuzetno ograničenim repertoar-

nal game of the artist with an extremely limited

om motiva. Pojavivši se u IX vijeku kao gotovo

repertoire of motifs. Emerging in the 9th cen-

bezoblična kamena ploča sa jednostavno ukle-

tury as an almost amorphous stone plate with a

sanim krstom, umjetnost hačkara doživjet će u

simply engraved cross, in the course of several

toku stoljeća nekoliko procvata, pa i neku vrstu

centuries the art of the khachkar experienced

dekadencije pod uticajem arapsko-islamske

several flourishings, and a kind of decadence

ornamentike. Ovi primjerci nalaze se u dvorištu

under the influence of Arabic/Islamic orna-

crkve Kečaris iz XI vijeka.

ments. These examples are found in the courtyard of the Khecharis monastery, built in the 11th century.

Umjetnost hačkara duboko je vezana sa učen-

The art of the khachkar is profoundly shaped by

jem armenske crkve. Umjesto raspeća, koje tako

the teachings of the Armenian Church. Instead

emfatično pokazuje Isusovu ljudskost, centralni

of the crucifixion, which so emphatically shows

simbol monofizitske religije je Kristova trans-

Christ’s humanity, the central motif of the

figuracija, biblijski događaj u kojoj Sin Božji na

monophysite religion is Jesus’s transfiguration,

planini Tabor apostolima pokazuje svoju božan-

a biblical event in which the Son of God shows

sku prirodu, pretvoriviši se u svjetlosni stub ili

his divine nature to the apostles on Mount

krst. Krst dakle nije oruđe Isusovog mučeništ-

Tabor, turning into a pillar or cross of light. The

va, već simbol njegove božanske prirode. Na

cross is therefore not the tool of Jesus’s martyr-

mnogim hačkarima rubovi krsta pretvaraju se u

dom, but a symbol of his divine nature. On nu-

ljiljane, dopustivši nam da ovaj simbol tumači-

merous khachkars, the edges of the crosses turn

mo kao prodor božanskog u materiju.

into lilies, allowing us to interpret this symbol as the infusion of divinity into matter.

U dvorištvu crkve Svete Marije iz XIV vijeka u

In the courtyard of the 14th century Church

gradu Aštarak nalazi se niz nadgrobnih spome-

of St. Mary in the town of Ashtarak, there is a

nika koji nisu hačkari, već bi se najprije dali

series of gravestones that are not khachkars, but

uporediti sa – bosanskim stećcima. Isti su to

could most easily be compared with – Bosnian

karakteristični monolitni nadgrobnjaci, izrađeni

stećaks. They are the same kind of monolithic

u lokalnom kamenu, sa jedinom razlikom da su

sculptures, built in local stone, with the only dif-

„krovovi“ armenskih stećaka zaobljeni a ne, kao

ferences that the „roofs“ of the Armenian head-

u slučajevu bosanskih, „na dvije vode“. Jed-

stones are rounded and not, as in the case of the

va vidljivi su i neki simboli, zapisi armenskim

Bosnian ones, sloping. Hardly noticeable are

alfabetom, te niz oblika koji možda asociraju

some symbols, engravings in Armenian alpha-

na kolo, taj najkarakterističniji motiv bosanski

bet, and a series of shapes that perhaps remind

stećaka.

us of the ring-dance, that most characteristic motif of the Bosnian stećak.

Uz jezero Sevan u centralnoj Armeniji nalazi se

The biggest and most famous medieval Ar-

najveća i najpoznatija armenska srednjovjekov-

menian necropolis, with over 800 preserved

na nekropola Noratus, sa preko 800 očuvanih

khachkars, is located next to Lake Sevan in cen-

hačkara. Na jednom kraju nekropole, zarasli

tral Armenia. In one of its corners, overgrown

u travu, nalazi se i dvadesetak spomenika koje

by grass, there are around twenty gravestones

lokalno stanovništvo naziva armenskom rječju

referred to by the local population by the Ar-

za bešiku – ororots. Pored mnogo prominentni-

menian word for a cradle – ororots. Besides the

jih hačkara, koji su neka vrsta armenskog nacio-

much more prominent khachkars, which are a

nalnog simbola, bešike su zanemarene i gotovo

kind of Armenian national symbol, the cradles

potpuno nepoznate.

are neglected and almost completely unknown.

Jedna stvar je jasna: hačkari Noratusa su teh-

One thing is clear: the khachkars of Noratus are

nički puno višeg kvaliteta nego bešike. Bešike

technically of a much higher quality than the

definitivno pripadaju onome što bismo nazvali

cradles. The cradles definitely belong to what

„naivnom“, dakle umjetnošću neopterećenu

we would describe as „naive,“ that is art unbur-

konvencijama ili naturalizmom. Pa ipak, one

dened by conventions and naturalism. Never-

privlače pažnju barem kao historijski fenomen:

theless, they attract attention at least as an his-

kako je moguće da se u komemoraciji mrtvih,

torical phenomenon: how is it possible for such

tom najkonzervativnijem aspektu ljudskog

a radical change to occur in the commemoration

djelovanja, odvije tako radikalna promjena, pa

of the dead, that most conservative aspect of hu-

ipak zadrži kontinuitet lokacije? Zar za takvu

man activities, without abandoning a continuity

revoluciju nije neophodna odgovarajuća prom-

of place with the past? Does such a revolution

jena svjetonazora, pa i cjelokupnog društve-

not require a corresponding shift of the under-

no-ekonomskog sistema? Rječju, ne nalazimo li

lying world-view, or the entire socio-economic

u bešikama neku vrstu umjetničke hereze?

system? In a word, do the cradles not represent a kind of artistic heresy?

Čudnovato sekularno djeluju neki od motiva na

Some of the motifs on the cradles appear

bešikama. Sjetimo se i ovdje tvrdnji tradiciona-

strangely secular. Let us remember once again

lne historije umjetnosti, koja početke moderne

the claims of traditional history of art, accord-

sekularne umjetnosti bez dvoumljenja locira

ing to which the beginning of modern secular

u Zapadnoj Evropi. Na ovoj bešici vidimo vrlo

art can without doubt be located in Western

specifičan prikaz oranja, poljoprivredne teh-

Europe. This cradle shows a very specific de-

nologije koja je u toku Srednjeg vijeka doživjela

piction of ploughing, an agricultural technology

značajne inovacije. Da li je ta tehnologija u živo-

that experienced significant innovations in the

tu ovog čovjeka i njegove sredine donijela tako

course of the Middle Ages. Has this technology

temeljite promjene da je zaslužila da bude ovje-

brought such fundamental changes in the life of

kovječena na njegovom nadgrobnom kamenu?

this man and his environment that it deserved

U svakom slučaju ostajemo zatečeni prisustvom

to be displayed on his gravestone? In any case

ovako prozaičnog detalja u sred ovog beskrajnog we remain astounded by the presence of such polja božanskih krstova...

a secular detail in midst of an endless field of divine crosses...

Kakva pak razigranost na ovoj najveličanst-

What playfulness on this most magnificent

venijoj bešici Noratusa! Daleko smo sada od

cradle of Noratus! Here we are very far from

mističke koncentracije na jedan jedini simbol

a mystical concentration on a single symbol

koji obuhvata cjelokupni univerzum. Ovaj klesar

encompassing the entire universe. This artist

toliko je fokusiran na nastojanje da na površinu

was so focussed on the attempt to incorporate

nadgrobnog spomenika smjesti toliko detalja da

as many details as possible on the surface of

je sa lijeve strane doslovno probio okvir nam-

the gravestones that on the left side he literally

jenjen epigramu. Nisu li ovo koraci koji čine

broke the frame intended for an epigram. Are

umjetničke revolucije? Gotovo da je nepotrebno

these not steps that make up an artistic revolu-

dalje tumačiti sadržaj ovog djela: njegovo bogat-

tion? It is almost unnecessary to further inter-

stvo je toliko da svaki posmatrač od njega može

pret the contents of this artistic work: its wealth

satkati vlastitu priču...

of details is so extensive that every viewer can use it to embroider their own story...

Pored bešika, u Armeniji nalazimo još jedan

Besides cradles, in Armenia it is possible to find

tip nadgrobnog spomenika poznatog u Bosni,

another type of gravestone known in Bosnia,

ali i zapadnoj Evropi: jednostavnu horizontal-

but also in Western Europe: a simple horizontal

nu kamenu ploču. Ponekad ploča i hačkar čine

slab. Sometimes a slab and a khachkar make up

jedinstven spomenik, pokrivajući jedan grob.

a single monument, covering one grave. Numer-

Mnoge ploče su potpuno nedekorisane, ali neke

ous slabs are completely undecorated, but some

su ukrašene jednostavnim obrisom čovjeka,

are embellished with a simple outline of a man

takozvanom antropomorfnom nišom, motivom

or woman, a so-called anthropomorphic niche,

takođe poznatom sa stećaka. Samo rijetke niše

a motif also known from the stećak stones. Only

obogaćen su detaljima koji nagovještavaju ljuds-

some niches are enriched with details that indi-

ko tijelo, kao ovo tek u krajnjim obrisima vidlji-

cate a human being, like this face visible only in

vo lice.

bare outlines.

Pored prikaza osobe sa prekrštenim rukama, na

Besides a person with crossed arms, this cradle

ovoj bešici su i tri karakteristična motiva: vrč za

displays three characteristic motifs: a wine jar,

vino, muzički instrument ud te armenska lepina

the musical instrument oud and the Armenian

lavaš u glinenoj peći poznatoj kao t’onir. Kruh i

flatbread lavash in a clay oven known as t’onir.

vino dva su nezaobilazna elementa najsvetijeg

The bread and the wine are two essential ele-

čina kršćanske liturgije – euharistije, pri kojoj

ments of the most sacred act of the Christian

sveštenik uprisutnjuje žrtvu Sina Božjeg, pret-

liturgy – the Eucharist, in which the priest

varajući ih u Isusovo tijelo i krv. Ipak, ravno-

causes the presence of the Son of God by turn-

pravno prisustvo uda ovu kompoziciju izuzima

ing them into his body and blood. Nevertheless,

iz okvira strogo pravovjernog kršćanstva: suoče-

the presence of the oud takes this composition

ni smo, možda, sa tek lokalnom varijacijom na

outside of the limits of strictly orthodox Christi-

temu liturgije a, u krajnjem, sa namjernim bri-

anity: we are faced, perhaps, by nothing else but

sanjem granica između sakralnog i sekularnog...

a local variation of the liturgy, but, in another interpretation, with a deliberate erasure of the limits between the sacred and the secular...

Druga značajnija skupina bešika nalazi se u

A second significant collection of cradles can be

dvorištu Crkve Svete Bogorodice u selu Areni,

found in the Church of the Holy Mother of God

gdje su se, prema legendi, nakon potopa naselili

in the village Areni, where, according to legend,

Noa i njegovi sinovi. Ova crkva, posvećena 1321.

Noah and his sons settled after the flood. This

godine, bila je značajan intelektualni centar Ar-

church, consecrated in 1321, was a significant

menije, a njen graditelj je najpoznatiji srednjov-

intellectual centre of Armenia, and its builder is

jekovni armenski minijaturist i skulptor Momik

the most famous medieval Armenian miniature

Vardpet. Momikova majstorska ruka vidljiva je

painter and sculptor Momik Vardpet. Momik’s

možda i na ovdašnjim bešikama, koje su teh-

experise can perhaps be seen on the local cra-

nički i kompozicijski na mnogo višem nivou od

dles, which are, in terms of technique and com-

onih u Noratusu. Na ovoj bešici prikazana su

position, on a much higher level than those in

dva lika koji djeluju kao monasi; jedan je udu-

Noratus. This cradle shows two characters that

bljen u meditaciju dok drugi posmatraču nudi

appear to be monks; one is sunk into meditation

lavaš i vino.

while the other one is offering the viewer lavash and wine.

Iako su i na ovoj bešici prisutni sakramental-

Although the sacramental lavash and wine are

ni lavaš i vino, jasno je da se ne radi o prikazu

present on this cradle as well, it is clear that

crkvene liturgije. Svirač uda na lijevoj, kao i

what is displayed here is not a liturgical service.

osedlani konj na desnoj strani bešike navode

The oud player on the left, as well as the sad-

na zaključak da je ovdje možda zakopan

dled horse on the right side of the cradle lead

ašik, pjesnik koji je, nalik zapadnoevropskim

to the conclusion that the person buried under-

trubadurima, putovao kavkaskim predjelima

neath this stone was an ashik, a poet who, just

na kojima su se mješali uticaji perzijske, turske,

like Western European troubadours, travelled

armenske i gruzijske kulture. Ipak, unutar vrča

the Caucasian lands where the influences of

prikazan je simbol sunca ili rotirajućeg dis-

the Persian, Turkish, Armenian and Georgian

ka, obilježje božanskog, ukazujući na nebesko

cultures mixed for centuries. Nevertheless, what

porijeklo muzike i poezije. I Sayat Nova, na-

is shown inside the jar is the symbol of the sun

jpoznatiji kavkaski ašik, koji je živio u 18. stol-

or rotating disc, a sign of God, indicating the

jeću, sredinom života zaređen je za sveštenika

divine origin of music and poetry.

armenske crkve...

Nabori odjeće, individualizirane crte lice kao i

The folds on the clothing, the individualized

naturalizam konja pokazuju da su bešike Areni-

facial lines and the naturalism of the horse show

ja daleko od naivnosti Noratusa, predstavljajući

that the cradles of Areni are far from the na-

zaseban umjetnički fenomen sa razrađenim

iveté of Noratus, representing a separate artis-

principima kompozicije. Ipak, i u ovom slučaju

tic phenomenon with developed principles of

primjetna je slobodoumnost umjetnika, koji

composition. Nevertheless, in this case we can

je žrtvovao cjelovitost okvira namijenjenog

also identify the individualism of the artist, who

epigramu u korist inkorporiranja jahača prika-

sacrificed the completeness of the frame intend-

zanog na lijevoj strani. Zanimljivo je da je kom-

ed for an epigram in favour of incorporating the

pozicija u potpunosti lišena vjerskih motiva,

rider shown on the left side. It is interesting to

dok je društveni status učenjaka sugeriran svit-

note that the composition is free of any religious

kom u desnoj ruci jednog od prikazanih likova.

motifs, while the social status of the scholar is indicated by the scroll in the right hand of one of the displayed individuals.

Široke mogućnosti interpretacije nudi jed-

A simple composition of three elements – a horse,

nostavna kompozicija od tri elementa: konja,

an oud player and a rotating disc – offers wide pos-

svirača uda i rotirajućeg diska. Da li je to slika

sibilities of interpretation. Is it an image of human

čovjekove prirode, zarobljene u vječitom dual-

nature, trapped in the eternal duality of the animal

izmu životinjskog i božanskog? Zašto je božans-

and the divine? Why is the divine shown through

ko prikazano simbolom sunca, koje armensko

the symbol of the sun, shared between Armenian

kršćanstvo dijeli sa zoroastrijanizmom? Jedan

Christianity and Zoroastrianism? A possible answer

mogući odgovor nalazimo u djelima kršćanskog

is found in the works of the Christian mystic Pseu-

mistika Pseudo-Dionizija Areopagita: „veliko,

do-Dionysius the Areopagite: „the great, shining,

sjajno, uvijek svijetlo sunce je očigledan simbol

always bright sun is an obvious symbol of divine

božanske dobrote, daleki odjek Dobrog. Ono

virtue, a distant echo of the Good. It shines on

obasjava sve što je u stanju prihvatiti njegovo

everything that is capable of receiving its light, yet

svjetlo pa ipak nikada ne izgubi punoću svoje

never loses the fullness of its light. It sends its bright

svjetlosti. Ono šalje svoje sjajne zrake širom

rays around the entire visible world, and if there is

cjelokupnog vidljivog svijeta, i ako ima nešto što

anything that does not receive them, it is a mistake

ih ne primi, to nije greška sunca, već onoga što

not of the sun, but of the one who is incapable of

nije u stanju uživati njegovu svjetlost.“

enjoying its light.“

Zaseban duh i, koliko god naivan, ipak iz-

A different spirit, and, no matter how naive, a

ražen vlastiti stil nalazimo u nekoliko bešika

clearly expressed individual style can be seen on

sela Agitu na jugu Armenije. Nalik dječjem

several cradles in the village Aghitu in the south

crtežu, tri ljudska lika i neka domaća životinja

of Armenia. Like in a child’s drawing, three

– konj, krava ili pas? – živahno nas posmatra-

persons and a domestic animal – a horse, cow

ju, prenoseći svoje nesumnjivo dobre namjere

or dog? – are observing us in a lively manner,

izrazito jednostavnim stilskim sredstvima.

transmitting their undoubtedly good intentions

Predimenziorane oči i ruke podignute u pozdrav

through very simple stylistic means. Oversized

iz vječnosti – ili molitvu? – dovoljna su poruka

eyes and hands raised into a greeting from eter-

pokopanih ispod ovog kamena. Neobičan način

nity – or a prayer? – are a sufficient message of

prikazivanja očiju, dva nepravilna koncentrična

the persons buried underneath this stone. The

kruga, pojavljuje se na još nekoliko bešika ovog

unusual way of depicting eyes, using two irreg-

kraja i možda ukazuje na neku lokalnu tjelesnu

ular concentric circles, also appears on other

specifičnost ili čak i zaseban etnički identitet.

cradles of this area and may indicate a local physical specificity or even a separate ethnic identity.

U blizini iranske granice nalazi se manastir

The monastery Vorotnavank, built in the year

Vorotnavank, sagrađen 1000. godine. Bešike

1000, is located close to the Iranian border. The

Vorotnavanka dijele neke stilske sličnosti sa

cradles of Vorotnavanak share certain stylistic

Agituom, ali su mnogo bogatije apstraktnim

features with Aghitu, but are much richer in

simbolima. Ponovo nailazimo na vrlo prisan

abstract symbols. Once again we encounter a

odnos sa životinjama, u kojem je ipak jasna

very close relationship with animals, in which

čovjekova dominantna pozicija. Moglo bi se čak

man’s dominant role is nevertheless clear. It

tvrditi da je na ovoj bešici prikazana scena lova.

could even be argued that this cradle depicts

Ipak, sa desne strane prikazan je veliki pleter,

a hunting scene. Yet, on the right side there is

simbol vječnosti mnogo bliži Indiji i istoku nego

a large interlaced ribbon, a symbol of eternity

Rimu i zapadu. Kako tumačiti tako neposrednu

much closer to India and the East than to Rome

blizinu sasvim različitih sistema vizuelne komu-

and the West. How can this close proximity of

nikacije? Da li je ovdje prikazan jedan svakod-

completely different systems of visual commu-

nevni trenutak ili čitava božanska vječnost?

nication be explained? Does this cradle show a quotidian moment or the entire divine eternity?

Za ovu bešiku, i stilski i sadržajno, najlakše bi

This cradle, in terms of both style and contents,

se moglo pomisliti da se nalazi u Bosni. Luk i

could most easily be mistaken for a Bosnian

strijela u ruci čovjeka i dvije isprepletene zmije

stećak. The bow and arrow in the man’s hand

neminovno nameću tumačenje borbe dobra i

and two interlaced snakes inevitably lead to

zla. Kako maleno djeluje čovjek i njegovo oružje

the interpretation of a struggle between good

u odnosu na nadmoćno zlo! U srednjovjekov-

and evil. How small is the man and his weap-

nom zapadnom kršćanstvu, strijelac je smatran

on in comparison with the overwhelming evil!

nečasnim zanimanjem – Četvrti Luteranski sab-

In medieval Western Christianity, archery was

or 1215. čak ga je, neuspješno, pokušao zabrani-

considered a dishonourable occupation – the

ti! – pa ga je gotovo nemoguće naći u tamošnjoj

Fourth Lateran Council in 1215 even tried to ban

vjerskoj umjetnosti. Ovdje pak, na granicama

it! – so that it is almost impossible to find it in

moćne Perzije, armenski sveštenici sigurno su

its religious art. Here, however, on the borders

cijenili značaj strijelca za vlastito preživljavan-

of mighty Persia, Armenian priests surely val-

je. Toliko da je on mogao poslužiti i kao simbol

ued the significance of the archer for their own

njihove unutrašnje borbe sa zlom.

survival. So much that he could also serve as a symbol of their own internal struggle with evil.

Na bešici ugrađenoj u zid manastira Norotna-

A cradle incorporated into the wall of the mon-

vank prikazani su sunčani disk sačinjen od de-

astery of Norotnavank shows a sun disc made

vet zraka, piramidalna struktura sagrađena od

up of nine rays, a pyramidal structure construct-

sedam nivoa, i rozeta koja se sastoji od šest lat-

ed of seven levels, and a rosette consisting of six

ica: da li u ovim brojevima možemo tražiti neko

petals: can we discern a deeper, symbolic signif-

dublje, simboličko značenje? Jedno moguće

icance from these numbers? A possible inter-

tumačenje: božansko, čija suština čovjeku ostaje

pretation: the divinity, whose essence remains

nedokučiva, prenosi se preko devet anđeoskih

inaccessible to man, is transmitted through nine

horova: kerubina, serafima, prijestolja, gos-

angelic choirs: Cherubim, Seraphim, Thrones,

podstava, sila, vlasti, vrhovništva, arhanađela i

Dominions, Virtues, Powers, Principalities,

anđela. Šestog dana, Bog je stvorio čovjeka, koji

Archangels and Angels. On the sixth day, God

se otuđio od svog tvorca. Uzevši čovječji lik, Bog

created man, who caused his alienation from his

osniva sedam prvobitnih crkava, omogućivši

creator. By taking a human form, God creates

čovjeku da prevaziđe jaz koji je nastao između

the first seven churches, enabling man to over-

Njega i ljudi.

come the gap between Him and humankind.

Na još jednoj granici Armenije, sjevernoj, u bliz-

On another Armenian border, in the north,

ini manastira Sanahin, antropomorfna niša na-

close to the monastery Sanahin, the anthropo-

jviše se približila prikazu pojedinca, određenog

morphic niche has made the closest approach to

nizom predmeta na njemu i oko njega i she-

a personalized image, created through a series

matski naznačenim crtama lica, ruku i nogu.

of items on and around the displayed figure, as

U ovom slučaju, ti predmeti su mač, nož i ud,

well as the schematically indicated facial lines,

govoreći mnogo o osobi zakopanoj ispod ovog

hands and feet. In this case, those items are a

kamena. Pored glave, prikazani su već poznati

sword, a knife and an oud, saying a lot about

motivi vrča vina i lavaša, obilježja euharistije,

the person buried underneath this stone. Next

po učenju crkve najznačajnijeg osiguranja čovje-

to the head, we can see the familiar motifs of a

kovog spasenja.

wine jar and lavash, symbols of the Eucharist, according to the Church the most significant guarantee of man’s ultimate salvation.

Pod manastira Sanahin, sagrađenog u desetom

The floor of the monastery Sanahin, built in

vijeku, prekriven je nadgrobnim pločama, u

the 10th century, is covered with slabs, mostly

većini slučajeva ukrašenih antropomorfnim

decorated with anthropomorphic niches. The

nišama. Monasi su ovaj oblik pokopavanja sma-

monks regarded this form of burial as the final

trali posljednim činom poniznosti pred bogom,

act of humility before God, allowing believers to

dozvolivši vjernicima da hodaju preko njihovih

walk on their graves. As according to the official

grobova. Kako će po zvaničnom učenju crkve

teaching of the church the body will be resur-

na Sudnjem danu biti oživljeno i tijelo, kosti

rected on Judgment Day, the bones of those

onih za koje se vjeruje da su zaslužili raj imaju

believed to have merited heaven has a particu-

poseban značaj za preživjele. Boravak u njihovoj

lar significance for the survivors. The presence

blizini kršćanima, posebno u Srednjem vijeku,

in their proximity gave Christians, particularly

davao je magičan doživljaj bliskosti božanskog.

during the Middle Ages, a magical experience of divine proximity.

Sasvim netipično, na ovoj nadgrobnoj ploči

Atypically, on this slab only one element, the

samo jedan element, noge, izbočene su, dajući

feet, is protruding, giving the technique of

tehnici plitkog reljefa veću prostornu dubinu.

low-relief a larger spatial depth. It is beyond

Nesumnjivo je da su vjerski tabui – kršćanska

doubt that religious taboos – Christian humility

poniznost i strah od idolopoklonstva, a ne teh-

and fear of idolatry, rather than technical inabil-

nička nesposobnost u Armeniji spriječili razvoj

ity prevented the development of this medium

ovog medija ka većem naturalizmu. U kasnoj

towards greater naturalism in Armenia. In late

srednjovijekovnoj i renesansnoj zapadnoj Ev-

medieval and Renaissance Western Europe,

ropi, nadgrobna ploča razvijena je do iluzion-

the grave slab was developed to an illusionistic

ističkog savršenstva, potpunih skulpturalnih

perfection, complete effigies of the buried, and

figura preminulih, pa i morbidne sjevernoev-

even the morbid northern European fashion

ropske mode isklesanih tijela u raspadu. Bilo

of carved decaying bodies. It was, of course, an

je to, naravno, jedno sasvim drugo kršćanstvo

utterly different Christianity in which this devel-

unutar kojeg je ovaj razvoj bio moguć...

opment occurred...

Na granici sa Turskom, u blizini planine Ararat,

On the border with Turkey, close to Mount

nekoliko sela naseljavaju Jezidi, etnički Kurdi.

Ararat, a few villages are inhabited by Yazidis,

Jezidska religija mješavina je zoroastrijskih

ethnic Kurds. The Yazidi religion is a mixture of

korijena i snažnih sufijskih uticaja. Često su op-

Zoroastrian roots and strong Sufi influences. Of-

tuživani za sotonizam, jer vjeruju da je Iblis ili

ten they were accused of Satanism due to their

Satanel postupio pravilno kada se odbio klanjati

belief that Iblis or Satanael did the right thing

čovjeku. Svoje mrtve pokopavaju u grobove na-

by refusing to bow to man. The Yazidis bury

lik kućama, a neki prate stariji običaj ostavljanja

their dead in graves that look like houses, while

tijela preminulih kao hranu pticama... Usaml-

some of them follow the older custom of leaving

jen, na groblju se nalazi jedan kamen u obliku

the corpses out for the birds to eat... Lonely, in

konja, u blizini leže još dva razbijena.

one graveyard there is a gravestone in the shape of a horse, nearby there are two other ones, broken into pieces.

Ispred muzeja u gradu Sisian stoji čitavo stado

In front of the museum in the town of Sisian,

nadgrobnih spomenika – ovnova. Ispisani i ara-

there is an entire herd of gravestones in the

pskim i armenskim pismom, ukrašeni i krstovi-

shape of rams. Carved with Arabic and Arme-

ma i islamskim ornamentima i neodređenim

nian letters, decorated with crosses, Islamic

simbolima, oni tvrdoglavno negiraju ustaljene

ornaments and undecipherable symbols, they

granice navodno neminovno sukobljenih civ-

stubbornly negate the customary borders be-

ilizacija. Ovnovi Sisiana skupljeni su iz južnih

tween allegedly inevitably conflicting civiliza-

dijelova Armenije, ali mogu se još naći i u Gruz-

tions. The rams of Sisian were collected from

iji i u istočnoj Turskoj.

the southern parts of Armenia, but other ones can also be found in Georgia and eastern Turkey.

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