Stećci iz Armenije Tombstones from Armenia by Gorčin Dizdar
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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.
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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
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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...
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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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