Krisztus Szenvedései-ikontöredék Hajasdról. Az ikonográfia rekonstrukciójának kísérlete

Abstract

In the ecclesiastic collection of the Ethnographic Museum there are carvings from churches of the Byzantine Rite including a Passion fragment from Hajasd (Volosianka, Ukraine), former Ung county. It was probably made in the third quarter of the 17th century on three contiguous vertical panels 180 cm in height each. The two outer panels of the three survive. They are predominated by ochre and brown hues with greyish blue, white and black pa tches. The forms are enclosed by thick black lines. Works of a similar character have survived in the area between Przemysl and Sanok. Despite the missing central panel and the destruction of nearly half of the right-hand panel, the iconographic program can be reconstructed. It is a conspicuous feature of the Hajasd scenes that they reiterate the composition of Flemish graphic series of the Passion. Apart from knowledge of the relatively fixed iconography of the Carpathian Passion series, the Flemish graphic cycles were most helpful to the reconstruction of the Hajasd Passion. It was the wealth of details in the Hajasd Passion that led to the discovery of its immediate source: the series of 51 sheets engraved by Adriaen Collaert after Marten de Vos's compositions and published in several editions in the early 17th century with the title “Vita, Passio et Resurrectio Iesu Christi…”, copies of which also travelled as far as Hungary and Poland. The scenes were arranged in six tiers, the central episode – the crucifixion – probably taking up three tiers of the central panel. The series of twenty scenes begins with the Transfiguration, which revives a local mediaeval tradition: the linking up of the Transfiguration and Easter also explicated in 17th century theological works. It was followed – in accordance with the liturgy of the Passion Week – by the resurrection of Lazarus (Lazarus Saturday), the entry into Jerusalem (Palm Sunday), the Last Supper, the washing of the apostles' feet (Holy Thursday), the scenes of Christ's trial, mocking and crucifixion (Good Friday). The sequence ends with the Deposition, Lamentation, Christ in Limbo and Resurrection scenes. The Hajasd Passion reveals the theological context of the redemption and resurrection in addition to the suffering of Christ. It is a peculiarity of the icon that its master elaborated on nearly the whole cycle of Collaert's works from no. 27 to no. 51, more or less adhering to the original order. The painter's individual abilities are proven by the adaptation of the compositions to the different format, the synthesizing ability and the addition of local narrative details (Pilate's ermine robe, wooden tub).