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Dečanska Scena 'Polaganje Hristovog Tela U Grob' I Sahranjivanje U Srednjovekovnoj Srbiji
Dečanska Scena 'Polaganje Hristovog Tela U Grob' I Sahranjivanje U Srednjovekovnoj Srbiji
Dečanska Scena 'Polaganje Hristovog Tela U Grob' I Sahranjivanje U Srednjovekovnoj Srbiji
Y L\pKBI1 MaHaCTl1pa .nC'JaHa, ua CL\eHI1 Ilo.naraa.e Xpl1CTa y rpof HaCJlI1KaHH cy pa,nHI1L\11 KOjH
npase MCpMepHH capxorpar, O,nHOCHO HOCC BCJlI1KI1, Hc06pal)eHI1 KaMeHH 6JlOK. Ilopehen.eu ca pesyn-
T,iTI1Ma I1CTpa>KI1BaH,a CpnCKI1X Cpe,[(H,OBeKOBHI1X nOrpe6HI1X 06H'Jaja, yrsphyje ce ,[(a JlI1 cy CJlHKapl1
y npencrasy penaraoane Ca,[(p>KI1He yHOCI1JlI1 MOTI1Be H3 CBaKO,[(HeBHOr >KI1BOTa.
130
C. KecHh-PHCTHh ,l:(e~aHcKa cuena .Flo.nararse XpHCTOBOr TeJIa y rpo6"
11J. Koaaseaah, Cpeuneeesoena HOUIIb8 6a.nKaHCKHX CJ10BeHa, Ilocefina H3J\aH,a CAli KH.. CCXV,
I1cTopHjCKH HHcTHTyr Ktt.. 4, Beorpan 1953, 25-95 et passim; B. XaH, Ilpoq>aHH HaMjewTaj na nauroj
cpena.oaexosaoj Q>peCl\H, 360pHHK Mysejs npHMel-beHe yuetttocru 1 (1955) 7-50.
12c. KecHl'l-PHCTHfl, UHKJlyCXPHCTOBHxcTpaJ\alb3, y 3H,l(HO CJ1HKapCTBo MaHacrupajJe'laHa, 128-129.
131
rCA,LVJSAS 17 (2001) CKynoBI1 CeKUJ1ja: - Cpernsn BeK
13K. Weitzmann, The Origin of the Threnos in Esseys in honor ofE. Panofsky, New York 1961,476-490.
132
C. KeCHh-PHCTHh ,Ue'IaHCKa cueua .Flonararse XPHcTOBor TeJIa y rpo6"
CTaBa naejy CBeTHX )l(eHa xoje nocwarpajy caxpany.l" HaKO npesra rexcry Cneror
Ilncva 'IHHe neo Ilorraraisa y rpof (MT. XXVII, 61; MK. XV, 47), OHe cy CMeUITeHe
ya KOMII03HU:Hjy KOjOj HHKaKO He IIPHIIa.najy. Ilocraana ce nnran,e 360r -rera je
CJIHKap y3 nnycrpaunjy TaKO snaxajnor norahaja HHCHCTHpao na xcarrp IIpe.nCTaBH
panaaxa KOjH ofipahyjy KaMeHH capxorpar, yssecro na je iseno MeCTO I1CIIYHl10
$l1rypaMa CBeTI1X )l(eHa lfl1je 611 IIpl1CyCTBO 6HJIO onpasnanaje C 063l1pOM na
l-bHXOBy rnrrepapuy 3aCHOBaHOCT.
,ll,a OBO anje je.nHHI1 )l(aHp MOTHB y U:HKJIyCy Xpl1CTOBHX Crpanaa,a, cseno-nr
11 KOMII03HU:l1ja Jespejcxa CBeUITeHI1U:11 xyrryjy nouxapesy l-bHBy.1 5 Ha I1CTOj crpa-
HI1 HCTor jyroaananaor CTyIIUa, caao nne 30He 113Ha.n Iloriaraaa y rpofi, HaCJIHKaHO
je rpofirse ca nsa MepMepHa capxorpara ,ruJOCJIHBHI1X IIOKJIOIIau:a. Jeapejcxn CBeUITe-
Hl1l1,H cy HOBlI,eM KOjl1 11M je Jyrta sparno HaKOH noxajaa,a, peWHJIH na KyIIe l-bHBy
aa "rp06Jbe rocrnva" I1JII1 rpofirse aa crpauue (MT. XXVII, 7). OHO je Ha3BaHO
AKeJI.naMa, WTO 3Ha'IH "KpBHa l-bHBa", jep je KyIIJbeHa aa "HOBau: KOjH je Y3eT aa
KpB", rj, sa mnajy Xpl1CTa (,ll,eJIa aIIOCTOJICKa I, 19). HI1 OBa cuena HeMa IIapaJIeJIa
y Bl13aHTl1jcKoM MHHHjaTypHoM HJIH MOHyMHeTaJIHOM CJII1KapcTBy. Haxo OIIHCaHI1
y EH6JIl1jl1, JIOH'Iap KOjH pyKOM noxaayje H xao na XBaJIH CBOjy l-bHBy, O.nHOCHC
CBeWTeHHK KOjH WKpTO .nP)l(H xecy ca HOBu:eM, npyxajyhn noasapy caMO jenan
nomuh, acouapajy na caaxonaeaay pamsy xynonponaje, no re Mepe y6e.nJbHBI1
na 'IaK nerryjy caspeaeao.
Henocrarax JIHKOBHHX IIapaJIeJIa y BeJIHKoj Mepl1 ncxrsyayje MoryhHocT ofijaur-
l-bel-ba nexancre cuene Ilonaraise y rpofi CTHJICKHM HJIH HKoHorpa$cKHM yrnnajeu
KaKO aKTyeJIHe yMeTHocTH, TaKO H crapnjux npennoxcaxa. Iluraa.e xoje ce aanose-
syje na IIpeTIIocTaBKy na je ,ll,elfaHCKH CJIHKap, nnycrpyjyha Xpucrosa Crpanan.a,
yneo y nojennae, 11 TO BpJIO aaaxajae cuene HeWTO o.n caor oxpyzceu,a, ,ll,HpeKTHO
ce O,ll,HOCH na caM lfHH caxpaue y cpemsoaexoeno] Cp6HjH. Ilpasocnaaua JIHTyp-
rnxa je ry He,ll,BOCMHCJIeHa, a apXeOJIOWKa ncrpaxnnaua TO norsphyjy: 06H'iaj
caxpaisaaarsa y 3eMJbY IIOWTOBao ce jour on IIpBHX BeKOBa XpI1WhaHCTBa. 16 Ilpoy-
'iaBal-ba cpncxor cpemeoeexoaaor snanapcxor rpofia IIOKa3yje na je nonaraue y
3eMJbY 6HO je.nHHH MoryhH BM)]; caxpaae, a na je capxorpar H3Ha.n rpofia y 3eMJbH
(scpulcrum-a) I1MaO $yHKU:l1jy nanrpotiaor ofieneacja (O,ll,HOCHO monumentum-aj.l?
l..{Hl-beHHu:a je na Hl1r,ll,e na cpezueoaexoaana $peCKaMa, He cano .nelfaHCKHM,
caxpaisaaaae IIOKojHHKa y 3eMJbY nuje IIpHKa3HBaHO. Bpojne anycrpann]e 110-
rpe6a JIH'iHOCTI1 H3 xpmuhancxe HCTOpl1je, IIO'ieBWH on Aaersa, IIpeKO Hcyca, no
xpHwhaHCKHX CBeTHTeJba, He npnxasyjy 'iHH nonaraisa TeJIa yMpJIOr y IIO,ll,3eMHy
rp06HI1U:Y. Ha CaXpaHI1 Asersa y ,ll,e'IaHI1Ma, MaM IIOJIa)l(e MpTBor CHHa y rpof
ycexen y CTeHI1, HaJIHK aa nehany, ncnpen xoje je KaMeHa, IIpaBl1JIHO HCKJIeCaHa
133
rCA,IJjJSAS 17 (2001) CKyrrOBJ1 CeKUJ1ja: - Cpemsu BeK
18J. MapKoB1111, M. MapKoB1111, UI1KJlYC Feuese 11 craposaaerue 4111rype y napaxnncy CB. )l,HMHTpl1ja,
y: 3MPHO CJIMKapCTBO MaHacmpa,4e'laHa, 333, CJI. 5.
19B. P. neTKOBl1h 11 n. J.)OWKOBI1I1, Msneotup ,4e'lamt II, 36, T. CCXV/l.
20 A. )l,aBI1,1:\OB-TeMepI1HCKH, UI1KJlYC )l,eJlaanOCTOJlCKHX y)l,e'laHHMa, y 3MPllO CJIMKapCTBO uenactnp«
,4e'laHa, 172, CJI. 7.
21 C. KCCl1h-PI1CTHI1,)l,. BOjBO,l:\l111, Menonor, y 3MPllO CJIMKapCTBo ueuscrup« Ilessn« 380, Han. 28.
22 )l,. nOnOBl111, HaB. ueno, 139-143. 3Ha'lajHo je HanoMcHYTI1 na jow yBCK HHje nOy3,1:\aHO yrapheno na
JlI1 je TCJlO npsor cpncxor snanapa 113 ,l:\HHacTl1jc Hevau.aha nO'lHBaJJO y capsooary 11J111 y rp06HI1l.\11 nOLI
3CMJbOM; xacuaja rpynepapua npaxca xao 11 '1HI-bCHHl.\a na cy rpo60BH HCMaH,HHHX nOTOMaKa paheaa no
yrneny na IhcrOB, YTHl.\aJJH cy na ce npCTnOCTaBH nocrojaise rp06HHl.\C H nOLI capxorparov CHMCOHa
HCMalhC, cr. ucto, 29, 30, 62 et passim.
23)l,. Maaac, CJIaBKOBM~a, Kparyieaau 1984, 59,113.
24 Cf. B. J. Bypah, HCTOpHjCKC KOMn0311l.\l1jc y cpncxox cJlHKapCTBy cpeznsera BCKa H I-bHXOBC KI-bH-
>KCBHC napanene, 360pmtK penoes BM3aHTOJIOWKOr uncruryts XI, Beorpan 1968, 99-103.
25 fl. MHpKOBHI1, IIpaBOCJIaBHa JIMTyprMKa, )l,pym nocetiau neo, Beorpan 1983, 181-188.
134
C. KecJ1h-PJ1CTJ1h ,UeqaHCKa cuena .Flo.naraise XpJ1CTOBOr TeJIa y rpo6"
135
rCA,lVJSAS 17 (200 1) CKynoBM cexnnja: - Cpemsn BeK
3HaK KOjH ofenexasa nojeruraasno rp06HO MeCTO HJlH, xao na nesaacroj cuetur
Kynosaue l-bHBe, rpofirse yonurre, Hnax, xao H CBaKa npyra JlHKOBHa cPOPMYJla,
npencrasa capxorpara je BHweBeKOBHHM noaaarsau.ea npepacrra y CHM60Jl H TaKO
H3ry6HJla Be3Y ca cTBapHHM norpe6HHM 'lHHOM. Ee3 ofinrpa aa pa3HOJlHKe CJlH-
xapcxe pamroaaue KojHMa cy IIpHIIa)l,aJlH 6pOjHH )KHBOnHcU:H aHra)KOBaHH na
OCJlHKajy MOHyMeHTaJlHH enrepajep upxne y ,lJ,eqaHHMa,29 OHH ce CBH xopncre
rOTOBO HCTHM je3HKoM BH3aHTHjcKe axoaorpaoaje, H3Mel]y OCTaJlOr H ynorpefi-
rsanajyha capxodar xao HellBOCMHCJleHY H npen03HaTJbHBY cxpahennuy aa ca-
xpany. Hacynpor TOMe, nojasa JlHKOBHOr npnxaaa aMopcPHe nanrpofine nnose
CBaKaKO he yfiynyhe 6HTH paaaarpaaa y KOHTeKcTy MOTHBa npeyaernx H3 CBaKO-
nneaaor oxpyzceua cpemsoaexoaaor crntxapa, a CBaKO acrpaxnaaae xoje he ce
KpeTaTH y IIpaBU:y pexoucrpyacaaa norpefianx 06HQaja y Cp6HjH TOKOM nepaona
l-beHe IIp)KaBHe CaMOCTaJlHOCTH, nonpnaehe 60JbeM paaysreeatsy H JlHKOBHHX npe-
ncrasa, H apXeOJlOWKHX aanaaa
Y,lJ,K: 75.052.046.3.033.2(497.11 )"13" : 232.964:393.1(497.11 )"653"
SANJA KESIC-RISTIC
Summary
In the pictures of religious contents in the Serbian medieval painting of the 14th
century there are often inserted motives from profane, everyday life. This phenomenon
has been noticed for a long time and fresco paintings from Decani offer many
examples. The scene from The Passion, "Placing Christ's body in the grave" shows
three workmen; one of them is finishing already carved sarcophagus while other two
carry large stone block. This episode defined as genre motif has neither literary
support nor parallel in painting. Assumption that it depicts real act of interment
practiced in that time Serbia could hardly be confirmed as we have rather scarce
information about burial customs of the lower social classes. On the basis of studies
of the tombs of Serbian rulers we came to the conclusion that inhumation predom-
inated while the sarcophagus represented type of tombstone but it also seems that
placing of the body of the deceased in the sarcophagus had not been entirely forgotten.
Thus the representation of preparation of the grave because of the symbolic meaning
that sarcophagus had in the Byzantine iconography has been explained as substitution
of the very moment of placing the body in the burial pit that had actually never been
illustrated in painting. On the other hand the unhewn stone block in the Decani
picture shows great resemblance with amorphous tombstones which could be noticed
at many medieval sites and therefore it is included among motives reproduced from
the everyday life of the artist.
136