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Sneæana Bukal
IKONOKLAST I IKONOBORAC
Sve to nije vaæno, jer je proπlo.
Miloπ Crnjanski
To je veËito, jer se desilo.
Ivo AndriÊ
And finally, I was in a very small street in the Hague when I
saw a sign, ‘Icons, come in and see’. So I went in. Not that I am
crazy about icons. No. I have seen many of them. My Serbian
grandfather was a priest. I grew up playing alone on the church
porch or in church and surrounded by icons. I saw workshops
were they are made. I knew people who earned their bread by
painting them. I can tell Greek from Russian or Balkan schools.
Besides, my ‘Byzantium period’ is far behind me. And, finally,
except for nuances often seen only by experts, the icons are
stereotyped and hence boring because they give the impression
that they are all alike, which they mostly are.
Now, when I am watching icons, I search only for profane
elements in them ∑ how people are dressed, what is on the table,
which kind of shoes they have… Their sacral element does not
excite me any more. So, that was what I was doing in Ogidia, the
small icon museum in the Hague. And then, that icon I want to
tell you about, the reason for this awfully long letter, appeared.
I was immediately caught. I knew immediately that in front of
me was something special, different from anything else in the
museum. The title said ‘Trinity’, 51 x 73, 15th Century, Northern
Transylvania. No gold. Just simple ochre of earth. Bit of brown.
Bit of green. Three simple figures sitting around the table, like
three relaxed farmers late on a sunny afternoon, in front of
some village church, somewhere in the mountains, when good
work is done and they feel good. O, Bob, what a beautiful painting
that is! I do not know how long I was standing there, but at
some point the old gentlemen was suddenly behind me and he
told me: Beautiful, isn’t it! I said: Indeed, beautiful. Then he told
me the story about this icon. It was bought in the 70s from some
Russian emigrant. The expert who bought it got it cheap. It had
some 20-century stupid pink-blue angels. So, he bought it, removed
that first layer and underneath found the Trinity. Expertise
1 Naposletku, zatekla sam
se u jednoj sasvim maloj
ulici u Hagu, u kojoj sam
opazila natpis: Ikone ∑
uappleite i razgledajte”. Tako
sam uπla. Nisam baπ
neπto luda za ikonama.
Dosta sam ih se nagledala.
Moj deda sa moje srpske
strane bio je sveπtenik.
Odrasla sam igrajuÊi se
sama u crkvenom dvoriπtu
ili u crkvi, okruæena
ikonama. Gledala sam
radionice u kojima ih
prave. Poznavala sam
ljude koji su zaraappleivali
hleb slikanjem ikona.
U stanju sam da razlikujem
grËku πkolu od ruske ili
balkanske. Osim toga,
moj “vizantijski period”
je daleko iza mene.
I konaËno, osim nijansi
koje Ëesto samo struËnjaci
zapaæaju, ikone su
streotipske te stoga
dosadne, poπto ostavljaju
utisak da sve su
nalik jedna drugoj,
πto je uglavnom taËno.
Sada, kad posmatram
ikone, tragam samo za
profanim elementima u
njima ∑ kako su ljudi
odeveni, πta je na stolu,
kakve cipele nose…
Njihov sakralni element
viπe me ne uzbuappleuje. I
tako sam upravo to radila
u Ogidiji, malom muzeju
ikona u Hagu. A onda se
pojavila ta ikona o kojoj
hoÊu da ti priËam ∑ razlog
πto je ovo pismo ovako
dugo. Istog Ëasa me uzela
pod svoje. Smesta mi je
bilo jasno da stojim pred
neËim posebnim, razliËitim
od svega drugog u
muzeju. Naziv ikone bio
je ‘Sveto trojstvo’, 51 x 73,
petnaesti vek, severna
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