The Ortodox tradition of Bulgaria

LA TRADIZIONE ORTODOSSA DELLA BULGARIA

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Ministero degli Aﬀari Esteri Repubblica di Bulgaria Istituto Statale per la Cultura

Galleria Nazionale di Belle Arti di Soﬁa

Centro Studi slavo-bizantini Ivan Dujcev

Istituto Ecclesiastico Storico Archivistico

Società Editoriale ARPANet

Biblioteca Ambrosiana

LA TRADIZIONE ORTODOSSA DELLA BULGARIA ICONE E MANOSCRITTI DAL XIV AL XIX SECOLO

Milano, Pinacoteca Ambrosiana 30 marzo - I luglio 2007 Una produzione per la Cultura Copyright © 2007 Società Editoriale ARPANet Prima edizione: marzo 2007 ISBN 88-7426-031-7 via Sant’Orsola, 5 20123 Milano tel. +39.02.670.06.34 ARPANet@ARPANet.it www.ARPANet.it Tutti i diritti su testi, marchi e immagini sono riservati.

Enti promotori Istituto Statale per la Cultura presso il Ministero per gli Aﬀari Esteri della Repubblica di Bulgaria Galleria Nazionale di Belle Arti di Soﬁa Centro Studi slavo-bizantini Ivan Dujcev Istituto Ecclesiastico Storico Archivistico presso la Chiesa Ortodossa Bulgara Biblioteca Ambrosiana

Coordinamento Paco Simone Progetto graﬁco Francesca Fasoli In copertina “Il concilio degli Arcangeli” Autore sconosciuto Tempera su legno (sec. XIV) 123 x 76 x 3,5 cm. Provenienza: Monastero di Backovo

Si ringraziano Mons. Gianfranco Ravasi; arch. Elena Fontana; ing. Massimo Introzzi; dott. Boris Danailov; dott. Georgi Gerov; dott.ssa Aksinia Dzurova; prof. Umberto Rinaldi; dott.ssa Ljudmila Dimitrova; dott.ssa Iva Panzeri; Vanya Krasteva; Dimitar Racev; Emidio Colombo; gli sponsor e tutti coloro che hanno contribuito, con amicizia ed entusiasmo, alla realizzazione della mostra e del catalogo.

Sommario Summary С ЪДЪРЖАНИЕ

Saggi Essays СТУДИЯ

Catalogo Catalogue КАТАЛОГ

The present image of a country is profoundly bounded with its tradition, history and culture. From today’s perspective, when Bulgaria is a member of the European Union its national identity becomes more valuable and tangible. To be appreciated by Bulgaria’s European partners, this identity should not only to be preserved and respected, but also visualised through the best achievements in the centuries old culture in the Bulgarian lands. I am honoured to be a patron of the exhibition “The Orthodox Tradition of Bulgaria: Icons and Manuscripts from the 14th to the 19th Century”, on display at one of the oldest and most respective institutions - the Library Ambrosiana. We regard the opportunity to exhibit Bulgarian icons and manuscripts in the exhibition halls of the Ambrosiana as an acknowledgement of Bulgaria’s contribution to European civilization. The debate on Europe’s cultural diversity, on the preservation of identity and on the pursuit of inter-cultural dialogue figures high on the European agenda. The Bulgarian exhibition at a cultural institution, which has preserved its identity for 400 years of existence and has always been a media for inter-cultural dialogue, I do consider as an important event for uniting of the cultures with one and the same historical origin. Ivailo Kalfin Deputy Prime Minister and Minister of Foreign Affairs of the Republic of Bulgaria

Notwithstanding the importance of Milan in the history of Christian art, the exhibition of the Orthodox tradition of Bulgaria, through dramatic icons and seven precious Slavic manuscripts is majestic. It is part of the collection of Ecclesiastical History and Archives Institute of the Holy Synod of the Bulgarian Orthodox Church from the 14th through the 19th centuries. In the age of modernity, the monks of the larger Balkan monasteries continued to copy and illustrate manuscripts in the medieval style. In this exhibition from the Sofia region are contemporary manuscripts from the Rila Monastery as well as Etropole and Kratovo. The decorations are distinguished by ornaments with Byzantine origins; the features of Balkan art interlaced with Venetian style in Slavonic incunabula and with elements of Ottoman-Persian art, typical of the “Rumi” style. The collection of icons from the National Gallery of Fine Arts of Sofia covers, with invisible variations, an arch of time spanning fi ve centuries. Besides the Virgin and St. John the Evangelist, a repeating theme is St. George the dragonslayer, whose heraldic iconography seems to escape the repetition of Bulgarian art modules. This is far from the concept of modernity expressed through Italian art of the same centuries. It is a parallel between worlds that are connected to the Christian tradition. This exhibit is the vision of that tradition. Bulgaria recognizes its cultural identity embraced in Christian origin - both in art and in the social fabric of the region: “We cannot say that we are not Christians”. Vittorio Sgarbi Councillor for Culture of Milan

Within the magnificent framework of Milan’s Pinacoteca Ambrosiana, the exhibition of icons and manuscripts from Bulgaria is a cultural and artistic event of great impact. A precious testimonial with scripts and images provides the catalogue here presented. The choice of Milan, which is an excellent site to host an event of such importance is surely not casual but appear as a consequence of the vocation of this city, a symbol and a paradigm of the proudly ambrosianian vitality linked to its international vocation of which is a generous interpreter. The exhibition proposes itself to diffuse through the rich collection of icons and manuscripts from the National Gallery of Fine Arts of Sofia and, respectively, from the Ecclesiastical History and Archives Institute of the Holy Synod of the Bulgarian Orthodox Church, the knowledge of the cultural, artistic and spiritual values of Bulgaria: values related to the Byzantine and Slavonic tradition of the East which are knitted to those western especially today, when the state is between the new members of the European Union, to which its history fully belongs. In between the most signifi cant aspects of the following particular review brings interest the proper continuity of traditions that rooted in Bulgaria since the Medieval, had been then preserved as Boris Danailov, the Director of the National Gallery of Fine Arts of Sofia during the centuries “not as anachronism but as a part of the social tension concerning the national identity”. I am convinced that this fascinating century travel through icons and manuscripts from Bulgaria will mark itself not only for the accuracy of the scientifi c work which constitutes its base, but also and especially for the intrinsic aspect of the east European orthodox tradition theme. This will be a real discovery for many: a moment of “high culture” which, I am certain, has inside any reason to attract, to fascinate and to seduce, proposing to the public documents and memories of an antique age otherwise confi ned to the severe pages of the history books. Massimo Zanello Councillor for Cultures, Identities and Autonomies of Lombardy Region

Saggi Essays СТУДИЯ

The plastic orthodox tradition, a symbol of national identity The National Gallery of Fine Arts of Sofia and the manuscripts from the Ecclesiastical History and Archives Institute of the Holy Synod of the Bulgarian Orthodox Church can be defined as a contact with a centuries-old artistic and librarian tradition. The reason lies not only in the chronology of the items exhibited which collocate in a period of about five hundred years, but especially in the continuous line of tension as how the civilization process can be called. Its beginning is marked much earlier with an intensity and dynamics that can be rarely found during the Medieval - the creation of a young state institution, the Bulgarian one, in Europe (the beginning is in the year 681), an abrupt and fast passage from Paganism to Christianity and the creation of an independent church (854). Through this, in the furrow of the Christian tradition, the Word or Logos receive a new meaning, but the plastic tradition of the late antiquity and Byzantium inserts itself into it. In this way the main problem of the culture which is the coincidence of word and writing, realized during those antique ages is completed and reinforced by the holiness of the plastic image. This union gives birth to the distinctive stroke of the fundamental exhibition’s theme which is the deep significance of the tradition and the continuity. By this, based on a system of already accepted and accessible values and through universal method of communication (religion and writing, same as the spoken language), the plastic art consolidates in a lasting material formulations that seem to position themselves outside the time. The fact that the Bulgarians today can still read without any special preparation the writings on the icons and the gospels brings real amazement. It is not less important the fact that the plastic orthodox tradition continues to live in its full value also during the XIX century, not as an anachronism, but as a part of a social tension related to the national identity. This is the other name of the cultural identity, the fundamentals on which the basic ideas of a community can be constructed, of the capability to distinguish from the others and of the research of the proper difference, but on the other hand the possibility to penetrate the cultural and artistic systems – in other words to the abovementioned civilization process. Boris Danailov Director of the National Gallery of Fine Arts of Sofia

Treasures of Art and Faith This exhibition is comprised of 33 works and is conceived with two objectives. The first is the representation of the progress of the Bulgarian Orthodox art for quite a long period – from the 14th to the 19th century. The second one is to acquaint the Italian viewer with the diversity of forms within the Orthodox iconography and miniature. The earliest works in the exhibition are from the 14th century. This is the last time of flowering of the Byzantine art, a period of unparalleled uplift and creative momentum in architecture, art of painting, iconography, miniature, and applied arts. The masters of that age revived particular elements that were founded upon the Classical Antiquity. Thus, the experts define the art of the Late Byzantium as “Paleologus renaissance”. This very age is represented with two icons – The Council of Angels and St. Demetrius, whose artistic achievements are characteristic of that time. During the last quarter of the 14th and the whole 15th century, the Ottoman Turks gradually conquered the Balkan peninsular. The great Byzantine cultural centres were put to an end – Constantinople, Thessaloniki, and Mistra. Nevertheless, Orthodox art was almost near ruin on the Balkans, but almost. The artistic life began its revival during the second half of the 15th century, when the realities became more stable. Certain artistic schools resumed their activities – Kostur, Ohrid, etc, as well as the monastery scriptoriums (Rilla Monastery, etc.). The St. Geotge slaying the dragon icon from Boyana and the Four Gospels of the Kremikovtzi Monastery signature works of art from that age. The sixteenth century revived the classical trends in the Balkan Orthodox art (the St. Haralambos and Deësis icons). Particularly influential were the representatives of the Cretan school working on the commissions by the great Orthodox monasteries and bishop’s centres – Theophanis the Crete, Zorzis, Antonius. Many imitated their art. We are talking about a perfect in the technical treatment art in which the skills of the Peleologus era co-exist with elements belonging to the Italian artistic tradition. One of the most prolific scribers and decorators of manuscripts of the 16th century is the priest Ioan Kratovski (of Kratovo) represented at this very exhibition with one of his Four Gospels. During the 17th and the first half of the 18th century Balkan art is dominated by a new artistic trend. The means of the art of painting became simpler – the line prevails over shadowand-light forms, the clean and vivid colour combinations predominate, the proportions and the

movements of the figures are unnatural. The masters of the age concentrated their efforts on the attaining of greater decorative effect. Woodcarving is more frequently used in the iconography. Typical of the 17-18th century art examples are the icons St. George slaying the dragon of the Kremikovtzi Monastery, Forty Martyrs and St. Pantaleon with scenes from his life, the crucifixion head of the iconostasis crown from Boboshevo, and the rhipidions with the Virgin of Sorrows and St. John the Evangelist. During the second half of the 18th century and the 19th, this trend gradually faded. A number of important art school appeared and strengthened their position – Tryavna, Samokov, Bansko, etc, The iconographers of Northern Greece, Thessalonikim and Mount Athos were also renowned. Here in the art of the second half of the 18th and the 19th century we are able to recognize direct or indirect borrowings from the West European art. These borrowings affected the decoration and from time to time Western prints were used as models, for example the Judgement of Pontius Pilate icon. There are different works of the iconography at the exhibition. Some of them – the crucifixion head from Boboshevo – are an integral part of the Orthodox iconostasis. Others are different by type and function – great icons, portable feast icons, domestic icons, parts of triptychs, and double-sided tablets. The exhibited manuscripts are altar Four Gospels. The altar gospel rests on the Holy table and represents Christ – the Word of God. It is of an enormous sacrosanct importance. Hence its precious plating and decoration with exquisite miniatures, headpieces, and titles. Georgi Gerov PhD Director of “Ancient Art” Section at National Gallery of Fine Arts of Sofia

The sacredness of manuscript as a repository of the divine Logos The exhibited seven manuscripts are but a small part from the second largest collection of Slavonic manuscripts in Bulgaria, preserved at the Ecclesiastical History and Archives Institute (EHAI) of the Holy Synod of the Bulgarian Orthodox Church. The St. St. Cyril and Methodius National Library is a repository of about 1000 Slavonic manuscripts from the ninth to the 19th the century. The collection of the Church Institute of Archives and History could be assessed as limited as far as the time is concerned in view of the fact that it consists mainly of manuscripts from the 14th to the 19th century. The collection spans some 372 manuscripts, which for the most part are described as liturgical: Four Gospels, Lectionaries, Psalters, Menelogions, etc. The Four Gospels were commissioned by outstanding members of the society for personal usage or more often than not for the building of a church or monastery. After the downfall of Turnovo in 1393 and Vidin in 1396, Bulgaria had been a part of the Ottoman Empire for five centuries and regained its freedom as late as 1878 following the outcome of the Russian-Turkish war. The historical realities established since the 14th century preserved the “Late Middle Ages” on Balkan peninsular literally until the end of the 19th and the beginning of the 20th century. The period is characterized with the religious unification of the Orthodox people and the art bound with it, as they represented the national identity. The notion of a union of the Orthodox people, which in particular had developed since the 14th century in art, retraced the tendency for tradition and canon preserving of the High Middle Ages. The innovations following the Renaissance in Europe and represented by the old print Slavonic books are on a small scale. Thus, the book had been perceived as the body of the Logos – Word of God, a notion of the High Middle Ages that existed literally until the 19th century. The manuscript was still viewed so far as an object of worship, veneration, and admiration, expressing the only possible truth, and not as an instrument of knowledge. Even five centuries after the invention of the printing press by Gutenberg, and as far as the middle of the age of modernity - 20th century - the parish priests and the monks in the great monasteries throughout the Balkan peninsular continued copying out manuscripts at that all too often from printed editions in accordance with the mediaeval postulate of the sacrosanctity of the hand-written word and of the painted icon. At the present exhibition we have included manuscripts from the 15th to the 17th century created in the most distinguished centres of learning found mainly in Western Bulgaria – Sofia region,

Rilla monastery, Etropole, Cherepish, Kratovo, etc. Some of these Gospels were commissioned as altar Gospels for the church and are richly decorated with plates of silver and gold gilding. On the one hand, their decoration is distinguished for the combination of the elements of the classical Byzantine and Slavonic ornamenting styles, i.e. the Byzantine (floral), teratological, Balkan (interlaced), and the introduced with the first old print Slavonic books from Venice (1494) innovations. On the other hand, there are the elements of the Ottoman-Persian art with its opulent ornamental repertory and Eastern stylization displayed in the so-called Rumi style. Axinia Džurova PhD Director of Slavonic-Byzantine Study Centre “Prof. Ivan Dujcev” of “St. Cl. Ohridsky” University of Sofia

Catalogo Catalogue К АТАЛОГ

1. S. Giorgio uccide il drago Autore ignoto; 1667; tempera su legno; 87,3/61/2,3 cm Provenienza: Chiesa di San Giorgio, Monastero di Kremikovtsi.

1. Saint George slaying the dragon 1667; egg tempera on wood panel; 87.3/61/2.3 cm Provenance: Saint George Church, Kremikovtzi Monastery.

L’icona proviene da un Monastero che ha per patrono San Giorgio. Rappresenta l’impresa più famosa del Santo guerriero: la sua vittoria sul drago. L’immagine è un buon esempio delle tendenze dominanti nell’arte postbizantina del XVIII sec.: stilizzazione, trattazione lineare e piatta delle forme, preferenza dei toni puri e chiazze di colori vivaci, decorazione accentuata.

The icon originated from a monastery that had had Saint George for its paitron. The Saint-warrior’s most famous deed of valour is shown – his victory over the dragon. As far as technique is concerned, the rendering follows the iconographic type of the prevailing trends in the ﬁeld of the post-Byzantine art of the 17th century for stylization, linear-unidimensional form, preference for clean shades and lurid colourful hues, and enhanced decoration.

1. Св.Георги убива змея 1667г.; темпера, дърво; 87,3/61/2,3 cm произход: ц.”Св.Георги”, Кремиковски манастир. Иконата произхожда от манастир, чиито патрон е св. Георги. Представен е най-прочутият подвиг на този светец войн – победата му над дракона. Изображението е добър пример за доминиращите тенденции в поствизантийското изкуство от ХVІІ век – стилизация, линейноплоскостна разработка на формата, предпочитание към чисти тонове и ярки цветови петна, повишена декоративност.

2. Deisis Autore ignoto; fine XVI- inizio XVII sec.; tempera su legno; 129,5/109,2/3 cm Provenienza: Nessebar. Tradotto dal greco, “deisis” significa “preghiera”. Nell’iconografia ortodossa il tema viene associato all’idea del Giudizio Universale. Cristo è il Giudice che giudica i giusti e i peccatori, mentre la Vergine e S. Giovanni Battista intercedono presso di lui per il genere umano. Nell’icona, Gesù è rappresentato seduto su un trono e vestito da arcivescovo, come “re dei re e primo fra gli arcivescovi”. L’icona è opera di un artista che lavorò a Nessebar alla fine del XVI e all’inizio del XVII sec. Egli appartiene alla Scuola pittorica di Creta. Probabilmente si era recato a Nessebar dopo aver già lavorato all’isola di Patmo. Si tratta di un abile artista, che possiede un forte senso di raffinatezza del disegno e del colore.

2. Deësis Anonymous painter; ca. the end of 16th c. – beginning of the 17th c.; egg tempera on wood panel; 129.5/109.2/3 cm Provenance: City of Nessebar. Deësis or deisis (ODCA) from the Greek word which literally means “humble petition”. In the iconography the subject is the depiction of the Last Judgement - Christ seated in judgement of the Blessed and the Damned, as the Madonna and Saint John the Baptist are interceding for the human race. Here Jesus Christ is enthroned and dressed in bishop’s vestment, i. e. as “all-sovereign Lord of the universe and great prelate”. The icon is a work by an iconographer who had worked in the city of Nessebar circa the end of the 16th and the beginning of the 17th century. He was a representative of the Cretan school and probably came to Nessebar after he had been on the island of Patmos. The iconograher had been a very skilled master with a very keen sense for the reﬁnement of line and colouring.

2. Дейсис неизв.автор; кр.16-нач.17в; дърво, темпера; 129,5/109,2/3 cm произход: от Несебър. Преведена от гръцки думата «дейсис» означава «моление». В православната иконография темата се свързва с представата за Страшния съд. Христос е съдията, който съди праведните и грешните, а Богородица и св. Йоан Кръстител се застъпват пред него за човешкия род. В нашата икона Иисус е представен седнал на трон и облечен с архиерейски одежди – т.е. като «цар на царете и велик архиерей». Иконата е дело на зограф, който е работил в Несебър в края на 16 и началото на 17 век. Той принадлежи към критската живописна школа. Вероятно идва в Несебър, след като вече е работил на остров Патмос. Става дума за много опитен майстор, който притежава остро чувство за изящност на рисунъка и колорита.

3. S. Pacomio il Grande Autore: Krastiu Zahariev di Triavna; 1824; tempera su legno; 91,5/60/4 cm Provenienza: Chiesa della Santa Vergine, Kazanlak.

3. Saint Pachomius the Great Khrustio Zahariev from Tryavna; 1824; egg tempera on wood panel; 91.5/60/4 cm Provenance: The Blessed Virgin Church, Kazanlak.

Krastiu Zahariev è uno degli esponenti più noti della grande famiglia di artisti di Triavna. In questa icona ha raﬃgurato S. Pacomio, un eremita egiziano, fondatore dei cenobiti. L’icona fu eseguita su commissione dell’associazione degli artigiani di passamaneria. Durante il periodo del Risorgimento bulgaro (secc. XVIII-XIX) accadeva spesso che associazioni professionali commissionassero collettivamente una determinata opera d’arte. Nel caso concreto è particolare il fatto che sia stata immortalata la stessa arte dei donatori: la parte inferiore dell’icona rappresenta la produzione della passamaneria, dettaglio che non ha nulla in comune con il suo contenuto principale.

Khrustio Zahariev is one of the most famous members from a family of iconographers originating from the city of Tryavna. Here he depicts Saint Pachomius – an early Egyptian ascetic and founder of the cenobitic monasticism. The icon was commissioned by the guild of the woollen braiders. During the Bulgarian national revival (18-19 c.) it had been a common practice for the various guilds to commission a work of art on a certain subject. Here what is of particular interest is the perpetuation of the very trade of the donors (Gr. ktitor) – woollen braiding is depicted in the lower part of the icon – a detail that has nothing in common with the main subject of the work.

3. Св.Пахомий Велики зограф Кръстю Захариев от Трявна; 1824г.; дърво, темпера; 91,5/60/4 cm произход: от ц.”Св.Богородица” Казанлък. Кръстю Захариев е един от най-известните представители на голям род зографи от Трявна. В тази икона той изобразява св. Пахомий – египетски отшелник, основател на общежителните манастири. Иконата е нарисувана по поръчка на задругата на майсторите на гайтани. През периода на българското нац;ионално възраждане (ХVІІІ-ХІХ век) често различни професионални сдружения са ставали колективен поръчител на определено художествено произведение. Особеното в случая е, че тук е увековечена самата професия на дарителите - в долната част на иконата е изобразено производството на гайтани - детайл, който няма нищо общо с основното съдържание на иконата.

4. Cristo Pantocratore Autore sconosciuto; sec. XVII; tempera su legno; 107,5/72,5/3,8 cm Provenienza: Tracia Meridionale. È una delle raffigurazioni più diffuse di Gesù Cristo. Nella nostra icona il Pantocratore impressiona con il suo ascetismo e con la sua forza espressiva. Il cromatismo è abbastanza povero. L’effetto artistico è ottenuto grazie soprattutto all’opposizione drammatica fra luce e ombra nell’immagine del Salvatore.

4. Christ Pantokrator Anonymous painter; 17 c.; egg tempera on wood panel; 107.5/72.5/3.8 cm Provenance: Southern Tracia. This is the most common iconographic depiction of Christ. The ascetism and the expressive quality of the icon of the Ruler of all are monumental. The use of colours is rather limited but the artistic impression is focused mainly within the dramatic contrast between light and shade on the face of the Salvator Mundi (Saviour of the World).

4. Христос Вседържител неизв.автор; 17.в.; дърво, темпера; 107,5/72,5/3,8 cm произход: от Южна Тракия. Това е най-често срещаният иконографски тип на Христос. В нашата икона Вседържителят впечатлява с аскетичността и експресивната си сила. Колоритното решение е доста пестеливо. Художественото въздействие е концентрирано главно в драматичния контрапункт между светлина и сянката в образа на Спасителя.

5. Santa Vergine (ripidio del crociﬁsso dell’iconostasi) Autore sconosciuto; XVII sec.; tempera su legno scolpito; 54/26/3 cm Provenienza sconosciuta.

5. The Blessed Virgin (rhipidion of iconostasis cruciﬁxion) Anonymous painter; 17 c.; wood, egg tempera, woodcarving; 54/26/3 cm Provenance: unknown.

Su questo ripidio è dipinta la Vergine Addolorata. Lei è testimone delle sofferenze del figlio crocifisso e tutto il suo aspetto tradisce la forte emozione a cui è sottoposto il suo cuore di madre. La sua lunga è quasi eterea figura si trova in un elegante “triplice” arco che simboleggia la Santa Trinità.

Here on this rhipidion of the iconostasis crucifixion is depicted the grief-stricken Stabat Mater. She witnesses the Crucifiction of her Son and all her being speaks of the supreme sorrow that grips the mother’s heart. The elongated and seemingly otherworldly figure is situated in a stylish “triple” arch symbolizing the Holy Trinity.

5. Св. Богородица (рипида от иконостасно разпяти) неизв.автор; 17.в.; дърво, темпера, резба; 54/26/3 cm неизв.произход. Върху тази рипида е изписана страдащата Богородица. Тя е свидетел на кръстните мъки на своя Син и целият й вид издава силната емоция, на която е подложено майчиното сърце. Издължената, сякаш безплътна фигура е поместена в елегантна “тройна” арка – символ на Божествената троица.

6. Vergine sul Trono che allatta il Bambino Autore sconosciuto; XVIII sec.; tempera su legno; 23/18,2/1,6 cm Provenienza sconosciuta. Questo tipo di iconograﬁa, pur essendo uno dei più antichi, è piùttosto raro per l’arte ortodossa. Esso pone l’accento sulla natura umana di Cristo che, come tutti gli altri uomini, viene allattato con il latte materno. L’icona è opera di un artista del XVIII sec. che fu attivo a Salonicco o al Monte Atos. È tipica l’abbondanza dei motivi ﬂoreali nel trono e nella cornice dell’icona, che rendono ancor più ornamentale questa opera preziosa, uscita dal pennello di un perfetto miniaturista.

6. The Enthroned Virgin Galaktotrophousa (Milkgiving) Anonymous painter; 18 c.; egg tempera on wood panel; 23/18.2/1.6 cm Provenance: unknown. This is one of the oldest images in the iconographic depiction but is unsual for the Orthodox art. It accentuates on the human nature of Christ who along with all the other human beings had been nursed with his mother’s milk. The icon is painted by a master, that worked in the 18th century in Thessaloniki or Mount Athos. The exuberance of ﬂoral decorations on the throne and the frame of the icon is typical. The ornamentations represent an additional decorative eﬀect to this exquisite work of art, painted by the cultivated brush of a master-minituarist.

6. Богородица Млекопитателница на трон неизв.автор; 18.в.; дърво, темпера; 23/18,2/1,6 cm неизв.произход. Тази иконографска схема с среща рядко в православното изкуство, въпреки че е една от найдревните. Тя акцентира върху човешката природа на Христос, който, подобно на всички други хора, е бил закърмен с млякото на своята майка. Иконата е изписана от майстор, работил през ХVІІІ век в Солун или на Света гора-Атон. Характерно е изобилието на флорални орнаменти по трона и рамката на иконата. Те придават още по-голяма декоративност на това изящно произведение, изпълнено от финната четка на майсторминиатюрист.

7. Santi quaranta martiri Autore sconosciuto; XVIII sec; tempera su legno; 32/23,5/2,5 cm Provenienza sconosciuta.

7. Forty Martyrs Anonymous painter; 18 c.; egg tempera on wood;32/23.5/2.5 cm Provenance: unknown.

7. Св. 40 мъченици неизв.автор; 18.в.; темпера, дърво; 32/23,5/2,5 cm неизв.произход.

L’icona rappresenta il martirio di quaranta soldati romani, periti nelle acque del lago vicino alla città di Sevastia per non aver rinunciato alla fede cristiana. Il tema è molto popolare nell’arte ortodossa. Lo e anche la composizione iconografica in cui i quaranta martiri formano un gruppo compatto. Giovani, maturi o anziani, sono tutti quasi nudi a tremare nelle acque gelide. In primo piano ce n’è uno che già perde i sensi con il compagno vicino che cerca sostenerlo. Altri si lamentano del loro amaro destino. Dal cielo invece scendono corone, simbolo della loro vittoria. L’ingenuita è la trattazione convenzionale delle forme rafforzano l’effetto espressivo dell’icona.

The icon depicts the martyr’s death of forty Roman soldiers in the lake near Sebaste, in Lesser Armenia who did not renounce their Christian faith. The subject is fairly popular in Orthodox iconography. And the very iconographic design, too. The Forty Martyrs are depicted as a whole group. Young, middle-aged or ageing – all of them half-naked and shivering with cold in the freezing waters. One of them in the foreground had lost consciousness while another next to him is trying to support him. The rest are bemoaning their cruel fate. Crowns, symbolizing their martyr’s victory, descend from the heavens. The naïveté and conventionality of the forms’ handling exalt the eﬀect of expression of the icon.

Иконата представя мъченическата смърт на 40 римски войници, загинали във водите на езеро край град Севастия поради това, че не се отказали от християнската си вяра. Темата е доста популярна в православното изкуство. Иконографската схема също. 40-те мъченици са представени в компактна група. Млади, в зряла възраст или стари – те всички са полуразсъблечени и мръзнат в ледените води. На преден план един от тях вече припада, а този до него се опитва да го задържи. Други оплакват своята горчива участ. Към тях от небето се спускат корони – символ на мъченическата им победа. Наивизмът и условността при трактовката на формите подсилват експресивното въздействие на иконата.

8. Trinità dell’Antico Testamento (parte mediana di un trittico) Autore sconosciuto; sec. XVIII; tempera su legno; 33,5/23,5/1,5 cm Provenienza sconosciuta. Nonostante nei secc. XVIII-XIX fossero stati dipinti tantissimi trittici, il soggetto che vediamo qui è piùttosto raro da trovare. Esso rappresenta la storia, raccontata nella Bibbia (Genesi, cap. 18), in cui compaiono gli angeli che annunciano ad Abramo e Sarah che avranno un figlio che sara il capostipite di un numeroso popolo, eletto da Dio. Nell’arte ortodossa i tre angeli simboleggiano la Santa Trinità. Essi benedicono la mensa di Abramo e questo gesto ha un valore simbolico liturgico. La convenzionalita della raffigurazione, la forte stilizzazione e le forme piatte e lineari sono tratti caratteristici di un grande gruppo di opere iconografiche del sec. XVIII, definite come “primitive”. La maggior parte appartiene ad artisti della scuola di Triavna.

8. Trinity of the Old Testament (middle part of a triptych) Anonymous painter; 18th c., egg tempera on wood panel; 33.5/23.5/1.5 cm Provenance: unknown. In the 18-19 c. a great number of triptychs had been painted but this subject is rather rare. Here we have the story told in Genesis, chapter 18, i.e. three angels visited Abraham and Sarah and announced that they would bear a child who would be the forefather of a numerous and elect people. In Orthodox art, the three angels are held to symbolize the Holy Trinity. The angels bless Abraham’s table and the gesture of blessing has a liturgical symbolism. The conditionality of depiction, great stylization, and linearundimentional handling of the forms are characteristic for a great number of icons from the 18th century, which are described as “primitive”. Most of them are painted by masters belonging to the Tryavna School.

8. Старозаветна Троица (средна част от триптих) неизв.автор; 18 в.; дърво, темпера; 33,5/23,5/1,5 cm неизв.произход. Въпреки че през ХVІІІ-ХІХ век са изписвани огромно количество триптиси, сюжетът, който виждаме тук, се среща рядко. Изобразена е историята, разказана в Библията (Битие, гл. 18), за това как ангели се явяват на Авраам и Сара, за да предскажат, че ще им се роди син, който ще бъде родоначалник на многоброен и богоизбран народ. В православното изкуство трите ангела символизират Божествената троица. Те благославят трапезата на Авраам и този жест на благослов има литургична символика. Условността на изображението, силната стилизация и плоскостнолинеарната трактовка на формите са характерни за една голяма група иконописни произведения от ХVІІІ век, определяни като “примитиви”. Повечето от тях са дело на майстори, принадлежащи към Тревненската школа.

9. Vergine Madre (parte mediana di un trittico) Autore sconosciuto; sec. XVIII; tempera su legno; 31/21/3,2 cm Provenienza sconosciuta. Esempio di una delle composizioni iconografiche più popolari nella raffigurazione della Madonna col Bambino. Il tema centrale sono i rapporti di affetto fra Madre e Figlio. Pieno d’amore il piccolo Gesù preme dolcemente il proprio viso a quello della Madre. Con ogni probabilita l’opera fu eseguita da un pittore del Monte Athos e risale al sec. XVIII, quando i migliori artisti locali cercano di ridare vita alla tradizione bizantina, dimenticata nel secolo precedente.

9. The Virgin Eleousa (Compassionate and loving) (triptych central piece) Anonymous painter; 18th c.; egg tempera on wood panel; 31/21/3.2 cm Provenance: unknown. This is one of the most popular subjects in the iconographic art for the depiction of the Virgin with the Christ Child. The base chord is the emotional relationship between the Mother and the Devine Infant. The little and overwhelmed with love Jesus tenderly presses close his face against the face of his mother. Most probably, the work is by a master from Mount Athos and was painted the 18th century when the leading iconographers of Mount Athos had been trying to revive the almost forgotten during the previous century Byzantine tradition.

9. Богородица Умиление (централна част от триптих) неизв.автор; 18.в.; дърво, темпера; 31/21/3,2 cm неизв.произход. Използвана е една от най-популярните в православното изкуство иконографски схеми за представяне на Богородица с Младенеца. В нея централна тема са емоционалните взаимоотношения между майката и нейното Божествено дете. Преизпълнен с любов, малкият Христос нежно притиска лицето си към лицето на своята майка. Произведението вероятно е дело на майстор от Света гора - Атон и е създадено през ХVІІІ, когато водещите светогорски зографи се опитват да вдъхнат нов живот на позабравената през предишното столетие византийска традиция.

10. Vergine Addolorata (ripidio del crociﬁsso dell’iconostasi) Autore sconosciuto; sec. XVIII; tempera su legno; 39/24/2,6 cm Provenienza sconosciuta.

10. The Virgin of Sorrows (Stabat Mater) (rhipidion of an iconostasis cruciﬁxion) Anonymous painter; 18th c.; egg tempera on wood panel; 39/24/2.6 cm Provenance: unknown.

10. Богородица Страдаща (рипида от иконостасно разпятие) неизв.автор; 18.век; дърво, темпера: 39/24/2,6 cm неизвестен произход.