hrvatski

Ikonografija sačuvanih Božidarevićevih djela

Sažetak: Na sačuvanim djelima Nikole Božidarevića u Muzeju dominikanskoga samostana sv. Dominika – Triptihu Bogorodice sa svecima (Triptih obitelji Bundićā ; oko 1500.) Svetom razgovoru (Pala obitelji Đorđićā ; 1513.), Navještenju s predelom (Navještenje Marka Kolendića ; 1513.) – kao i na Triptihu Bogorodice sa svecima (Triptih obućara Jurja Božidarevića ; 1513.) u crkvi sv. Marije od Špilica na Lopudu i Triptihu Bogorodice s Djetetom i malim sv. Ivanom Krstiteljem sa svecima (1517.) u crkvi sv. Marije na Dančama, slikar je prikazao četrdeset i tri lika svetaca i Božanskih Osoba. Ikonografija Božidarevićevih svetaca utemeljena je u novozavjetnoj naraciji ili srednjovjekovnoj kršćanskoj predaji okupljenoj u Zlatnoj legendi Jacobusa de Voragine s kraja XIII. stoljeća. Slika Navještenje Marka Kolendića u zoni predela ima četiri prizora, među kojima i onaj Rođenja gdje je novorođeni Isus položen na tlo vrlo je blizak ikonografskim rješenjima nadahnutima objavama koje je primila Brigita Švedska polovicom XIV. stoljeća. Ona je opisala samotno rođenje Spasitelja Svijeta, bez mukä poroda i bez traga nečistoće na Novorođenčeku. Majka ga je odmah položila na tlo (a ne u jasle ili kolijevku), klekla i započela s molitvom: »Dobro došao, moj Božiću, moj Gospodine i moj Sine.«. Sv. Josip je pobožno i s poštovanjem promatrao prizor, upravo kako pokazuje Božidarević na »svom« Rođenju. Magarac i vol podsjećaju da se rođenje Spasiteljevo dogodilo u štalici, a njegov nadnaravni značaj u daljini Božidarevićeve slike navješta sićušni anđeo pastirima, a drugi započinje anđeoski pjev, kako ga je u viđenju doživjela sv. Brigita: »nadzemaljski blag i sladak«. Naglasak na poniznosti Rođenja i sućuti prema napuštenoj maloj obitelji u kojoj se tiho dogodio čudesan događaj za koji će saznati cijeli svijet, bio je suglasan duhovnom pokretu devotio moderna koji je poticao laike na život temeljen na nasljedovanju Krista, »unutarnjoj pobožnosti« i odbacivanju svjetovne taštine, kako ističe Marko Marulić (1500.) u naslovu prijevoda De imitatione Christi Tome Hämmerkena, poznatijega kao Kempenac, Od naslidovan'ja Isukarstova i od pogarjen'ja tašćin segasvitnjih. I u Bogorodici s Mrtvim Sinom u krilu povrh Božidarevićeva Svetoga razgovora prepoznajemo Brigitinu viđenje: »Nakon što se mnoštvo razišlo, njegovi prijatelji ga skinuše s križa i položiše ga onako krvava i izranjana Majci u krilo. Ona ga prihvati svojim svetim rukama, otirući mu rane svojim rupcem.« Motiv anđela koji sakupljaju krv Raspetoga u kaleže na luneti triptiha na Dančama stariji je – javlja se još početkom Trecenta kod sienskih slikara te Giotta i sljedbenika – a opstaje kao vizualna egzegeza nauka o transpstancijaciji kako ga je odredio Četvrti lateranski sabor (1215.) Summary: In the extant works of Nikola Božidarević in the Museum of the Dominican Monastery of St Dominic (Triptych of the Virgin with Saints [Triptych of the Bundić Family], about 1500 ; Sacred Conversation [Altarpiece of the Đorđić Family], 1513 ; Annunciation with Predella [The Annunciation of Marko Kolendić, 1513]) as well as in the Triptych of the Virgin with Saints [Triptych of the Shoemaker Juraj Božidarević], 1513, in the Church of St Mary of Špilica on Lopud and the Triptych of the Virgin and Child and the Little St John the Baptist with Saints (1517) in the Church of St Mary on Danče), the painter showed all told forty-three saints and divine persons. The iconography of Božidarević’s saints is based on New Testament narration or on the medieval Christian tradition brought together in the Legenda Aurea of Jacobus de Voragine of the late 13th century. The painting Annunciation of Marko Kolendić in the predella zone has four scenes, including that of the Nativity in which the new-born Jesus placed on the ground is very close to iconographic approaches inspired by the visions of St Birgitta (Bridget) of Sweden in the mid-15th century. She described the lonely birth of the Saviour without the pains of delivery and without a trace of defilement on the Newly Born. The mother at once placed him on the ground (not in a crib or a cradle), knelt and started with the prayer: “Be welcome, my God, my Lord and My Son”. St Joseph watched the scene with pious respect, just as Božidarević shows him in his Nativity. The ass and ox remind us that the birth of the Saviour took place in a stable, and its supernatural importance is announced in the distance of Božidarević’s painting to the shepherds by a tiny angel, while another starts the angels’ song, as experienced in the vision of St Bridget, “of miraculous sweetness and beauty”. The emphasis on the humility of the Nativity and the compassion for the little neglected family in which the miraculous event occurred, later to be learned of by the whole world, was in line with the spiritual movement called devotio moderna, which prompted the laity to live their lives as an imitation of Christ, as “internal piety” and the rejection of worldly vanity, as Marko Marulić says in Od naslidovan'ja Isukarstova i od pogarjen'ja tašćin segasvitnjih (1500), which is the title he gave to his translation of Thomas á Kempis’ Imitation of Christ. In the Mother of God too with the Dead Son in her lap at the top of Božidarević’s Sacred Conversation we can recognise the vision of Bridget: “After the multitude had departed, his friends took him from the cross and placed him all bloody and wounded in his Mother’s lap. She received him with her sacred hands, wiping his wounds with her kerchief.” The motif of angels collecting the blood of the Crucified in chalices on the lunette of the triptych at Danče is older – it appeared at the beginning of the Trecento in the Siena painters and Giotto and followers – and survived as visual exegesis of the doctrine of transubstantiation as defined by the fourth Lateran Council of 1215.

Nikola Božidarević, ikonografija, slikarstvo, devotio moderna, sveci

Publikacija je dvojezična: hrvatska i engleska.