Sveta Gora
 
Manastir Hilandar
Hilandarska knjižara
Ikonopis Bogorodica Odigitrija Putevoditeljica  
 
 
  

Bogorodica Odigitrija, Putevoditeljica

(Bez pisanog odobrenja autora tekstova nije dozvoljeno preuzimanje sadržaja portala www.hilandar.info u komercijalne svrhe. Za detalje sadržaja i pitanja pišite na email: njonic@yahoo.com. Zakon o autorskom i srodnim pravima 2009,2011,2012.)// dec.2013

 

English

 

Putovoditeljica i Nastavnica

 

Sjajem klasičnog monumentalnog stila kojim kroz vekove prosijavaju freske Sopoćana, zrači i jedna od najlepših srpskih ikona iz istog perioda. To je Hilandarska Bogorodica Odigitrija,.Tip Bogorodice Odigitrije - Putovoditeljice, Nastavnice, veoma je čest i omiljen, pored niza drugih tipova, kao što su, na primer, Bogorodica Eleusa (Umiljenija), Evergetida (Dobročiniteljka), Episkepsis (Zaštitnica) i drugi.

Hilandarska Bogorodica Odigitrija je prestona ikona. Stajala je na ikonostasu stare Nemanjine crkve na Svetoj Gori i predstavljala pandan ikoni Hrista Pantokratora, koja je takođe sačuvana i izvanredne je umetničke vrednosti.

Nestvarna, blistava i zlatasta kao plamen kandila obasjana kap ulja, ona pleni jedinstvenom lepotom i sa pravom se smatra jednom od najlepših evropskih ikona svih vremena. 

Svetlost kojoj izvor nije od ovog sveta. Pokret glave Bogorodice i laka nagnutost prema Hristu - detetu, puni neponovljive gracije, izražavaju istovremeno i dobrovoljno pokoravanje najvišem principu bivstva i materinsku nežnost i blagost. Ozbiljnost plemenitog lika mogla bi se u trenutku razumeti kao nagoveštaj tuge koja tek treba da dođe, da nema duboke misaonosti, dostojanstva i predanosti koji je izdižu kao ispuniteljku jedinstvenog zadatka zbog koga će se zvati blaženom među naraštajima. Gospodstvenost lika podvučena je decentnom lepotom u kojoj se, dešava čudo prožimanja visokih helenističkih estetskih ideala najoduhovljenijeg hrišćanskog izraza vere. Rumenilo obraza, koje u likovnom smislu skladno dopunjuje zelenkaste senke, ukazuje takođe na gospodstvenost i distingviranost - naime, običaj da na lice stavljaju rumenilo vladao je u to vreme samo među carigradskim damama sa vrha društvene lestvice. Pravilne crte, koje predstavljaju savršenstvo duha, ozarene su beličastim akcentima: upravo tamo, gde bismo očekivali osenčenost, nailazimo na njenu negaciju - svetlinu. Svetlost koja joj je izvor nije od ovoga sveta. Ona je sveprožimajući, sveprozirući božanski sjaj, u čijem beskraju lebde i figure predstavljene na ikoni.

Odežda Bogorodice data je u sjajnim prelivima smaragdne zelene boje, koja simbolizuje životodajnu snagu, kao i nadu za čovečanstvo. Njen plašt, obrubljen zlatom, karakteristične je mrkoljubičaste boje. Ova boja ukazuje na visoki rang, ugled i značaj ličnosti koja je nosi. (Poznato je da su mnoge vladarske dinastije Evrope uzimale tamnoljubičastu za svoju heraldičku boju. To je bio slučaj i sa srpskom vlastelom; posebna nijansa ove naše nacionalne boje zove se rača. Leva ruka Bogorodice, izvanredno dugih i gipkih prstiju, ukazuje na dete - Hrista, koje se nalazi na njenoj desnoj ruci. Hristov detinji lik prikazan je kao smeđook i smeđokos, što treba da ukaže na njegovo semitsko zemaljsko poreklo. Njegova raskošna odežda mogla bi se samo uslovno opisati kao monohromna, jednobojna, to jest zlatnonarandžasta, s obzirom da na njoj postoji bogat preplet sjajnih linija za koje bi se moglo reći da su odbljesci svetlosti koja dolazi koliko sa ove, toliko i sa one strane vidljive stvarnosti, ukrštajući se u finom ritmu na opni koja taj svet spaja i razdvaja - na prostoru ikone.

Lice malog Hrista je detinje blago i oblo, ali, osim vedrinom, zrači i ozbiljnošću i mudrošću. I kao što je u dečjem Hristovom liku nagovešten Agnec i Spas, tako i neodmotan svitak koji drži u ruci podseća na njegovu suštinu kao - Logosa- , reči i anticipira Liber mundi i Liber vite, Knjigu sveta i života koju, kao Pantokrator, drži u istoj ruci.

Čitava kompozicija na ikoni je, mada svedena i jednostavna, savršeno uravnotežena. Blago, transcendentno osvetljenje koje artikuliše plemenite oblike, rafinovan i sažet likovni jezik, a nadasve sklad svečane monumentalnosti i guste atmosfere lirskog, intimnog naboja, čine ovo remek-delo tako jedinstvenim i vrednim.

 

Tragovi ogromnih suza

 

Tu jedinstvenost uočava savremeni gledalac jednako lako kao i, sedam i po vekova ranije, savremenici Svetog Save i on sam, koji je, kao što se zna, bio veliki poštovalac ovoga lika. (Nijedan njegov boravak u Carigradu nije mogao da prođe bez posete manastiru Bogorodice Evergetide, a tom je liku posvetio i Studenicu). Čitavo poluostrvo Atos je posvećeno Bogorodici, pa se među monasima i naziva - Bogorodičin perivoj.

Oštećenja, koja na slici postoje, nalik na tragove nekih ogromnih suza, ali i sama zlatasta kao i pozadina, ne samo da joj ne umanjuju lepotu, već, čini se, za postistoričnog gledaoca sa kraja XX veka i sama bivaju estetizovana.

 

 

Icon of Holy Virgin- Hodegetria

 

Glow classical monumental style which through the centuries sieved frescoes Sopocani, radiates and one of the most beautiful Serbian icons from the same period. It is Hilandarska Virgin Hodegetria. For the Holy Virgin - Guideway, teachers, very common and popular addition to many other types, such as, for example, Madonna Eleusa (Tenderness), Evergetide (benefactor), Episkepsis (patron) and others .
Hilandarska Virgin Hodegetria's throne icon. She stood on the iconostasis Nemanja`s old church on Mount Athos and represented the counterpart of the icon of Christ Pantocrator, which is also preserved a remarkable artistic value.
Surreal, bright and golden as the flame of the lamp illuminated drop of oil, it attracts a unique beauty and it is considered one of Europe's most beautiful icons of all time.
The light source which is not of this world. The movement of the head of the Virgin and easy inclination towards Christ - child, full of unique Graces, expressing at the same time and voluntary obedience to the supreme principle of being and maternal tenderness and gentleness. The severity of noble character could be seen at the time as a hint of sadness that has yet to come, there is no deep thoughtfulness, dignity and dedication that is rising as single task for which they shall be called blessed among generations. Glories character underlined decent beauty which, is, wonder permeation high Hellenistic aesthetic ideals most  spiritual Christian expressions of faith. Rosy cheeks, which in artistic sense harmoniously complements the greenish shadows, also indicates of glory and  distinque - namely, a custom that placed on the face blush ruled at that time only between Constantinople ladies from the top of the social ladder. Even features, which represent the perfection of the spirit, are resplendent in a white accents: right where we would expect shade, we find its negation - brightness. The light that her source is not of this world. It is all-pervading,  divine splendor, whose vastness and floating figures presented on the icon.
Clothing Mother of God is given in brilliant hues of emerald green color, which symbolizes the life-giving force, and the hope for mankind. Her robe trimmed in gold, the characteristic is braon color. This color indicates a high rank, reputation and importance of the persons wearing them. (It is well known that many of the ruling dynasties of Europe took deep purple for your heraldic color. This was the case with the Serbian nobility, a special shade of our national colors called locks. The left hand of the Virgin, extremely long and flexible fingers, indicating the child - Christ , located on her right hand. Christ the baby's character is portrayed as a brown-eyed and brown-haired, which should indicate in its Semitic earthly origin. Its sumptuous clothes could only conditionally described as monochrome, monochromatic, that is goldorange color, given that in it there is a rich weave of bright lines for which it could be said that the flashes of light that comes as much from this, and so beyond the visible reality, crossing a fine rhythm on the membrane which the world connects and separates - in the area of ​​the icon.
The face of the infant Christ is childish and slightly oval, but other than serenity, radiates seriousness and wisdom. And as it is in the children's image of Christ foreshadowed Lamb and Rescue, and unrolled a scroll in the hand, reminiscent of its essence as - Logosa-, words and anticipates Liber Liber Mundi and soils, the book world, and life, as well as Pantocrator, held in the same hand.
The whole composition of the icon, though reduced and simple, perfectly balanced. Goods transcendent light that articulates noble forms, rafinovan and succinct visual language, and above all the harmony of solemn monumentality and dense atmosphere of lyrical, intimate charge, make this masterpiece so unique and worthwhile.


 
Traces of giant tears

 
There uniqueness noted contemporary viewer as easily as seven and a half centuries earlier, the contemporaries of St. Sava himself, who, as we know, was a great admirer of this character. (None of his stay in Constantinople could not pass without a visit to the monastery of Virgin Evergetide, and this is the form of dedicated and Studenica). The entire peninsula of Athos is dedicated to the Virgin Mary, and was among the monks and called - Virgin gardens.
The damage, which in the picture there, like some huge tracks of tears, but the very golden as the background, not only does not diminish her beauty, but, it seems, for postistoričnog viewer with the end of the twentieth century itself are aestheticized

 
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